PLEASE NOTE: There is a $15,000 authorization required to bid on this lot. NO ONLINE BIDDING ACCEPTED, bidders MUST register with the auction house to bid on this lot. A Chinese iron red underglazed porcelain moonflask dating from the Qianlong period. It comes with an old, fitted box. It features a "magpie and prunus" design on both sides, which depicts a bird perched on a flowering plum branch with bamboo. The scene is framed on the top and bottom with stylized leaf bands. The handles are decorated with ruyi scroll patterns, and the neck has two bamboo shoots on either side. Dimensions are: 10 1/4 inches tall X 8 inches long X 3 inches wide, 26 cm X 20.3 cm X 7.6 cm. All measurements are approximate. Condition: It is in good condition with very minor firing cracks to the neck. A reminder that all lots are sold as-is. We have sought to record the changes in the condition of this piece after its initial manufacture as diligently as possible; however, as stated in our terms, condition reports are statements of opinion and not representations or warranties. Oakridge Auction Gallery bears no responsibility for any error or omission. Provenance: From a private Atlanta, Georgia collection. Notes: Iron red glazing is an unusual technique requiring the highest skill. It is produced by first painting the design onto the porcelain with an iron oxide glaze, then coating the whole piece in a clear glaze for a smooth finish. The brightness of the iron oxide is determined by the temperature and distribution of the heat of the kiln during the firing process. First observed at the Tongguan kiln site in the Tang and 5 Dynasties period, the method truly flourished in the 15th century. During this period, a particular design known as the "magpie and prunus" became popular on porcelain moonflask vases. This style went out of vogue until the 18th century when, spurred by the Yongzheng emperor's interest in antiquities, this 15th century style returned, similar in size and decoration to their predecessors.Over time, it appears that the "magpie and prunus" design gained something of its own standard. It consists of a small bird with dark and light coloring perched on a branch in the center of the flask, comprising its focal point. Contrary to the name of this design, not all moonflasks within this type appear to depict magpies; close inspection reveals that these birds differ in the placements of their coloring as well as in the shapes of their beaks and tails, suggesting different species altogether. The bird on this moonflask has a white belly, a white cap, and possibly a white patch on its cheek, making it similar to the Chinese light-vented bulbul known as bai tou weng. Indeed, the bulbul, rather than the magpie, may be the intended depiction, as it would give the design a reading as a visual pun for the common saying ???? bai tou fu gui, "Longevity (lit. white-haired) and wealth."Despite the differences in birds, all the flasks within this type do, in fact, place their birds upon blossoming prunus, specifically plum, branches, at least in part. The branch grows from right to left across each broad side of the flask, meandering into clusters of buds and twigs as these trees are wont to do in spring. Leafy bamboo shoots spring up around the branch's base, floating as the branch does against a clean, white ground. The cylindrical neck of the flask is also decorated with bamboo shoots on either side, their leaves arranged like stars high above the bird. Two arched handles connect the neck and shoulder of the flask, dotted with abstract ruyi scrolls. Unique, branching leaf designs wrap around the shoulder and lower body, ornately framing the scene.Not only is this array of decorative elements shared between "magpie and prunus" moonflasks, the placements and proportions of these elements are strikingly similar as well. This can perhaps be attributed to the Yongzheng emperor's intense fascination and loyalty to the historical details of the art of previous eras. Regardless, the "magpie and prunus" moonflask design seems to occupy a unique niche of Chinese art at an intersection of immense technical skills including glaze application, artistic imitation, and firing practice. This moonflask clearly falls within this category, making it a priceless addition to any thoughtful collection.Similar examples can be found in the British Museum under accession number PDF,A.612 and the Beijing Palace Museum accession number 00152289. 瓶小口，直頸，頸兩邊飾如意形耳，扁圓腹，橢圓形圈足。通體釉裏紅紋飾，頸繪竹葉紋，肩部及脛部分繪五出葉紋相對應，雙耳各飾靈芝紋，畫面中間梅花枝頭上停著一只喜鵲，樹底生矮竹幾叢。，畫工生動細膩，釉裏紅發色純正，濃淡相宜，瑰麗多姿。北京故宮博物院、香港徐氏藝術館均珍藏有同類產品。釉裏紅器燒造之難，人們常用「十窯九不成」和「百裏挑一」來形容，因而其珍品往往價值連城。過去只有禦窯廠才能不惜工本.地反覆燒制，是真正屬於皇帝的限量款。乾隆皇帝曾十分關註釉裏紅器物的燒造，如乾隆三年《清宮內務府造辦處活計清檔·記事》記錄，十月二十九日太監毛團、胡世傑、高玉傳旨：「釉裏紅龍梅瓶紅龍顏色不好，往好裏燒造……」。乾隆四年又諭旨釉裏紅顏色務要「花紋清真，釉水肥潤，顏色鮮明」（參見《唐英奏折》第六十二號）。喜歡程度可見一斑。抱月瓶在清朝初期重新受到了青睞，以唐英為首的清代宮廷工匠們也開始重塑經典。在其指導下，各類仿古的瓷器在工藝及造型上得到了極高的還原。眾所周知，雍正皇帝曾多次將北京皇家收藏的古董瓷器送到景德鎮覆制。特別是乾隆時期，宮廷模仿前朝作品更為盛行，本件釉裏紅作品與大英博物館藏明代永樂青花抱月瓶（編號- PDF,A.612）紋飾及器型幾乎一樣。明代永樂官窯落款甚少，乾隆帝為向經典致敬，器物經常不落年代款識。本件抱月瓶品相完整，發色一流，雖未有落款，但從其工藝來說，應是乾隆造辦處出品無疑。故宮博物院也出現有一乾隆本朝釉裏紅抱月瓶，與本作品如出一轍。因抱月瓶器型及工藝的覆雜，現世留存極少，大多散落在各國博物館。拍賣市場上雖有流出類似作品，但是乾隆本朝作品較少，本件作品珍貴程度可見一斑，其定能在拍賣場上大放異彩。Similar examples have been sold at Sotheby's London on May 11, 2011 as lot 303 and Christie's Hong Kong on June 2, 2015 as lot 3126.可參閱大英博物館藏永樂青花花鳥紋抱月瓶，編號PDF,A.612，本件作品與其基本相似。故宮博物院藏清乾隆釉裏紅梅竹先春紋扁壺，編號故00152289 (fig. 1)。另見蘇富比倫敦2011年3月拍賣，編號303；佳士得香港2015年6月拍賣，編號3126。 High resolution photos can be found here.