17.5x10x10 In.

This striking jar, richly enameled in famille rose palettes with alternating panels of peony and lotus among scrolling blossoms, belongs to a celebrated tradition of porcelain perfected at Jingdezhen, China’s foremost kiln city since the Yuan dynasty. By the late Qing and into the Republic period, such vessels embodied both continuity and transition: classical auspicious motifs, mask handles for protection, lotus for purity, chrysanthemum for endurance, peony for prosperity, were reinterpreted in bold pastel hues and cobalt blue, appealing to both domestic and export patrons.

The bands of ruyi at the shoulder and lappet borders at the base reflect deeply rooted symbolism in Chinese decorative arts, with the ruyi motif signifying “as you wish” and auspicious fulfillment. The lion finial atop the lid further underlines the protective quality of the vessel, often intended to guard valuables or serve as an anchor of domestic ritual.

Porcelain of this type was prized in India during the late 19th century, where elite mercantile families and princely households imported Qing and Republic wares to adorn their drawing rooms, ballrooms, and prayer halls. This example, preserved in the estate of Sir Mangaldas Nathubhai, bridges Chinese artistry and Bombay’s cosmopolitan history, where Chinese porcelain held pride of place as a marker of taste, wealth, and international engagement.

Non-exportable

Provenance: The Estate of Mangaldas Nathubhai