Chinese Dragon
Except otherwise stated, all results include the premium.
See also : China Song Early Qing Qianlong Chinese art Chinese porcelain Antique to Yuan porcelain Ming porcelain Qing porcelain Imperial seal Children
Chronology : 1-1000 1000-1400 1430-1459 1720-1729 1760-1769 1780-1789
See also : China Song Early Qing Qianlong Chinese art Chinese porcelain Antique to Yuan porcelain Ming porcelain Qing porcelain Imperial seal Children
Chronology : 1-1000 1000-1400 1430-1459 1720-1729 1760-1769 1780-1789
Later Zhou Chai Kiln child pillow
2025 SOLD for HK$ 410M before fees by CITIC
This refers to a Five Dynasties Chai Kiln (Later Zhou) Blue-Glazed Dragon Boat Fortune Child Pillow, sold for HKD 410 million at the Hong Kong CITIC International Autumn Auction on October 12, 2025.
Key Features of This Lot
Key Features of This Lot
- Form: Ceramic pillow (zhen) in a sculpted, complex shape combining a dragon boat with fortune child (auspicious child figure) motifs. Size approximately 13 × 17 cm. These pillows served practical (headrest) and symbolic/tomb purposes; this example features intricate openwork or carved elements, rare for the period.
- Glaze and Color: Signature Chai Kiln turquoise/celadon ("Qing glaze" or blue-glazed) — luminous, glassy, translucent, sky-blue to greenish tones with high gloss and jewel-like quality. Described as "blue as the sky, bright as a mirror."
- Body and Craftsmanship: Fine, thin-walled high-fired stoneware/porcelain body. Exquisite carved dragon boat and fortune child patterns under the glaze. Base mark: "Great Zhou" (大周), directly linking it to the Later Zhou imperial court under Emperor Chai Rong.
- Rarity: Extremely scarce; Chai wares have near-extinct survival rates with few authenticated examples. This was highlighted as the first complete vessel with clear royal marks to appear publicly, setting a benchmark for the category.
1244 Six Dragons attributed to Chen Rong
2017 SOLD for $ 49M by Christie's
The dragons, symbols of the emperor and his family, know how to confront the forces of nature. Their sinuous bodies sail like in weightlessness amidst clouds and waves. The varied expressions of their faces are always vigorous.
The hand scroll is an art much more refined than a mere drawing. The image is read from right to left as it is unfolded, offering the scene of a real action. The paper should also be exquisite in the touch.
Towards the end of the Southern Song Dynasty, the artist Chen Rong pushed his ink pictures of dragons to the rank of masterpieces. His scrolls were much admired by the Qianlong emperor who commented on the colophons and stamped his seals.
The drawing of the fabulous beast by Chen Rong is sharp and detailed, in contrast to its wet surrounding realized by an original method of ink spraying. In the Taoist tradition, such a scene is a magical summon to rain.
The Boston Museum retains a scroll starring nine young sons of the Dragon King, 46 cm high for 15 m long, including on the painting two autograph inscriptions that provide an estimate of the date of the artwork at 1244 of our calendar.
A scroll featuring six dragons in a style similar as in the Boston specimen was sold for $ 49M from a lower estimate of $ 1.2M by Christie's on March 15, 2017 after deaccession from the Fujita Museum in Osaka, lot 507. Signed by one seal of the artist, it is 35 cm high with a length of 4.40 m for the image and 83 cm for the calligraphy. It is handled for our pleasure in the video shared by the auction house.
Grok thought :
Quote
Christie's @ChristiesInc Mar 16, 2017
Six Dragons handscroll attributed to Chen Rong, from the Fujita Museum sold for $48,967,500 against high estimate of $1.8m #AsianArtWeek
The Northern Song (960–1127) saw dragons integrated into ritual and philosophical contexts, such as the four ling (spiritual creatures) including the azure dragon representing spring and renewal, often tied to Confucian ideals of sage rulers. However, the Southern Song (1127–1279) marked a pivotal shift, where amid national hardships from invasions and political instability, artists used dragons to express collective emotions, spiritual aspirations, and resilience, portraying them as dynamic symbols of the Chinese nation's sovereignty rather than mere imperial emblems. Over time, depictions transitioned from wild, serpentine forms to more domesticated, almost pet-like figures with rounded features, mirroring the urbanization and humanization of society.
A key artist elevating this theme was Chen Rong (c. 1200–1266), a Southern Song scholar-official renowned for his "ink dragons," which captured the creatures' ethereal power through bold brushwork, splattered ink for mist and clouds, and dramatic compositions evoking movement and symbiosis with nature. His works, such as the 1244 handscroll Nine Dragons, show nine dragons twisting through waves, rocks, and clouds, symbolizing prosperity and the cyclical forces of the universe—often used in rain-summoning rituals to invoke agricultural abundance.
Other examples include Five Dragons, where violent dragons stir waterfalls amid rainclouds, emphasizing their role in ecological balance, and Eleven Dragons, a handscroll highlighting their majestic, cloud-breathing forms.
Dragons also appeared alongside tigers in yin-yang pairings, as in Fachang Muqi's Dragon; Tiger, representing complementary opposites in a misty, contemplative style. Beyond painting, the motif adorned ceramics, lacquerware, and bronzes, reinforcing prosperity and protection in everyday and imperial contexts. This enduring theme influenced later dynasties, blending mysticism with cultural identity.
The hand scroll is an art much more refined than a mere drawing. The image is read from right to left as it is unfolded, offering the scene of a real action. The paper should also be exquisite in the touch.
Towards the end of the Southern Song Dynasty, the artist Chen Rong pushed his ink pictures of dragons to the rank of masterpieces. His scrolls were much admired by the Qianlong emperor who commented on the colophons and stamped his seals.
The drawing of the fabulous beast by Chen Rong is sharp and detailed, in contrast to its wet surrounding realized by an original method of ink spraying. In the Taoist tradition, such a scene is a magical summon to rain.
The Boston Museum retains a scroll starring nine young sons of the Dragon King, 46 cm high for 15 m long, including on the painting two autograph inscriptions that provide an estimate of the date of the artwork at 1244 of our calendar.
A scroll featuring six dragons in a style similar as in the Boston specimen was sold for $ 49M from a lower estimate of $ 1.2M by Christie's on March 15, 2017 after deaccession from the Fujita Museum in Osaka, lot 507. Signed by one seal of the artist, it is 35 cm high with a length of 4.40 m for the image and 83 cm for the calligraphy. It is handled for our pleasure in the video shared by the auction house.
Grok thought :
Quote
Christie's @ChristiesInc Mar 16, 2017
Six Dragons handscroll attributed to Chen Rong, from the Fujita Museum sold for $48,967,500 against high estimate of $1.8m #AsianArtWeek
- This 2017 Christie's post celebrates the surprise sale of a 13th-century Song Dynasty handscroll "Six Dragons" by Chen Rong, which soared to $48.97 million—exceeding its $1.8 million high estimate by over 27 times—amid fierce bidding during Asia Week New York.
- The ink-on-paper scroll, depicting six ethereal dragons swirling through misty clouds, originates from Japan's Fujita Museum collection and was catalogued in the Qing Dynasty's imperial Shiqu Baoji archive, underscoring its rare historical provenance.
- The auction's outcome reflected surging global interest in classical Chinese art, funding Fujita Museum renovations while setting a then-record for a Chinese painting, as conservative estimates masked the work's authenticated imperial allure.
The Northern Song (960–1127) saw dragons integrated into ritual and philosophical contexts, such as the four ling (spiritual creatures) including the azure dragon representing spring and renewal, often tied to Confucian ideals of sage rulers. However, the Southern Song (1127–1279) marked a pivotal shift, where amid national hardships from invasions and political instability, artists used dragons to express collective emotions, spiritual aspirations, and resilience, portraying them as dynamic symbols of the Chinese nation's sovereignty rather than mere imperial emblems. Over time, depictions transitioned from wild, serpentine forms to more domesticated, almost pet-like figures with rounded features, mirroring the urbanization and humanization of society.
A key artist elevating this theme was Chen Rong (c. 1200–1266), a Southern Song scholar-official renowned for his "ink dragons," which captured the creatures' ethereal power through bold brushwork, splattered ink for mist and clouds, and dramatic compositions evoking movement and symbiosis with nature. His works, such as the 1244 handscroll Nine Dragons, show nine dragons twisting through waves, rocks, and clouds, symbolizing prosperity and the cyclical forces of the universe—often used in rain-summoning rituals to invoke agricultural abundance.
Other examples include Five Dragons, where violent dragons stir waterfalls amid rainclouds, emphasizing their role in ecological balance, and Eleven Dragons, a handscroll highlighting their majestic, cloud-breathing forms.
Dragons also appeared alongside tigers in yin-yang pairings, as in Fachang Muqi's Dragon; Tiger, representing complementary opposites in a misty, contemplative style. Beyond painting, the motif adorned ceramics, lacquerware, and bronzes, reinforcing prosperity and protection in everyday and imperial contexts. This enduring theme influenced later dynasties, blending mysticism with cultural identity.
Six Dragons handscroll attributed to Chen Rong, from the Fujita Museum sold for $48,967,500 against high estimate of $1.8m #AsianArtWeek pic.twitter.com/rbMbIyub5P
— Christie's (@ChristiesInc) March 15, 2017
Special Report
Yuan Dragons
In Chinese art of the Yuan dynasty (1271–1368), established by Mongol conquerors under Kublai Khan, the dragon motif persisted as a potent emblem of imperial authority, prosperity, and cosmic harmony, adapting Song dynasty traditions while incorporating nomadic influences and stricter imperial regulations. Building on earlier depictions where dragons symbolized rain-bringing benevolence and the emperor's divine mandate, Yuan art formalized their use: five-clawed dragons (long) were exclusively reserved for the emperor, signifying supreme power, while princes were limited to four-clawed variants (mang), reflecting a hierarchical system that blended Chinese symbolism with Mongol governance. This era's dragons often appeared more robust and dynamic, with exaggerated claws, small heads, thin necks, and gold-toned accents, emphasizing their mythical ferocity and auspicious role in chasing flaming pearls—a motif representing the pursuit of wisdom and good fortune amid clouds and waves.The transition from Song to Yuan saw dragons evolve from ethereal, mist-shrouded forms in ink paintings to more structured, imperial icons in diverse media, influenced by the dynasty's cultural synthesis and political instability. While literati artists like Zhao Mengfu focused on landscapes, dragon imagery thrived in court-sponsored crafts, symbolizing the Mongol emperors' claim to the Mandate of Heaven despite their foreign origins. Common pairings included dragons with phoenixes (representing yin-yang balance and marital harmony) or tigers, underscoring themes of power and protection.
Key examples highlight this theme across mediums:
Key examples highlight this theme across mediums:
- Paintings: Anonymous works like Dragon and Landscape depict writhing dragons with hooked claws contrasting angular rocks and twisted trees, evoking natural chaos and imperial might.
Later attributions, such as scrolls echoing Chen Rong's style (e.g., Eleven Dragons, though often Ming copies), show dragons dancing through cliffs and clouds, blending Song vitality with Yuan grandeur. - Textiles and Lacquerware: Luxurious silks, like a Yuan textile with phoenixes and dragons, feature robust dragons chasing pearls against intricate backgrounds, reserved for elite use and symbolizing prosperity. Another example includes dragons among clouds on gold-threaded fabrics, showcasing exaggerated features typical of the period.
- Ceramics and Sculptures: Blue-and-white porcelain vases and bowls, such as those with dragons amid clouds or chasing pearls, mark the Yuan's innovation in underglaze techniques, influencing later Ming styles.
Amber sculptures of dragons climbing rocks and Longquan celadon vases with dragon-phoenix motifs further illustrate their protective, rain-summoning roles in daily and ritual objects.
Jars like Jar with Dragon and Clouds display serpentine dragons in brown glazes, emphasizing cyclical forces.
Ming
In Chinese art of the Ming dynasty (1368–1644), founded by the Hongwu Emperor after overthrowing the Mongol Yuan, the dragon motif reached its zenith as an exclusive emblem of imperial authority, prosperity, and the Mandate of Heaven, evolving from the more dynamic Yuan forms into highly stylized, symmetrical representations that emphasized majesty and cosmic order. This period's dragons, often depicted with five claws (reserved solely for the emperor, with lesser nobility limited to four or three), symbolized the ruler's divine power over weather, water, and fertility, drawing on ancient myths while incorporating red hues to denote auspicious fire and vitality, contrasting the Yuan's gold accents. Amid the dynasty's restoration of Han Chinese rule, dragons transitioned from ethereal, writhing figures to more frontal, anthropomorphic portraits—eyes gazing directly at the viewer—to mirror the emperor's grandeur, reflecting a blend of Confucian hierarchy and Buddhist influences. Common motifs included dragons chasing flaming pearls (signifying enlightenment and pursuit of wisdom) amid clouds, waves, or lotuses, often paired with phoenixes for yin-yang harmony or tigers for balanced ferocity.
The Ming era's imperial patronage, especially at the Jingdezhen kilns, propelled dragon imagery across mediums, reinforcing cultural identity post-Mongol rule and influencing later Qing elaborations.
The Ming era's imperial patronage, especially at the Jingdezhen kilns, propelled dragon imagery across mediums, reinforcing cultural identity post-Mongol rule and influencing later Qing elaborations.
- Paintings: Court and literati artists produced hanging scrolls and handscrolls with dragons in dramatic natural settings, such as Dragon in Clouds (late Ming, 17th century), showing a serpentine dragon amid swirling mists, symbolizing imperial ascent and rain-bringing benevolence. Another is the Ming-attributed Eleven Dragons handscroll, depicting eleven dynamic dragons twisting through cliffs and waves, echoing Song vitality but with Ming's formalized scales and horns for enhanced majesty.
- Ceramics: Blue-and-white porcelain flourished, with dragons adorning vases, jars, and ewers in underglaze cobalt, often chasing pearls or coiling amid clouds to invoke prosperity. Iconic pieces include the Yongle-period blue-and-white 'dragon' ewer, featuring a robust dragon with exaggerated claws symbolizing imperial innovation, and large jars like those with writhing dragons in waves, produced for court use and export.
- Textiles: Imperial dragon robes (longpao), woven in silk with gold thread, displayed five-clawed dragons in circular medallions or full-body coils, reserved for the emperor and signifying supreme authority; these often featured red backgrounds with cloud patterns for cosmic symbolism.
- Bronzes and Sculptures: Gilt-bronze dragons appeared in ritual vessels, seals, and architectural elements, such as the nine-dragon beast seal with chained, multi-headed dragons representing multiplicity and protection.
Xuande Dragon Jar
2016 SOLD for HK$ 158M by Christie's
The mastery of porcelain in the Ming dynasty is achieved in three phases : a restart to the top quality under Yongle, an approach to touching perfection under Xuande and the masterpieces for the palace of Chenghua.
The use of underglaze cobalt blue on the white porcelain had reached under the Yuan a refinement which continued under Yongle. In the reign of the Xuande emperor the chemists significantly improved this technique for shading the blue. An extreme care is taken in the homogeneity of the cobalt solution and in the control of the kiln atmosphere. The sharpness of the line is also improved.
The image of the dragon, appreciated by the Yuan, becomes popular again in the Xuande porcelain, with a fierce expression. Dark blue dragons move in an environment of lighter figures. This contrast reinforces the power of the imperial symbol.
Two porcelain pieces with the mark of Xuande came simultaneously for sale in Hong Kong. On the theme of the dragon, both are great examples of the Xuande perfection in blue and white that will never be equaled even under Chenghua.
On May 30, 2016, Christie's sold for HK $ 158M a large size jar 48 cm high, lot 3012 from a lower estimate of HK $ 60M. The empowered dragon deploys its undulating body throughout the circumference. It is a superb large size example of the Xuande perfection in the blue and white that will never be achieved again, even under Chenghua.
On May 31, Lyon and Turnbull in association with Freeman's sold for HK $ 41.5M a stem cup 10 cm in diameter, lot 84.
The use of underglaze cobalt blue on the white porcelain had reached under the Yuan a refinement which continued under Yongle. In the reign of the Xuande emperor the chemists significantly improved this technique for shading the blue. An extreme care is taken in the homogeneity of the cobalt solution and in the control of the kiln atmosphere. The sharpness of the line is also improved.
The image of the dragon, appreciated by the Yuan, becomes popular again in the Xuande porcelain, with a fierce expression. Dark blue dragons move in an environment of lighter figures. This contrast reinforces the power of the imperial symbol.
Two porcelain pieces with the mark of Xuande came simultaneously for sale in Hong Kong. On the theme of the dragon, both are great examples of the Xuande perfection in blue and white that will never be equaled even under Chenghua.
On May 30, 2016, Christie's sold for HK $ 158M a large size jar 48 cm high, lot 3012 from a lower estimate of HK $ 60M. The empowered dragon deploys its undulating body throughout the circumference. It is a superb large size example of the Xuande perfection in the blue and white that will never be achieved again, even under Chenghua.
On May 31, Lyon and Turnbull in association with Freeman's sold for HK $ 41.5M a stem cup 10 cm in diameter, lot 84.
What makes this large 15th-century 'dragon' jar so rare — and so special? https://t.co/QLNIYOqVal pic.twitter.com/3fOW2SxJrB
— Christie's (@ChristiesInc) May 16, 2016
Once used as an umbrella stand, this Ming Dynasty 'Dragon' jar sold for over $20 million pic.twitter.com/BT3lTth3vU
— Christie's (@ChristiesInc) July 22, 2016
Xuande Dragon Stembowl
2012 SOLD for HK$ 113M by Sotheby's
During Xuande's reign, white porcelain is purified with an unprecedented care, creating an unalterable material. The improvement of the cobalt blue associated with a thick glaze provides to the imperial pieces the brilliance of the drawing and the tactile quality. These advances allow Jingdezhen potters to prepare new visual effects.
The realization of different hues of blue on the same piece is obtained by spreading the color like a traditional ink wash on a paper. Obtaining shades of blue by modifying the purity of cobalt will be developed half a century later for the Chenghua palace bowls.
The Chinese have always enjoyed the lithophanes. The new purity of the porcelain, associated with a thinness of the walls which does not prevent the robustness, makes it possible to incise hidden images observable only by transparency. This secret decoration is named anhua.
A model of bowl on a tall hollow foot includes all these advances of the blue and white. These pieces about 15.5 cm in diameter are decorated on the exterior of the bowl with two dragons drawn in dark blue with a fine brush, evolving within light blue clouds. The interior includes a pair of anhua dragons that encircle the imperial mark painted in dark blue. For these bowls of very high prestige, these dragons are imperial with five fingers per leg.
A Xuande stembowl 15 cm high is decorated with a pair of dragons swimming in the waves. The artist in the imperial kilns of Jingdezhen, playing with the thickness of the line, obtained several shades of blue. It was sold for HK $ 113M from a lower estimate of HK $ 50M on April 4, 2012 by Sotheby's, lot 29.
On May 31, 2016, Lyon and Turnbull in association with Freeman's sold for HK $ 41.5M a stem cup 10 cm in diameter, lot 84. On the theme of two flying dragons chasing the pearl, it is a great example of the Xuande luminosity in the blue and white that will never be achieved again, even under Chenghua. This small piece 8.7 cm high and 9.8 cm in diameter is in brilliant condition including the perfectly preserved softness of its thick and lustrous glaze. Please watch the video introducing this lot.
The realization of different hues of blue on the same piece is obtained by spreading the color like a traditional ink wash on a paper. Obtaining shades of blue by modifying the purity of cobalt will be developed half a century later for the Chenghua palace bowls.
The Chinese have always enjoyed the lithophanes. The new purity of the porcelain, associated with a thinness of the walls which does not prevent the robustness, makes it possible to incise hidden images observable only by transparency. This secret decoration is named anhua.
A model of bowl on a tall hollow foot includes all these advances of the blue and white. These pieces about 15.5 cm in diameter are decorated on the exterior of the bowl with two dragons drawn in dark blue with a fine brush, evolving within light blue clouds. The interior includes a pair of anhua dragons that encircle the imperial mark painted in dark blue. For these bowls of very high prestige, these dragons are imperial with five fingers per leg.
A Xuande stembowl 15 cm high is decorated with a pair of dragons swimming in the waves. The artist in the imperial kilns of Jingdezhen, playing with the thickness of the line, obtained several shades of blue. It was sold for HK $ 113M from a lower estimate of HK $ 50M on April 4, 2012 by Sotheby's, lot 29.
On May 31, 2016, Lyon and Turnbull in association with Freeman's sold for HK $ 41.5M a stem cup 10 cm in diameter, lot 84. On the theme of two flying dragons chasing the pearl, it is a great example of the Xuande luminosity in the blue and white that will never be achieved again, even under Chenghua. This small piece 8.7 cm high and 9.8 cm in diameter is in brilliant condition including the perfectly preserved softness of its thick and lustrous glaze. Please watch the video introducing this lot.
later Ming Tianhuang Dragon Seal
2017 SOLD for RMB 109M by Beijing Council
The world's largest Tianhuang stone is weighing 1.7 kg. It is carved as a seal featuring nine dragons. The stone was extracted toward the end of the Ming Dynasty in Southeast China's Fujian province. It was carved by Guo Xiangren.
The tianhuang stone is known for its soft and waxy texture, warm yellow hue, and natural veining. Carvers would assess the stone's natural flaws, colors, and patterns to "carve according to the material", integrating them into the design to enhance realism and aesthetic value. For that exceptional example, the stone's large size and nacrite composition allowed for elaborate multi-figure carving without fracturing.
The nine dragons are raised from the stone's surface in varying depths to create a three-dimensional effect. They are depicted in dynamic poses, chasing a pearl, with fine details in scales, claws, and whiskers. Layers of relief allow for shadowing and movement, blending high relief (for prominent features like heads) with low relief (for background elements like clouds or waves). The artist also used smooth, flowing lines to mimic brushstrokes.
It was sold for RMB 109M by Beijing Council n December 3, 2017. It is illustrated in the post sale report shared by ChinaDaily. No imperial provenance is quoted.
The tianhuang stone is known for its soft and waxy texture, warm yellow hue, and natural veining. Carvers would assess the stone's natural flaws, colors, and patterns to "carve according to the material", integrating them into the design to enhance realism and aesthetic value. For that exceptional example, the stone's large size and nacrite composition allowed for elaborate multi-figure carving without fracturing.
The nine dragons are raised from the stone's surface in varying depths to create a three-dimensional effect. They are depicted in dynamic poses, chasing a pearl, with fine details in scales, claws, and whiskers. Layers of relief allow for shadowing and movement, blending high relief (for prominent features like heads) with low relief (for background elements like clouds or waves). The artist also used smooth, flowing lines to mimic brushstrokes.
It was sold for RMB 109M by Beijing Council n December 3, 2017. It is illustrated in the post sale report shared by ChinaDaily. No imperial provenance is quoted.
Yongzheng Dragon Vase
2019 SOLD for RMB 147M by Poly
From the 6th year of his reign matching 1728 CE, the Yongzheng emperor managed a direct control over the production of imperial porcelain. Under the supervision of Superintendent Tang Ying, most of the traditional techniques were restarted and quickly raised to a new level of perfection.
On June 5, 2019, Poly sold as lot 5552 for RMB 147M a magnificent vase 51 cm high with a round body and a thick neck which is a technological feat without any relationship with the new enamel paintings brought by the foreigners.
This piece flawlessly combines an underglaze in cobalt blue and a red copper glaze which nevertheless required an extremely dissimilar firing profile. The recipe was lost very soon afterward and the Qianlong emperor himself will not get comparable porcelains despite his insistence with the same Superintendent.
The bright red dragon wraps its sinuous body in the blue clouds, in a contrast of superb brilliance. The blue is made in several shades, matching the quality of the Xuande porcelain of the Ming. The glaze becomes invisible over blue and white.
The wide open mouth and the bulging eyes of the dragon express a great fury. This mythical animal has only three claws per leg and cannot be confused with a Qing imperial dragon.
It is a copy of the dragons drawn under the Southern Song dynasty by Chen Rong, assessing Yongzheng's care to promote the best from Chinese graphic art of all times. Copies on silk in the same style were executed in the same period.
Let us remind that a drawing 35 x 440 cm scrolling six dragons executed by Chen Rong in 1244 CE was sold for $ 49M by Christie's on March 15, 2017.
A vase sold for HK $ 56M by Christie's on November 30, 2023, lot 2640, is nearly identical as the vase sold for RMB 147M by Poly in 2017.
On June 5, 2019, Poly sold as lot 5552 for RMB 147M a magnificent vase 51 cm high with a round body and a thick neck which is a technological feat without any relationship with the new enamel paintings brought by the foreigners.
This piece flawlessly combines an underglaze in cobalt blue and a red copper glaze which nevertheless required an extremely dissimilar firing profile. The recipe was lost very soon afterward and the Qianlong emperor himself will not get comparable porcelains despite his insistence with the same Superintendent.
The bright red dragon wraps its sinuous body in the blue clouds, in a contrast of superb brilliance. The blue is made in several shades, matching the quality of the Xuande porcelain of the Ming. The glaze becomes invisible over blue and white.
The wide open mouth and the bulging eyes of the dragon express a great fury. This mythical animal has only three claws per leg and cannot be confused with a Qing imperial dragon.
It is a copy of the dragons drawn under the Southern Song dynasty by Chen Rong, assessing Yongzheng's care to promote the best from Chinese graphic art of all times. Copies on silk in the same style were executed in the same period.
Let us remind that a drawing 35 x 440 cm scrolling six dragons executed by Chen Rong in 1244 CE was sold for $ 49M by Christie's on March 15, 2017.
A vase sold for HK $ 56M by Christie's on November 30, 2023, lot 2640, is nearly identical as the vase sold for RMB 147M by Poly in 2017.
Yongzheng Amphora
2017 SOLD for HK$ 140M by Christie's
The Manchus who overthrew the Ming dynasty are foreigners. When their Qing dynasty is politically stabilized, they are paying an intense attention to relying on the whole of the more than four-thousand-year-old tradition of the Chinese empire. From the reign of Kangxi some workshops in Jingdezhen realize porcelain pieces imitating the antique.
Jingdezhen's chemists and thermal engineers are highly skilled and there is no question of going back to the ancient manufacturing processes. A special effort is made to improve the green glaze imitating the color and transparency of jade, which is named qingci in Chinese and celadon in Europe. During the reign of Yongzheng several hues of celadon glaze are listed.
An amphora vase bearing the imperial mark of Yongzheng appears as a culmination of that development. It was sold for by Christie's for HK $ 17.4M on November 1, 2004, and for HK $ 140M on May 31, 2017, lot 2888. Please watch the video shared by the auction house.
The shape of this vase 52 cm high imitates vessels made of metal or porcelain in the Tang period, which are no longer amphorae of the antique type since the pointed lower end used to catch the vessel in its lower part for pouring the liquid has been replaced by a usual flat base for installation. He retains from these Tang models the two lateral handles in the shape of dragons biting the rim. The ornament of the neck simulating bamboo rings is a reference to the Northern Song.
Celadon is also an ancient symbol reminding the development of that glaze in the Longquan kilns under the Southern Song dynasty. The bluish-green glaze of this amphora, thick and translucent and leveled in the recesses, is indeed an achievement directly attributable to the engineering of the Qing.
Jingdezhen's chemists and thermal engineers are highly skilled and there is no question of going back to the ancient manufacturing processes. A special effort is made to improve the green glaze imitating the color and transparency of jade, which is named qingci in Chinese and celadon in Europe. During the reign of Yongzheng several hues of celadon glaze are listed.
An amphora vase bearing the imperial mark of Yongzheng appears as a culmination of that development. It was sold for by Christie's for HK $ 17.4M on November 1, 2004, and for HK $ 140M on May 31, 2017, lot 2888. Please watch the video shared by the auction house.
The shape of this vase 52 cm high imitates vessels made of metal or porcelain in the Tang period, which are no longer amphorae of the antique type since the pointed lower end used to catch the vessel in its lower part for pouring the liquid has been replaced by a usual flat base for installation. He retains from these Tang models the two lateral handles in the shape of dragons biting the rim. The ornament of the neck simulating bamboo rings is a reference to the Northern Song.
Celadon is also an ancient symbol reminding the development of that glaze in the Longquan kilns under the Southern Song dynasty. The bluish-green glaze of this amphora, thick and translucent and leveled in the recesses, is indeed an achievement directly attributable to the engineering of the Qing.
#AuctionUpdate This incredibly rare Yongzheng-period celadon-glazed amphora just sold for US$18,129,688 in HK https://t.co/7B1k4RqKrU pic.twitter.com/5GkAzM45fT
— Christie's (@ChristiesInc) May 31, 2017
1766 Qianlong Ji'entang
2021 SOLD for HK$ 146M by Sotheby's
1722 CE was the 61st and final year of Kangxi's reign. He had devoted his entire life to his role as a political leader, continually concerned with the well-being of his people. This competent emperor did not want his work to disappear with him.
In the third month of that 61st year, he asked to meet one of his many grandsons, the ten-year-old Prince Hongli. The boy indeed had promising gifts, both intellectually and physically. The old emperor, aged 69, took a personal and intensive responsibility for the martial and literary education of the prince. When he died a few months later, a hitherto secret letter was opened, designating Hongli's father as his successor.
Hongli in turn ascended to the throne in 1735 with the reign name Qianlong. His short relationship with his grandfather marked him for life. Kangxi will remain his model, for his attitude and his commitments. An emperor must relentlessly do good by applying the highest virtues day after day. Qianlong's piety for his grandfather was so intense that he would abdicate in the 61st year of his own reign, in a decades-long premeditated tribute to Kangxi.
Qianlong may be the Son of Heaven, but he is also a human being. His father's accession to the empire came at the expense of another prince and his own legitimacy could be challenged. In 1742 he wrote an essay on his justification, for the use of the Imperial Palace.
In 1766 the question remains valid. Qianlong reworks his essay which is inscribed on a tablet for the use of Ji'entang, the Hall of Grace Remembrance. The emperor explains how and why his grandfather passed on his beneficent influence to him, and the daily efforts he never ceased to make to be worthy of this trust. He takes care to detail how an emperor of the Zhou dynasty organized his own succession by dismissing a virtuous but unambitious heir.
A white jade seal is made in the same year for use in the same room, with the three characters for impressing the word Ji'entang in archaic script. The sides are inscribed with the full version of the essay. The knob is a pair of entwined dragons. The sacking of the Summer Palace in 1860 left some veining in the perimeter but the mark and the dragons are not damaged.
This 10.4 cm square seal with a total height of 7.8 cm was sold for HK $ 146M by Sotheby's on April 22, 2021, lot 3603. It is the third seal with strong historical significance narrated by Nicolas Chow in the video shared by Sotheby's.
In the third month of that 61st year, he asked to meet one of his many grandsons, the ten-year-old Prince Hongli. The boy indeed had promising gifts, both intellectually and physically. The old emperor, aged 69, took a personal and intensive responsibility for the martial and literary education of the prince. When he died a few months later, a hitherto secret letter was opened, designating Hongli's father as his successor.
Hongli in turn ascended to the throne in 1735 with the reign name Qianlong. His short relationship with his grandfather marked him for life. Kangxi will remain his model, for his attitude and his commitments. An emperor must relentlessly do good by applying the highest virtues day after day. Qianlong's piety for his grandfather was so intense that he would abdicate in the 61st year of his own reign, in a decades-long premeditated tribute to Kangxi.
Qianlong may be the Son of Heaven, but he is also a human being. His father's accession to the empire came at the expense of another prince and his own legitimacy could be challenged. In 1742 he wrote an essay on his justification, for the use of the Imperial Palace.
In 1766 the question remains valid. Qianlong reworks his essay which is inscribed on a tablet for the use of Ji'entang, the Hall of Grace Remembrance. The emperor explains how and why his grandfather passed on his beneficent influence to him, and the daily efforts he never ceased to make to be worthy of this trust. He takes care to detail how an emperor of the Zhou dynasty organized his own succession by dismissing a virtuous but unambitious heir.
A white jade seal is made in the same year for use in the same room, with the three characters for impressing the word Ji'entang in archaic script. The sides are inscribed with the full version of the essay. The knob is a pair of entwined dragons. The sacking of the Summer Palace in 1860 left some veining in the perimeter but the mark and the dragons are not damaged.
This 10.4 cm square seal with a total height of 7.8 cm was sold for HK $ 146M by Sotheby's on April 22, 2021, lot 3603. It is the third seal with strong historical significance narrated by Nicolas Chow in the video shared by Sotheby's.
The Ji'entang (紀恩堂) seals associated with the Qianlong Emperor (r. 1736–1796) of the Qing Dynasty hold profound historical, personal, and cultural significance. "Ji'entang" translates to "Hall of Grace Remembrance" or "Hall for Remembering Grace/Kindness."
This inscription refers to a specific hall or place where the young Hongli (Qianlong's personal name before ascending the throne) first met and was received by his grandfather, the Kangxi Emperor (r. 1661–1722). Kangxi personally nurtured, instructed, and favored Hongli as a child and young prince, playing a key role in his upbringing and eventual path to the throne.
Neither Qianlong nor his father, the Yongzheng Emperor (r. 1722–1735), was originally the designated heir apparent (they were not the eldest sons in direct line of succession). The "Ji'entang" inscription and the seal's creation served to legitimize Qianlong's rule by publicly honoring and invoking the grace, teachings, and endorsement he received from Kangxi. It symbolized his commitment to upholding Kangxi's principles and Confucian virtues of filial piety, gratitude, and legitimate succession. The seal was commissioned in the Bingxu year (1766, the 31st year of Qianlong's reign), with the side often inscribed with Qianlong's own essay or poem titled "On the Hall of Grace Remembrance" (紀恩堂記), further emphasizing this personal reflection.
Imperial seals like this were not mere administrative tools but powerful symbols of authority, legitimacy, and the emperor's identity. They were used to stamp imperial documents, artworks, calligraphy, or books, affirming the emperor's approval or ownership. Qianlong was an avid collector and connoisseur, and such personal seals underscored his cultural sophistication and historical self-positioning.
The specific white jade "Ji'entang" seal (dated 1766, Qing Dynasty, Qianlong period) referenced—measuring approximately 10.4 x 10.4 x 7.8 cm, carved with intertwined dragons on the knob, and bearing burn marks and cracks from the fall of the Qing Dynasty—was sold at Sotheby's Hong Kong on April 22, 2021, as lot 3603 in the "Important Chinese Art" auction. It realized HK$145,691,000 (approximately US$18.7 million at the time), setting a record price for a jade seal. The piece had previously appeared at Sotheby's in 2004 (selling for around HK$14 million), showing significant appreciation in value driven by strong demand for imperial Qing jades with direct historical ties to emperors.
This seal's rarity, material (high-quality white "mutton-fat" nephrite jade), size, imperial inscription, provenance, and dramatic history (damage from the dynasty's violent end) contributed to its exceptional auction result and scholarly importance. It exemplifies the premium placed on artifacts that connect directly to Qianlong's personal narrative and the Qing court's emphasis on legitimacy through ancestral reverence.
This inscription refers to a specific hall or place where the young Hongli (Qianlong's personal name before ascending the throne) first met and was received by his grandfather, the Kangxi Emperor (r. 1661–1722). Kangxi personally nurtured, instructed, and favored Hongli as a child and young prince, playing a key role in his upbringing and eventual path to the throne.
Neither Qianlong nor his father, the Yongzheng Emperor (r. 1722–1735), was originally the designated heir apparent (they were not the eldest sons in direct line of succession). The "Ji'entang" inscription and the seal's creation served to legitimize Qianlong's rule by publicly honoring and invoking the grace, teachings, and endorsement he received from Kangxi. It symbolized his commitment to upholding Kangxi's principles and Confucian virtues of filial piety, gratitude, and legitimate succession. The seal was commissioned in the Bingxu year (1766, the 31st year of Qianlong's reign), with the side often inscribed with Qianlong's own essay or poem titled "On the Hall of Grace Remembrance" (紀恩堂記), further emphasizing this personal reflection.
Imperial seals like this were not mere administrative tools but powerful symbols of authority, legitimacy, and the emperor's identity. They were used to stamp imperial documents, artworks, calligraphy, or books, affirming the emperor's approval or ownership. Qianlong was an avid collector and connoisseur, and such personal seals underscored his cultural sophistication and historical self-positioning.
The specific white jade "Ji'entang" seal (dated 1766, Qing Dynasty, Qianlong period) referenced—measuring approximately 10.4 x 10.4 x 7.8 cm, carved with intertwined dragons on the knob, and bearing burn marks and cracks from the fall of the Qing Dynasty—was sold at Sotheby's Hong Kong on April 22, 2021, as lot 3603 in the "Important Chinese Art" auction. It realized HK$145,691,000 (approximately US$18.7 million at the time), setting a record price for a jade seal. The piece had previously appeared at Sotheby's in 2004 (selling for around HK$14 million), showing significant appreciation in value driven by strong demand for imperial Qing jades with direct historical ties to emperors.
This seal's rarity, material (high-quality white "mutton-fat" nephrite jade), size, imperial inscription, provenance, and dramatic history (damage from the dynasty's violent end) contributed to its exceptional auction result and scholarly importance. It exemplifies the premium placed on artifacts that connect directly to Qianlong's personal narrative and the Qing court's emphasis on legitimacy through ancestral reverence.
Qian Long Yu Bi Zhi Bao
2016 SOLD for € 21M by Pierre Bergé et Associés
A great personal lover of all forms of literature and art, the Qianlong emperor affixed a seal to the work he had just consulted. For the pieces that did not deserve the creation of a specific poem, the choice of the seal recorded the degree of satisfaction of the emperor.
One of the most prestigious was the Qian Long Yu Lan Zhi Bao, meaning The Treasure Carefully Examined by the Qianlong Emperor. For example, the scroll of the Banquet of the Victory, sold for € 6.1M by Christie's on November 22, 2005, had been awarded this mark.
Even higher in that hierarchy, there was the Qian Long Yu Bi Zhi Bao, the Treasure from the Imperial Brush of Qianlong, reserved for paintings and calligraphy made by the emperor himself. This mark was equivalent to a signature.
On December 14, 2016, the Pierre Bergé et Associés auction house sold for € 21M a Qian Long Yu Bi Zhi Bao seal. Please watch the video shared by Hôtel Drouot.
This large seal 10.5 x 10.5 cm with an overall height of 9 cm was made of beige and red steatite from Shou Shan. Its decoration is a work of art loaded with symbols.
The upper part, 5 cm high, shows a knot of no less than nine closely entwined dragons pursuing the sacred pearl which is clearly visible and accessible right in the middle of the group. This figure symbolizes the imperial authority at its highest level. It surmounts a 4 cm carved base made up of a frieze of stylized dragons in the archaic style.
The Qianlong Yu Bi Zhi Bao seal (乾隆御筆之寶), sold by Pierre Bergé et Associés at Hôtel Drouot in Paris on December 14, 2016, achieved a hammer price of €17.5 million, which rose to €21 million including the buyer's premium (fees). This equated to roughly $22 million USD at the time and set a world auction record for any Chinese imperial seal.
This Qianlong-period (1736–1795) seal, made of beige and red steatite (soapstone) from Shoushan, measured about 10.5 × 10.5 cm at the base with an overall height of around 9 cm. Its knob/handle featured an elaborate, symbolic carving of nine intertwined dragons chasing a sacred pearl—a motif loaded with imperial power and auspicious meaning in Chinese art.
The inscription "Qianlong Yu Bi Zhi Bao" translates to "Treasure of the Imperial Brush of Qianlong" (or "Treasure from the Qianlong Emperor's Own Hand"). It belonged to a very specific and prestigious category among Qianlong's hundreds of personal seals:
One of the most prestigious was the Qian Long Yu Lan Zhi Bao, meaning The Treasure Carefully Examined by the Qianlong Emperor. For example, the scroll of the Banquet of the Victory, sold for € 6.1M by Christie's on November 22, 2005, had been awarded this mark.
Even higher in that hierarchy, there was the Qian Long Yu Bi Zhi Bao, the Treasure from the Imperial Brush of Qianlong, reserved for paintings and calligraphy made by the emperor himself. This mark was equivalent to a signature.
On December 14, 2016, the Pierre Bergé et Associés auction house sold for € 21M a Qian Long Yu Bi Zhi Bao seal. Please watch the video shared by Hôtel Drouot.
This large seal 10.5 x 10.5 cm with an overall height of 9 cm was made of beige and red steatite from Shou Shan. Its decoration is a work of art loaded with symbols.
The upper part, 5 cm high, shows a knot of no less than nine closely entwined dragons pursuing the sacred pearl which is clearly visible and accessible right in the middle of the group. This figure symbolizes the imperial authority at its highest level. It surmounts a 4 cm carved base made up of a frieze of stylized dragons in the archaic style.
The Qianlong Yu Bi Zhi Bao seal (乾隆御筆之寶), sold by Pierre Bergé et Associés at Hôtel Drouot in Paris on December 14, 2016, achieved a hammer price of €17.5 million, which rose to €21 million including the buyer's premium (fees). This equated to roughly $22 million USD at the time and set a world auction record for any Chinese imperial seal.
This Qianlong-period (1736–1795) seal, made of beige and red steatite (soapstone) from Shoushan, measured about 10.5 × 10.5 cm at the base with an overall height of around 9 cm. Its knob/handle featured an elaborate, symbolic carving of nine intertwined dragons chasing a sacred pearl—a motif loaded with imperial power and auspicious meaning in Chinese art.
The inscription "Qianlong Yu Bi Zhi Bao" translates to "Treasure of the Imperial Brush of Qianlong" (or "Treasure from the Qianlong Emperor's Own Hand"). It belonged to a very specific and prestigious category among Qianlong's hundreds of personal seals:
- Emperor Qianlong (r. 1735–1796), one of China's longest-reigning and most artistically active rulers, was an obsessive connoisseur, poet, calligrapher, and collector.
- He used numerous seals to mark paintings, calligraphy, and artworks he examined, almost like personal signatures or quality stamps.
- Seals were graded by importance: many recorded his level of appreciation for viewed works.
- The Yu Bi Zhi Bao seals were reserved exclusively for works created by the emperor himself (his own paintings or calligraphy), making them equivalent to his personal signature and among the rarest/highest-status in the hierarchy.
- Rarity and imperial prestige — Very few authentic Yu Bi Zhi Bao seals survive outside museums; this large, finely carved example in desirable two-tone Shoushan stone was exceptional.
- Strong provenance and authenticity — As a genuine 18th-century imperial object directly linked to Qianlong's personal artistic practice.
- Bidding frenzy — A prolonged, heated battle (reportedly 15 minutes) at the Paris sale, fueled by intense competition from Chinese collectors repatriating imperial artifacts.
- Market context in 2016 — Surging demand for top-tier Qing imperial works among wealthy Chinese buyers, who viewed such objects as symbols of national cultural heritage and status.
1786 Qianlong Xintian Shuren
2010 SOLD for HK$ 122M by Sotheby's
Belonging to the Qing dynasty of Manchu origin, the Qianlong emperor wants to unify all the Chinese ethnic groups, certainly to escape a hegemony of the Han. His territory is separated from the Mongols and Tibetans by a rebel people, the Dzungars.
The war against the Dzungars ends with a Qing victory in the 24th year of the reign matching 1759 CE. The strategy proposed by the emperor himself had been determining. The area is emptied of its original occupants by genocide, deportation and smallpox and becomes Shintian (or Xinjiang) meaning new frontier.
Qianlong is immensely proud of his civilizing achievement on behalf of the authentic Chinese people. He agrees to add to his nicknames that of master of Shintian which is partly a homophony with Xintian Shuren meaning "the ruler who believes in heaven". In that period he has a significant quantity of seals made with that name.
Time passes. The emperor is getting older. During the 49th year of the reign, courtiers seek to reinterpret the sobriquet. Qianlong complacently writes a poem in which he is astonished that his civilizing work has been so completely supported by the heavens. New Xintian Shuren seals will be regularly created over the years to honor Shintian's master.
On October 7, 2010, Sotheby's sold as lot 2103 for HK $ 122M a very large seal with that mark. It was sold for RMB 94M by Poly on June 5, 2019, lot 5569.
This piece 12.9 cm square and 11 cm high in greenish white jade weighs 3.5 kg. The knob consists of a pair of superbly sculpted crossed dragons. Its production including chiseling and inscription had lasted five months. It is identified in the imperial archives during the 51st year of the reign matching 1786 CE.
The war against the Dzungars ends with a Qing victory in the 24th year of the reign matching 1759 CE. The strategy proposed by the emperor himself had been determining. The area is emptied of its original occupants by genocide, deportation and smallpox and becomes Shintian (or Xinjiang) meaning new frontier.
Qianlong is immensely proud of his civilizing achievement on behalf of the authentic Chinese people. He agrees to add to his nicknames that of master of Shintian which is partly a homophony with Xintian Shuren meaning "the ruler who believes in heaven". In that period he has a significant quantity of seals made with that name.
Time passes. The emperor is getting older. During the 49th year of the reign, courtiers seek to reinterpret the sobriquet. Qianlong complacently writes a poem in which he is astonished that his civilizing work has been so completely supported by the heavens. New Xintian Shuren seals will be regularly created over the years to honor Shintian's master.
On October 7, 2010, Sotheby's sold as lot 2103 for HK $ 122M a very large seal with that mark. It was sold for RMB 94M by Poly on June 5, 2019, lot 5569.
This piece 12.9 cm square and 11 cm high in greenish white jade weighs 3.5 kg. The knob consists of a pair of superbly sculpted crossed dragons. Its production including chiseling and inscription had lasted five months. It is identified in the imperial archives during the 51st year of the reign matching 1786 CE.
