Rare Large Yuan-Style Blue and White Flask With Two Dragons and Special Reign Marks, Qing Dynasty

This flask features two exquisitely detailed and dynamic dragons, depicted in a natural and fluid style, chasing a flaming pearl in the center. The handles are adorned with four dragons, adding to the piece's intricate design. The flask was discovered underwater, as evidenced by the wear on these areas, a characteristic commonly associated with ceramics recovered from maritime sites. The rim of the flask also shows signs of abrasion, further indicating its underwater provenance. The base is unglazed with white base, providing additional insight into the flask's origins and preservation state. The piece was from the seabed, and although it was soaked in hot water to remove the salt at the time of acquisition, slight salt residue remains on the surface. 

大元國至正八年賞賜蒙恬將軍公用

: In the eighth year of the Zhiyuan era in the Great Yuan Dynasty, General Meng Tian(蒙恬) was bestowed with rewards for public purpose.

 The mark from the eighth year of Zhizheng in the Great Yuan Dynasty (1348), which mentions bestowing an honor to General Meng Tian, is believed to have been created by the Han Chinese as a reflection of their dissatisfaction with the Dynasty. This period was marked by political instability and social turmoil, with rising dissatisfaction among the Han Chinese toward the Yuan dynasty, leading up to the outbreak of the Red Turban Rebellion. It was a time when the Han population's grievances against Mongol rule were becoming increasingly pronounced. The reference to the legendary figure General Meng Tian, a renowned military leader from the Qin Dynasty, symbolizes a hope for the restoration of Han Chinese rule and a revival of Chinese cultural heritage. The inscription thus reflects the Han people's aspiration for resurgence and their desire for liberation from the Mongol-dominated dynasty.

This mark appears to reflect the conflicts and turbulent political situation between the Han Chinese and the Manchu rulers during the early Qing dynasty. In the early Qing dynasty, significant conflict and political turmoil arose between the Han Chinese and the ruling Manchu elite. Many Han viewed the Manchu as foreign invaders and resisted their rule, with figures like Zheng Chenggong (Koxinga) leading opposition movements. The queue order, which forced Han men to adopt the Manchu hairstyle, was seen as a humiliating symbol of submission and sparked widespread resentment. Additionally, the Qing restricted high-ranking positions primarily to the Manchu, limiting Han access to political and military power. The Three Feudatories Rebellion further exacerbated internal instability as former Ming generals revolted against Qing rule.

Such an inscription has not been discovered to date, further proving the originality of this piece. In both the Yuan and Qing periods, there were strong Han Chinese undercurrents of cultural revival, often expressed through art, literature, and objects like ceramics. Creating a piece that alludes to a Chinese general receiving rewards during the Yuan era could be a veiled critique or expression of Han aspirations for liberation from foreign rule.

"Three principal groups of artists were working during the Qing: the traditionalists, who sought to revitalize painting through the creative reinterpretation of past models; the individualists, who practiced a deeply personal form of art that often carried a strong message of political protest; and the courtiers, the officials, and the professional artists who served at the Manchu court" (The Metropolitan Museum of Art)​

This piece exhibits strong Traditionalist and Individualist characteristics. Based on the shape, paintwork, and stylistic elements, it can be inferred that the artist followed the traditions of Yuan-Ming Dynasty imperial kiln artisans, suggesting a lineage of craftsmanship that maintained a cultural continuity with the Yuan-Ming dynasty, hinting at a form of resistance to Manchu rule.

Period : Qing Dynasty(Presumably Kangxi or Yongzheng Period)
Type : Flask
Medium : Blue and White
Height : 53.0 cm
Condition : Excellent(slight salt residue remains on the surface, and te glaze is worn primarily around the edges, such as the handles and rim.)
Provenance: Southeast Asia, South China Sea in early 2000s
Reference : 
1) "Meng Tian General Yuhuchunping" in the Hunan Provincial Museum

2) Christies Newyork 22 MAR 2018 - The Studio of the Clear Garden: Chinese Ceramics and Works of Art - Lot 604
(Price realised : USD 732,500 / Type : related - Ming style)
https://www.christies.com/en/lot/lot-6129537 

3) Asian Art Museum, San Francisco - Object number B60P88
(Type : related - Ming style)
https://searchcollection.asianart.org/objects/7408/vase-with-dragon

* Yuan-Ming Style from Qing Dynasty

During the Qing dynasty, many ceramics were produced that imitated the styles of the Ming and Yuan dynasties. This practice was not mere imitation but a creative endeavor to inherit and innovate upon past techniques and styles. Qing dynasty ceramicists mastered the exceptional techniques of Ming and Yuan ceramics and used them as a foundation to develop more advanced works. Particularly, Yuan dynasty blue and white porcelain and Ming dynasty colored ceramics significantly influenced Qing ceramics, with traditional patterns and forms deeply embedded in their creations.

Yuan-Ming prototypes were produced to meet the demand for ancient antiques from overseas. Qing dynasty artisans incorporated traditional elements while introducing innovative designs and techniques, producing unique and artistic ceramics. Thus, Qing ceramics are highly regarded for their respect for Ming and Yuan legacies while simultaneously creating new artistic expressions. This not only reinforced cultural authenticity but also played a crucial role in international trade and cultural exchanges.