Breaking news: On May 5, 2026, Sotheby's "The Legacy of Destiny: Giuseppe Castiglione's 'Lotus and Two Auspicious Symbols in a Pond'" was officially auctioned. Castiglione's "Lotus and Two Auspicious Symbols in a Pond," with an estimate upon request, hammered at HKD 152,000,000, and sold for HKD 179,900,000 including commission.Breaking personal auction record(Breaking the record set on May 31, 2016, when Paragon International Auction Hong Kong sold "Eight Horses" for HKD 114,000,000).

Nicolas Chow, Chairman of Sotheby's Asia and Chairman of Asian Art and Global Head of Sotheby's, said...We are deeply honored to be able toThis rare imperial treasure—Lang Shining's "Two Lotus Blossoms in a Pond"—has found a new owner, setting a new record for the highest-selling work at Asian auction this year.This season's Asian art auctions saw a heated bidding war, with multiple auction records being broken, demonstrating the market's continued enthusiasm for top-tier art treasures and showcasing the robust resilience of the Asian art market. Sotheby's is proud to once again lead the Asian art market this season.

Lang Shining, *Double Lotus in a Pond*, completed in August of the first year of the Yongzheng reign (1723). The earliest extant work by Lang Shining after his arrival in China. Ink and color on silk, framed. 158 x 85 cm. Inscription: Your humble servant, Lang Shining. Seals: "Seal of the Prostitute," "Praise," (Qianlong Emperor), "Treasure of Qianlong's Imperial Inspection," "Shiqu Baoji," "Baoji Sanbian," "Sanxitang Jingjianxi," "For the Benefit of Descendants," (Jiaqing Emperor), "Treasure of Jiaqing's Imperial Inspection," "Jiaqing's Treasured Collection." Also included in the *Song Zi'an Song Zhencang Shu* (Song Treasured Collection).

This celadon vase, decorated with string patterns, has a long neck and full belly, its shape imitating that of Southern Song Dynasty official kilns. Its color resembles the sky-blue of Ru ware, and it rests on a waisted wooden base. It is adorned with twin lotus blossoms, each stem bearing two sepals. The petals are pale pink with delicate veins, embracing the tender stamens. Also present are concentric lotus buds, their delicate beauty just beginning to unfold. Adding to the foliage are lotus seedpods, each stem containing seeds, accompanied by several lotus leaves, their edges slightly yellowed, with a few insect holes adding to their natural realism. Double ears of grain, also paired, symbolize auspiciousness. Near the mouth of the vase on the left, arrowhead flowers and leaves are added. The background is left blank. The arrangement of the flowers is pleasing to the eye, varying in height and seemingly chaotic yet orderly. The colors are soft and elegant, pale reds and tender greens, with a harmonious balance of light and shadow, creating a lifelike effect. The lower left corner is signed "Respectfully painted by your subject, Lang Shining," followed by two seals.

sourceCompleted in August of the first year of the Yongzheng Emperor's reign (1723), the painting was immediately presented to the Yongzheng Emperor. It was subsequently collected by the Qing court and remained in the Ning Shou Palace until 1924, during the Qianlong era and the late Guangxu period. It was later owned by the Xuantong Emperor, Puyi.Originally collected by Zhang Xueliang (1901–2001) in 1924, it was collected by the Song family 35 years ago: passed through Song Zi'an (1906–69; should have been a gift from Zhang Xueliang before 1936) and Song Meiling (1898–2003, wife of Chiang Kai-shek; according to a 1971 publication, it was collected by Song Meiling)., and Hu Qiying’s collection (1920–2012, Soong Mei-ling’s collection), and Hu Qiying’s collection (1920–2012, Soong Mei-ling).

publishingShiqu Baoji, Third Edition, Ningshou Palace Collection, Page 40; Qing Palace Workshop Records, Qianlong 4 (1739); Hu Jing, Records of Court Paintings of the Qing Dynasty, Volume 1, Jiaqing 21 (1816), Page 18; Qingzhai Period, Volume 1, Jiaqing 21 (1816), Page 18; Qingxin Period, Volume 1, Page 6096), Page 1960; Display Period (1960). Lake Society Monthly, No. 97, 1935, p. 7. Cécile and Michel Beurdeley, Giuseppe Castiglione, peintre jésuite à la Cour de Chine / Giuseppe Castiglione: a Jesuit painter at the court of the Chinese emperors, Fribourg, 1971; English translation, London, 1972, plate 32. San Francisco Chronicle, June 1988. Exhibition: Asian Art Museum, San Francisco, c. 1980s.

About the artist

Giuseppe Castiglione, an Italian Catholic Jesuit missionary and Chinese court painter, was born in Milan. His realistic style documented figures and landscapes in the Chinese court during the early Qing Dynasty. His works blended Chinese and Western painting techniques, showcasing not only the realism, three-dimensionality, and emphasis on line and structure characteristic of Western painting, but also the expressiveness and charm of traditional Chinese painting. He dedicated himself to integrating Chinese and Western painting techniques, creating a unique style.

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