A fine and large blue and white 'lotus' handled vase, hu, Seal mark and period of Qianlong | 清乾隆　青花纏枝番蓮紋貫耳壺　《大清乾隆年製》款

Toshi Kawase Taiin, Aoki Ryoike oyobi Boke shozouhin nyusatsu [Auction catalogue of collections from Toshi Kawase Taiin, Aoki, and an anonymous family in Kyoto], Kyoto Bijutsu Club, Kyoto, 25th May 1931, lot 143.

A Japanese private collection.

Kochukyo Co., Ltd, Tokyo.

5th Anniversary Exhibition. All-Stars of the Okada Collection: Masterworks of Korin, Jakuchu, Hokusai and the Ru Ware Kilns, Okada Museum of Art, Hakone, 2018-19, exh. no. 148 (unillustrated).

The present piece is notable for its impressive size, fine potting and skilfully executed varying decorative bands, and represents the expertise of craftsmen working during the Qianlong reign. In order to satisfy his own flamboyant taste, the Qianlong Emperor is known to have commissioned artists working in the Imperial kilns at Jingdezhen to make pieces that were highly challenging and unconventional, often placing more emphasis on the showier aspects of production and on the virtuosity of craftsmanship. The refinement of the material allowed for the making of such large vessels, which provided a platform for artists to be ambitious in their repertoire.

The form of this vase required considerable expertise from the potter and is an adaptation of the Han ritual bronze vessel, hu. During the Han dynasty (206BC-AD220) vessels were produced in highly prized material such as bronze and were intended for use during ancestor worship rituals. This reference to archaic forms would also have been much appreciated by the emperor who was a great connoisseur and a keen collector of archaic pieces.

Further reference to China's celebrated past is seen in the intricately painted floral scrolls which were inspired by 15th century Ming dynasty blue and white porcelain. Painted in a brilliant deep blue glaze which reflects the high level of technical achievement by Qing craftsmen, Qing painters employed the 'heaping and piling' technique with the intention to simulate the stippled effect of the cobalt glaze typically found on early Ming pieces.

A closely related Qianlong vase sold in these rooms, 16th May 1977, lot 90, now in the Hong Kong Museum of Art, was included in the Museum's exhibition The Wonders of the Potter's Palette, Hong Kong Museum of Art, Hong Kong, 1984, cat. no. 63. Compare also a vase from the collection of Sir Ralph Harwood, K.C.B., K.C.V.O., at one time Financial Secretary to King George V and Controller of the Royal Household, and believed to have been presented to him by Queen Mary, out of the Royal collections at Windsor Castle, sold in our London rooms, 7th June 1994, lot 358. Another related example was sold in this room, 8th April 2009, lot 1604.

來源

《當市川瀬大隠．青木（八百宗）兩家及某家所蔵品入札》，京都美術俱樂部，京都，1931年5月25日，編號143

日本私人收藏

壺中居，東京

展覽

《開館5周年記念展―美のスターたち―光琳．若冲．北斎．汝窯など名品勢ぞろい》， 岡田美術館，箱根，2018-19年，展覽編號148（沒載圖）

本品以其壯碩體量、精良胎骨與妙技紛呈的多層紋飾而顯著，充分彰顯乾隆朝匠人之卓絕技藝。為滿足自身炫麗審美，乾隆帝常敕令景德鎮御窰工匠燒造極具挑戰性且突破常規之作，尤重炫技巧工與華美視覺效果。胎泥材質的精煉改良使得如此大器得以成型，為匠人提供了施展磅礴藝術抱負的載體。

本壺器形之成型需陶匠高超技藝，其造型溯自漢代禮器青銅壺之改良化用。漢時（西元前206-西元220年）此類器作多以青銅等貴金屬鑄就，專用于祭祀先祖之儀軌。此般慕古溯源自當深得乾隆帝嘉賞，陛下素為古物鑒藏大家，尤嗜追摹三代彝器。

匠心古為今用，於纏枝花卉亦可見得。該紋飾幽婉瑰逸，乃承襲明代十五世紀初青花瓷器。清代陶匠技精藝卓，繪鈷料成青花，色澤濃麗，更以點染法仿效鐵鏽斑，憑清時巧藝奪明初天工，再現永宣青花獨有的筆墨意趣。

一件形制相當例售於1977年5月16日，編號90，現藏香港藝術館，並展於《清瓷薈錦：香港藝術館藏清代陶瓷》，1984年，編號63。英王喬治五世之財務大臣兼皇室內務總管 Ralph Harwood K.C.B., K.CV.O. 爵士舊藏一例，原屬温莎城堡皇家收藏，據傳由瑪麗皇后賜贈，後售於倫敦蘇富比1994年6月7日，編號358。另一例售香港蘇富比2009年4月08 日，編號1604。