A fine and rare celadon-glazed 'lotus' vase, Seal mark and period of Qianlong | 清乾隆 粉青釉纏枝蓮紋蘿蔔瓶 《大清乾隆年製》款

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. 136 (unillustrated).

Decorated in low relief with a marvellous matrix composed of lush leafy lotuses, this jar is a fine example of celadon-glazed wares made during the Qianlong reign. Essentially inspired by Longquan celadon wares in the Ming tradition, the present jar reflects the Qianlong Emperor’s interest in antiquity while adapting ancient aesthetics to suit contemporary taste. While drawing from Ming celadon traditions, the Qing craftsman has subtly imbued the present jar with a contemporaneity that firmly positions it within the taste of the Qianlong Emperor, as demonstrated by the elongated ovoid contours and the intricacy of the lotus motif on this jar in contrast to its robust Ming prototypes. Moreover, following the innovation by his predecessors, the Qianlong Emperor commissioned revival celadon wares on fine white porcelain body from Jingdezhen, as opposed to coarser Longquan stonewares. The glaze composition was also modified, and a more delicate translucent tone of the celadon glaze was achieved through lessening the amount of iron typically found in earlier Longquan celadons.

Moulded and carved celadon jars of similar form bearing imperial reign marks are rare, see a marked example decorated with peony sold in our London rooms, 16th May 2007, lot 115; and another smaller example decorated with lotus, sold in these rooms, 9th November 1982, lot 231. Compare also an unmarked example decorated with dragons, originally in the Edward T. Chow collection, sold in our New York rooms, 14th September 2011, lot 207.

來源

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136（沒載圖）

本器以淺浮雕技法飾繁茂纏枝蓮紋，乃乾隆朝青釉器典範。其設計本源承襲明代龍泉青瓷傳統，既彰顯乾隆皇帝慕古之情，又融古韻於當代審美。清代匠師在借鑒明瓷遺風之餘，巧妙注入時代精神。修長豐腴的輪廓與纖密蓮紋較之渾厚的明代原型更顯精巧，充分契合乾隆審美意趣。尤需注意的是，在前朝工藝革新基礎上，乾隆帝命景德鎮以細膩白瓷胎仿製龍泉青瓷，取代原有粗陶胎質；更調整釉料配方，通過降低傳統龍泉青瓷鐵含量，成就瑩潤透亮的青釉新色。

帶年款同類模印浮雕青釉罐傳世甚罕。一例飾牡丹紋者售於倫敦蘇富比2007年5月16日，編號115；另見較小尺寸飾蓮紋者，售於香港蘇富比1982年11月9日，編號231。比照無款龍紋例，原屬仇焱之舊藏，於紐約蘇富比2011年9月14日，編號207。