A fine and rare Ru-type elephant-handled vase, Seal mark and period of Qianlong | 清乾隆　仿汝釉海棠式象耳瓶　《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. 140 (unillustrated).

Kobayashi Tadashi, ed., Masterpieces of the Okada Museum of Art, vol. 2, Tokyo, 2018, no. 20.

Brimming with elegance in both form and design, the present vase is a fine example of monochrome porcelain of the Qianlong period and alludes to the Emperor’s deep appreciation and respect for the past. While its unctuous greyish-blue glaze is modelled after the fabled Ru wares of the Northern Song dynasty (960-1127), its form represents an adaptation of the archaic bronze hu shape. Pleasing to the eye and soft at the touch, the gentle curves of this vase testify to the craftsmen's ability to soften the somewhat austere archaic bronze shape to suit the sophisticated taste of the Qianlong Emperor (r. 1736-1795). Monochrome vessels required the highest level of skill and precision in every stage of their production, from the purity of the clay and precision of the potting to the evenness of the glaze and control of the firing. This was especially true for vessels of such large dimensions and covered in glazes made in imitation of celebrated Song dynasty wares. The Qianlong Emperor and his predecessor, the Yongzheng Emperor (1723-1735), were truly passionate of ceramic ware produced in the Song period, which they not only collected but also commissioned the imperial kilns at Jingdezhen to reproduce and imitate. In the official record of porcelain supplied to the court from 1735 and compiled by Tang Ying (1682-1756), the brilliant Superintendent of the imperial kilns in Jingdezhen, two types of glazes inspired by Ru ware are listed: “Uncrackled Ju (-chou) glaze, with copper (-coloured) paste… Ju (-chou) glaze with fish-roe crackle of copper (-coloured) paste” (S.W. Bushell, Oriental Ceramic Art, London, 1981 (1896), p. 195). Both glazes were copied from prototypes in the imperial collection which had been sent from Beijing.

This vase is also striking on account of its crisply moulded elephant-head handles, a bold feature popular in the 18th century that dramatically heightens the visual impact of the piece. Elephant handles were favoured by the Qianlong Emperor also for their auspicious symbolism. The elephant is closely associated with Daoism and is the symbol of peace. During the Qianlong reign, real elephants were used in processions when celebrating the Emperor’s birthday, while representing a time for renewal during New Year festivities.

Vases of this elegant form and covered in a Ru-type glaze are very rare. Compare a related vase sold in these rooms, 7th October 2019, lot 3022. A Qianlong mark and period vase of similar dimensions but covered in a guan-type glaze, from the Huaihaitang collection, was included in the exhibition Ethereal Elegance. Porcelain Vases of the Imperial Qing, Art Museum, Institute of Chinese Studies, The Chinese University of Hong Kong, Hong Kong, 2007, cat. no. 32; and another was sold at Christie’s London, 15th May 2007, lot 255.

Qianlong mark and period vases of this form and with similar handles are also known decorated with famille-rose panels against a carved celadon-glazed ground, such as a vase in the Victoria and Albert Museum, London, illustrated in Chinese Porcelain of the Ch’ing Dynasty, London, 1957, pl. 28; a pair in the Liddell collection, illustrated in The Liddell Collection of Old Chinese Porcelain, Bluett & Sons Ltd., London, 1929, pl. 178 and 179; and another from the collection of the Albright-Knox Gallery, Buffalo, sold at Christie’s Hong Kong, 1st October 1991, lot 786, and again in our New York rooms, 19th/20th March 2007, lot 818. 

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140（沒載圖）

出版

小林忠編，《岡田美術館名品撰》，卷2，東京，2018年，編號20

此象耳瓶在器形與設計優雅，是乾隆時期單色釉瓷的代表作，反映崇古之風。其釉色粉青，志摹北宋汝窰，但器形則仿高古青銅壺。此器曲線流暢，釉面潤澤，柔化商周青銅器形的樸拙，以迎合乾隆皇帝的精緻品味。 生產單色釉瓷步驟繁多，包括淘練泥土、拉坯做胎、蘸釉吹釉、入窰燒造等，每個步驟都需要高超技能和精準控制。對於尺寸如此大的仿宋名窰釉色的瓷器來說尤其如此。雍乾二帝尤好宋瓷，不僅搜珍藏雅，還命景德鎮官窰仿製。景德鎮督陶官唐英（1682 -1756年）在雍正十三年（1735年）所撰的《陶成紀事碑記》中，便記載了兩種依照清宮送來宋瓷而製之仿汝釉色：「仿銅骨無紋汝釉」及「仿銅骨魚子紋汝釉」（英譯見 S.W. Bushell，《Oriental Ceramic Art》，倫敦，1981年，頁195）。

象首耳線條俐落，引人注目，為此瓶更添雅趣。因其「太平有象」之吉祥寓意，象飾清初流行，獲乾隆皇帝青睞，曾在當朝慶典上展示大象，除萬壽節外，也見於元旦，寓意「萬象更新」。

這種仿汝象耳瓶非常罕見，見一相似例，售於香港蘇富比2019年10月9日，編號3022。另見懷海堂藏尺寸類似的乾隆年款仿官瓶，載於《機暇清賞 : 懷海堂藏清代御窰瓷缾》，香港中文大學文物館，香港，2007年，編號32。另有一瓶，售於倫敦佳士得2007年5月15日，編號255。

維多利亞與艾伯特博物館藏一粉青刻花開光粉彩山水圖瓶，同綴象耳，器形與本品相類，載於《Chinese Porcelain of the Ch’ing Dynasty》， 倫敦，1957年，圖版28。另外一對在 Liddell 收藏，載於《The Liddell Collection of Old Chinese Porcelain》，倫敦， 1929年，圖版178 及179 。另外一件現存水牛城 Albright-Knox Gallery，於1991年10月1日在香港佳士得拍出，編號786，並於2007年3月19/20日再次售於紐約蘇富比，編號818。