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拍品專文
The beauty of Song dynasty glazes was greatly admired by the emperors of the high Qing, and the potters at the imperial Jingdezhen kilns were charged with the task of reproducing these glazes on porcelain. Such was the enthusiasm of the Yongzheng emperor for Jun glazes that the important Taocheng jishi bei ji (Commemorative Stele on Ceramic Production) composed by the famous imperial kiln director Tang Ying in 1735 lists no fewer than nine different Jun-type glazes, and noted that five of these were based upon ancient examples that had been sent from the palace in Beijing to the imperial kilns hundreds of miles to the south at Jingdezhen, in Jiangxi province. In order to achieve successful imitation of Jun glazes Tang Ying went to considerable lengths, including sending his secretary Wu Yaopu to Junzhou in 1729 to try and obtain the recipe for Jun glazes.
Another vase of the same form, including the rectangular piercings in the foot, with very similar glaze to the current example is illustrated by J. Ayers, The Baur Collection, vol. 3, Monochrome-glazed Porcelains of the Ch'ing Dynasty, Geneva, 1972, no. A 353. The Baur collection example has damage to the foot, which has been repaired with gold lacquer, probably in Japan. The Baur vessel bears a spurious Xuanhe mark incised into the base under the glaze. This is undoubtedly a reference to the collection of antiquities belonging to the Northern Song Emperor Huizong, who was known for his love of art and during whose reign exceptional ceramics, including fine Jun wares, were made. Huizong commissioned an illustrated catalogue of his bronzes and jades, entitled Xuanhe bo gu tu lu. This catalogue included illustrations of ancient bronze forms, which also provided inspiration to the ceramicists of later periods.
The form of both the current vase and the Baur example was probably inspired by ancient bronze hu forms, and it is interesting to note the pierced foot rings of both vessels, which suggests the influence of bronze forms. Similar pierced foot rings can be seen on certain Southern Song dynasty Guan wares, which also have forms influenced by ancient bronze vessels. It is significant that a Yongzheng vase of similar shape (without a pierced foot) with a glaze based on Song dynasty Guan ware is illustrated in Shimmering Colours - Monochromes of the Yuan to Qing Periods - The Zheyuetang Collection, Art Museum, Chinese University of Hong Kong, 2005, p. 169, no. 98. Another Yongzheng vase of similar shape, including the pierced foot, in the Palace Museum, Beijing, also bears a glaze based upon an ancient theme. See The Complete Collection of Treasures of the Palace Museum - 37 - Monochrome Porcelain, Hong Kong, 1999, pp. 280-1, no. 256. In the case of the Beijing vase, its glaze is described in the catalogue as fang gu yu (copying ancient jade). The fact that this form was made with several archaistic glazes during the Yongzheng reign suggests that this shape was felt to be particularly appropriate for such glazes, possibly because it combined an affinity with ancient bronze wares with a simple and elegant form that would complement these beautiful glazes.
A Yongzheng vase from the Qing court collection bearing a similar glaze to that seen on the current vessel, but of somewhat different form, is preserved in the Palace Museum, Beijing. See The Complete Collection of Treasures of the Palace Museum - 37 - Monochrome Porcelain, op. cit., p. 195, no. 177. In fact, vases with this type of Jun-style glaze, on which the copper purple appears to have been applied to the unfired bluish glaze by blowing it through a tube with gauze over the end, are rare. However, tripod flower pot stands with this type of glaze are found in both Palace collections. See The Complete Collection of Treasures of the Palace Museum - 37 - Monochrome Porcelain, op. cit., p. 196-7, no. 178; and Qingdai Danseyou Ciqi, National Palace Museum, Taipei, 1981, p. 141, no. 84. Two other Yongzheng porcelain forms with this type of glaze are in the collection of the Palace Museum, Beijing - a jar with banded purple suffusions and a chrysanthemum-shaped teapot illustrated in Kangxi Yongzheng Qianlong: Qing Porcelain from the Palace Museum collection, Hong Kong, 1989, pp. 282-3, nos. 11 and 112, respectively.
See, also, the similarly glazed Yongzheng-marked vase of this form and approximate size sold at Sotheby's, Hong Kong, 30 October, 2002, lot 230, and subsequently illustrated in Sotheby's Thirty Years in Hong Kong, Hong Kong, 2003, p. 155, no. 141.
Another vase of the same form, including the rectangular piercings in the foot, with very similar glaze to the current example is illustrated by J. Ayers, The Baur Collection, vol. 3, Monochrome-glazed Porcelains of the Ch'ing Dynasty, Geneva, 1972, no. A 353. The Baur collection example has damage to the foot, which has been repaired with gold lacquer, probably in Japan. The Baur vessel bears a spurious Xuanhe mark incised into the base under the glaze. This is undoubtedly a reference to the collection of antiquities belonging to the Northern Song Emperor Huizong, who was known for his love of art and during whose reign exceptional ceramics, including fine Jun wares, were made. Huizong commissioned an illustrated catalogue of his bronzes and jades, entitled Xuanhe bo gu tu lu. This catalogue included illustrations of ancient bronze forms, which also provided inspiration to the ceramicists of later periods.
The form of both the current vase and the Baur example was probably inspired by ancient bronze hu forms, and it is interesting to note the pierced foot rings of both vessels, which suggests the influence of bronze forms. Similar pierced foot rings can be seen on certain Southern Song dynasty Guan wares, which also have forms influenced by ancient bronze vessels. It is significant that a Yongzheng vase of similar shape (without a pierced foot) with a glaze based on Song dynasty Guan ware is illustrated in Shimmering Colours - Monochromes of the Yuan to Qing Periods - The Zheyuetang Collection, Art Museum, Chinese University of Hong Kong, 2005, p. 169, no. 98. Another Yongzheng vase of similar shape, including the pierced foot, in the Palace Museum, Beijing, also bears a glaze based upon an ancient theme. See The Complete Collection of Treasures of the Palace Museum - 37 - Monochrome Porcelain, Hong Kong, 1999, pp. 280-1, no. 256. In the case of the Beijing vase, its glaze is described in the catalogue as fang gu yu (copying ancient jade). The fact that this form was made with several archaistic glazes during the Yongzheng reign suggests that this shape was felt to be particularly appropriate for such glazes, possibly because it combined an affinity with ancient bronze wares with a simple and elegant form that would complement these beautiful glazes.
A Yongzheng vase from the Qing court collection bearing a similar glaze to that seen on the current vessel, but of somewhat different form, is preserved in the Palace Museum, Beijing. See The Complete Collection of Treasures of the Palace Museum - 37 - Monochrome Porcelain, op. cit., p. 195, no. 177. In fact, vases with this type of Jun-style glaze, on which the copper purple appears to have been applied to the unfired bluish glaze by blowing it through a tube with gauze over the end, are rare. However, tripod flower pot stands with this type of glaze are found in both Palace collections. See The Complete Collection of Treasures of the Palace Museum - 37 - Monochrome Porcelain, op. cit., p. 196-7, no. 178; and Qingdai Danseyou Ciqi, National Palace Museum, Taipei, 1981, p. 141, no. 84. Two other Yongzheng porcelain forms with this type of glaze are in the collection of the Palace Museum, Beijing - a jar with banded purple suffusions and a chrysanthemum-shaped teapot illustrated in Kangxi Yongzheng Qianlong: Qing Porcelain from the Palace Museum collection, Hong Kong, 1989, pp. 282-3, nos. 11 and 112, respectively.
See, also, the similarly glazed Yongzheng-marked vase of this form and approximate size sold at Sotheby's, Hong Kong, 30 October, 2002, lot 230, and subsequently illustrated in Sotheby's Thirty Years in Hong Kong, Hong Kong, 2003, p. 155, no. 141.