A FINE LARGE BLUE-GLAZED BOTTLE VASE, TIANQIUPING
A FINE LARGE BLUE-GLAZED BOTTLE VASE, TIANQIUPING
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PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE COLLECTION
清乾隆  霽藍釉天球瓶  六字篆書款

QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

細節
霽藍釉燒製工藝繼承元代傳統,至清代生產歷朝未
斷,且燒製精細,常見造型是宮廷祭器和陳設用瓷。
霽藍釉祭器專供於天壇環丘台,乾隆十三年(1748
年)冬至祭天首次奉詔用霽藍釉器。近似例子可參
考南京博物院藏一件,載於《清瓷萃珍 — 清代康雍
乾官窯瓷器》,香港,1995 年,圖版66 號;香港藝
術館館藏一件,見《清瓷薈錦 — 香港藝術館藏清代
陶瓷》,香港,1984 年,圖85;及武道巨樹舊藏一件,
於香港佳士得2014 年11 月26 日拍賣,拍品3275 號。
來源
紐約佳士得,1992 年12 月3 日,拍品310 號

拍品專文

The rich cobalt blue seen on the current vase is sometimes referred to as 'sacrificial blue'. This name derives from the use of vessels bearing this colour glaze during sacrifices at the Imperial Altar of Heaven. In AD 1369 the first Ming dynasty emperor Hongwu issued an edict declaring that the vessels used on the Imperial altars should henceforth be made of porcelain. Each altar was associated with a specific colour of porcelain, and in addition to blue being used on the Altar of Heaven, red was used on the Altar of the Sun, yellow on the Altar of Earth, and white on the Altar of the Moon. Compare a similar example with this cobalt blue glaze but slightly taller in size from the Nanjing Museum (62.3 cm.), included in the exhibition catalogue Qing Imperial Porcelain, Hong Kong, 1995, no. 66; and another (59.3 cm.) included in the exhibition, The Wonders of the Potters Palette, Hong Kong Museum of Art, 1984, no. 85; and a third of comparable height (55.3 cm. high) from the Budo Takashiro Collection, was sold at Christies Hong Kong, 26 November 2014, lot 3275.

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