.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
拍品专文
The form of the present vase is based on the bronze ritual wine vessels known as gu from the Shang and Zhou dynasties, which were adapted as vases in later periods. This form provided inspiration for the guan and ge wares from the Song dynasty, notable for their pale greyish-blue colour and distinctive crackle, often finished on the foot with a brown dressing. The popularity of this form persisted throughout the later Ming and Qing dynasties. The present vase is an example that reflects this rich history, in its conscious imitation of earlier forms and glazes during the Qianlong reign.
According to the Comprehensive Records of Zaobanchu Workshops, the Emperor ordered wood stands to be made for seven pieces of ceramics in the second year of the Qianlong reign; one of which was a guan-type glazed gu-shaped vase with flanges. Additionally, in the third year of the Qianlong reign, Tang Ying was ordered by the Emperor to fire additional vases based on a Ru-type glazed flanged gu, with drawings prepared by draftsmen in the Imperial Household Workshops. The Qianlong Emperor was particularly interested in antiquities and reviving the traditions of the past. By these means he intended both to consolidate the position of the Manchu-born Qing empire within the long dynastic history of China, and to restore what he regarded as the superior moral rectitude of ancient times.
Compare to a pair of Ru-type glazed gu-shaped vases with slightly more pronounced flanges, also from the Zande Lou Collection, sold at Sotheby’s Hong Kong, 9 October 2012, lot 108, and illustrated in the Qing Imperial Monochromes – The Zande Lou Collection, Hong Kong, 2005, p. 86, no. 26. Also, compare to a slightly larger Qianlong marked guan-type glazed vase of similar form (26.8 cm high) in the Nanjing Museum, illustrated in the Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Hong Kong, 1995, no. 32.
According to the Comprehensive Records of Zaobanchu Workshops, the Emperor ordered wood stands to be made for seven pieces of ceramics in the second year of the Qianlong reign; one of which was a guan-type glazed gu-shaped vase with flanges. Additionally, in the third year of the Qianlong reign, Tang Ying was ordered by the Emperor to fire additional vases based on a Ru-type glazed flanged gu, with drawings prepared by draftsmen in the Imperial Household Workshops. The Qianlong Emperor was particularly interested in antiquities and reviving the traditions of the past. By these means he intended both to consolidate the position of the Manchu-born Qing empire within the long dynastic history of China, and to restore what he regarded as the superior moral rectitude of ancient times.
Compare to a pair of Ru-type glazed gu-shaped vases with slightly more pronounced flanges, also from the Zande Lou Collection, sold at Sotheby’s Hong Kong, 9 October 2012, lot 108, and illustrated in the Qing Imperial Monochromes – The Zande Lou Collection, Hong Kong, 2005, p. 86, no. 26. Also, compare to a slightly larger Qianlong marked guan-type glazed vase of similar form (26.8 cm high) in the Nanjing Museum, illustrated in the Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Hong Kong, 1995, no. 32.