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拍品專文
The exquisite diminutive vase belongs to a small group of Qianlong-marked porcelains decorated with mottled enamels of different types such as turquoise on the present piece, combined with café-au-lait-tone enamels and gilt motifs often in relief. See, for example, the Qianlong-marked miniature vase and cover with molded archaistic relief decoration set against a mottled turquoise, blue and black enamel ground in imitation of an ancient bronze patina, sold at Christie’s New York, 22 March 2013, lot 1530.
The combination of this type of decoration with the rectangular panels enameled in imitation of marble is very unusual. The Qianlong Emperor was particularly fascinated with the concept of imitating one material in another. During the Qianlong reign this fascination was at its height, and lacquer, stone, wood and bronze were among the materials reproduced in porcelain. With the technical advances and virtuosity of porcelain production during the Qianlong period, potters from the official kilns were able to experiment with different ways and techniques to satisfy the emperor's penchant for the curious and novel. This fascination with imitating other materials through the use of glazes and enamels on porcelain can clearly be seen in a set of seven thumb rings in the collection of the National Palace Museum, Taipei, each of which imitates a different material, including pudding stone, wood, bamboo, inlaid bronze, malachite, turquoise, as well as marble. See Emperor Ch'ien-lung's Grand Cultural Enterprise, National Palace Museum, Taipei, p. 199, no. V-36.
The combination of this type of decoration with the rectangular panels enameled in imitation of marble is very unusual. The Qianlong Emperor was particularly fascinated with the concept of imitating one material in another. During the Qianlong reign this fascination was at its height, and lacquer, stone, wood and bronze were among the materials reproduced in porcelain. With the technical advances and virtuosity of porcelain production during the Qianlong period, potters from the official kilns were able to experiment with different ways and techniques to satisfy the emperor's penchant for the curious and novel. This fascination with imitating other materials through the use of glazes and enamels on porcelain can clearly be seen in a set of seven thumb rings in the collection of the National Palace Museum, Taipei, each of which imitates a different material, including pudding stone, wood, bamboo, inlaid bronze, malachite, turquoise, as well as marble. See Emperor Ch'ien-lung's Grand Cultural Enterprise, National Palace Museum, Taipei, p. 199, no. V-36.