AN IMPERIAL RED-OVERLAY PINK GLASS BOTTLE VASE

QIANLONG FOUR-CHARACTER MARK WITHIN A SQUARE AND OF THE PERIOD (1736-1795)

細節

清乾隆御製粉紅地套寶石紅料蓮紋長頸瓶方框《乾隆年製》楷書刻款

瓶直口，長頸，溜肩，斂腹，足圈外撇。通體粉紅地上套寶石紅料，口沿下兩道弦紋，頸飾蕉葉紋，腹部雕纏枝蓮紋，枝葉翻卷，儀態萬千。

近足處及外撇的足牆雕蓮瓣紋，仿如菩薩的須彌座。底方框內刻《乾隆年製》楷書款。

此瓶造型秀麗典雅，磨製嫻熟，特別是足部須彌座式的設計，頗具心思，匠心獨運。

蓮花「出淤泥而不染，濯清漣而不妖」語出宋朝周敦頤的《愛蓮說》，她生長在污泥濁水中而超凡脫俗，這種特性與佛教教義極其相似，佛教有「花開見佛性」之說，也是一種智慧的境界。

此器1989年12月2日於紐約佳士得拍賣，拍品74號；1995年於三藩市亞洲藝術博物館舉辦之《A Chorus of Colors - Chinese Glass from Three American Collections》展出，並著錄於展覽目錄圖版90。

來源

Previously sold at Christie's New York, 2 December 1989, lot 74

出版

C.F. Shangraw and C. Brown, A Chorus of Colors: Chinese Glass from Three American Collections, Asian Art Museum of San Francisco, 1995, no. 90

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拍品專文

This interesting combination of transparent glass overlay carved through to an opaque ground is typical of glass vessels made at the Imperial workshops located within The Hall of Cultivating the Mind, Yangxindian, that were set up in the Kangxi period and continued throughout the Yongzheng and Qianlong periods. Compare with related overlay glass vessels dated to the Qianlong period in the Palace Museum, Beijing, illustrated in Zhongguo meishu quanji - Gongyi meishu bian, vol. 10, Beijing, 1987, pls. 263-77. Most of the Beijing examples bear Qianlong reign marks engraved in standard script. The subtle and complementary contrast of the two colours of the present vase is quite unusual.

QIANLONG FOUR-CHARACTER MARK WITHIN A SQUARE AND OF THE PERIOD (1736-1795)

拍品專文

更多來自 妙色瑩然 - 舒思深伉儷珍藏宮廷御製藝術精品

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