LOT 103
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A Guan-type triple-neck double-gourd vase, Seal mark and period of Qianlong
作品估价：USD 40,000 - 60,000
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成交状态：待拍
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26%
图录号：
103
拍品名称：
A Guan-type triple-neck double-gourd vase, Seal mark and period of Qianlong
拍品描述：
the base with a six-character seal mark in underglaze blue
Height 8⅜ in., 21.2 cm
出处
Chicago Private Collection.
图录说明
Reigning for sixty years at the very height of the Qing dynasty, the Qianlong Emperor (r. 1735–1795) was a devoted antiquarian. Growing up in the Forbidden City around countless artifacts from past reigns and dynasties, the Emperor developed a particular fascination with the ceramics of the Song dynasty (960–1279). Famed for their extraordinary unctuous glazes of minimalist blue and green tone and rich crackles, Song ceramics, and particularly guan and Ru wares, captured the Qianlong Emperor’s attention and prompted him to commission new pieces at the imperial kilns inspired by these heirlooms – a task already begun by his father, the Yongzheng Emperor (r. 1723–1734), and their kiln superintendent Tang Ying (1682–1756).
The present vase is a striking example of such a commission. While its rich tactile glaze derives directly from the crackled glazes of Southern Song guan ware, its complex and extraordinary form still sing with contemporary flair, highlighting the superb craftsmanship of the Qing potter. Double-gourds have long been an auspicious symbol in Chinese art: the immortal Li Tieguai is said to carry his elixir of immortality within a gourd flask; the many seeds of a gourd are symbols of a wish for progeny; and indeed even the word for gourd, hulu, is taken as a rebus for happiness (fu) and rank (lu). In this extraordinary form combining three such gourds, the imperial potters were thus able to embrace the auspicious symbolism of the form while adding an air of imperial grandeur in its complex construction.
Similar triple-vases with finely shaped trefoil feet are attested with various celadon glazes inspired by the Ru, guan, and Ge wares of the Song dynasty. Compare a closely related and lightly crackled example from the collection of the National Palace Museum, Taipei (accession no. zhong ci 000540); another in the Shenyang Imperial Palace Museum, Shenyang, illustrated on the Museum’s website; and another vase of this form with a ‘sky-blue’ Ru-imitation glaze from the collection of the Palace Museum, Beijing (accession no. gu 00160462-6/48), illustrated in Geng Baochang, Ming Qing ciqi jianding [Appraisal of Ming and Qing porcelain], Hong Kong, 1993, p. 261, fig. 446.
Also compare a closely related vase of this type from the Fondation Baur, Musée des Arts d'Extrême-Orient, Geneva, illustrated in John Ayers, The Baur Collection Geneva. Chinese Ceramics, vol. III, Geneva, 1972, cat. no. A336, alongside a smaller unmarked example, cat. no. A337; a second from the Asian Art Museum, San Francisco in He Li, Chinese Ceramics. A New Standard Guide, London, 1996, pl. 521; and a third, included in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. II, cat. no. 876, sold in our Hong Kong rooms, 7th April 2011, lot 34.
Height 8⅜ in., 21.2 cm
出处
Chicago Private Collection.
图录说明
Reigning for sixty years at the very height of the Qing dynasty, the Qianlong Emperor (r. 1735–1795) was a devoted antiquarian. Growing up in the Forbidden City around countless artifacts from past reigns and dynasties, the Emperor developed a particular fascination with the ceramics of the Song dynasty (960–1279). Famed for their extraordinary unctuous glazes of minimalist blue and green tone and rich crackles, Song ceramics, and particularly guan and Ru wares, captured the Qianlong Emperor’s attention and prompted him to commission new pieces at the imperial kilns inspired by these heirlooms – a task already begun by his father, the Yongzheng Emperor (r. 1723–1734), and their kiln superintendent Tang Ying (1682–1756).
The present vase is a striking example of such a commission. While its rich tactile glaze derives directly from the crackled glazes of Southern Song guan ware, its complex and extraordinary form still sing with contemporary flair, highlighting the superb craftsmanship of the Qing potter. Double-gourds have long been an auspicious symbol in Chinese art: the immortal Li Tieguai is said to carry his elixir of immortality within a gourd flask; the many seeds of a gourd are symbols of a wish for progeny; and indeed even the word for gourd, hulu, is taken as a rebus for happiness (fu) and rank (lu). In this extraordinary form combining three such gourds, the imperial potters were thus able to embrace the auspicious symbolism of the form while adding an air of imperial grandeur in its complex construction.
Similar triple-vases with finely shaped trefoil feet are attested with various celadon glazes inspired by the Ru, guan, and Ge wares of the Song dynasty. Compare a closely related and lightly crackled example from the collection of the National Palace Museum, Taipei (accession no. zhong ci 000540); another in the Shenyang Imperial Palace Museum, Shenyang, illustrated on the Museum’s website; and another vase of this form with a ‘sky-blue’ Ru-imitation glaze from the collection of the Palace Museum, Beijing (accession no. gu 00160462-6/48), illustrated in Geng Baochang, Ming Qing ciqi jianding [Appraisal of Ming and Qing porcelain], Hong Kong, 1993, p. 261, fig. 446.
Also compare a closely related vase of this type from the Fondation Baur, Musée des Arts d'Extrême-Orient, Geneva, illustrated in John Ayers, The Baur Collection Geneva. Chinese Ceramics, vol. III, Geneva, 1972, cat. no. A336, alongside a smaller unmarked example, cat. no. A337; a second from the Asian Art Museum, San Francisco in He Li, Chinese Ceramics. A New Standard Guide, London, 1996, pl. 521; and a third, included in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. II, cat. no. 876, sold in our Hong Kong rooms, 7th April 2011, lot 34.