Page 68 - Decorative Arts, Part II: Far Eastern Ceramics and Paintings, Persian and Indian Rugs and Carpets

1942.9-529 (C-382)

Vase

Qing dynasty, early eighteenth century
9
3
Porcelain with oxblood glaze, 42.1 x 18.7 (16 /i6 x 7 /s)
Widener Collection
TECHNICAL NOTES
Small crack in the base. process. Robert Tichane speaks of "the changeful atmos-
phere of the kiln." As pieces came from the kiln, many were
PROVENANCE discarded, others were judged to fulfill the standard, and a
J. Pierpont Morgan, New York, 1910. (Duveen Brothers, New few were prized as marvels. Tichane writes that a main fea-
York); sold 1915 to Peter A. B. Widener, Lynnewood Hall, Elkins ture of copper-red glazes is variability. He says, "Practically
Park, Pennsylvania; inheritance from Estate of Peter A. B.
Widener by gift through power of appointment of Joseph E. no two Chinese copper-red glazes have identical colors."
Widener, Elkins Park, Pennsylvania. While this is also true of other Chinese glazes, it is "espe-
cially noticeable with these glazes." 2
EXHIBITED This piece has the same gloss, streaks, bubbles, and
On display, Metropolitan Museum of Art, New York, 1910-1911. crackle typical of these productions. The glaze gathers
deep and dark on the shoulder as it descends from the
blended, lighter upper third of the neck, then becomes
HE BALUSTER SHAPE OF this vase differs little from others thinner and lighter in color as it slides over the shoulder.
Tin the collection (1942.9.527 and 1942.9.528). The There are streaks and mottling, but the glaze color is
shoulder is slightly more square, the neck a little shorter, more regularly distributed than on others of the group.
the base a bit more flaring. The foot is set in and trimmed The heavy roll of very dark red glaze neatly defines the
to a wedge shape. The fine white biscuit is exposed here. A contour's end. Inside the neck the glaze is uncrackled,
narrow buff-pink line of oxidation is visible on the clay somewhat matte and creamy, and it appears opaque. A
surface at the termination of the glaze. The base, glazed in narrow unglazed strip, or glaze "skip," just inside the lip
transparent glaze with a pale olive-green tint, is recessed runs about halfway around. The oxidized surface of this
about one centimeter. Among the distinguished group of biscuit is buff colored.
large oxblood vases in the collection, this vase has been one It is possible that the technical sophistication of this
1
of the most admired. The red color is darker and more piece—seen, for example, in the superb glaze control and
maroon in tone than the glowing ruby and blood reds of the careful shaping of the foot with its sharp bearing sur-
the other pieces, and the glaze is very well controlled. Each face—represents a developed phase, perhaps well after
3
of the copper-red vessels of this period is distinct. Even 1700. This vase can stand as a master specimen of one of
very small variations in glaze formulation, or small differ- the most highly esteemed porcelains of the Kangxi peri-
ences in kiln atmosphere, placement within the kiln, and od. Others similar in shape, size, and excellence in the
firing times, can result in marked differences in finished Widener collection are 1942.9.527 and 1942.9.528. 4
glaze effects. It is not an exact or completely controllable JK

52 D E C O R A T I V E A R T S