Page 28 - Christie's, Important Chinese Works of Art, Hong Kong Dec 3 2021

2912 Continued
The present pair of vases exemplify the technical and artistic genius of the imperial kilns during
the Qianlong reign. The semi-translucent and delicate glaze covering the jars, inspired by the
Longquan celadon glaze of the Southern Song, is a testament to the success of the 18th-century
Jingdezhen imperial kilns in perfecting the application of celadon glazes on to a white porcelain
body. In addition, the moulding of the chilong, shown clambering over the mouth rims, as if
taking a peek inside the jars, is particularly and exquisite with a sense of liveliness, imbuing the
otherwise minimalist vases with a sense of dimensions and liveliness.
The present pair of vases appears to be unique. The closest comparable example seems to be
a pair of unmarked Jun-type glazed ovoid jars with chilong appliqués dated to the Yongzheng
period in the Walters Art Museum, Baltimore, accession numbers 49.2060 and 49.2061 (fig. 2).
It is interesting to note that the glazes on the Yongzheng and Qianlong examples are both
inspired by classic Song glazes, which were perfected at the Imperial kilns at Jingdezhen under
the renowned superintendent Tang Ying, reflecting the trend of archaism popular during the
18th-century advocated by the Emperors themselves.
此對瓶器形圓潤，口沿堆塑龍形，首尾相接，攀緣於器口。此器釉層極厚，潤如凝脂，龍紋於厚
實的釉層下筋骨漸透，更顯遒勁靈動。為乾隆官窯單色釉中難能可貴之佳作。
青瓷為中國瓷器的主要產品，歷經東漢、六朝、唐、宋、元至明、清不絕。本對瓶上的青釉溫潤
如玉，其發展起源可上溯至唐代越窯秘色瓷。越窯做為當時中國青瓷的代表，先後引領了各地之
後青瓷的發展，包括北宋陝西耀州窯青瓷、河南汝窯、及浙江龍泉窯等。明清景德鎮窯繼承了龍
泉青瓷的傳統，明初時已進行燒造，但一直到清康熙時期，才達到呈色均勻、穩定的燒造水品。
雍正時期，御窯廠技術又更勝一籌，成功燒造了深淺不一的青釉瓷器，並根據深淺觀感劃分類
別：淡青色稱粉青，稍深者稱東（冬）青，最深者為豆青。 fig. 2 © The Walters Art Museum, Baltimore
圖二 華特斯博物館藏品
乾隆時期的御窯廠承襲了前朝的優良傳統，將青釉瓷器的燒造推向了高峰，不同深淺的青釉被運
用於多種不同的器形上，本對瓶即為其中最為成功的例子。而且，本對瓶應為孤品，迄今未見其
他相同器形及釉色的作品。與此最接近的例子應為美國巴爾的摩華特斯博物館所藏一對定年雍正
的仿鈞釉貼花龍紋瓶，藏品編號49.2060、49.2061（圖二），其器形與此基本類似，或為本對瓶之
追摹對象。雍正、乾隆兩朝先後將仿鈞釉及仿龍泉釉兩種仿古釉色運用於此嶄新的器形上，反映
了清代宮廷仿古卻不擬古的時尚風潮。

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