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A CARVED CELADON-GLAZED ‘ARCHAISTIC vessels of related angular form that may have served as
DRAGON’ VASE, SEAL MARK AND PERIOD OF inspiration to the imperial potters, compare a Western
QIANLONG Zhou handled lei wine vessel of slightly more squat profile
preserved in the Palace Museum, Beijing, in The Complete
the base with a six-character seal mark in underglaze blue Collection of Treasures of the Palace Museum. Bronze Ritual
Height 8⅛ in., 20.6 cm
Vessels and Musical Instruments, Hong Kong, 2006, pl.
102; and for similar to scrolling bands of leiwen (key frets)
PROVENANCE
and abstracted kui dragons – typical of Eastern Zhou (770
Collection of the Yoshida Kazō Family (by repute).
BC-221 BC) design – compare a similar dragon design on
Celadon wares have long been an eternal symbol of an archaic bronze ding in the Shanghai Museum, attributed
China. With origins tracing back to the Bronze Age, these to the late Spring and Autumn period (770 BC-476 BC),
understated yet imposing wares washed in sea-blues and illustrated in Chen Peifen, Xiashangzhou qingtongqi yanjiu
mossy-greens continued to be popular throughout China’s [Study of archaic bronzes from Xia, Shang and Zhou
imperial history and indeed to the modern day. The brilliant dynasties], dongzhou vol. 1, Shanghai, 2004, pl. 493.
celadon glazes created at the Longquan kilns from the Song To date, no other vases of this grand and angular form
dynasty had long been a source of inspiration to the potters appear to be known. For related Qianlong period celadon-
of the Jingdezhen imperial kilns from at least the early Ming glazed examples carved with similar archaistic designs
dynasty (1368-1644) and were particularly coveted during – many of which also appear to be unique – compare a
the wave of technical innovation that typified the early Qing rounded zun-form vase with handles, illustrated in Kangxi.
period. By lessening the amount of iron in the glaze, the Yongzheng. Qianlong. Qing Porcelain from the Palace
Jingdezhen potters of the Qing were able to create a cool Museum Collection, Hong Kong, 1989, pl. 145; a closely
and delicate celadon glaze that, when applied on a white related angular celadon vase of Qianlong mark and period,
porcelain body, resembled the translucency and texture of carved overall with an archaistic motif, illustrated in John
jade. A wide range of exquisite celadon tones were created Ayers, The Baur Collection. Chinese Ceramics. Monochrome-
in this process, commissioned as a direct response to Glazed Porcelains of the Ch’ing Dynasty, vol. 3, Geneva, 1972,
the Yongzheng (r. 1723-35) and Qianlong (r. 1735-1795) pl. A379; a globular vase with a long neck, decorated with
Emperors’ appreciation of Song dynasty (960-1279) archaistic design in the same technique, illustrated in The
porcelain, including douqing [bean-green], a bright sea-green Tsui Museum of Art - Chinese Ceramics IV, Hong Kong, 1995,
colour, and the present –particularly coveted – fenqing [soft- pl. 35, sold at Christie’s Hong Kong, 30th October 1995, lot
green] variety. When applied to finely carved and molded 736A, and again, 27th October 2003, lot 700; and another
decoration, like the present, the thinning and pooling of this example, sold in these rooms, 9th October 2007, lot 1522.
tranquil glaze among the raised lines and recesses create a
very delicate shaded effect and accentuate the crispness of $ 80,000-120,000
the archaic design.
However, the present vase does not just typify the 清乾隆 粉青釉刻仿古夔龍紋瓶 《大清乾隆年
antiquarian tastes of the Qianlong Emperor in its glazing;
rather each aspect of this remarkable piece, from form to 製》款
decoration, speaks both to the Emperor’s penchant for the 來源
archaic and his passion for innovation. For archaic bronze
吉田家藏（傳)

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