Page 38 - 2018 Hong Kong Important Chieese Art

THE UNDERSTATED MASTERY OF A
YONGZHENG VASE

The simplicity of this vase, from the exquisitely conceived II, Beijing, 2005, pl. 16; a line drawing of a hu-shape vessel is
minimalist silhouette and the subtle translucent glaze, hints at published in Geng Baochang, Ming Qing ciqi jianding [Appraisal
the masterful craftsmanship involved in creating such a piece. of Ming and Qing porcelain], Hong Kong, p. 238, fig. 20; and
It encapsulates the Yongzheng Emperor’s refined taste for another, with a more complex rope-twist design on a celadon-
celebrated wares of the past with Japanese influences to result glazed globular vase, also inscribed with a similar archaistic
in a piece that is at once both familiar and innovative. The reign mark, from the collection of Hermann Dobrikow, sold at
translucency of the glaze, coupled with the carved pleats and Christie’s Hong Kong, 3rd June 2015, lot 3103.
ribbon-tied cord delight the senses, enticing the viewer to draw
In its arresting luminous glaze, this vase reflects the
close and admire it fully in its silky tactility.
Yongzheng Emperor’s penchant for celebrated Song dynasty
The ribbon-tied decoration on this vase was favoured by the wares and the remarkable technical developments achieved
Emperor and incorporated into designs of lacquer, metal- at the imperial kiln to meet his specific taste. While a delicate,
bodied wares and porcelain during his reign, which was almost watery, celadon glaze had already been created in
further explored under the succeeding Qianlong Emperor. the Kangxi reign, achieved by reducing the amount of iron
According to the catalogue to the exhibition Qing Legacies. The typically found on Song dynasty Longquan celadons, it was
Sumptuous Art of Imperial Packaging, The Macau Museum of during the Yongzheng period that production of celadon wares
Art, Macau, 2000, p. 121, in the 10th year of the Yongzheng greatly expanded. According to the Taocheng shiyi jishi beiji
reign (in accordance with 1732), he received two Japanese- [Commemorative stele on ceramic production], compiled in
style lacquer boxes simulating a box tied with cloth and 1735 by the brilliant supervisor of the imperial factory, Tang
admired them so much that he ordered another to be made. Ying (1682-1756), several varieties of celadon glazes were
This textile-wrapped design was also transferred to metal- experimented with at the time (see S.W. Bushell, Oriental
bodied wares, as seen in a yellow-ground jar painted with a Ceramic Art, London, 1981, p. 197). One of his successful
pink brocade sash, in the National Palace Museum, Taipei, recipes was to study in detail the finest antique ceramics of
illustrated in Enamel Ware in the Ming and Ch’ing Dynasties, the Song and Ming periods to understand their workmanship
Taipei, 1999, pl. 108, together with a Qianlong version, pl. 109. and physical quality, but also to comprehend what makes their
shapes and designs so harmonious and satisfying, and then to
The present vase appears to be a variation of this theme,
apply this knowledge to redesigned, modern versions inspired
simulating a pleated pouch drawn together by a relief-carved
by the antiques. The proficiency required in understanding the
cord in place of the elaborate sash. The only other closely
chemical compositions and the firing of such monochrome
related piece appears to be the companion to the present, in
vessels is reflected in the saying, “Nine failures for ten charged
the Baur collection, Geneva, illustrated in John Ayers, Chinese
kilns”. This vase is remarkable for its attractive luminous
Ceramics the The Baur Collection, vol. 2, Geneva, 1999, pl.
bluish glaze, a difficult tone to achieve, the purity of which is
279. A Qianlong mark and period version, from the Qing court
accentuated by the relief carving and the graceful curves of its
collection and still in Beijing, is published in The Complete
profile.
Collection of Treasures of the Palace Museum. Monochrome
Porcelain, Hong Kong, 1999, pl. 139. The seal mark on the base of this vase is also notable. A
similar mark is discussed by Peter Y.K. Lam in ‘Four Studies
Such understated interpretation endows the vessel with a
on Yongzheng and Qianlong Imperial Ware’, in the catalogue
sense of modesty as well as evoking rope-twist designs found
to the exhibition Ethereal Elegance. Porcelain Vases of the
on archaic bronze wine vessels of the Warring States period
Imperial Qing. The Huaihaitang Collection, Art Museum, The
(475-221 BC), which were originally intended to imitate the use
Chinese University of Hong Kong, Hong Kong, 2007, p. 54,
of rope to carry vessels; for example see a bronze hu from the
where several seal-script (zhuanshu) marks are illustrated, p.
Palace Museum, Beijing, included in The Imperial Packing Art of
38. Lam notes the rarity of the present mark and suggests that
the Qing Dynasty, Beijing, 2000, pl. 7. This simple design was
this style was probably used only for part of the reign before
recreated in several variations, all covered in a glaze inspired
being superseded by another type towards the end of the
by Song wares; a Guan-type vase in the Palace Museum,
reign. A variation of the mark, inscribed in two horizontal rows
Beijing, is included in Qingdai yuyao ciqi [Qing porcelains from
is found on a Ru-type glazed cup from the J.M. Hu collection,
the imperial kilns preserved in the Palace Museum], vol. 1, pt.
sold at Christie’s Hong Kong, 30th November 2011, lot 2929.
36 SOTHEBY’S 蘇富比