Page 106 - Important Chiense Ceramics and Works of Art, Christie's.pdf

PROPERTY FROM WATER, PINE AND STONE RETREAT COLLECTION
2934
AN IMPORTANT AND VERY RARE BEIJING ᪺ڊՌˡ☹ׁ 㐖ᒞᏱ⨔ἼΎ⁅
GLASS VASE
ϝᬝ
QING DYNASTY, EARLY 18TH CENTURY
᭢៏⒢ྒྷᏑⅧ⻦
The vase is elegantly formed with high shoulders that tapers to a
sunken base. The translucent glass is decorated with opaque white ᳖༈ݤᄙ㱐ᇵᬆ㙁㗤⽔⅘∇ᅐᎰ⛁ᙻᄮᾭӲࢦՆჺ卿Ԇ⊐ᇪஇ
splashes, below an overlay of blue swirls on the upper neck and ⪉♤ᝯ۔ᘰ೥⡕ߧ໫▵‪卻,JMJBO 4UVNQG 卼⏍␰ǯ
encircling the everted mouth rim.
⅘∇ᅐᎰ⛁ߝឆ卿⊐ᙻ⋁஠⦷ԣ⣌㴾㎒༛⎏႙ࢎ卿Ӭᏼᓈᔍ῟
10 in. (25 cm.) high, box
㙁⅘∇ᐃ⻱⎏㇛ᙹ۔ᘰ೥㙭᳢㞒ᰑ׹ࢵࡂ⡕ߧ໫卿Ԇప㈿ԋஇ
HK$350,000-550,000 US$45,000-71,000 ႙ࢎ卿᫉⎉ཿԮ㉃㢙ᙻ ჺձ༵⢪ᯧஇ⪉♤ᝯ⥙㛑⎏ؼԋǯ
ங⡕ߧ໫⎏჌㯅Ӵ卿⅘∇ㅳה႙⻱⎉ཿᥑഌ卿Ⓔ⎉㋭അᙲᐃ
The glass workshop of the Imperial Household Department
was first established in 1696 during the reign of the Kangxi ワ卿⊂⊄ᙲ⅘∇଍ǯ⦏⡕ߧ໫ᇌ卿औംݦׅ᪹ᰲ⅘∇ཇ།⡕ᙔ
Emperor, and supervised by the German Jesuit missionary 卻(BCSJFM -FPOBSE EF #SPVTTBSE 卼কᴨనԋ卻1JFSSF
Kilian Stumpf (1655-1720). Lacking experienced local artisans E’*ODBSWJMMF 卼ᙻ ჺᓞ❖⅘∇ᅐ卿ஙձٛ⎏჌㯅
at the inception of the glass workshop, European artisans Ӵ卿㙁㗤⽔⅘∇ㅳה㙤ߪ㮱࿨卿⏜ߪ ჺ⪉♤ᝯᏝᙻ❖↚ྉ
were recruited to assist Stumpf, who also trained Chinese 㘳᷉ᱲഔǯ
craftsman, as reflected in his letter to the French Jesuit
headquarters in 1704, cited by Peter Lam in ‘Three Studies on 㪪ⶬ⅘∇ㅳ㙁ᙲᐃワ⎏㧷⎉卿ࢦݨӽ⡕᚝ឆ⅘∇ㅳ৅߅→Իᝤ
the Glasshouse of the Qing Imperial Household Department’. അ㯭ⰰ⯝଍௛ǯ᫉⅘∇≡ℒ⁞Ԡ⽔ἃݯ㯝㛑⻤ⰰに⡠᱙㫌ㅛ
Utilising his technical expertise and extensive glassmaking
knowledge, Stumph later introduced the workshop to 㱈卿㘺♎ᐃワᴹᙻ㇛ᙹ卿୬⩧᫉ה৅፽ἃ༈ݤ⅘∇ᅐㅳ৅ǯ
advanced glass formulas and forged a new practice of glass 㫍ݯᝳ⏟ַ׾卿ֿに⡠㉑㈷㘻჎⊇ᙻ㘲ᚺ⅘∇஠⩧㬳᱙㫌㫌
production by adopting new techniques. After Stumpf, two 㱈ǯӬ։଍㕇ᝳᱯ⎊ᚅ⡠ԠԳ㪏⏟ַ׾→⻦࢈՗ᘢ༈ࢷ⁒㩴卿
European glass specialists, Gabriel-Leonard de Broussard 㖊ᙻǶݏ޵☌᭢厍᳖༈㙁㗤⽔⅘∇଍Ƿ卿࢈՗卿 ჺ卿⤔⽚
(1703-1758) and Pierre d’Incarville (1706-1757) joined the 卻ॲː卼ǯऔᝳӬ։ݰഅⰰᄓᄠԠ≡卿Ԇஙऑᯒᝳ⡚ⰰ⅘∇
workshop in 1740, under whose supervision the making of
imperial glass reached its peak until 1758 when the Jesuit ᱙㫌に⡠卿ऱӳ卿⤔⽚ 卻ॲ̤卼ǯ᫉≡Ԡằᙠᐃワ჎㇦ᙻ䁉
management faded out. ὸ೭ࣿ⡚⎊ᙚ⡠⎾卿㇦ऱӳ卿⤔⽚ 卿᫉׾Ԡᙚ⡠Քᙼᙻ㘲
ᚺ஠ǯ
With the introduction of new techniques in glass making,
a much wider variety of colours and shapes in glassworks
emerged during the early eighteenth century. Yet the present
vase appears to be unique for Chinese glassware as it
features blue lines trailing around the neck in threaded relief
technique, which finds its roots in western practice, therefore
possibly attributing the piece to Imperial glassworks. Although
relatable pieces of this type can be found, the threaded design
is usually worked into the clear glass ground rather than in
relief.
A comparable example with opaque white striations swirling
across the body, dated to the Qianlong period, is in the Beijing
Palace Museum, illustrated in Luster of Autumn Water: Glass
of Qing Imperial Workshop, Beijing, 2005, no. 111 (fig. 1).
Another related example in the form of a flower vase with a
multi-coloured stand, shows a relief threaded mouth rim in
red glass, also illustrated ibid. no. 50 (fig. 2). The splashing
technique seen on the present vase is more common as it
appears regularly on snuff bottles, although it can also be
found on a red and white speckled bowl, illustrated ibid. no.
154, where the speckles are also worked into the clear glass
ground.

figs. 1 & 2 Collection of the Palace Museum, Beijing
எӬࣿஎՀ ࢈՗ᘢ༈ࢷ⁒㩴⻦৅

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