Asian Arts

The present vase appears to relate to a select group of Imperial celadon-glazed wares, often associated with production in the Imperial kilns under the supervision of Tang Ying (1682-1756). These wares are notable for their high quality and variety of creative form and decoration. This particular subgroup of celadon-glazed wares, with decoration carved or molded in low relief, exhibit this variety of form and decoration. These often appear to be inspired by archaic wares, particularly ancient bronzes, but also the wares of the early Ming dynasty. This is evident not only in terms of form, but also in the use of decoration such as archaistic kui-dragon scrolls (angular or more organically foliate in nature), or dense lotus scrolls and lappets, in addition to the incorporation of later auspicious motifs such as Buddhist or Daoist symbols or homophonic symbols such as bats or ruyi scepters.

To date, another example of this technically difficult form has not been located. Other Qianlong mark and period celadon-glazed vases decorated with carved or molded archaistic kui-dragon scrolls are known, but none with this highly unusual “萬” (wan)-shaped or swastika-form mouth. “萬” translates as "10,000", signifying unlimited abundance or longevity, an auspicious motif, particularly suitable for a birthday celebration or similar important event. For an elaborate celadon-glazed vase with swastika-ornamented ribbons at the shoulders, with Qianlong seal mark in relief, see "Qing Imperial Monochromes the Zande Lou Collection", Shenzhen, 2005, pp. 120-121, no 43.

For a pair of Qianlong mark and period celadon-glazed vases with lip in the form of an "Endless Knot" in the Collection of the National Palace Museum, Taipei, see "Catalogue of the Special Exhibition of K'ang-hsi, Yung-Cheng and Ch'ien-lung Porcelain ware from the Ch'ing Dynasty in the National Palace Museum", Taipei, 1993, p. 128, no 101 (one illustrated).

The decoration of these graceful lobed vases, incorporating bats and ruyi-heads is of the more curvilinear stylized manner, is similar to that found on the Qianlong mark and period vase sold at Sotheby's, Hong Kong, April 8, 2007, lot 708. For other examples incorporating angular kui-dragon scrolls, see the archaistic flask-form vase sold at Christie's, New York, March 28, 2006, lot 116, decorated with elaborate mirrored bands of kui-dragon scrolls to the neck, body and foot. For other examples of celadon-glazed vases with angular kui-dragon scrollwork in low relief, see the vases sold at Christie's, New York, March 20, 2014, lot 2181; Sotheby's, Hong Kong, April 8, 2009, lot 1652, and two similar bottle vases, sold Christie's, Hong Kong, April 8, 2011, lot 3018 and Christie's, New York, March 22, 2018, lot 771.

是件大瓶应出自清宫御用定烧粉青釉瓷器中的一件，该批御用瓷器常被认为是由唐英(1682-1756)督造监制，以其极致的烧造质量和奇巧的造型设计闻名于世。该批粉青釉瓷器通常以雕刻或模印表现千变万化的浅浮雕花纹。其题材则多汲取灵感于高古陶瓷，三代青铜器，以及明早期瓷器。敏而好古的设计不仅体现于造型，更见于其器表图案装饰如穿花夔龙纹(方型变型于自然界植物花卉藤蔓)，以及繁茂的莲花与衫衾，更伴有佛教与道教题材吉祥图案，如蝙蝠和如意。
是件技艺冠绝的大瓶为首次公诸于世，尚未发现相同例子。与其同时代烧造的乾隆款识粉青釉瓷器，则常装饰有雕刻或模印倣古夔龙纹，然而装饰为万字纹“卐”瓶口设计的大瓶则绝无仅有。“卐”在中文亦意为万，是以表达富足长寿的吉祥标志，尤其多见于寿辰庆典等重要活动。此类装饰可见一例肩部饰有万字纹锦带，以及带有浅凸起乾隆款的粉青釉大瓶出版于“暂得楼清代官窑单色釉瓷器”深圳，2005，第120和121页，编号43.
另见一对乾隆款粉青釉“盘长”口瓶子，现藏于台北国立故宫博物院，出版于“清康雍乾名瓷 国立故宫博物院印行”，台北，1990，第128页，编号101（图示仅其中一件）。此类造型优雅别致，并装饰有蝙蝠和如意云头纹的乾隆款及本朝的瓷器瓶子，另见一例于2007年4月8日经香港苏富比售出，拍品编号708.而带有方型夔龙纹装饰及对称夔龙耳的一例瓶子则于2006年3月28日经纽约佳士得售出，拍品编号116。另见一例方型夔龙纹浅浮雕装饰贯耳瓶于2014年3月20日经纽约佳士得售出，拍品编号2181；另见一例于2009年4月8日经香港苏富比售出，拍品编号1652，以及两件同类装饰的相似瓶子分别释出于2011年4月8日香港佳士得，拍品编号3018，以及2018年3月22日纽约佳士得，拍品编号771。