View full screen - View 1 of Lot 3621. A white jade barbed vase, Gu, Qing dynasty, Qianlong period | 清乾隆 白玉獸面紋海棠式花觚.
3621

A white jade barbed vase, Gu, Qing dynasty, Qianlong period | 清乾隆 白玉獸面紋海棠式花觚

Property from the De An Tang Collection 德安堂藏玉

A white jade barbed vase, Gu, Qing dynasty, Qianlong period | 清乾隆 白玉獸面紋海棠式花觚

A white jade barbed vase, Gu, Qing dynasty, Qianlong period | 清乾隆 白玉獸面紋海棠式花觚

Property from the De An Tang Collection

A white jade barbed vase, Gu

Qing dynasty, Qianlong period

德安堂藏玉

清乾隆 白玉獸面紋海棠式花觚


22 cm

The vase is in very good condition with just expected minuscule bruises and nibbles to the extremities.


"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.

NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Christie's Hong Kong, 29th April 1996, lot 698.


香港佳士得1996年4月29日,編號698

A Romance with Jade: From the De An Tang Collection, Yongshougong, Palace Museum, Beijing, 2004, cat. no. 126.


《玉緣:德安堂藏玉》,永壽宮,故宮博物院,北京,2004年,編號126

Deceptively simple in its refined form and design, the present vase displays the technical prowess and artistic imagination of jade carvers during the Qianlong period. The shape and motifs draw inspiration from archaic bronze wine vessels, gu, made in the Shang (16th century-c.1046 BC) and Western Zhou (c.1046-771 BC) dynasties; the robust shape of the bronze prototype was transformed into a graceful barbed silhouette that resembles the upper view of an open flower. Deftly carved with motifs of the hallmark of the Shang and Zhou styles, the result is a vase that appears modern yet steeped in classical symbolism, skilfully adapted to suit the refined taste of the Qianlong Emperor. This magnificent vase represents one of the most graceful and successful reinterpretations of the bronze gu shape and displays the antiquarian nature that characterises jade carvings of this period. 


An erudite scholar and passionate collector of antiques, the Qianlong Emperor's love for the past was grounded in his admiration for Chinese history and influenced by Confucian philosophy, which emphasised the study of history in the pursuit of virtue. The Qianlong Emperor actively influenced jade production, criticising the 'vulgar' style popular in the 18th century as excessively ornate, urging craftsmen to study antique vessels and adapt them to the jade medium. The Xiqing gujian [Catalogue of Chinese ritual bronzes], which was compiled by court artists between 1749 and 1755, and comprised line drawings of some 1500 objects in the imperial collection, was circulated among craftsmen who were encouraged to take inspiration from it.


The vase is not only remarkable for its embrace of antiquity and modernity, but also its unique incorporation of a flange at the mouth. The flange is apertured with a quatrefoil opening, mimicking the contours of the vase; the narrow opening serves a practical purpose, keeping flowers bunched close together and upright. This seemingly inconsequential design, however, substantially increased the difficulty of hollowing the vessel. It is no mean feat that the craftsman managed to hollow the vase so perfectly through the narrow opening, right down to the central bulb of the vessel. It is an ingenious but highly lavish way to fashion a jade vessel, reflecting the high standard of technical virtuosity of the jade carvers in the Imperial Workshops during the Qianlong period.


Vases of this elegant form and design are rare. Compare a similar example from the collection of Major R.W. Cooper, sold twice at Christie's London in 1963 and 2008, and most recently at Christie's Hong Kong, 1st December 2010, lot 3059. See also an undecorated barbed vase from the collection of Sir Quo-Wei Lee, sold in these rooms, 7th October 2019, lot 121.


本品器形雅靜,弧線起伏有致,器身淺浮雕饕餮仿古紋飾,見盡乾隆玉匠卓藝巧思。風格擬古而藏新思,器形從高古青銅觚獲取靈感。觚,盛行於商朝及西周,器形本甚壯碩,外觀更見肅穆嚴威武。至十八世紀,時人復古形制,取其線條優美,紋飾宏麗。乾隆帝,博學文士,尚雅藏,好古之情,好習中國歷史,深受儒道尚古頌德之教誨。乾隆好玉藝,曾批評當時盛行之風格過於華麗,命工匠研習古物,應用於玉器之上。乾隆十四至二十年(1749至1755年),宮廷畫師編纂《西清古鑑》,集約一千五百件宮藏青銅之線描圖例,以鼓勵藝匠從中擷取精華。本玉觚正好迎合乾隆帝慕古之風,為同類玉器的典例。


本觚採海棠式,敞口、撇足,觚腹微隆,流暢俐落。工匠特意於口內加一道寬緣,寬緣中開海棠式孔,從上方俯瞰,宛如盛開花朵,含蓄靜穆。寬緣設計美觀且實用,巧妙地將瓶口縮小,讓花枝秀立挺然。設計驟看簡單,實則技巧要求極高,工匠須一絲不苟從緣中小孔掏膛,製作耗時費力。觀此玉觚,不由感嘆古人的智慧,實為復古觚之佳例。


本品甚是珍罕。參考一 R.W. Cooper 舊藏例,器形及紋飾相近,於1963及2008年兩度售於倫敦佳士得,最近一次於香港佳士得2010年12月1日易手,編號3059。再比較一乾隆白玉菱花式觚,器身光素無紋,為利國偉爵士收藏,售於香港蘇富比2019年10月7日,編號121。