拍品信息
拍品名称
清乾隆 仿哥釉象耳海棠式尊 《大清乾隆年製》款
起拍价
USD 40,000
估值区间
40,000 - 60,000 USD
尺寸
未知
品相
如欲了解本拍品狀況的更多資訊，請聯絡 Drew.Lerner@sothebys.com
更多信息
the base with a six-character seal mark in underglaze blue
Height 14⅝ in., 37.1 cm
来源：Ralph M. Chait Galleries，紐約（標籤）
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图录
说明：Skillfully decorated with an even glaze marked with an attractive matrix of ‘iron-wire’ and golden crackles, the present vase belongs to a group of vessels inspired by the celebrated ge wares of the Song dynasty (960-1279). In addition to the crackles, which were often stained to enhance their prominence, these archaistic vessels were dressed on the unglazed bodies with a dark brown slip, as seen on the foot ring of the present vase, to simulate the so-called 'iron foot' characteristic of the stoneware prototypes.
The enduring appeal of Song ceramics at the Qing court was closely tied to the Qianlong Emperor’s well-known passion for antiquarianism. Deeply engaged with the study and collection of antiquities, the emperor greatly admired the Song aesthetics. Under his patronage, the imperial kilns produced a wide range of objects that consciously revived the forms, materials and decorative styles of the Song dynasty. Rather than direct reproductions, these works often embodied the Qing imperial taste, reflecting the emperor’s desire to not only celebrate the artistic achievements of the past but to also reinterpret them.
In addition, the Qianlong Emperor’s antiquarian interests also encouraged the adaptation of ancient ritual bronze forms into porcelain. Drawing inspiration from Shang and Zhou dynasty bronzes preserved in the imperial collection and illustrated in catalogues such as the Xiqing gujian, potters at Jingdezhen transformed archaic vessel types into ceramic counterparts. Bronze-inspired forms were recreated in a variety of glazes and enamels, combing ancient traditions with the technical mastery of the Qing craftsmanship.
See a closely related Qianlong ge-type vase of the same form, sold at Christie's London, 15th May 2007, lot 255; and another vase of a slightly different form, sold at Christie's New York, 24th March 2004, lot 237. A ru-type vase of the same form and size is included in Kobayashi Tadashi, ed., Masterpieces of the Okada Museum of Art, vol. 2, Tokyo, 2018, no. 20, and sold in our Hong Kong rooms, 22nd November 2025, lot 1038. Qianlong mark and period vases of this form and with similar handles are also known decorated with famille-rose panels against a carved celadon-glazed ground, such as one from the collection of the Albright-Knox Gallery, Buffalo, sold at Christie’s Hong Kong, 1st October 1991, lot 786, and again in our these rooms, 19th-20th March 2007, lot 818.
Height 14⅝ in., 37.1 cm
来源：Ralph M. Chait Galleries，紐約（標籤）
西岸私人收藏
图录
说明：Skillfully decorated with an even glaze marked with an attractive matrix of ‘iron-wire’ and golden crackles, the present vase belongs to a group of vessels inspired by the celebrated ge wares of the Song dynasty (960-1279). In addition to the crackles, which were often stained to enhance their prominence, these archaistic vessels were dressed on the unglazed bodies with a dark brown slip, as seen on the foot ring of the present vase, to simulate the so-called 'iron foot' characteristic of the stoneware prototypes.
The enduring appeal of Song ceramics at the Qing court was closely tied to the Qianlong Emperor’s well-known passion for antiquarianism. Deeply engaged with the study and collection of antiquities, the emperor greatly admired the Song aesthetics. Under his patronage, the imperial kilns produced a wide range of objects that consciously revived the forms, materials and decorative styles of the Song dynasty. Rather than direct reproductions, these works often embodied the Qing imperial taste, reflecting the emperor’s desire to not only celebrate the artistic achievements of the past but to also reinterpret them.
In addition, the Qianlong Emperor’s antiquarian interests also encouraged the adaptation of ancient ritual bronze forms into porcelain. Drawing inspiration from Shang and Zhou dynasty bronzes preserved in the imperial collection and illustrated in catalogues such as the Xiqing gujian, potters at Jingdezhen transformed archaic vessel types into ceramic counterparts. Bronze-inspired forms were recreated in a variety of glazes and enamels, combing ancient traditions with the technical mastery of the Qing craftsmanship.
See a closely related Qianlong ge-type vase of the same form, sold at Christie's London, 15th May 2007, lot 255; and another vase of a slightly different form, sold at Christie's New York, 24th March 2004, lot 237. A ru-type vase of the same form and size is included in Kobayashi Tadashi, ed., Masterpieces of the Okada Museum of Art, vol. 2, Tokyo, 2018, no. 20, and sold in our Hong Kong rooms, 22nd November 2025, lot 1038. Qianlong mark and period vases of this form and with similar handles are also known decorated with famille-rose panels against a carved celadon-glazed ground, such as one from the collection of the Albright-Knox Gallery, Buffalo, sold at Christie’s Hong Kong, 1st October 1991, lot 786, and again in our these rooms, 19th-20th March 2007, lot 818.
常见问题
这件清乾隆 仿哥釉象耳海棠式尊 《大清乾隆年製》款的成交价是多少？
落槌价为 预展中。 成交价为 预展中。
拍品的品相状况如何？
如欲了解本拍品狀況的更多資訊，請聯絡 Drew.Lerner@sothebys.com
这件拍品的流传来源是什么？
Ralph M. Chait Galleries，紐約（標籤）
西岸私人收藏
图录
西岸私人收藏
图录
