Period:Qing dynasty Production date:18thC-19thC
Materials:stoneware
Technique:glazed
Dimensions:Diameter: 122 millimetres Height: 200 millimetres
Description:
Guan-type stoneware ‘arrow vase’ with bulbous body and long cylindrical neck with two vertical tubular handles. The vase has a grey body covered in thick blue-grey glaze with wide crackle stained dark brown. Where exposed in firing, the body is dark reddish-brown. There is an incised inscription on the base. The base is glazed and the foot rim unglazed.
IMG
![图片[1]-vase BM-PDF-A.37-China Archive](https://chinaarchive.net/Qin dynasty/Ceramics/mid_00384877_001.jpg)
![图片[2]-vase BM-PDF-A.37-China Archive](https://chinaarchive.net/Qin dynasty/Ceramics/mid_00384878_001.jpg)
Comments:Published PDF date : Qing 18thC Room 95 label text:PDF A37Vase with guan-type celadon glazeThis vase combines an eighteenth century shape with the glaze of Song dynasty guan wares, recreated on a porcelain body. This combination of an interest in the antique and a desire to experiment and create something new is a fundamental part of Chinese culture. The base has an incised and gilded inscription which reads: 敆姬茄袋品原崇, 古式渾疑商鑄銅, 近代宣成非不美, 惜如文體遞精工 乾隆丙戌夏御题 He ji jiadai pin yuan chong, gushi hunyi Shang zhutong, jindai Xuan Cheng fei bumei, xi ru wenti di jinggong Qianlong bingxu xia yuti ‘A beautiful woman believes she may look even more elegant with some small adornment, human nature wishes to enhance beauty. This simple but powerful vase in the style of an ancient bronze vessel of the Shang has immeasurable elegance. It was not the case that the more recent wares of Xuan[de] and Cheng[hua] were not beautiful enough. More is the pity that their perfection was spoiled by an excess of exquisite decoration. Composed by the Qianlong Emperor in the Summer of the cyclical year bingxu [AD 1766].’ Two seals at the end of the inscription read: 德充符 (dechong fu ‘The sign of fullness of power’) and 會心不遠 (huixin buyuan ‘understanding is not far away’).Porcelain with crackled celadon glaze and incised and gilded inscriptionGuan-type wareJingdezhen, Jiangxi province江西省, 景德鎮Qing dynasty, AD 1700–1900 PDF A37仿官青釉瓶此瓶融合了十八世紀的造型與宋代官窯器物的釉色，並創造性地施用於瓷質胎體之上。這樣將對古物的興趣與心中期望相結合，試驗並創造新品，一直是中國文化的基本內涵。外底刻填金铭文：“敆姬茄袋品原崇，古式渾疑商鑄銅。近代宣成非不美，惜如文體遞精工。乾隆丙戌夏御题。”大意是：美麗女子相信一些小裝飾能夠使她看起來更為優雅，人類天性自是希求更加美麗。這件風格仿商代青銅器的瓶子，器形簡單卻充滿張力，給人無盡的優雅感。這樣並非說時代稍近的宣德與成化器物不夠美麗，過度的裝飾反而毀掉了它的完美，真是可惜。乾隆皇帝作于丙戌年（1766年）夏日。詩尾附“德充符”（意為充滿力量的符號）、“會心不遠”（意為感悟本心並不遙遠）印兩方。瓷器，青釉開片，填金刻銘仿官窯器江西省景德鎮清代，1700-1900年
Materials:stoneware
Technique:glazed
Dimensions:Diameter: 122 millimetres Height: 200 millimetres
Description:
Guan-type stoneware ‘arrow vase’ with bulbous body and long cylindrical neck with two vertical tubular handles. The vase has a grey body covered in thick blue-grey glaze with wide crackle stained dark brown. Where exposed in firing, the body is dark reddish-brown. There is an incised inscription on the base. The base is glazed and the foot rim unglazed.
IMG
Comments:Published PDF date : Qing 18thC Room 95 label text:PDF A37Vase with guan-type celadon glazeThis vase combines an eighteenth century shape with the glaze of Song dynasty guan wares, recreated on a porcelain body. This combination of an interest in the antique and a desire to experiment and create something new is a fundamental part of Chinese culture. The base has an incised and gilded inscription which reads: 敆姬茄袋品原崇, 古式渾疑商鑄銅, 近代宣成非不美, 惜如文體遞精工 乾隆丙戌夏御题 He ji jiadai pin yuan chong, gushi hunyi Shang zhutong, jindai Xuan Cheng fei bumei, xi ru wenti di jinggong Qianlong bingxu xia yuti ‘A beautiful woman believes she may look even more elegant with some small adornment, human nature wishes to enhance beauty. This simple but powerful vase in the style of an ancient bronze vessel of the Shang has immeasurable elegance. It was not the case that the more recent wares of Xuan[de] and Cheng[hua] were not beautiful enough. More is the pity that their perfection was spoiled by an excess of exquisite decoration. Composed by the Qianlong Emperor in the Summer of the cyclical year bingxu [AD 1766].’ Two seals at the end of the inscription read: 德充符 (dechong fu ‘The sign of fullness of power’) and 會心不遠 (huixin buyuan ‘understanding is not far away’).Porcelain with crackled celadon glaze and incised and gilded inscriptionGuan-type wareJingdezhen, Jiangxi province江西省, 景德鎮Qing dynasty, AD 1700–1900 PDF A37仿官青釉瓶此瓶融合了十八世紀的造型與宋代官窯器物的釉色，並創造性地施用於瓷質胎體之上。這樣將對古物的興趣與心中期望相結合，試驗並創造新品，一直是中國文化的基本內涵。外底刻填金铭文：“敆姬茄袋品原崇，古式渾疑商鑄銅。近代宣成非不美，惜如文體遞精工。乾隆丙戌夏御题。”大意是：美麗女子相信一些小裝飾能夠使她看起來更為優雅，人類天性自是希求更加美麗。這件風格仿商代青銅器的瓶子，器形簡單卻充滿張力，給人無盡的優雅感。這樣並非說時代稍近的宣德與成化器物不夠美麗，過度的裝飾反而毀掉了它的完美，真是可惜。乾隆皇帝作于丙戌年（1766年）夏日。詩尾附“德充符”（意為充滿力量的符號）、“會心不遠”（意為感悟本心並不遙遠）印兩方。瓷器，青釉開片，填金刻銘仿官窯器江西省景德鎮清代，1700-1900年
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![[Qing Dynasty] British female painter—Elizabeth Keith, using woodblock prints to record China from the late Qing Dynasty to the early Republic of China—1915-China Archive](https://chinaarchive.net/wp-content/uploads/2022/11/image-191x300.png)
