vase BM-PDF.5

Period:Qing dynasty Production date:1723-1735
Materials:stoneware
Technique:glazed

Dimensions:Height: 355 millimetres Width: 165 millimetres (base) Width: 139 millimetres (mouth) Width: 225 millimetres Depth: 129 millimetres (base) Depth: 101 millimetres (mouth) Depth: 170 millimetres

Description:
Guan-type stoneware vase of archaic bronze fang hu form with tubular handles at the neck and a slightly flaring foot. The vase has thick opaque grey glaze with wide, irregular crackle. There is an inscription on the base.
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Comments:Published PDF date : Southern Song 12th-13thC Room 95 label text:PDF 5Hu-shaped vase with guan-type celadon glazeThe Yongzheng emperor is known for his fascination with antiques. He had a fabulous collection of Chinese bronzes, jades, ceramics, painting and calligraphies and decorative art objects. This vase combines the shape of an ancient bronze 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: 官窑名始宋南渡, 後苑製效政和故, 成章提擧惟御用, 臣庶弗敢過而顧, 即今六百有餘載, 晨星一二猶或遇, 鬻從市廟供人玩, 誰誠當年法令固, 不啻斯矣堪慨歎, 即是殷周相鑒處 乾隆丁酉春御題 [Guanyao ming shi Song nandu, hou yuan zhi xiao Zheng He gu, Cheng zhang tiju wei yu yong, chenshu fugan guo er gu, ji jin liubai youyu zai, chenxing yi er you huo yu, yu cong shimiao gong ren wan, shui cheng dangnian faling gu, buchi si yi kan kaitan, ji shi Yin Zhou xiangjian chuQianlong dingyou chun yuti ‘Guan ware first gained renown when the Song court moved to the South. The ‘Ware of the Rear Garden’ was modelled on the earlier ware of Zheng He. (Shao) Chengzhang directed its manufacture solely for Imperial use, and neither ministers nor common people dared to pass or gaze upon them. More than six hundred years have passed since that time, yet one or two Guan ware vessels, as rare as stars at dawn, may still be found. Who knows if the laws of former years survive today? Alas, how sad that this should be their plight – A reflection of the fate of the House of Yin in the Zhou dynasty. This is a rhyming stanza of ten seven-character lines. Composed by the Qianlong Emperor in the fourth month of the cyclical year dingyou [AD 1777]. A seal at the end of inscription reads: 德充符 (de chongfu ‘The sign of fullness of power’).Porcelain with celadon glaze and irregular crackle and incised and gilded inscriptionGuan-type wareJingdezhen, Jiangxi province江西省, 景德鎮Qing dynasty, Yongzheng period, AD 1723–1735 PDF 5仿官青釉貫耳壺雍正皇帝以醉心於古物而著稱。他擁有眾多極為精彩的精美收藏品，囊括古代青銅器、玉器、陶瓷、書畫及其他工藝品。此壺融合了遠古青銅器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。這種將對古物的興趣與心中期望相結合，試驗並創造新品的理念，一直是中國文化的基本組成部分。壺底部刻填金銘文：“官窯名始宋南渡，後苑製效政和故。成章提擧惟御用，臣庶弗敢過而顧。即今六百有餘載，晨星一二猶或遇。鬻從市廟供人玩，誰誠當年法令固。不啻斯矣堪慨歎，即是殷周相鑒處。乾隆丁酉春御題。”意為：官窯之名始于北宋皇室南渡之後，所謂“後苑器”實為以北宋政和年間之器為本仿燒。邵成章所直接管理燒造的瓷器僅供皇室御用，官員與平民即使看到也不敢直視。自宋迄今，已過去六百餘年，官窯瓷器也僅得見一二，寥若晨星。流落到市場供人賞玩的器物，就如同無人知曉先前的法律是否存留至今一般。唉，它們如今的境遇令人慨歎，正如落入周代的殷商之物的命運一般。乾隆皇帝作于丁酉年（1777年）四月。詩尾附“德充符”（意為充滿力量的符號）印一方。這是一首七言律诗，合轍押韻。瓷器，青釉帶不規則開片，填金刻銘仿官窯器江西省景德鎮清代，雍正，1723-1735年