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A RARE IMPERIAL 'IMITATION AMBER' TRANSPARENT GLASS BOTTLE VASE, QIANLONG MARK AND PERIOD
奥地利
04月10日 下午5点 开拍
拍品描述 翻译
China, 1736-1795. The globular body supported on a short spreading foot with broad rim and rising to a tall cylindrical neck. The translucent glass is of a deep amber tone. The recessed base with a four-character wheel-cut mark Qianlong nianzhi within a double square and of the period.Provenance: Bonhams, London, 11 November 2010, lot 113, sold for GBP 3,600 or EUR 7,400 (converted and adjusted for inflation at the time of writing). The collection of a Belgian connoisseur, acquired from the above. Condition: Very good condition with minor wear and manufacturing irregularities, occasional light scratches, and a minuscule nibble to the foot rim.Weight: 1.7 kg Dimensions: Height 27.3 cmThe present vase belongs to a group of glass wares made to imitate other types of material, such as jades and other hardstones which was a trend favored by the Qianlong Emperor. A variety of such glass vessels were made, but those simulating the fossilized tree resin known as amber are extremely rare. Historically, amber in China has been appreciated for its translucent soft yellow coloration, as well as for its property as an ingredient for perfumes and as a healing agent in traditional Chinese medicine. Amber often contains animal and plant fossil inclusions which has been cleverly replicated on the present vase.Glass has been made in China since the Bronze Age, but it was in the Qing dynasty that Chinese glass reached its apogee. This was due in considerable measure to the establishment by the Kangxi Emperor of the Imperial Glassworks. Critical to the establishment of the Imperial Glassworks was a German Jesuit missionary by the name of Father Kilian Stumpf (1655-1720). In 1695 Stumpf was summoned to Beijing. In 1696, the 35th year of the Kangxi reign, the emperor commanded that a glass workshop be built in Canchiko, near the Xi'an Gate, inside the Imperial City, and Kilian Stumpf was installed as Director.At some point during the Yongzheng reign the Imperial command was issued to move the glassworks to the Summer Palace, where it would become part of the Liusuo (six workshops). Scholars have speculated that in the Qianlong reign, the bolichang (glass factory) mentioned in the records was the original glassworks at Canchiko, which fired and blew the glass, and supplied blanks for decoration by the bolizuo (glass workshop) in the Summer Palace, which would have been involved in the production of highly refined pieces, under the close supervision of the emperor. The combination of indigenous Chinese glass craftsmanship with techniques brought to China through the Jesuits, resulted in spectacular glass being made in the Imperial Glass Workshops in the reigns of the Kangxi, Yongzheng and Qianlong emperors, exemplified by the current vase.Literature comparison: Compare a related Qianlong opaque orange glass vase imitating realgar, illustrated by Hugh Moss, Arts from the Scholar's Studio, The Oriental Ceramic Society of Hong Kong and University of Hong Kong, 1986, p. 127, no. 94. Compare a related amber-colored glass vase with a Qianlong mark and of the period, 27.3 cm high, in the Metropolitan Museum of Art, object number 91.1.1190.Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 28 November 2018, lot 2932Price: HKD 300,000 or approx. EUR 41,000 converted and adjusted for inflation at the time of writing: A rare imperial amber-colour glass bottle vase, Qianlong wheel-cut four-character mark within a double square and of the period (1736-1795)Expert remark: Compare the closely related color and wheel-cut four-character reign mark. Note the different form and the size (22.8 cm).

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