A Mughal pale green jade ewer and cover
India, 18th centuryThe pear-shaped body rising from a short foot, carved in low relief with sprays of blossoming flowers surrounded by meandering leaf stems beneath a band of pendent leaves, with similar designs repeated on the domed cover surrounding a lotus-bud-shaped finial, the body with an integral straight spout. 15cm (6in) long.
注脚
十八世紀 青白玉雕痕都斯坦式蓋壺Provenance: an important European private collection來源:歐洲重要私人收藏This elegant jade wine ewer is of a rare but known form. The Mughal Empire in India (1526-1857) left a legacy of high-quality worked jades. The Qianlong emperor greatly admired the so-called 'Hindustan' jades, and in 1768, he wrote the Tianzhu wuyindu kaoe, a scholarly text on the geography of Hindustan and the derivation of its name. The area he identified was in what is today India, with the city of Agra at its centre. During the eighteenth century, this area was part of the Mughal Empire and thus the jades from this region are today often referred to as 'Mughal' jades. The decoration of the present vessel may have been inspired by Emperor Jahangir's visit to the beautiful flower-filled valleys of Kashmir in 1620, which prompted the introduction of a new style of drawing on botanical designs.Compare with a related jade ewer, 17th/18th century, in the collection of the National Palace Museum, Taipei, illustrated in Exquisite Beauty - Islamic Jades, Taipei, 2007, pl.96. A related white jade wine flask, India, 18th century, was sold at Christie's London, 8 October 2015, lot 143.痕都斯坦即指蒙兀兒帝國(1526-1857);1768年,乾隆皇帝親自撰《天竺五印度考訛》一文,考證發音,定名「痕都斯坦」。在蒙兀兒帝國治下,伊斯蘭玉器逐漸形成獨特的裝飾風格,並於十八世紀後期經新疆源源不斷貢入清廷,令乾隆皇帝讚歎不已。早期的伊斯蘭玉器造形多受金屬器、瓷器影響,本例細流纖長筆挺的造型或源於金屬器。器身的淺浮雕花葉紋,據說是受蒙兀兒帝國皇帝賈漢吉1620年造訪鮮花盛開的克什米爾峽谷後之啟發;以冷硬的玉料讚頌自然界蓬勃的生機,是為痕玉之獨特風格。台北國立故宮博物院一例清宮舊藏十七至十八世紀蒙兀兒帝國玉單柄壺,紋飾相仿,見鄧淑蘋著,《國色天香:伊斯蘭玉器》,台北,2007年,圖版96。 另對比一例印度十八世紀玉無柄壺,售於倫敦佳士得,2015年10月8日,拍品編號143。
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