Description RARE VASE BOUTEILLE à DEUX ANSES
en porcelaine et émaux polychromes de type yangcai sur fond turquoise, avec rehauts de dorure, à panse sphérique et long col étroit à ouverture évasée et léger renflement près de l'épaule, orné de fleurs et rinceaux de lotus, grenades, pêches de longévité et motifs de brocarts composés d'éléments géométrique triangulaires formant des pendeloques ; l'épaule soulignée de deux frises, l'une, polychrome, alternant têtes de ruyi et chauves-souris, l'autre, émaillée bleu, à décor de fleurs et rinceaux stylisés ; l'ouverture et la partie inférieure du vase respectivement décorés de têtes de ruyi et pétales de lotus stylisés ; le col rehaussé de deux anses en forme de chilong stylisés, émaillé rouge et or à l'imitation du bois ; l'intérieur du col émaillé bleu pale ; le pied souligné d'une frise de grecque en bleu.
Sur la base, marque sigillaire incomplète " Da Qing (…) Nian Zhi" en rouge sur fond bleu pale.
Chine, fin du XVIIIe siècle.
A YANGCAI TURQUOISE-GROUND 'FLORAL' BOTTLE VASE, WITH MARK, CHINA, LATE 18TH CENTURY. =
HAUT. 28,6 CM (11 1/4 IN.)
état : Fêle très fin sous la gla?ure, au niveau de la zone vierge du cachet sur la base ; infime égrenure sur un pétale de lotus sur la panse ; légère usure de la dorure autour de l'ouverture.
Condition : Hairline crack below the glaze, on the middle part of the mark on the base ; a very tiny chip on a lotus petal on the body ; slight wear of the gilding on the mouth-rim.
Provenance:
Collection du diplomate monsieur K, secrétaire dans la mission diplomatique en Chine dans les années 60/70.
Collection of the diplomat Mr. K, secretary in the diplomatic mission in China in the 60s / 70s.
Note
Ce type de marque est très rare. Une marque incomplète, où il manque les deux caractères du nom de l'empereur au centre, indique que ce vase a très probablement été réalisé à la fin du XVIIIe siècle.
En effet, l'empereur Qianlong ne voulant pas régner plus longtemps que son grand-père Kangxi, par respect pour lui, céda le tr?ne à son fils, qui devint l'empereur Jiaqing, le 15 octobre 1795. Qianlong prit alors le titre de Tai Shang huang et se retira de la vie publique.
Ainsi, entre cette date et la date de son décès, le 7 février 1799, il y eu deux empereurs vivant.
Les porcelaines impériales réalisées durant cette période portaient soit une marque Qianlong, soit une marque Jiaqing, soit une marque inachevée, comme sur notre vase, en hommage aux deux empereurs, afin de souligner que l'on ne choisissait pas.
This type of mark, uncomplete with the two middle characters bearing the emperor's name lacking, is extremely rare. It tells us that the vase has very likely been made at the end of the 18th Century, during those 4 years that saw two emperors alive at the same time.
Indeed, Qianlong, who didn't want to reign longer than his grand-father Kangxi, out of respect for him, retired from public life on October 15th 1795, taking the title of Tai Shang Huang, and letting his son, the future Emperor Jiaqing, access the throne.
Therefore, from this date until Qianlong's death, on February 7th 1799, the imperial porcelains could have three types of marks, for emperor Qianlong, for Emperor Jiaqing, or an uncomplete mark such as ours, paying homage to both emperors by not choosing one.
Le terme Yangcai, signifiant " couleurs de l'étranger " signe l'influence de l'Occident, et désigne plus particulièrement, selon Tang Yin, superviseur des fours impériaux sous Qianlong, des porcelaines décorées selon une nouvelle technique empruntée à la peinture occidentale.
Il en est ainsi de l'utilisation d'ombrages et de dégradés de couleurs, qui confèrent un certain relief aux motifs, comme nous pouvons le constater notamment sur le rose des pétales de lotus. L'influence de l'ouest est également manifeste dans le choix et le traitement des motifs. Ainsi, les quatre fleurs principales ornant la panse, baptisées lotus, sont en réalité des fleurs de passiflore, qui se distinguent des fleurs de lotus rythmant les rinceaux qui jaillissent des fleurs centrales. De même, le traitement des rinceaux et leur stylisation n'est pas sans rappeler ceux que l'on retrouve en Occident.
Ce type de décor connut un grand engouement à la cour des Qing sous l'empereur Qianlong. On le voit décliné sur des fonds de couleurs différentes, tel le jaune, ou bien le bleu ciel, ou encore le rouge rubis (cf. pour le fond bleu, un vase conservé au Gugong de Pékin et un vase vendu chez Sotheby's Paris, le 16.12.2010, no. 223 - pour le fond rubis, un vase du Gugong et deux vases vendus par Sotheby's Hong Kong, le 10.4.2006, no. 1740, et le 6.4.2007, no. 511).
Ce décor appara?t également sur des vases de formes différentes, vase bouteille comme le n?tre, vase balustre à l'épaule plus haute, vase piriforme à panse évasée vers le bas, ou encore vase de forme gourde. L'organisation du décor peut par ailleurs présenter des variantes, mettant en valeur certains motifs plut?t que d'autres (telles les chauves-souris, plus discrètes sur notre vase), et les agen?ant différemment. Mais toujours, cette première impression de richesse dans la palette des couleurs, et de mouvement dans un décor couvrant tout le vase dans une profusion qui peut sembler désordonnée au premier abord, mais en réalité organisé selon un ordonnancement codifié et très équilibré.
(cf. Forme balustre, Gugong et Sotheby's Hong Kong, 4.4.2012, no. 3184 - piriforme, Gugong et Sotheby's Hong Kong, le 8.10.2014, no. 3640 - forme gourde, Gugong, où prééminence de chauves-souris, gongs sonores et papillons)
清乾隆-嘉庆?洋彩绿地描金勾莲纹螭龙耳瓶
洋彩瓶高28.6厘米，撇口，长束颈，鼓腹，撇足，配矾红描金螭龙双耳。口沿抹金，内外壁及底部通体施松绿釉，圈足内红字篆书「大清..年制」两行四字款。纹饰设计繁复却不失灵动，形、色、饰皆符合乾隆晚期和嘉庆早期御窑厂宫廷洋彩制瓷的标准，此未完全致敬款的洋彩瓶是市场上极为罕见的高品级宫廷瓷器。
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口沿下及颈部下施珊瑚、绿、蓝、金釉，四色相间饰蝙蝠如意头；宝相花、石榴花、莲花与枝叶缠转反复，勾卷缠绵，循环交叠；颈部莲花吐符袋纹，寓意代（袋）代（袋）有福；双仿古螭龙耳对称嵌于脖颈处，上红棕釉仿木纹，并点缀厚重的绿、蓝釉斑点，加强了螭龙的立体感；瓶身宝相花捧石榴果，寓意榴开百子，多子多孙；莲花缠枝交联出挂缨络串珠纹，描金点缀，画龙点睛，并环以双寿桃，桃色粉嫩渐变，生动可人；胫部绘莲瓣纹；口、肚交接处与底足施玻璃白釉，其上着蓝料绘缠枝纹及回纹。
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「圆琢白器，五采绘画，摹仿西洋，故曰洋彩」。洋彩，诞生于康熙时期，兴盛发展玉雍正、乾隆时期。洋彩之名称出自于督陶官唐英的著作以及《活计档》、珐琅相关陈设档案及清宫木匣刻款的文献资料中。其在陶瓷分类上属珐琅彩类，是一种运用西洋绘画技法与装饰的彩瓷。洋彩的丰富性赐予这件洋彩松石绿地瓶以浓郁的佛教色彩。众所周知，清朝推崇佛教，乾隆帝尤为虔诚，以故宫博物馆收藏的《乾隆皇帝佛装像唐卡》就可见一斑。根据大乘佛教释义，佛有五色光：蓝、黄、红、白、橙。蓝色出于佛发，代表禅定；黄色出于佛身，代表金刚；红色由佛血发出，代表慈悲；白色出于佛齿，代表清净；橙色有袈裟放出，代表坚忍。而绿松石为佛教七宝之一。此六色和谐共生于这件瓷瓶，饱和度高，彼此却不抢不争，既有洋彩的特殊性，又符合中国传统色彩观中人与自然的统一性。
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从纹饰角度来看，宝相花自公元7世纪就出现在隋代莫高窟中，到唐初基本成型并盛行，是中国古典艺术与佛教文化结合的典型图案。“金资宝相，永藉闲安”这句南北朝文献《头陀寺碑文》中的碑文成为宝相花可考的最早词源。“宝相”是佛教徒对佛像的尊称，因此与宝相花的原型之一——莲花共奉为佛教圣花。自唐朝起，宝相花就成为瓷器中的重要纹饰，从三彩到单色釉，从青花、五彩到粉彩、珐琅彩，带有宝相花图案的器物必属重器国宝。与宝相花共生的缠枝纹也是经典的中国传统装纹样，藤枝花叶绵延缠绕，将代表佛教三宝的宝相花瓣与教义香气传播开来，没有间断，也寓示着生命长久、子孙绵延，并被帝王延伸解释为江山永固、基业常春等美好寓意。寿桃、石榴、蝙蝠、如意、符袋和缨络这些传统吉祥图案的穿插，与主体纹饰相得益彰，既彰皇家法度，又显民间吉祥。
这件从器形、色彩到图案都饱含浓重佛教吉祥色彩的洋彩瓶的另一个显著特色是绿釉圈足内施白釉未完成的三行竖体朱文篆书款。“大清”与“年制”中间空白，这样的现象据宫廷造办处记载出现于乾隆帝退位为太上皇（1795年）至嘉庆四年（1799年）时期，这时的御窑厂制瓷或为乾隆款或为嘉庆款，类似这件的空白款或与乾隆帝崩、新帝登基有关，不可考却极为罕见，体现了清廷与御窑厂制瓷的严谨仪制，也是重大历史事变的见证。
类似瓷器：
一故宫藏乾隆款绿地洋彩缠枝莲纹如意耳瓶（编号00154623）；
二嘉庆款绿地粉彩缠枝蝠蝶纹扁瓶（编号00155135）；
三苏富比巴黎乾隆款粉彩松石绿釉莲蝠瓶（Sotheby’s Paris, le 16.12.2010, no. 223）
四苏富比嘉庆款粉彩松石绿地缠枝纹瓶（Sotheby’s Hong Kong, 4.4.2012, no. 3184）
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BANQUE HSBC -Saint Augustin, 75008 Paris, France IBAN FR 76 3005 6009 2409 2400 1375 856 Code SWIFT CCFRFRPP Code banque 30056 Code guichet 00924 Compte 0924001 3758 Clé 56
