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拍品专文
The present pair of vases exemplify the technical and artistic genius of the imperial kilns during the Qianlong reign. The semi-translucent and delicate glaze covering the jars, inspired by the Longquan celadon glaze of the Southern Song, is a testament to the success of the 18th-century Jingdezhen imperial kilns in perfecting the application of celadon glazes on to a white porcelain body. In addition, the moulding of the chilong, shown clambering over the mouth rims, as if taking a peek inside the jars, is particularly and exquisite with a sense of liveliness, imbuing the otherwise minimalist vases with a sense of dimensions and liveliness.
The present pair of vases appears to be unique. The closest comparable example seems to be a pair of unmarked Jun-type glazed ovoid jars with chilong appliqués dated to the Yongzheng period in the Walters Art Museum, Baltimore, accession numbers 49.2060 and 49.2061. It is interesting to note that the glazes on the Yongzheng and Qianlong examples are both inspired by classic Song glazes, which were perfected at the Imperial kilns at Jingdezhen under the renowned superintendent Tang Ying, reflecting the trend of archaism popular during the 18th-century advocated by the Emperors themselves.
The present pair of vases appears to be unique. The closest comparable example seems to be a pair of unmarked Jun-type glazed ovoid jars with chilong appliqués dated to the Yongzheng period in the Walters Art Museum, Baltimore, accession numbers 49.2060 and 49.2061. It is interesting to note that the glazes on the Yongzheng and Qianlong examples are both inspired by classic Song glazes, which were perfected at the Imperial kilns at Jingdezhen under the renowned superintendent Tang Ying, reflecting the trend of archaism popular during the 18th-century advocated by the Emperors themselves.