Qianlong wheel-cut four-character mark and of the period The heavily constructed body of slender curved form, tapering elegantly from the narrow foot to the swollen central mid-section, rising to a long slightly flared neck, the colour of a rich dark yellow tone, the countersunk base wheel-cut with a four-character mark within a double square. 19.4cm high.
Provenance 來源: The Madelyn Kreisler (1890-1975) Collection, New Orleans, acquired in the 1920s-1930s
The shape of the vase derives originally from a weaving spindle, but in the Chinese context, it is interpreted as the olive form, insinuating the likeness to the pit of the natural fruit. Such shapes in the form of ceramics first appeared during the Yongzheng period, where they were decorated in monochrome, polychrome or underglaze-blue. For an olive-shaped famille rose vase from the Qing court collection, preserved in the Palace Museum, Beijing, see The Complete Collection of the Treasures of the Palace Museum. Porcelain with Cloisonne Enamel Decoration and Famille Rose Decoration, Shanghai, 1999, p.12, pl.10.
For another closely related 'sky-blue' glass vase with Qianlong wheel-cut four-character reign mark, also preserved in the Palace Museum, Beijing, see Luster of Autumn Water. Glass of the Qing Imperial Workshop, Beijing, 2005, p.154, pl.24.
For a closely related Imperial glass vase sold at auction, see a Qianlong reign-marked turquoise-green glass vase from the collecton of Dr. Alan E. Feen, illustrated in Shangraw, Rabiner and Brown, A Chorus of Colors: Chinese Glass from Three American Collections, Asian Art Museum of San Francisco, 1995, pp.80-81, cat.no.50, and sold in these rooms, 24 November 2010, lot 201. See also another turquoise glass vase, illustrated in Elegance and Radiance. Grandeur in Qing Glass. The Andrew K. F. Lee Collection, Art Museum. The Chinese University of Hong Kong, Hong Kong, 2000, pp.170-171, no.48.
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