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of fi attened form, the baluster body rising from a stepped foot, the waisted neck surmounted by a lipped rim and fi anked by a pair of mythical beastmask handles each suspending a loose ring, ff nely carved in low relief to each side with a stylized taotie mask, all between bands of ruyi heads above the foot and below the rim, the domed cover similarly decorated and surmounted by a plain ff nial, the softly polished stone of an even color with some icy-white inclusions, textile stand (3) Height 8? in., 20.7 cm PROVENANCE Acquired in Boston, 2001. This masterfully carved vase encapsulates the Qianlong Emperor’s reverence for the past and his passion for jade. It is outstanding both for its exceptional quality stone and crisp design on an elegant form. The conff dent carving of the taotie mask and the three-dimensionality of the two animal-head handles perfectly complement the white even tone of the stone. Jade vases are often unique, as their size and decoration depends entirely on the jade stone used to fashion them. The proportions and taotie mask on this piece are closely related to a vase in the National Palace Museum, Taipei, included in the Museum’s exhibition The Refi ned Taste of the Emperor. Special Exhibition of Archaic and Pictorial Jades of the Ch’ing Court, Taipei, 1997, cat. no. 5. A hu vase carved with a related mask , in the Asian Art Museum of San Francisco, is illustrated in René-Yvon Lefebvre d’Argencé, Chinese Jades in the Avery Brundage Collection, Tokyo, 1977, pl. LII, where the author mentions a further similar vase in the Museum’s collection, dated 1789, p. 118; and a yellow jade vase, with a Qianlong mark and of the period, in the Palace Museum, Beijing, is published in Zhongguo yuqi quanji, vol. 6, Shijiazhuang, 1993, pl. 132. In response to the ‘vulgarization’ of Chinese jade carving in the 18th century, which was characterized by decorative high-relief carving, the Qianlong Emperor commissioned a large number of jades which were inspired by the forms and designs of antiquity. Jade carvers were encouraged to move away from the ‘new style’ by studying archaic bronze vessels in the Palace collection or in illustrated woodblock prints, and adapting them to the medium of jade. Inspired in both its form and decoration by archaic bronze hu, this vase epitomizes this trend.
清乾隆 白玉雕饕餮紋獸耳活環蓋瓶 來源 購於波士頓，2001年
