A Qing Dynasty Clair-de-Lune-Glazed Double-Lug Vase
2026 Dorothy Autumn Auction | Elegance in Jade-like Celadon, A Refined Monochrome Masterpiece
一、粉青凝玉，盡顯單色釉之美
在中國陶瓷藝術發展史中，單色釉瓷器始終被視為最能體現製瓷工藝與東方美學精神的重要門類。不同於青花、粉彩、鬥彩等以繁複紋飾取勝的瓷器，單色釉並不依賴華麗裝飾，而是以器型比例、釉色層次、光澤質感及窯火控制，展現瓷器最純粹而深厚的藝術魅力。
所謂「素器見功」，越是看似簡潔的器物，越考驗製瓷工匠對胎體、釉層與燒造火候的掌握。胎質是否細膩、釉層是否均勻、色澤是否純正，以及器形比例是否協調，皆直接反映出一件作品的製作水準。因此，自宋代以來，單色釉瓷器一直被視為中國陶瓷美學中最具含蓄氣韻與藝術深度的重要代表。
即將亮相2026多祿溙國際秋季拍賣會的這件清代粉青釉雙系耳瓶，正是一件兼具古意、雅韻與陳設氣度的仿古單色釉佳器。整器造型端正，比例勻稱，通體施粉青釉，不施彩繪，不作繁縟雕飾，而是以溫潤沉靜的釉色，營造出含蓄、澄淨而高雅的藝術氣息。
歷經數百年歲月沉澱，其溫潤如玉的釉色依然散發內斂光澤，古樸器形與自然開片相互映襯，使整件作品兼具歷史韻味與文人氣息，充分體現清代景德鎮仿古單色釉瓷器所追求的典雅境界。
I. Jade-like Elegance — The Enduring Beauty of Monochrome Glaze
Within the history of Chinese ceramic art, monochrome-glazed porcelain has long been regarded as one of the purest expressions of ceramic craftsmanship and Eastern aesthetics. Unlike blue-and-white, famille rose, or doucai porcelains, which rely upon elaborate painted decoration, monochrome wares reveal their beauty through refined proportions, luminous glaze, harmonious form, and the mastery of kiln firing.
The true challenge of monochrome porcelain lies in its apparent simplicity. Without decorative motifs to conceal imperfections, every aspect—from the quality of the clay body and the evenness of the glaze to the precision of firing and the elegance of the silhouette—is fully exposed. It is precisely this restraint that has made monochrome-glazed wares one of the most admired traditions in Chinese ceramics since the Song dynasty.
Presented in the 2026 Dorothy Autumn Auction, this Qing Dynasty Clair-de-Lune-Glazed Double-Lug Vase is an elegant example of Qing-period archaistic monochrome porcelain. Gracefully proportioned and finely balanced, the vessel is covered entirely with a soft clair-de-lune glaze. Free from painted ornament and excessive carving, it achieves its aesthetic through the quiet refinement of form and the subtle beauty of its glaze.
Having survived the passage of centuries, the vase continues to radiate a gentle jade-like lustre. Its understated silhouette, natural crackle patterns and tranquil glaze together embody the refined artistic ideals pursued by Qing dynasty Jingdezhen kilns in their interpretation of classical monochrome wares.
二、粉青一色，承宋瓷清雅之韻
粉青釉，屬青釉系統中最具代表性的釉色之一，其色澤介於天青、豆青與梅子青之間，帶有柔和而內斂的青綠色調，自古便深受文人士大夫與宮廷審美所推崇。
歷代對粉青釉的欣賞，並非僅止於色彩本身，更在於其所呈現出的玉質溫潤之感。優秀的粉青釉作品，釉層肥厚細潤，光澤柔和含蓄，在不同光線下呈現細微而豐富的色彩變化，如同溫玉般含蓄而耐人尋味，既不張揚，亦不沉悶，流露出清雅、靜穆而深遠的藝術氣息。
本件雙系耳瓶通體施滿粉青釉，釉色純淨柔和，局部因器身弧度、釉層厚薄及光線折射而自然形成深淺不同的色彩層次。當柔和光線映照於瓶身之上，整器呈現淡青如玉、光澤內斂的視覺效果，展現出單色釉瓷器最迷人的藝術魅力。
尤為值得細賞的是，器表可見自然形成的細密開片。紋理或疏或密、或長或短，順應器身曲線自然延展，如冰裂、似流水，亦如歲月在釉面之上留下的細微印記。這類開片並非後期加工，而是胎、釉於高溫燒造及冷卻過程中因收縮率不同而自然形成的肌理，也是歷代收藏家欣賞單色釉瓷器的重要審美特徵之一。
粉青之美，不僅來自於色澤，更源於時間與窯火共同塑造出的自然韻味。遠觀，其色溫潤典雅；近賞，則可細細體會釉色流轉、開片層次與器形比例之間所共同構築的藝術秩序，使作品愈賞愈見深意。
II. Clair-de-Lune Glaze — Carrying Forward the Elegant Spirit of Song Ceramics
Clair-de-lune glaze is among the most celebrated tones within the celadon tradition. Positioned between sky blue, bean green, and plum green, it possesses a delicate blue-green hue that has long been admired by scholars and imperial patrons alike.
Its beauty lies not merely in colour, but in its remarkable jade-like quality. Exceptional examples display a thick, silky glaze with restrained lustre, revealing subtle tonal variations under changing light. Neither ostentatious nor subdued, the glaze conveys an atmosphere of serenity, refinement, and timeless elegance.
The present double-lug vase is entirely covered in a soft clair-de-lune glaze. Gentle variations in colour naturally emerge across the surface due to the curvature of the vessel, differences in glaze thickness, and the reflection of light. Under soft illumination, the vase displays a quiet jade-like brilliance that exemplifies the understated beauty of monochrome porcelain.
Equally captivating are the naturally formed crackle patterns dispersed across the glaze. Their delicate lines vary in density and direction, flowing organically along the contours of the vessel like fractured ice or rippling water. Rather than decorative additions, these crackles are the natural result of differing contraction rates between body and glaze during firing and cooling, and have long been treasured as one of the defining aesthetic qualities of fine monochrome ceramics.
The charm of clair-de-lune glaze ultimately lies not only in its colour, but in the harmonious dialogue between glaze, form, light, and time. From afar it appears calm and elegant; upon closer inspection, its subtle tonal transitions, delicate crackles, and graceful proportions gradually reveal an enduring depth of artistic refinement.
三、雙系耳制，端莊中見靈動
器型，是單色釉瓷器最重要的藝術語言之一。由於沒有繁複紋飾作為視覺焦點，器物的比例、線條、輪廓與結構，便成為決定整體美感的重要因素。
本件粉青釉雙系耳瓶造型規整端莊，直口微撇，短頸承口，肩部豐滿自然，腹部圓潤下收，下承圈足，整體輪廓流暢而富有節奏感。頸、肩、腹、足之間過渡自然，比例勻稱，既展現清代宮廷陳設瓷器所追求的穩重秩序，也保留古代禮器簡潔凝練的造型精神。
器身最具辨識度之處，在於頸肩兩側對稱設置的雙系耳。雙耳造型飽滿圓潤，孔洞自然，與瓶身銜接處過渡平順，處理簡潔而有力度，不僅提升整體立體層次，也賦予器物更強的視覺平衡感。
不同於繁複雕飾的宮廷瓷器，本器雙耳並未刻意追求華麗裝飾，而是以含蓄克制的設計語言，與素雅釉色相互呼應，使器物在端莊之中更見靈動，在簡潔之中更顯古雅。
值得留意的是，雙耳與肩部交接位置因釉層自然積聚，形成較深的青綠色澤，與腹部較為柔和的粉青色形成自然過渡。這種因器型起伏而產生的釉色濃淡變化，正是高品質單色釉瓷器最耐人尋味的細節之一，也充分展現窯火燒造所帶來的自然藝術效果。
從整體觀之，雙系耳不僅具有實用器形演變所留下的歷史痕跡，更成為整件作品視覺重心的重要構成，使器物兼具典雅氣韻與陳設美感，充分展現清代仿古瓷器「形神兼備」的藝術精神。
III. Double Lugs — Dignity Enhanced by Graceful Vitality
Form is the fundamental artistic language of monochrome-glazed porcelain. In the absence of painted decoration, the elegance of proportion, contour, and structural balance becomes the primary expression of beauty.
This clair-de-lune-glazed double-lug vase is exceptionally well proportioned. Its slightly everted mouth rises from a short neck into rounded shoulders, followed by a gently tapering body supported by a neatly finished circular foot. The transitions between each section are harmonious and restrained, embodying both the dignified order of Qing dynasty display porcelain and the concise elegance inherited from earlier archaistic forms.
The most distinctive feature of the vessel is undoubtedly the pair of symmetrical lugs positioned on either side of the neck and shoulder. Rounded in form and carefully integrated into the body, these lugs introduce a refined sculptural quality while reinforcing the visual balance of the composition.
Rather than relying upon elaborate ornamentation, the double lugs complement the understated glaze through restrained design. Their simplicity enhances the vessel’s classical elegance, allowing the purity of form to become the principal focus.
At the junction between the lugs and the shoulders, the glaze naturally accumulates to produce slightly deeper blue-green tones. These subtle variations, created entirely through the interaction of glaze and form during firing, enrich the visual rhythm of the vessel and represent one of the most admired qualities of fine monochrome-glazed porcelain.
Viewed as a whole, the double lugs are more than functional remnants of ancient vessel forms; they serve as essential sculptural elements that strengthen the vessel’s architectural presence while preserving the refined dignity characteristic of Qing dynasty archaistic ceramics.
四、仿古風尚，映照清中期宮廷審美
清代中期，宮廷藝術進入仿古風尚最為興盛的時期。自雍正、乾隆兩朝以來，宮廷對商周青銅器、宋代名窯及歷代古器的研究與收藏日益深入，也促使景德鎮御窯廠大量燒製仿古器物，以回應宮廷對傳統文化與典雅美學的追求。
然而，清代的仿古並非單純的復刻，而是在尊重古代器物精神的基礎上，融入當時成熟的製瓷技術與宮廷審美，使作品兼具古意與時代特色，形成獨具一格的藝術風貌。
本件粉青釉雙系耳瓶正充分體現這一時期的藝術理念。其器型取法古代雙耳瓶式，比例端正穩重，線條流暢含蓄；釉色則承襲宋代青瓷「以釉勝飾」的審美精神，以溫潤柔和的粉青釉作為整體視覺重心，展現極簡而高雅的藝術境界。
與宋代器物相比，本器並未刻意追求纖巧秀逸，而是在穩重之中強調宮廷陳設器應有的氣勢與秩序感，使整體更具莊重典雅的皇家審美特色。
通體光素無紋，沒有繁麗彩繪，也沒有刻意雕琢，僅以純淨釉色與優雅器形構成完整的藝術語言。這種「以器形為骨、以釉色為魂」的設計理念，正是清中期景德鎮仿古單色釉瓷器最具代表性的藝術特色之一。
粉青釉在清代已不僅是一種釉色，更是一種成熟而內斂的審美語言。它沒有紅釉的濃烈，也不同於藍釉的深沉，而是在淡雅之中展現厚度，在含蓄之中流露氣韻，使作品更具文人氣息，也更耐反覆品賞。
IV. Archaistic Elegance — Reflecting the Imperial Taste of the Mid-Qing Court
During the mid-Qing period, admiration for antiquity reached its height within the imperial court. Under the Yongzheng and Qianlong emperors, extensive study and collection of ancient bronzes, Song dynasty ceramics, and classical artefacts inspired the imperial kilns at Jingdezhen to produce numerous archaistic porcelains that celebrated China’s artistic heritage.
These creations, however, were never intended as literal reproductions. Instead, they combined the aesthetic ideals of antiquity with the technical sophistication and refined taste of the Qing court, resulting in works that were simultaneously classical in spirit and unmistakably contemporary to their own era.
The present clair-de-lune-glazed double-lug vase exemplifies this artistic philosophy. Its elegant silhouette draws inspiration from ancient double-lug vessel forms, while its harmonious proportions and restrained lines reflect the disciplined refinement favoured by Qing imperial aesthetics. The soft celadon glaze continues the Song dynasty tradition of allowing glaze itself to become the principal ornament, creating an atmosphere of quiet sophistication.
Unlike many Song wares, which often favour slender delicacy, this vase possesses a greater sense of stability and ceremonial presence, qualities particularly suited to imperial display. Its balanced proportions and dignified form embody the orderly elegance characteristic of Qing court craftsmanship.
Entirely free of painted decoration and elaborate carving, the vessel achieves beauty solely through the interplay of form and glaze. This philosophy—allowing structure to provide the framework and glaze to convey the artistic spirit—became one of the defining characteristics of Qing dynasty archaistic monochrome porcelain.
Within Qing ceramics, clair-de-lune glaze evolved beyond a simple colour into a sophisticated aesthetic language. Neither dramatic nor austere, it reveals richness through subtlety and refinement through restraint, inviting prolonged contemplation rather than immediate visual impact.
五、素器見功，釉色即裝飾
中國陶瓷藝術歷來有「素器見功」之說。相較於青花、粉彩或鬥彩瓷器可藉由繁複紋飾展現工藝層次，單色釉瓷器則完全依靠器形、釉色與燒造品質取勝。正因如此，每一處線條、每一層釉色、每一道光澤變化，都成為評判器物優劣的重要依據。
本件粉青釉雙系耳瓶通體不施彩繪，也不見雕刻紋飾，器表僅以粉青釉色與自然形成的開片作為唯一裝飾。這種「以少勝多」的藝術語言，看似樸素，實則更考驗製瓷工匠對器形比例、胎體修整、施釉厚薄及窯火溫度的精準掌控。
器身釉層厚潤勻淨，光澤柔和而富有玉質感。當光線輕柔映照於瓶身之上，釉面呈現溫潤內斂的反射效果，使整器宛如一塊經歲月滋養的青玉，散發含蓄而沉靜的氣韻。
更為耐人尋味的是自然形成的開片肌理。細密紋路順應器身曲面自然舒展，或疏或密、或長或短，既不刻意，也不紊亂，宛如冰裂初融，又似湖面漣漪，為原本純淨素雅的器物增添豐富層次。
開片並非後天加工，而是在燒造與冷卻過程中，由胎體與釉層收縮率不同自然形成的藝術肌理。歷經時間沉澱，開片逐漸呈現更深的層次感，也讓每一件單色釉作品都擁有無法複製的個性與生命力。
正因如此，單色釉瓷器真正的魅力，並非來自華麗裝飾，而是在簡約之中蘊藏深厚工藝；於寧靜之中，展現歷久彌新的東方美學。
V. Mastery Revealed Through Simplicity — Glaze as the Sole Ornament
Chinese ceramic connoisseurship has long embraced the principle that true craftsmanship is most clearly revealed through simplicity. Unlike blue-and-white or enamelled porcelains, whose beauty often lies in elaborate decoration, monochrome-glazed wares depend entirely upon the harmony of form, glaze, and firing. Every contour, every variation in glaze, and every reflection of light becomes an essential part of the artistic whole.
The present double-lug vase is completely free from painted decoration and carved ornament. Its surface relies solely upon the soft clair-de-lune glaze and naturally formed crackle patterns to achieve visual richness. This apparent simplicity, however, demands extraordinary precision in shaping, glazing, and kiln control.
The glaze is remarkably rich and even, possessing a gentle lustre reminiscent of polished jade. Under changing light, the vessel emits a restrained glow, creating a serene visual presence that invites quiet contemplation rather than immediate spectacle.
Equally captivating are the naturally developed crackles that spread gracefully across the surface. Flowing effortlessly with the contours of the vessel, they resemble fractured ice or delicate ripples upon still water, introducing subtle rhythm and depth to the otherwise unadorned form.
These crackles are not decorative additions but natural phenomena produced during firing and cooling as the porcelain body and glaze contract at different rates. Over centuries, they acquire increasing visual complexity, ensuring that every monochrome-glazed vessel possesses an individuality that can never be precisely replicated.
Ultimately, the enduring appeal of monochrome porcelain lies not in ornament, but in refinement. Its quiet elegance allows craftsmanship itself to become decoration, embodying one of the highest ideals of traditional Chinese ceramic aesthetics.
六、粉青之雅，映照文人審美
中國古代文人對器物之美的追求，向來不在繁華，而在含蓄；不在奪目，而在耐人尋味。這種重視內在氣韻、崇尚自然平和的審美觀，也深深影響了歷代單色釉瓷器的發展。
粉青釉之所以歷久不衰，正因其能夠以極為克制的色彩，營造出近乎玉石般的溫潤質感。它沒有濃烈的色彩對比，也沒有華美的裝飾語言，而是在淡雅之中蘊藏厚度，在素淨之中流露精神。
歷代文人常以「玉」比德，認為玉之溫潤、純淨、含蓄，正象徵君子之品格。而粉青釉瓷器所呈現出的柔和光澤與沉靜氣息，也因此被視為最能體現東方文人精神的重要器物之一。
本件雙系耳瓶整體氣韻恬淡自然，既沒有刻意追求視覺衝擊，也不以裝飾取勝，而是透過器形比例、釉色層次與光影變化，共同營造出一種安靜而深遠的藝術境界。
愈是靜心觀賞，愈能發現其中蘊藏的細節之美：口沿收放的節奏、肩腹轉折的流暢、雙耳比例的均衡、釉層厚薄的變化，以及開片紋理所帶來的歲月印記，都使整件作品在反覆品賞之中展現更加深厚的藝術魅力。
粉青之美，並不在瞬間驚豔，而在歷久彌新；它沒有刻意彰顯自身，而是在歲月沉澱之後，愈發溫潤、愈顯高雅，也正因此成為中國陶瓷藝術中最耐人尋味的美學典範之一。
VI. The Elegance of Clair-de-Lune — A Reflection of Literati Aesthetics
Throughout Chinese history, the literati admired objects not for extravagance, but for restraint; not for brilliance, but for quiet depth. This philosophy profoundly shaped the evolution of monochrome-glazed ceramics, where simplicity became the highest form of refinement.
The lasting appeal of clair-de-lune glaze lies in its remarkable ability to evoke the warmth and purity of jade through the most restrained palette. Free from vivid contrasts and elaborate ornament, it achieves richness through subtlety and expresses elegance through quiet understatement.
For centuries, Chinese scholars regarded jade as the embodiment of virtue—gentle, pure, modest, and enduring. The soft lustre and tranquil character of clair-de-lune glaze naturally came to embody these same ideals, making such wares among the finest expressions of literati taste.
The present double-lug vase possesses precisely this quiet dignity. Rather than seeking dramatic visual impact, it allows proportion, glaze, and light to work together in perfect harmony, creating an atmosphere of serene sophistication.
The more closely one observes the vessel, the richer its beauty becomes: the controlled opening of the mouth, the graceful transition between shoulder and body, the balanced placement of the double lugs, the subtle variations within the glaze, and the naturally aged crackles all reveal themselves gradually through prolonged contemplation.
The beauty of clair-de-lune glaze is therefore not immediate, but enduring. It does not demand attention; instead, it rewards patience, revealing increasing refinement with every viewing—a quality that has made it one of the most admired achievements in the history of Chinese ceramic art.
七、收藏與陳設兼備的清代雅器
粉青釉瓷器在清代單色釉體系中始終佔有重要地位。它既承襲宋代龍泉青瓷「以釉見美」的審美傳統，也充分展現清代景德鎮御窯成熟的製瓷工藝，是歷代仿古瓷器中極具代表性的藝術門類之一。
本件粉青釉雙系耳瓶器形規整，比例勻稱，釉色純淨溫潤，雙系耳造型端莊自然，整體視覺沉穩而富有古意。通體素雅無紋，沒有繁複彩繪，僅以釉色、器形與自然開片構成完整的藝術語言，充分體現中國陶瓷「少即是多」的審美精神。
對於收藏而言，單色釉瓷器最大的魅力，在於其不受裝飾題材限制，更著重於器物本身所呈現的藝術品質。因此，器形是否優美、釉色是否純正、光澤是否柔和、開片是否自然，皆是評判作品的重要依據。
本件作品兼具清雅的文人氣息與宮廷陳設器的端莊格局，既適合作為單件陳設欣賞，也適合納入單色釉或清代瓷器收藏體系之中。無論置於書房、茶室、藝術空間或古典室內陳設，皆能展現含蓄而高雅的東方藝術氣質。
從藝術史角度而言，此類仿古單色釉瓷器不僅延續宋代青瓷美學，更反映清代宮廷對傳統文化的尊崇，以及景德鎮御窯於器形、釉色與燒造技術上的成熟成就，因此兼具藝術欣賞、文化研究與收藏價值。
VII. A Refined Qing Masterpiece for Collection and Display
Clair-de-lune-glazed porcelain occupies an important position within the Qing dynasty monochrome-glaze tradition. It inherits the Song dynasty appreciation for glaze as the primary artistic expression while demonstrating the remarkable technical achievements of the Jingdezhen imperial kilns. As such, it represents one of the finest examples of Qing archaistic ceramics.
This double-lug vase is distinguished by its harmonious proportions, refined silhouette, elegant glaze, and naturally balanced composition. Entirely free of painted decoration, it relies upon form, glaze, and naturally developed crackles to create a complete visual language, embodying the timeless principle that true refinement often lies in restraint.
For collectors, the appeal of monochrome porcelain extends beyond decorative themes. Greater emphasis is placed upon the purity of glaze, elegance of proportion, technical precision, and overall artistic harmony. These qualities allow such works to transcend changing tastes while retaining enduring aesthetic significance.
The present vase possesses both the quiet elegance admired by literati and the dignified presence associated with Qing imperial display wares. Whether displayed individually or incorporated into a broader collection of monochrome ceramics, it conveys a refined atmosphere well suited to studies, tea rooms, galleries, or classical interiors.
From the perspective of ceramic history, archaistic monochrome wares such as this not only continue the artistic legacy of Song celadon but also reflect the Qing court’s admiration for antiquity and the extraordinary craftsmanship achieved at Jingdezhen during the height of imperial porcelain production.
八、一抹粉青，凝歲月之韻
歷經數百年時光流轉，粉青釉所呈現的溫潤光澤依然含蓄而沉靜，器身自然形成的開片肌理，更如歲月留下的細微印記，使整件作品散發出古樸而深遠的藝術韻味。
本件清代粉青釉雙系耳瓶，以端莊器形承載古代禮器精神，以粉青釉色延續宋瓷美學，以自然開片記錄窯火與時間共同留下的痕跡。器物沒有華麗的裝飾，卻以最純粹的方式詮釋中國單色釉瓷器所追求的極致美學。
一抹粉青，凝聚的是數百年窯火淬鍊；一對雙耳，承載的是古代器物的禮制精神；一身素雅，映照的是中國陶瓷歷久彌新的審美傳承。
今日再觀此器，它所呈現的不僅是一件清代單色釉瓷器，更是一段跨越時空的文化記憶。於含蓄中見典雅，於靜穆中見力量，於素淨中見深厚，正是中國陶瓷藝術最耐人尋味的精神所在。
VIII. A Touch of Celadon, A Legacy Through Time
Centuries have passed, yet the gentle lustre of the clair-de-lune glaze remains calm and luminous. The naturally developed crackles, quietly etched across the surface, bear witness to the passage of time, enriching the vessel with a profound sense of history.
This Qing dynasty double-lug vase combines the dignified form of ancient ritual vessels with the elegant celadon aesthetics inherited from the Song dynasty. Its naturally formed crackles preserve the dialogue between clay, glaze, fire, and time, while its restrained simplicity represents the highest ideals of Chinese monochrome porcelain.
Within its soft jade-like glaze resides centuries of kiln craftsmanship; within its symmetrical lugs survives the spirit of classical ritual forms; within its quiet appearance endures the timeless refinement of Chinese ceramic tradition.
Viewed today, the vase stands not merely as a Qing dynasty ceramic but as a cultural legacy that transcends generations. It reveals elegance through restraint, strength through serenity, and enduring beauty through simplicity—qualities that continue to define the finest achievements of Chinese ceramic art.
