塞弗尔SEVRES天青釉海洋神话开窗堆浆大果樽

 

这件果樽宛如一尊瓷制的艺术珍品，闪烁着历史的辉煌。

 

瓷标落款： S.64代表1864年 暗刻“DS-97-3”代表着它的诞生年份，即1864年，一个充满传奇的时代。

尺寸：直径45.8cm，高38cm

在拿破仑三世统治时期，法国处于其历史上的巅峰时刻，这个时期被誉为法国第二帝国时代，也是法国历史上的黄金时代之一。法国当时拥有强大的帝国，吸引了世界各地的注目和羡慕。在这个兴盛时期，法国的工匠和艺术家们展现了无与伦比的创造力，创造出了一系列宏伟的艺术品和大型物件，这些作品通常作为国礼赠送给其他国家，象征着法国的繁荣和文化的辉煌。 这个塞弗尔海洋神话开窗堆浆大果樽便是这一时期的杰出代表。

 

天青釉，汉族传统制瓷工艺中的珍品，瓷器釉色名，又名雨过天青，是一种幽淡隽永的高温兰色釉，我国古代陶书描写的青如天，明如镜，正是这种釉色特点的形容。天青釉代表了中国陶瓷传统中的卓越工艺和艺术价值，对世界陶瓷文化做出了宝贵的贡献。这个果樽使用天青釉为底釉，象征着中华陶瓷传统的辉煌延续，承载着文化的传承和卓越工艺的荣耀。正如这瓷制的珍品所展示的那样，天青釉犹如蓝天般广袤无垠，镜面般晶莹明亮，为这一杰出时代的代表性作品增色不少。这个果樽与中国陶瓷传统的深厚底蕴相得益彰，为世界陶瓷文化的珍贵贡献留下了浓墨重彩的一笔。

 

这令人陶醉的艺术品将中西文化巧妙地交融，呈现出独特的韵味。在这一场神话的舞台上，爱神与女神骑乘海豚，宛如穿越苍穹的神仙。这四开窗的场景，细致入微，仿佛是生动的画卷，用多彩堆浆雕琢而成，营造出丰富多彩的层次感，令人不禁为之倾倒。绚丽的彩色堆浆雕刻出了花卉和波涛汹涌的海浪，仿佛将我们带入了大自然的鬼斧神工之中。这片海洋世界如梦似幻，奇妙无比。而在这个神话的中心，蓝釉描金的绘画呈现出贝壳和海豚的精美纹饰，为整个场景增色不少。这些纹饰犹如点缀在这幅神话画卷上的宝石，闪烁着诱人的光芒。

这件作品将中国传统的底釉工艺与西方神话主题相融合，创造出一幅富有魅力的画面。它是一项杰出的文化交流，以不同文化元素的完美结合，表达出了艺术和人类创造力的辉煌。这件果樽不仅是一项艺术创作，更是文化融合的见证，将中西文化的精粹融入了一件令人陶醉的陶瓷杰作之中。

 

这件大尺寸的果樽被形容为“世博会器型”，曾为某个世界博览会设计，吸引了无数观众的注目。它不仅是一件艺术品，更是一段历史的见证，展示了当时工匠们的卓越技艺和创造力。这种宏伟的瓷器不仅是一件艺术品，更是一种政治象征，象征着法国的强大和文明。它的制作精湛，充满细致的绘画和精致的工艺，无疑反映了当时法国工匠的杰出技艺。它不仅令人叹为观止，更是一份珍贵的礼物，代表了法国对外交友的高度礼遇。这样的大型物件通常是在重要外交场合或国事活动中赠送给其他国家的元首或贵宾，以展示法国的优雅和实力。因此，这个天青釉塞弗尔海洋神话开窗堆浆大果樽不仅是一件艺术品，更是法国富有的象征，见证了那个光辉的历史时代的繁荣和荣耀。

 

类似的作品收藏于：

枫丹白露宫

贡比涅城堡

 

出处：Bernard Dragesco与Didier Cramosian，于法国巴黎

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​【EN】

Sèvres Celadon-Glazed Porcelain Vase with Mythological Marine Scenes in Relief Panels
Sèvres, 1864

Porcelain mark: S.64 (for the year 1864)
Incised mark: DS-97-3

Dimensions: Diameter 45.8 cm, Height 38 cm

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This magnificent vase, originally conceived as a grand fruit cooler, shines as a true masterpiece of porcelain artistry, radiating the splendor of its historical context.

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Created in 1864, as indicated by its factory mark “S.64” and the incised code “DS-97-3”, the piece dates from a legendary era: the height of the Second French Empire under Napoleon III. This was one of the golden ages of French history, when the country enjoyed immense political and cultural influence. During this prosperous time, French craftsmen and artists produced numerous monumental works, often intended as diplomatic gifts to foreign sovereigns, embodying the nation's prestige and refinement. This exceptional Sèvres vase is a striking example of such imperial grandeur.

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The vase features a celadon glaze (fond céladon), known in China as "Tianqing" or "sky after rain", a revered high-fired blue glaze from ancient Chinese ceramic tradition. Described in historical Chinese texts as “blue as the sky, bright as a mirror,” the glaze represents excellence in traditional craftsmanship. Its adoption by Sèvres here reflects a cross-cultural homage, symbolizing the enduring influence of Chinese ceramic aesthetics. The celadon ground on this vase glows like a polished sky, accentuating the vibrant mythological compositions it frames.

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The vase’s four cartouches depict enchanting marine mythological scenes: cupids and goddesses riding dolphins across foaming seas, rendered with vivid polychrome relief and remarkable three-dimensional depth. These painted and molded tableaux pulse with movement and detail, drawing the viewer into a fantastical world. Around them swirl ornamental waves, seashells, dolphins, and floral motifs sculpted in thick enamel (pâte-sur-pâte and relief pâte colorée), further enhancing the textural richness of the piece.

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This vase exemplifies a brilliant fusion of Eastern ceramic tradition and Western mythological iconography. The use of celadon glaze, typically reserved for Chinese forms, becomes here a backdrop for neoclassical European themes, creating a work of rare intercultural artistry. It is both an artistic object and a symbol of cultural dialogue, merging diverse artistic legacies into one remarkable whole.

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Often referred to as an "Exposition vase", this monumental work was likely created for a World’s Fair, where Sèvres routinely showcased its most ambitious pieces to international audiences. Such grand-scale porcelain works served not only as art, but as instruments of diplomacy and statecraft—gifted to visiting heads of state or displayed in royal collections to project the power and sophistication of the French Empire. The technical refinement, elaborate decoration, and symbolic narrative of this vase make it both a masterwork of 19th-century porcelain and a testament to France’s artistic diplomacy.

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Comparable pieces are preserved in:

• The Château de Fontainebleau

• The Château de Compiègne

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Provenance:
Bernard Dragesco and Didier Cramescian, Paris