高 65 厘米 × 宽 43 厘米 × 深 43 厘米
1873 年，瓷面签名：“DAMMOUSE”，印章：“Décoré à Sèvres”

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这件瓷瓶由法国著名陶艺家阿尔贝·达穆斯（Albert Dammouse, 1848–1926）于1873年创作，并在塞弗尔皇家瓷厂完成装饰。通体构图简洁清雅，描绘一只仙鹤独立于山石之上，画面静谧空灵，釉面光洁润泽，展现出“日本风”（Japonisme）在19世纪下半叶对欧洲艺术的深远影响。

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花瓶采用“长椭圆罐形瓶”（vase potiche ovoïde allongée）造型，由Jules Peyre设计，瓶体无底，配有插口结构，属纯陈设器，常用于博览会等官方展览。

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本器尤为引人注目的是其运用的彩色堆浆（pâte-sur-pâte）装饰工艺。该技法源于中国传统“堆白”，最初用于景德镇瓷器，19世纪中期经由法国工匠在模仿过程中意外发展为彩色版本。工艺过程繁复，需要在瓷器胎体上逐层堆叠彩色陶浆，再以刀具雕刻纹饰，经多次烧制而成，形成浮雕般的立体装饰效果。塞弗尔瓷厂在此基础上加以系统化发展，赋予这一技艺鲜明的中法融合艺术特征。

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艺术家介绍：达穆斯出身塞弗尔艺术世家，早年接受美术学院和装饰艺术教育。1871年他在塞弗尔设立个人工作坊，成为最早将东方美学引入法国陶瓷设计的重要人物。其作品风格兼具自然主义与东方意趣，曾于1874年获法国装饰艺术联合会金奖，并在1878年巴黎世博会上再次摘得金奖。

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此件花瓶不仅展现了达穆斯在釉色、造型与图案上的高度造诣，更体现了19世纪末欧洲艺术在自然主题、装饰风格与中西融合方面的独特追求。

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H. 65 cm × W. 43 cm × D. 43 cm
1873, signed “DAMMOUSE” in the decoration, with “Décoré à Sèvres” stamp

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This exhibition vase was created in 1873 by the renowned French ceramicist Albert Dammouse (1848–1926) and decorated at the Royal Sèvres Manufactory. The composition is elegant and tranquil, depicting a crane standing upon rocky ground. With its smooth, luminous glaze and refined aesthetic, the work reflects the strong influence of Japonisme on European decorative arts in the second half of the 19th century.

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The vase adopts the elongated ovoid potiche form (vase potiche ovoïde allongée) designed by Jules Peyre. The piece is bottomless and fitted with an insert structure, conceived purely for display—typical of works intended for exhibitions and official salons.

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A highlight of this vase is its use of the pâte-sur-pâte technique, a highly complex decorative method derived from the traditional Chinese blanc-de-chine relief technique. Originating in Jingdezhen, it was reinterpreted by French artisans in the mid-19th century, who inadvertently developed a colored version. This technique involves layering and carving colored porcelain slip onto the surface before repeated firings, producing delicately raised motifs. The Sèvres Manufactory systematized and refined this process, turning it into a hallmark of Franco-Chinese ceramic fusion.

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Born into a family of Sèvres artisans, Dammouse received formal training in fine and decorative arts. In 1871, he established his own studio in Sèvres and became one of the earliest French ceramicists to incorporate Eastern aesthetics. His style, marked by naturalism and Japanese influence, earned him a gold medal at the 1874 Union Centrale des Arts Décoratifs and another at the 1878 Paris Exposition Universelle.

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This vase not only reveals Dammouse’s technical mastery in glaze, form, and decoration, but also embodies the 19th-century European pursuit of naturalism, ornamentation, and cross-cultural artistic dialogue.