An Overview of Qing Glass

15 semi-transparent pink glass. Certainly a Qianlong type, it is difficult to date them any more precisely at this point. Figures 56, 57 and 58 are all from the same spectacular carver who seems to have worked at court during the Qianlong period, and probably from the early to mid reign. The first half of the Qianlong reign represents a standard of glass carving which is uniformly impressive, whereas from the second half of the reign a decline Fig. 59. Colorless glass bottle, 1760–1799. Bloch Collection. Fig. 57. Blue-green glass bottle carved to illustrate a tree with prunus blossoms. Fig. 58. Cranberry glass carved to illustrate a fortified palace surrounded by water on one side, 1736–1770. Fig. 60. Carved lime-green glass bottle with a chi dragon climbing up each narrow side, 1760–1799. Fig. 56. Blue glass bottle carved to illustrate a continuous design of a peach tree laden with its fruit. was made at court and what in private workshops. Figure 59 is a delightfully dateable bottle for so plain and colorless a piece of glass, for there is an enameled version of it in the J & J Collection which can be dated to the Qianlong reign post 1760, and probably to the 1760s or 1770s. Clearly the two were made by the same glassmakers and only one was enameled, for whatever reason. Figure 60 is quite different from in carving standards is often apparent, although frequently transcended with magnificent works. It wasn ’ t that the finest carving could no longer be done at court, but that the pressures of demand and the acceptance of lower standards, which accompanied it, began to erode the commitment of both patrons and craftsmen. Top quality carving at court continued sporadically into the Daoguang period, although by the latter part of the Qianlong period it becomes very difficult to tell what

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