● 藏品名称：清代广彩开光西洋人物纹铺首耳铜胎画珐琅瓶（Qing Dynasty Guangzhou Enamelled Copper Vase with Four Medallions Decorated with Western Figures and Beast-Mask（Pushou） Handles）
● 藏品编号 Collection No.：EW001
● 长 Length（cm）：4.2
● 口径 Caliber（cm）：3.1
● 高 Height（cm）：13.5
● 工艺（Manufacturing Techniques）：广彩铜胎画珐琅
● 款识（Chinese Mark）：乾隆年制
● 材质（English Mark）：铜
藏品描述
这件清代广彩四开光西洋人物纹铺首耳铜胎画珐琅瓶，器型为修长的瓶式，通体以铜胎为体，并以深棕褐色珐琅釉为地，造型挺拔端庄，满饰白、蓝、红彩缠枝卷草纹并以金彩勾边，纹饰繁复流畅；肩部设铜鎏金瑞兽铺首耳，衔活环，兼具中式瑞兽的威严与鎏金的华丽质感；腹部四面开光，内绘西洋人物场景，借鉴西方透视技法营造空间感，人物衣饰、姿态与环境细节均呈现明显的西方绘画风格，开光以金彩勾边并饰卷草纹，与地纹呼应；口沿饰金彩回纹，肩部点缀黄彩卷云纹，整体以画珐琅工艺绘就，色彩鲜艳、层次分明，既保留中式器物的装饰传统，又融合西洋题材与审美，是清代广州外销珐琅器中体现中西审美融合、工艺互鉴、装饰性与陈设性并重的典型作品。
纹饰和工艺
此件小的四方器型小瓶四面开光，对应的面开光中的画面相同，
瓶腹正中开一纵向不规则卷叶形开光，其边缘以描金勾勒，形成鲜明的视觉焦点。开光内以白色珐琅釉为地，绘一组西洋人物形象：
主体人物为一名身着蓝白相间长袍的女子，服饰具有18世纪欧洲古典风格，衣褶以柔和的蓝、灰色渐层表现，立体感较强。女子身边倚坐一名儿童，身披黄色织物，面部圆润，姿态自然，呈现亲密的情感互动。人物面部以褐红色细线勾勒轮廓，五官立体，鼻梁高挺，明显借鉴西方铜版画或宗教题材版画的造型特征。
i
肩部，设铜鎏金瑞兽造型铺首耳，金层温润、纹饰清晰，活环与铺首衔接自然，兼具中式瑞兽的威严与欧式装饰的华丽质感；器腹椭圆形开光以金彩勾边，内绘西洋人物场景，主位女性身着 18 世纪洛可可风格的粉白条纹露肩长裙，发式盘束、神态温婉，身侧从位儿童着蓝白上衣与之互动，服饰褶皱线条流畅贴合动态，背景的欧式绿色立柱与细笔描绘的树木景致，以西方绘画透视技法营造空间感，开光边框的浅浮雕卷草纹与器身深棕地釉上的缠枝卷草纹呼应，
铺首耳介绍
“铺首” 原指中国古代建筑门上的衔环装饰构件，后被引入器物设计，成为器物耳的经典样式之一，常见于铜器、瓷器、珐琅器等品类中。作为器物耳，铺首通常以瑞兽（狮、饕餮、龙等）头部造型为核心，口部衔有活环，兼具双重属性：从功能上，它是器物的握持、搬运构件，活环设计便于提拿；从装饰上，瑞兽造型承载着驱邪纳吉的传统寓意，同时通过鎏金、彩绘等工艺强化视觉华丽感，适配不同器物的风格定位。
铺首在传统文化中具有明确的象征内涵：
· 辟邪与镇守
兽面形象被视为具有威慑与守护之力，象征镇宅、护器、辟邪。
· 等级与礼制的延续
铺首源自青铜礼器和宫廷建筑，其在清代器物上的沿用，体现出对古代礼制与权威象征的继承。
底款为四方双边框乾隆年制四字楷书款。
Object Description
This Qing Dynasty Guangzhou Enamel Copper Vase with Four Medallions of Western Figure Scenes and Animal-Mask Handle features an elongated, slender form. Constructed with a copper body, it is coated entirely in a dark brown enamel ground, presenting a tall, dignified silhouette. The surface is densely decorated with white, blue, and red scrolling vine patterns outlined in gilt, with intricate, fluid motifs. At the shoulders, there are gilded copper animal-mask handles (shou shou) holding movable rings—these combine the solemnity of traditional Chinese mythical beast motifs with the opulence of gilding. Four medallions are set on the belly, each depicting Western figure scenes that use Western perspective techniques to create a sense of space; the figures’ attire, poses, and environmental details all reflect distinct Western painting styles. Each medallion is outlined in gilt and adorned with scrolling patterns, echoing the background motifs. The mouth rim is decorated with gilt key fret patterns, while the shoulders are accented with yellow enamel cloud scrolls. Executed entirely in the canton enamel technique, the vase boasts vivid colors and clear layers. It preserves the decorative traditions of Chinese artifacts while integrating Western themes and aesthetics, making it a representative work of Qing-dynasty Guangzhou export enamelware that embodies Sino-Western aesthetic fusion, technical exchange, and a balance of ornamentation and display value.
Decoration and Craftsmanship
This small square vase features four medallions (one on each side), with identical scenes depicted in each corresponding medallion.
A vertical, irregular leaf-shaped medallion is set at the center of the vase’s belly, its edge outlined in gilt to create a striking visual focal point. Inside the medallion, a white enamel ground serves as the backdrop for a group of Western figures:
The central figure is a woman dressed in a blue-and-white robe, styled in 18th-century European classical fashion. Her clothing folds are rendered with soft blue and gray gradients, lending a strong sense of three-dimensionality. Beside her, a child leans against her, draped in yellow fabric; with a rounded face and natural posture, the pair conveys an intimate emotional connection. The figures’ faces are outlined in thin reddish-brown lines, with distinct, three-dimensional features and high noses—clearly drawing on the stylistic characteristics of Western copper engravings or religious prints.
At the shoulders, gilded copper animal-mask handles (shou shou) are set: the gilded layer has a warm luster with clear decorative patterns, and the movable rings connect seamlessly to the masks. These handles combine the solemnity of traditional Chinese mythical beast motifs with the ornate opulence favored in European decoration. Inside the oval medallions on the vase’s belly (outlined in gilt), Western figure scenes are painted: the central woman wears a pink-and-white striped off-the-shoulder gown in 18th-century Rococo style, with her hair styled in an updo and a gentle demeanor. A child beside her, dressed in a blue-and-white top, interacts with her; the lines of the clothing folds flow smoothly, matching the figures’ movements. The background features European-style green columns and finely detailed trees, using Western painting perspective techniques to create a sense of space. The shallow-relief scrolling patterns on the medallion borders echo the scrolling vine motifs on the vase’s dark brown ground.
Introduction to the Animal-Mask Handle (Shou Shou)
"Shou shou" originally referred to ring-holding decorative components on the doors of ancient Chinese architecture; later, it was adapted into artifact design, becoming a classic style of vessel handle, commonly seen on bronze, porcelain, and enamel wares. As a vessel handle, shou shou typically centers on the head of a mythical beast (such as a lion, taotie, or dragon), with a ring held in its mouth. It serves dual purposes: functionally, it acts as a grip or carrying component, with the movable ring facilitating lifting; decoratively, the mythical beast motif carries the traditional meaning of warding off evil and attracting good fortune, while techniques like gilding and painting enhance its visual opulence, adapting to the stylistic orientation of different artifacts.
Shou shou carries clear symbolic connotations in traditional culture:
Warding off evil and guarding
The beast-face design is regarded as having deterrent and protective power, symbolizing the guarding of homes, artifacts, and the warding off of misfortune.
Continuity of hierarchy and ritual system
Originating from bronze ritual vessels and imperial architecture, the use of shou shou on Qing-dynasty artifacts reflects the inheritance of ancient ritual systems and symbols of authority.
The base bears a four-character regular-script mark "Qianlong Nian Zhi" (Made in the Qianlong Reign) within a double square border.
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