H:22.3cmA Fine Iron Red Decorated 'Holy Water' Vase, Qianlongwith the baluster body beautifully painted around the sides with four stylised lotus flowers, between plantain lappets rising from the base, and petal lappets on the shoulder, all beneath the straight slender neck which is ringed by a rounded collar, the vase sitting on a broad domed foot painted with pendent petal lappetsIn 'A Dictionary of Chinese Ceramics', Singapore 2002, p.47, Wang Qingzhen remarks that vases of this shape, which are invariably finely decorated in iron red, are never seen with an Emperor mark. They were exclusively made in the Qianlong reign, for use as Imperial gifts to visiting Tibetan monks.Condition: Good condition, minor scratching shoulder甘露瓶为藏传佛教陈设用法器。本品圆唇，直颈，颈下部有轮状凸起，丰肩，腹下渐收，束胫，覆钵式圈足，内壁施白釉，外壁以矾红彩绘饰。由上至下依次为回纹、朵梅纹、覆莲纹、仰莲纹、如意纹、变形覆莲纹、折枝西番莲纹、蕉叶纹、覆莲纹。瓶型秀美，色彩协调，为藏族传统造型与清代早期陶瓷烧造工艺的完美结合，而御制甘露瓶尚有另外一种用处，即作皇室赏赐西藏僧侣之用，这与清朝帝王民族统治之政策不无关系。通过尊奉藏传佛教以加强中央集权，是清朝政府民族政策的重要内容。据记载，乾隆帝对藏传佛教极尽虔诚，坚持每日打坐修持，学习梵文和藏文，下令将雍和宫改为喇嘛寺，仿西藏桑耶寺于承德建普宁寺，又仿拉萨布达拉宫于承德建普陀宗乘庙，于紫禁城内仿西藏托林寺坛城殿筑雨花阁……凡此种种。藏传寺庙的增多及法事活动的频繁，促使藏式法器及陈设的大规模制作，大量不同材质的法器经清帝的授旨而成形于造办处，在此背景之下，景德镇御窑厂在奉命惟谨的督陶官唐英的监督之下进行着繁忙的生产事宜。《乾隆纪事档》：「（乾隆十一年）二月奉旨烧造红花甘露瓶，俱不要款」；「（乾隆十一年）五月初一日，唐英将按旨照样烧造得：红花白地甘露瓶四件……奉旨俱留下，其甘露瓶着唐英再烧造几件」；「（乾隆十二年）二月二十九日，大臣海望来说：太监张玉传旨：着传谕唐英将甘露瓶陆续再做些来。」品相报告: 159. Holy water vase. Good condition, minor scratching shoulder