Page 140 - Christie's Hong Kong November 29, 2022 Fine Chinese Works of Art

PROPERTY FROM THE EHIME BUNKAKAN COLLECTION
愛媛文華館藏品
2993

A FINE CELADON-GLAZED DOUBLE-GOURD 清乾隆 豆青釉葫蘆蓋瓶 六字篆書款
FORM VASE AND COVER
來源:
QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE 二宮兼一(1898 - 1996) 舊藏，1955年前入藏
AND OF THE PERIOD (1736-1795) 愛媛文華館，日本
The elegant vase is well potted with a compressed globular lower
bulb rising from the countersunk base to a slightly smaller globular
upper bulb, surmounted by a long narrow mouth. The fitted cover
is potted with a short stem. Both are covered with a pale sea-green
glaze.
13¡ in. (34.5 cm.) high

HK$1,000,000-1,500,000 US$130,000-190,000
P R O V E NAN C E :
Kaneichi Ninomiya (1898-1996), acquired prior to 1955 (mark)
Ehime Bunkakan, Japan

Double-gourd vases are also known as dajiping 'vase of good fortune', 此器造型俊美，釉質瑩潤，蓋鈕作一小柄狀，頗具巧思。葫蘆瓶又稱「大吉
as the double gourd, or bottle gourd, symbolises fertility and good 瓶」，因其外觀與「吉」字相似而得名。此式青釉葫蘆瓶帶原配蓋者十分罕
fortune. It is very rare to find double-gourd vases with original covers. 見，近似帶蓋例可參考南京博物院藏品，見《宮廷珍藏—中國清代官窯瓷
Similar examples with covers are in public and private collections 器》，上海，2003年，頁341；1992年香港藝術館《清朝瑰寶》展出一例，香
worldwide, including one in the Nanjing Museum, illustrated in Zhongguo 港，1992年，頁345，編號212；香港中文大學文物館藏一例，見《清瓷萃珍》
qingdai guanyao ciqi, Shanghai, 2003, p. 341; one included in the ，香港，1995年，圖錄編號69。曾經拍賣的帶蓋例子包括，靜觀堂舊藏一
exhibition Splendour of the Qing Dynasty, the Hong Kong Museum of 例，1996年11月3日於香港佳士得拍賣，拍品571號；2016年11月30日香港佳士
Art, 1992, p. 345, no. 212; one published in Chinese Porcelain. The S.C. 得拍賣另一例，拍品3327號；及紐約邦瀚斯2018年3月19日 拍賣一例，拍品
Ko Tianminlou Collection, vol. 1, Hong Kong, 1987, pl. 160; one from the 8047號。
Jingguantang Collection, sold at Christie's Hong Kong, 3 November 1996,
lot 571, and again 28 October 2002, lot 723; one sold at Christie’s Hong
Kong, 30 November 2016, lot 3327; and one sold at Bonhams New York, 本瓶現為愛媛文華館藏品。愛媛文華館由著名商人暨收藏家二宮兼一
19 March 2018, lot 8047. （1898-1996）於1955年建立，位於今日本愛媛縣今治市護城河邊。今治市
歷史悠久，自1635年起由德川幕府親藩大名久松家族擔任城主。二宮兼一起
The present vase belongs to the Ehime Bunkakan Collection. Located 家林木業， 18歲協助父親經營小型木作坊，後接手管理，透過巧妙投資並
beside the moat of Imabari castle where the Hisamatsu family, a branch 引進新進機器，將其發展為一家現代化的鋸木廠。二宮氏營商有道，深謨遠
of the Tokugawa shogunate, had resided since 1635 in present day 慮，1930年代預感日本將步入漫長抗戰狀態，大量購買四國島上的森林和山
Ehime prefecture, Ehime Bunkakan was established in 1955 by Ninomiya 脈，隨戰後舉國重建急需木材而獲利甚豐。他對家鄉今治感情深厚，畢生貢
Kaneichi (1898 – 1996). Kaneichi was a successful businessman who 獻良多，後更當選為市議會成員。戰後，二宮氏十分憂心傳統價值之流失，致
made his fortune from forestry. When he was only eighteen years old, 力捍衛在社會急速發展下而遭受忽視的歷史文物，從而開始積極收藏中國
he had an important role in his father’s modest workshop of wood 與日本文物藝術品，其後更加入日本東洋陶瓷協會，受會中頂尖學者及古董
products. Kaneichi eventually took over the business and through skillful 界翹楚如山中商會等薰陶，令他鑒藏能力與日俱增，對其藏品去蕪存菁，精
investments he introduced new machine tools and started a modern 益求精。二宮氏對家鄉及藝術的熱愛及熱情促使他建造愛媛文華館，以回饋
sawmilling factory. Using a keen business acumen, Kaneichi’s strenuously 社會並貢獻於其文化景觀。
bought forest and mountains across Shikoku Island in the 1930s, sensing
the dramatic change that would happen in society in the coming years
when Japan would enter into a long period of war. His foresight was
proven right, as after the war the demands of timber reached a height
as cities were rebuilt. His contributions to his hometown of Imabari
were particularly generous, where he was subsequently elected a city
council member. After the war, Kaneichi grew concerned that traditional
values and cultural relics had lost their importance in society and began
to collect Chinese and Japanese antiques. Shortly after, he joined the
Japanese Ceramics Society, and his knowledge became enriched by the
top academics and long-standing antique dealers in the society, such
as Mayuyama & Co., leading to enriching his collection with top quality
works. His love of his hometown and his passion for art prompted him to
open the Ehime Museum of Art, established to contribute to the cultural
landscape of the local community.

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