Page 146 - Christie's Hong Kong November 29, 2022 Fine Chinese Works of Art

the Flourishing Qing Dynasty at the Palace Museum, Hong Kong, 1994, Great Collections - Oriental Ceramics Volume 11 The Metropolitan
p. 355, no. 92). These three lantern-shaped vases all include sickle- Museum of Art, New York, Kodansha Series, Tokyo, 1982, colour
shaped spray within the waves, which is not part of the decoration of plate 29) (fig. 2), and another is illustrated by S.W. Bushell in
the current vase or the majority of celadon-glazed Qianlong vessels. A Oriental Ceramic Art Illustrated by Examples from the Collection of W.T.
similar choice of decoration, without sickle-shaped spray, can also be Walters, New York, 1896, fig. 183. Interestingly, significantly less
seen on a celadon-glazed, wide-mouthed Qianlong jar, formerly in the powerful dragons decorate a Qianlong albarello-shaped lidded jar
collections of Alfred Morrison, and the Idemitsu Art Museum, Tokyo, with celadon glaze from the Qing Court Collection in the Palace
sold by Sotheby’s Hong Kong on 8 October 2014, lot 3901. A white- Museum, Beijing (illustrated in The Complete Collection of Treasures
glazed Qianlong vase in the Tianminlou Collection is decorated of the Palace Museum 37 Monochrome Porcelain, op. cit., p. 192, no. 174).
with similar carved dragons, but the clouds are depicted in a more
mannered style with spiral details (illustrated in Chinese Porcelain - The magnificent dragons rising from the waves as they encircle
The S.C. Ko Tianminlou Collection, Hong Kong, 1987, no. 135). the current vase emanate vitality and imperial power. The superb
quality of this vase suggests that it was probably made at the
An unmarked globular vase with similar carved relief dragons imperial kiln during the first two decades of the Qianlong reign,
to the current vase, under a celadon glaze, is in the collection when imperial porcelain production was under the supervision of
of the Metropolitan Museum of Art (illustrated in The World’s the great ceramicist Tang Ying (1682–1756).

紋，圖見馮先銘、耿寶昌與葉佩蘭合編的《故宮博物院藏清 Ceramics》卷十一之《紐約大都會藝術博物館》彩色圖版29
盛世瓷選粹》頁355編號92 (香港：1994)。前述三例燈籠尊的 (東京：講談社系列，1982) (圖二)；另一件近似之作收錄於S.W.
海水紋皆綴以鐮刀狀浪花，這一特徵並未見於本拍品和大 Bushell著作《Oriental Ceramic Art Illustrated by Examples
多數的乾隆青釉器。另有一例粉青釉敞口乾隆罐，其紋飾與 from the Collection of W.T. Walters》圖183 (紐約：1896)。最引
本拍品相若，亦無鐮刀狀浪花，它曾先後入藏莫禮遜 (Alfred 人入勝的是，北京故宮清宮舊藏中也有一例乾隆青釉雲龍紋
Morrison) 放山居與東京出光美術館，2014年10月8日經香港 筒腹蓋罐，其龍紋的感染力明顯較為遜色，圖見前述《故宮
蘇富比拍出(拍品3901號)。天民樓珍藏一例白釉乾隆瓶，其 博物院藏文物珍品全集37：顏色釉》頁192編號174。
雕飾的龍紋大同小異，但雲紋狀若渦卷，表現手法更獨樹一
本拍品通體飾以波濤之中騰雲駕霧的虯龍，神態栩栩如生，
幟，圖見《天民樓藏瓷》編號135 (香港：1987)。
王者風範一覽無遺。這件梅瓶工料俱絕，依此看來，它很可
大都會藝術博物館藏一件無款青釉天球瓶，其凸雕龍紋與本 能是燒造於乾隆即位頭二十年內的極品唐窯器，亦即陶瓷大
拍品相近，圖見《The World’s Great Collections, Oriental 師唐英 (公元1682至1756年) 執掌御窯期間的作品。

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