Page 19 - Christie's, THREE IMPERIAL TREASURES Chinese Porcelain May 30 to June 1, 2023 Hong Kong

fig. 5 Collection of the Tokyo National Museum fig. 6 Collection of the National Palace Museum, Taipei

圖五 東京國立博物館藏品 圖六 國立故宮博物院藏品
© 国立博物館所蔵品統合検索システム

in the Records appears to be a revolving vase with a much more complex of these, a blue-ground revolving vase with cut-out panels (fig. 8), is
mechanism, while the current vase is more akin to the yangcai reticulated constructed with semi-automated mechanisms and is powered by running
vase (fig. 7) in the Taipei Palace Museum, composing of the neck section water and gears, a completely different construction method to the
of the outer vase, the body of the outer vase, the inner vase and the base. aforementioned vases. (see Huo Hua, ‘Qing guanyao jiqingyou fencai Qianlong
The neck of the outer vase is connected to the inner vase with a mortise xingweitu zhuanxuanping yanjiu’, Dongnan wenhua, 1997.02, pp. 132-140).
and tenon joint. Turning the neck will cause the vase to turn accordingly,
where the moving decoration can be seen through the reticulated design The decorative motifs on the current vase, including the passionfruit
of the outer body. This is the most common mode of construction for scrolls, classic scrolls, the keyfret band around the body and the ruyi heads
revolving vases. (For a detailed discussion on the construction of the vase, below the mouth rim are all very typical of the Qianlong period. The pink
see Yu Peichin, ‘Tangying jianzao zhuanxinping jiqi xiangguan wenti’, opt cit.; ground of the neck and the foot, and the yellow ground of the shoulder
and Zhu Jiajin, Guobao, p. 182) and lower body are all decorated with sgraffito design before the addition
of passionfruit scrolls, florets or leaves – a classic example of Qianlong
There are several revolving vases over 60 cm. high in the Nanjing Museum period jinshang tianhua (literally ‘adding flowers to brocade’) decoration.
and Beijing Palace Museum that have more complex constructions, The sgraffito ground can either be done by incised design or painted. The
providing a more animated viewing experience for the viewer. One ‘feather’ scroll seen on the current sgraffito design can be found on many

推測唐英的這件作品應是更為精密、結構複雜的一組轉心瓶。而本拍 北京故宮的一件〈天藍地開光鏤空粉彩轉心瓶〉（圖八），旋轉機能甚
品之製作結構，應與臺北故宮的〈洋彩玲瓏轉旋瓶〉近似（圖七），分成 至已走向更精密的半自動機械動力設計，內瓶的轉旋藉由水流與齒輪
外瓶的瓶頸、外瓶肩腹、內瓶和底座等四部份，而外瓶上半部的瓶頸與 來轉動，已完全不同於前述轉心瓶的轉旋機制（詳細內容見：霍華，〈
內瓶部份以雞心，類似榫卯的結構來套合，用手旋轉瓶頸處即可透過 清官窯霽青釉粉彩乾隆行圍圖轉旋瓶研究〉，《東南文化》，1997.02，
鏤空處看到底座上內瓶的轉動，這也是許多轉心瓶最常應用的構件組 頁132-140。）。
合（詳細的製作圖解可參見前述余佩瑾的〈唐英監造轉心瓶及其相關
問題〉一文，以及朱家溍主編《國寶》一書裡第182 頁〈粉彩鏤空轉心 本拍品的裝飾紋樣，包括番蓮紋、卷草紋、器腹的一圈回紋、口沿下的
瓶〉）。不過，在南京博物院和北京故宮收藏有幾件超過六十公分以上 如意紋等紋飾，皆為乾隆時期彩瓷上常見的紋樣。其中上段瓶頸與圈
的轉心瓶，其製作結構更為繁複，所呈現的視覺效果也更生動。其中 足的粉紅地，以及器肩與瓶腹鏤雕下部的黃地，皆描繪上鳳尾卷草錦

絢彩鬥妍 – 乾隆御瓷三珍 19