Page 21 - Christie's, THREE IMPERIAL TREASURES Chinese Porcelain May 30 to June 1, 2023 Hong Kong

fig. 9 Collection of the Palace Museum, Beijing fig. 10 Christie’s Hong Kong, 1 June 2011, lot 3668

圖九 北京故宮博物院藏品 圖十 香港佳士得，2011年6月1日，拍品3668號

the use of chiaroscuro technique on the leaves and petals much more clearly
compared to the other three vases, and is closer in style to the yangcai sgraffito
ewer (see Stunning Decorative Porcelains from Ch’ien-Lung Reign, p.50) in the
Taipei Palace Museum.
Revolving vases were complex and expensive commissions, there are
very few surviving examples. The current vase epitomises the finesse of
enamelling and the intricacy of porcelain reticulation in the Qianlong
period. The precision of its construction and the richness of its decorative
schemes make it an outstanding work of art, not to mention the pictorial
depiction on the inner vase, which is rarely seen on recorded examples.
This is Qing craftsmanship at its best, not only a tour-de-force of the
Qing artisans, but also a reflection of Qianlong emperor’s own taste and
self-expression.

轉心瓶〉（圖十），從造型到裝飾手法與本拍品十分相似，不過在纏枝番
蓮花的描繪上仍能看到一些差異。本拍品的纏枝番蓮紋，花葉的明暗光
影較立體，其葉片的描繪也較前述三件作品更繁密，葉形較飽滿，與臺
北故宮收藏的〈洋彩錦上添花壺〉上的纏枝葉更為接近（圖見《華麗彩
瓷：乾隆洋彩》，頁50）。

轉心瓶的燒製耗時費工，燒造成本高，傳世作品更為難得。本件拍品充
份表現了乾隆時期釉上彩瓷的精細，與純熟的雕鏤技法，其精緻的製
作工藝，以及豐富絢麗的色彩與裝飾手法，無一不是精雕細琢之作，而
內瓶繪有畫像的轉心瓶在傳世作品中亦少見，本器可謂是清代精品工
藝的代表，本拍品一方面彰現了清代做工之精巧，另一方面也體現了乾
隆皇帝在這類瓷器欲展現的自我風格。

絢彩鬥妍 – 乾隆御瓷三珍 21