Page 114 - CHRISTIE'S Marchant Nine Decades of Chinese Art 09/14/17

MARCHANT: NINE DECADES IN CHINESE ART

A Magnifcent Qianlong Famille Rose Vase
with Historical Themes

清乾隆 粉彩豆青地凸雕暗八仙
開光人物故事圖螭耳大瓶

This rare vase combines a powerful shape and large size with 這件珍罕之作外觀大氣、器型敦碩，粉彩紋飾畫
very fne painting in famille rose enamels, and additional 工精細，器表的瀝粉花紋飾生動立體。乾隆年
surface interest created using the impasto qualities of 間，紋飾精美的大瓶備受推崇，但大部份作品僅
painting in slip. Large-scale vases with impressive decoration came 高四十至五十厘米左右，像本拍品般高七十厘米
to prominence in the Qianlong reign, but the majority of these have 者極罕。然而，北京故宮博物院藏二例已發表的
heights in the region of 40-50 cm., rather than the 70 cm. of the 乾隆轉心瓶，圖見《故宮博物院藏文物珍品全
current vase. However, two magnifcent revolving Qianlong vases 集39：琺瑯彩、粉彩》編號162及163
in the collection of the Palace Museum, Beijing, published in The (香港：1999)，兩者均挺拔碩大，各高73和86.4
Complete Collection of Treasures of the Palace Museum – 39 – Porcelains 厘米。頗堪玩味的是，後者亦飾多面開光，器肩
with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong 粉青釉下亦凸飾團花。雖然北京大瓶的團花不像
Kong, 1999, nos. 162 and 163, are of similarly majestic scale – 73 cm. 本拍品般施彩，但其樣式卻差堪比擬。北京故宮
and 86.4 cm., respectively. Interestingly, the second of these vases also 二瓶和本拍品一樣， 兩者均飾仿古螭耳。楓丹
includes reserved panels, and has similar raised foral roundels under 白露宮內，一件大型木雕陳列櫃上亦置一例大小
the pale celadon glaze on the shoulder. Unlike the foral roundels on 相若的乾隆螭耳大瓶，圖見《Le Musée chinois
the current vase, those on the Beijing vase are not enamelled, but their de l’impératrice Eugénie》頁24圖16–17 (楓丹
form is comparable. Like the current vase, the two Beijing vases both 白露宮法國國家博物館，1986)。此瓶出自法國
have archaistic dragon handles. A further Qianlong vase of apparently 歐仁尼皇后 (1826–1920年) 舊藏，其大小與本拍
similar size, also with archaistic dragon handles is in the collection 品相仿，且同樣飾以粉彩開光，但背景為珊瑚紅
of the Palace of Fontainebleau, illustrated in Le Musée chinois de 地和金地，與本拍品的豆青地截然不同。但粉青
l’impératrice Eugénie, Musée National du Château de Fontainebleau, 釉和精工粉彩繪這一組合，在乾隆朝似乎格外流
1986, fgs. 16-17, p. 24, where it is shown on top of a large carved 行。北京故宮清宮舊藏三孔扁瓶便是絕佳例子，
wooden display cabinet. The French vase, formerly in the collection 圖見前述著作《故宮博物院藏文物珍品全集39：
of the Empress Eugénie (1826-1820), is of similar shape to the 琺瑯彩、粉彩》編號124。該例開光內繪山石仙
current vase, and has similar panels decorated in enamels – reserved 女和梅花鹿，其外粉青釉下瀝粉繪夔龍紋。
against a coral and gold ground, in contrast to the celadon ground
of the current vase. However, the combination of celadon glaze and 本拍品豆青地上用瀝粉凸飾白彩祥雲、團花、
fne painted enamels seems to have found particular favour at the 八吉祥和暗八仙，觀之若淺浮雕，並飾紅、黑
Qianlong court. A triple-necked fask from the Qing court collection 和金彩，這種生動的裝飾手法亦見於數例無開
in the Palace Museum, Beijing, illustrated in The Complete Collection 光的乾隆大器。英國皇家珍藏若干近似的歐洲金
of Treasures of the Palace Museum – 39 – Porcelains with Cloisonné Enamel 裝乾隆或嘉慶初年大瓶，當中包括一套四件的歐
Decoration and Famille Rose Decoration, op. cit., no. 124, is a good 洲金裝大長頸瓶，其中二瓶的裝飾風格與本拍
example. The reserved panel in this instance depicts female Daoist 品相同，圖見艾爾斯 (John Ayers) 著作《Chinese
immortals with a spotted deer in a landscape. Under the celadon glaze and Japanese Works of Art in the Collection of Her
on this fask is a design of archaistic dragons in slip. Majesty the Queen》卷II頁530–533編號1313及
1314 (倫敦：2016)。據文獻顯示，該等作品俱於
The lively decoration of the celadon-glazed area on the current vase 1814年納入皇家珍藏。英國皇室尚珍藏特大蓋瓶
with its white slip clouds, foral roundels, and the Eight Buddhist 一對，其歐洲金裝美不勝收，粉青釉、瀝粉繪
Emblems and the Eight Daoist Emblems in low relief and decorated
in red, black and gold enamels, is also found on certain large Qianlong
vessels without reserved panels. Several very large vases of this
type dating to the late Qianlong or early Jiaqing reign and bearing
European gilt mounts are in the collection of Her Majesty the Queen.
A group of four gilt-mounted pear-shaped vases, two of which are

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