Page 38 - Sotheby's Fine Chinese Art NYC September 2023
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不幸地，大雅齋這組歡欣愉悅的瓷器最終                        Ironically, the joyful Dayazhai ware commission was marred by a
           以悲劇作結。同治皇帝在圓明園重修工程                        tragic ending. The Tongzhi Emperor died of smallpox soon after the
           取消不久後感染天花駕崩，慈禧痛失皇兒，                       Yuanmingyuan reconstruction project was terminated. Cixi was doubly
           加上修建退休宮殿的計劃落空而受到雙重                        struck by her son’s passing and the cancellation of her post-retirement
           打擊。她立同治的表弟為光緒皇帝（1871-                     palace. She erected Tongzhi’s cousin to be the succeeding Guangxu
           1908年在位），並於1874年恢復垂簾聽政                    Emperor (r.1871-1908) and resumed regency in 1874 until the end of her
           直至1908年駕崩爲止（她在光緒駕崩後三                      life in 1908, three days after Guangxu died in 1908. The last two groups
           天離世）。Levy收藏的最後兩組慈禧御瓷                      of Cixi’s porcelains in the Levy Collection were both commissioned
           均製於光緒年間，儘管它們在技術上與大                        during the Guangxu period. Although they are similar to the Dayazhai
           雅齋相近，但製作的背景和紋飾卻展示了                        ware in technique, their context of commission and the design
           慈禧在心態的巨大變化，從當初為家族製                        demarcate the patroness’s much-changed mentality from ordering for
           瓷變成後來只為自己而作。                              family’s sake to making porcelains solely for herself.

           第三組「體和殿」瓷器於1885年燒製，翌                      The third group, the Tihedian ware, was commissioned in 1885. The
           年運抵北京。體和殿是紫禁城慈禧儲秀宮                        shipment was delivered to Beijing in the next year. This palace building
           的一部分，1885年為慈禧五十大壽慶典，                      is a part of Cixi’s residence, Chuxiugong Palace, in the Forbidden City,
           同時改建為用膳處。大雅齋瓷器總數近五                        and it was renovated into a dining space in 1885 as a part of Cixi’s
           千件，體和殿的則是器型多而數量少，包                        fiftieth birthday celebration. Unlike the Dayazhai ware, which amounted
           括匣、花瓶及盤等，共計不足五百件，比大                       to nearly five thousand pieces, the Tihedian ware is much more
           雅齋更為稀有。與大雅齋類似，尺寸較大的                       sophisticated in type and smaller in number. They include various boxes
           體和殿瓷器如魚缸、缽罐等均署有「體和殿                       and flower vessels totaling fewer than five hundred pieces, thus rarer
           製」橫款，清光緒黃地墨彩纏枝牡丹紋缽                        than the Dayazhai ware. Similar to the Dayazhai ware, larger vessels
           一對(編號559)正是一例，不過，大雅齋瓷                     such as fish tanks bear the horizontal red “tihedian zhi” inscription
           器署篆書款而非楷書款，紋飾方面變化也                        as is shown on a pair of large yellow-ground grisaille-painted ‘peony’
           比較少，僅四款，包括黃地釉上彩、黃地黑                       fishbowls (lot 559), but the characters are in seal script rather than
           彩、青花及黃地刻花。黃色代表皇權，慈禧                       the standard script for the Dayazhai ware. The decorations are also
           御瓷廣用黃色，代表著她在朝廷至尊無上                        somewhat limited. There are only four colors: overglazed enamel on
           的地位。
                                                     yellow ground, black enamel on yellow ground,blue and white, and
           這組瓷器紋飾獨以祝願長壽爲主，有別                         incised patterns on a yellow ground. The prevalence of yellow, the color
           於對較早前慈禧對自身及家人祈願的多                         of monarchy, is a visual demonstration of Cixi’s unchallengeable status
           種象徵意義。也就是說，體和殿器是慈                         in the court.
           禧此時心態的投射。在失去配偶和獨生
           子之後，這位女性統治者將注意力轉向                         The decoration in this group of porcelains also serves a special function
           維護自身權力和健康。值得注意的是，                         of praying for longevity, unlike the diverse symbolisms involving
           此時瓷匠們 繼 續使 用他們 在 二十 年前                    wishes for the patroness and her family. In other words, the Tihedian
           成 功復 興 的 填 黃 技 術。清同治 黃 地青                 ware is a projection of Cixi’s mentality at this time. After losing her
           花福壽雙全紋花盆(編號554)與故宮博                       spouse and only child, this female ruler turned focus to maintaining
           物 院 收 藏 的 花盆 相近，是 這一 時 期 填                her own power and health. Notably, the potters continued to use the
           黃技術成熟的佳例。乍看之下，花盆是典型                       tianhuang technique that they successfully revived two decades prior.
           的黃地青花瓷器，流行於明代的典型。然                        A pale yellow-ground and blue ‘bats and peaches’ planter (lot 554),
           而，瓷匠利用填黃技術來確保青花的層次                        comparable to one in the collection of Palace Museum, is an interesting
           感和鈷藍和黃彩的鮮艷，克服了鈷料和植                        example of the maturity of this technique during this time. At the
           物釉料顏色難以預測的問題。                             first glance, the planter looks like the typical blue and white porcelain
                                                     against yellow ground, a typical specimen popular in the Ming dynasty.
                                                     However, by adopting the tianhuang technique, the potters ensured
                                                     the layering of blue and the vivid coloration of blue and yellow enamels,
                                                     which overcame the unpredictable coloration of cobalt and plant-based
                                                     glazes.                                                                       Design of yellow-ground ‘bats and peaches’ foliate-rim jardinière, ink and color on paper, late Qing dynasty © The Palace Museum, Beijing
                                                                                                                                   清末 黃地水墨花蝠壽圓花盆圖樣 設色紙本 © 故宮博物院，北京








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