Page 284 - Christie's Hong Kong May 31, 2017 Important Chinese Ceramics and Art

3235

THE PROPERTY OF AN ASIAN COLLECTOR 清康熙 御製填漆戧金雙龍戲珠紋香几

3235 几面方形倭角四邊打洼，几面下倭角束腰四面開砲仗洞，拱肩直腿，腿
中間打洼，如意形足下連托泥。通體黃漆地，几面飾斜卍字錦紋地，以
A VERY RARE IMPERIAL QIANGJIN AND TIANQI 紅、粉、杏黃、褐、淺綠、墨綠、藍、白等填雙龍戲珠紋，下為海水江
崖，周圍祥雲盤繞，四角飾雜寶紋，戧金細劃紋理。邊飾纏枝花卉，束
‘DRAGONS’ INCENSE STAND 腰開光拐子紋，牙板、腿外、托泥上側雲龍戲珠紋，腿內、托泥內側折
枝花果紋。
KANGXI PERIOD (1662-1722)
填漆戧金是填漆與戧金兩種工藝的結合，製作程序極其繁複。首先需上
The top is finely incised, highlighted in shades of red, pink, 好地漆，於其上刻鏤花紋，再於刻痕內填入各色彩漆至與漆面齊平，之
orange, green, blue with outlines etched in gold against a yellow 後再於圖紋邊緣刻劃輪廓線刻痕內填漆膠，黏上金箔或泥金。
ground, depicting two sinuous five-clawed dragon in pursuit of a
flaming pearl above a rock emerging from crested waves, with four 填漆戧金工藝雖盛行於明清兩代，但存世作品不多，几案更是罕見。 此
zabao to the corners against a chequered ground of wan emblems. 几紋飾承襲了晚明漆器的風格，在北京故宮藏萬曆填漆戧金雲龍紋小箱
The stand is supported on a narrow waist pierced with a shaped 上即可找到相似的紋飾，見故宮博物院藏文物珍品全集《元明漆器》，
aperture on each side above the curvilinear apron, continuing onto 香港，2006 年，頁 234，圖版 185。和晚明的例子相較，清宮填漆戧金
four straight legs terminating in small ruyi-form feet joined by a 作品在色彩的運用上更為鮮豔明朗，多以朱漆或黃漆為地。近似的填漆
base stretcher raised by four bracket feet. The aprons, outer legs 戧金几可參考一件帶有康熙款的雲龍紋雙環式香几，見《故宮博物院藏
and top of the base stretcher are similarly decorated with dragons 明清宮廷家具大觀（下）》，頁 638，圖版 757（圖一）。其几面（圖二）
confronting flaming pearls, while the inner legs are decorated with 的紋飾佈局及刻劃均與此几十分類似，但其漆地無卍字錦紋，而且於同
various floral and fruiting sprays, interspersed by floral roundels. 漆色中並未做出漸層變化，整體的精緻程度似略遜於本品。
33 Ω in. (85 cm.) high

HK$600,000-800,000 US$78,000-100,000

Incense stands decorated in qiangjin and tianqi technique are very rare,

and the present exmaple is further exemplified by the vibrant use of

colours and the meticulous craftsmanship. A closely related qiangjin and

tianqi Kangxi-marked incense stand similarly decorated with dragons

chasing a flaming pearl on the top surface is in the Palace Museum,

Beijing, illustrated in The Palace Museum Collection: A Treasury of Ming

& Qing Dynasty Palace Furniture, vol. 2, Beijing, 2007 p. 638, fig. 757 (fig.

1), which shares several similarities with the current stand, especially in

the composition and in the style of dragons and supplementary motifs,

such as the waves and clouds (fig. 2), but lacking the diaper ground and

the subtle gradation of colours. The design of the main motif on both of

these stands is closely modelled after late-Ming examples, such as that

seen on a small qiangjin and tianqi chest from the Wanli period in the

Palace Museum, illustrated in Lacquer Wares of the Qing Dynasty, The fig. 1 A Kangi-marked fig. 2 Collection of the Palace Museum, Beijing
Complete Collection of Treasures of the Palace Museum, Hong Kong,
2006, p. 234, no. 185. qiangjin and tianqi lacquer 圖二 康熙款填漆戧雙環式香几几面

282 stand. Collection of the Palace 北京故宮博物院藏品

Museum, Beijing

圖一 康熙款填漆戧雙環式香几

北京故宮博物院藏品