Page 210 - Imperial Sale Chinese Works of Art June 1 2016 HK

THE PROPERTY OF A GENTLEMAN 清康熙 釉裏紅福祿連綿紋葫蘆瓶

3331 來源
艾佛瑞.克拉克夫人珍藏；倫敦蘇富比，1953年3月24日，拍品
A FINE AND RARE MING-STYLE COPPER-RED 27號
戴潤齋珍藏；香港蘇富比，2010年10月7日，《Masterpieces of
DOUBLE-GOURD VASE Qing Imperial Porcelain from J.T. Tai & Co.》，拍品2133號

KANGXI PERIOD (1662-1722) 葫蘆因其多籽長蔓，而於中國古代有子孫萬代之吉祥寓意。拍品
造型端正，仿明初器物砂底特製。外壁通體以釉裏紅銅紅料繪纏
The finely potted vase is elegantly painted around the exterior 枝葫蘆圖案，葫蘆飽滿，花葉肥碩，於白色胎釉地上甚爲明顯，
with gourd flowers and fruits emerging from curling tendrils. The 裝飾效果強烈。因釉裏紅銅元素於燒造過程中，反應活躍，故顔
veining of the petals and leaves are lightly incised in the body; 色純正者極爲不易。拍品釉裏紅發色統一濃烈，葉脈燒製清晰，
the copper-red are of an even bright burgundy tone, while the 為釉裏紅品類翹楚之作。
countersunk base is unglazed.
7 ¿ in. (18 cm.) high 青花葫蘆瓶，出現於元代，然多為大尺寸者。類似拍品之小尺寸
葫蘆瓶，於英國大英博物館內收藏有一件明宣德青花器，
HK$4,500,000-5,000,000 US$590,000-650,000 見Jessica Harrison-Hall，《Ming Ceramics in the British Museum》
，倫敦，2001年，編號4：18.。此外，日本經濟新聞社主辦《中
PROVENANCE 國名陶百選展》，大阪，1961年，編號63，亦有一件仇焱之舊
藏、斷代為明代之葫蘆瓶與拍品近似，其後售于香港蘇富比1981
The Mrs. Alfred Clark Collection; sold at Sotheby’s London, 24 年5月19日，拍品541號，然年代定為十七世紀；另可參考一件先
March 1953, lot 27 為N．V． Hammer珍藏，後由John D．洛克斐勒三世遞藏同類
The J. T. Tai Collection; sold at Sotheby’s Hong Kong, 器物，於紐約佳士得2009年9月15日拍賣，拍品426號，年代定為
Masterpieces of Qing Imperial Porcelain from J.T. Tai & Co., 7 康熙／雍正時期或更早。其他，北京故宮收藏有一件同類之明
October 2010, lot 2133 嘉靖青花瓶，參見耿寶昌編著，《故宮博物院藏古陶瓷資料選
萃》，北京，2005年，卷一，圖版146；尚有一例為Mr and Mrs
The current vase is inspired by Ming blue and white vases of the same Walter Sedgwick收藏，見William Bowyer Honey著《The Ceramic
form and design. Blue and white double-gourd vases first appeared Art Of China and Other Countries of the Far East》，倫敦，1945
during the Yuan dynasty, when they were more often produced in ，圖版95(b)，作者將之定年為正德。
larger sizes. For a blue and white double-gourd vase of comparable
size, see a Xuande example in the British Museum, illustrated by 類似作品之所以舊時年代判定雙重，或與清代康熙時期督窯官郎
Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 廷極仿燒前朝器物極爲成功有關。與郎廷極同時期人許謹齋曾有
2001, no. 4:18, and another from the E.T. Chow Collection, included 《戲贈葉生》詩曰：「新來陶器仿前朝，混入成宣價更高。占斷
in A Loan Exhibition of One Hundred Selected Masterpieces, Osaka, 江南有開府，熊窯端不及郎窯。」而曾任康熙時期江西按察使的
1961, no. 63, illustrated as Ming, but sold as 17th century at Sotheby’s 劉廷璣，亦在其所著《在園雜誌》“朗窯”條中稱：「近複郎窯
Hong Kong, 19 May 1981, lot 541. Another example was formerly in 為貴，紫垣中丞公開府西江時所造也。仿古暗合，與真無二，其
the collections of N.V. Hammer and John D. Rockefeller III, later sold 摹成、宣，釉水顏色，桔皮棕眼，款字酷肖，極難辨別。」拍品
at Christie’s New York, 15 September 2015, lot 426, dated Kangxi to 釉色青白，釉裏紅發色濃重，砂底等年代特徵均與明代早期器物
Yongzheng periods or earlier. Compare also to a similar Jiajing blue 頗為相似，與史料記載郎窯作品相符，為郎窯仿燒明初之作品。
and white double-gourd vase in the Palace Museum, Beijing, illustrated
by Geng Baochang, Gugong bowuyuan cang gutaoci ziliao xuancui, vol. 本拍品為戴潤齋先生初赴英國所獲西方重要收藏家阿爾弗雷德·
1, Beijing, 2005, no. 146. And a similar example in the collection of Mr. 克拉克夫人（Mrs. Alfred Clark）11件藏品之一。戴潤齋先生，
and Mrs. Walter Sedgwick, is illustrated in The Ceramic Art Of China 二十世紀著名中國藝術品業者、收藏家。1930年代，於上海開設
and Other Countries of the Far East, London, 1945, Plate 95 (b), where 個人古董店。1949年4月，南遷香港，1950年，移居美國。1953
it is dated Zhengde period. 年春天，戴潤齋第一次前赴英法，於3月24日倫敦蘇富比舉辦的
阿爾弗雷德·克拉克夫人(Mrs. Alfred Clark)明代陶瓷珍藏拍賣中，
Under the supervision of Lang Tingji, the director of the Imperial kilns 一舉拍下包括本拍品在內的11件拍品，震動歐美，其後在1960
at Jingdezhen between 1705-1712, successful copies of wares from 和70年代，成為戰後中國古董藝術界中最知名的古董商人。1982
earlier periods were made. Liu Tingji, an official serving in Jiangxi 年，戴先生成立了戴潤齋基金會，資助醫學院學生及相關醫學研
during the Kangxi period, notes in Zaiyuan zazhi [Miscellanea of the Zai 究與美國紅十字會等許多相關的慈善機構。
Garden] that ‘Lang’s copies are almost the same as the original...those
imitating Chenghua and Xuande can hardly be distinguished from the
original, the colour of the glaze, the orange-peel texture, and the marks,
are almost identical’. Lang Tingji is also accredited for the revival of
copper-red glazes, which had been almost completely discontinued
since the Xuande period. For these reasons, the current vase is most
likely to have been made during Lang Tingji’s tenure.

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