Page 46 - Imperial Sale Chinese Works of Art June 1 2016 HK

fig. 1 Shanghai Museum Collection
（圖一）上海博物館藏品

and what appears to be a bamboo brush and scroll pot to his right 據史料記載，皇子胤禛若非與父王出行，大部份時間皆
(illustrated National Palace Museum,Taipei, Harmony and Integrity 潛心學習或裝飾其宮邸。宮中造辦處的能工巧匠常受命
– TheYongzheng Emperor and His Times, pp. 116-117, no. I-57). 為其住處製作用器；即位之後，他的要求更為嚴格，甚
至規定內廷只准使用造辦處的製品。他醉心藝術且事必
The records indicate that while he was a prince Yinzhen 躬親，並多方鼓勵宮廷繪畫及裝飾藝術。但他最為關注
spent most of his time studying and decorating his palaces, 的始終是御瓷製作。著名的中國藝術史學家楊伯達先生
when he wasn’t travelling with his father. The craftsmen in 對雍正年窯 (1728-35 年 ) 瓷器評價如下：「年窯瓷質瑩
the imperial workshops were often commanded to make 潔如玉、彩繪華茂似錦，形成了典雅纖秀的『內廷恭造
items for Yinzhen’s palaces, and when he became emperor 樣式』的清宮風格。論者謂：『年窯稱第一』。」
Yinzhen was very strict and did not allow items made outside
the imperial workshops to be used in his inner palaces. He 雍正皇帝跟其父康熙一樣，均對琺瑯彩情有獨鍾，往往
took a keen and active interest in the arts and encouraged 親自過問其製作細節，內務府活計檔就此多有記載。他
court painting, and the decorative arts. He was particularly 更委派才識過人的弟弟胤祥 (1686-1730 年 ) 主理造辦處。
interested in the production of imperial porcelain. The eminent 雍正六年 (1728 年 )，清檔曾點算當時可用的琺瑯彩數目，
Chinese art historian Yang Boda has said of the porcelains 並建議「每樣燒三百斤 [ 約四百磅 ]) 用」。該筆記錄還
produced in the period AD 1728-35 of the Yongzheng reign: 提到，「聞得西洋人說燒琺瑯調色用多爾那門油。爾著
‘The porcelain of this period has a pristine purity, and jade-like 人到武英殿露房去查」。據載，當時的琺瑯彩皆由京城
luminosity, and the painted design gives the piece a luxuriance 造辦處包辦，再交由景德鎮督陶官「年希堯燒瓷器用」。
reminiscent of brocade. Nianyao [ porcelains made under the
supervision of Nian Xiyao] epitomize the classic refined style of 康雍二朝，造辦處配製出一系列新的釉料和琺瑯彩，所
Qing imperial ware, and they are rated by commentators as the 以繪瓷師創作新的圖案時，可供應用的色彩亦大為增加。
best among the imperial wares of the entire Qing dynasty.’ 新的設計有時候會結合若干元素，巧用瓷器來模仿別的
材質。仿製其他材質的瓷器雖以乾隆器物居多，但其中
Like his father, the Kangxi emperor, the Yongzheng emperor 又以一小批雍正傳世品的工藝尤為精湛，它們泰半是仿
was a keen admirer of enamels and retained a personal interest 木之作，是次拍賣的筆筒便是一例。
in production, as evidenced by various documents in the palace
archives.Yongzheng also put his favourite, and very able, younger 有兩種橘紅色最適於模仿木材，而兩者俱用氧化鐵調製
brother, Prince Yinxiang (1686-1730) in charge of the ateliers.
A memorandum of 1728 enumerated the enamel colours by
then available for use, and suggested making the colours up in
300 cattie (approximately 400 lb.) batches. The memorandum
also noted that the foreign enamel painters used duo’ermen oil
(toluene) as a solvent for the enamels and ordered that the Essence
Storage Room in the Wuyingdian should be checked to see if any
was available. It is also recorded that at this time enamels were

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