Page 49 - Imperial Sale Chinese Works of Art June 1 2016 HK

‘The enamel landscape in blue is quite well done ... Give ten teals
of silver in reward for the enamel painting done by Zou Wenyu.’
(ibid., p. 16) This was a generous gift, but the emperor could be
severe if work, or the lack of it, did not please him and there are
records of wages withheld and workmen being removed from
their posts.

While landscapes were used to decorate a range of vessel forms fig. 3 Collection of Palace Museum, Beijing
in the Yongzheng reign, landscape was a particularly appropriate （圖三）北京故宮博物院藏品
decoration for a scholar’s brush pot, since landscape painting
ranked second only to calligraphy in the hierarchy of Chinese
scholarly appreciation. Landscape painting was also something
that the Yongzheng emperor greatly admired, and the new
black and sepia enamels allowed landscape paintings in the
style of traditional ink painting to be applied to porcelain. The
inspiration derived by ceramic decorators from traditional ink
paintings is discussed by R. Scott in ‘Some Influences on the
Paintings Styles of Qing Overglaze Enamel Wares’, Imperial Taste:
Chinese Ceramics from the Percival David Foundation, San Francisco,
1989, pp.115-118. Undoubtedly some of the finest manifestations
of this inspiration are to be found among imperial porcelains of
the Yongzheng reign, as evidenced by the current brush pot.

During the Yongzheng reign the quality and artistry of the 體系中，地位僅次於書法。雍正皇帝對山水畫亦青睞有
porcelains produced at the imperial kilns for the emperor greatly 加，而琺瑯黑彩與墨彩的誕生，終於使具傳統水墨意境
benefitted from the presence of two extremely able supervisors. 的山水畫，成為了瓷器的裝飾元素。至於畫瓷者從傳統
One of these was Nian Xiyao, who was appointed from Beijing 水墨汲取靈感的論述，請見蘇玫瑰 (R. Scott) 所撰〈Some
in 1726 to oversee the Huai’an Customs Barrier on the Grand Influences on the Paintings Styles of Qing Overglaze Enamel
Canal and also to take on the responsibility of the imperial kilns Wares〉，全文載於《Imperial Taste: Chinese Ceramics from
at Jingdezhen. In 1728 an official by the name of Tang Ying the Percival David Foundation》頁 115-118 ( 三藩市：1989)。
was appointed from the Imperial Household in Beijing to go to 就此可言，雍正御瓷中頗多具丹青神韻的上乘之作，而
Jingdezhen as resident assistant. He was later to take full control 是次拍賣的筆筒誠為最佳寫照。
and remained in charge of the kilns until his death in 1756. He
was a man of great talent as a ceramicist, an administrator, and 雍正時期，御窯在兩位才能超絕的督陶官治下，製瓷水
a painter, and under his guidance some of the most beautiful 平和技藝均大有進境。其中一位是年希堯，他於 1726 年
porcelains ever produced in China were made at Jingdezhen. 離京赴任，管理淮安關稅務及景德鎮窯務。1728 年，內
It is likely that the current brush pot was made under Tang 務府員外郎唐英調任景德鎮協理窯務，其後正式接任督
Ying’s supervision for use on the emperor’s writing table. This 陶官，直至 1756 年辭世為止。唐英以製瓷聞名於世，任
beautifully painted vessel with its evocative ‘ink’ landscape would 上治理有方，兼公繪事，在其督導之下，景德鎮燒造出
have provided both pleasure and inspiration for its imperial owner 了一批中國製瓷史上膾炙人口的絕妙佳瓷。此件筆筒極
in his scholarly pursuits. 有可能為唐英任內時為雍正皇帝特別燒造的文房用具，
畫中空遠的意境或曾為身處紫禁城的帝王帶來心靈上片
刻的歇息。

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