Page 52 - Imperial Sale Chinese Works of Art June 1 2016 HK

The present lot is depicted in an ink painting by the renowned
contemporary ink artist from Nanjing, Liu Dan (b. 1953) (fig. 1). In his
signed colophon above the brush pot, Liu Dan writes in high praise
of porcelain from the Yongzheng period stating that these Imperial
ceramics reached such a consummate level of sophistication as to be
comparable with porcelains made during the Yongle and Chenghua
periods of the Ming dynasty. He adds that during the Yongzheng
reign many innovative designs were conceived and rendered with
unprecedented quality and refinement. Ceramic vessels painted in
mocai (‘ink colour’) in particular, such as the present lot, were greatly
improved from those made during the preceding Kangxi period. The
present brush pot with its superb faux bois enamels reserving an
expertly rendered panoramic landscape scene, exhibits this new level
of innovation and unprecedented quality which the artist so greatly
admires.

蜚聲國際的當代水墨畫家劉丹（生於1953年）曾為本筆筒作
畫寫真（圖一），並在題跋中讚頌：

「雍正時期瓷器的造型，一改康熙時渾厚古拙之風，代之以
輕巧俊秀、工麗撫媚之貌。器形之美，可與以纖細秀麗著稱
的明永樂、成化瓷器相提並論，各部分之間比例協調，恰到
好處。外型上素有＂線條美＂之譽，確有增一份則拙，減一
份則陋之感。造型品類中除大量的創新之作外，還有諸多的
仿古款式，其中以仿宋名窑器最為突出。這些秀美端莊的器
型，出神入化，高雅之至。此時的瓷器造型之美，數量之
巨，式樣之多，達到空前的境地，並為乾隆瓷的造型工藝奠
定了基礎，也大大提高了整個社會的審美觀和欣賞水平。雍
正墨彩器較為多見，精粗皆有，基本上突破了康熙時大寫意
風格和綠地托黑彩的技藝。採用纖細的畫筆直接繪出墨彩紋
飾，黑色濃淡有致，層次分明，格調高雅，有的似於紙絹上
作的水墨畫。如上海博物館所藏雍正官窑墨彩竹紋碗（屬琺
瑯彩類），及常見的玲瓏套杯、蓋碗，均為雍正墨彩的精細
作品。另有木釉紋地開光繪畫的筆筒，款式甚為特殊，器內
及外壁上下邊緣施以木紋理的彩色釉，外壁中部繪有墨彩松
鶴圖或人物行旅圖，在畫面的花草和樹梢上點染淺藍、綠、
淡珊瑚紅、紫和白色，甚為新穎。雍正一朝僅十三年，所取

得的成就遠遠超過前後兩朝。金陵劉丹」

fig. 1
（圖一）

50