Page 75 - 2019 OctoberSur Quo Wei Lee Collectim Important Chinese Art Hong Kong

This vase exemplifies the technical perfection obtained by 本品外形簡潔，豆青釉色瑩潤生輝，足見雍正一朝匠人的工
craftsmen working during the Yongzheng period through its 藝水平已達爐火純青的境界。雍正帝風雅慕古，下令製作的
deceptively simple form and luminous celadon glaze. The 宮廷御藏多不勝數。一如雍正朝所造的單色器物，本品外形
Yongzheng Emperor was a keen antiquarian who instructed 和釉色皆承襲自中國文化的輝煌傳統。其中外形借鏡高古青
the study and production of numerous pieces from the
銅尊，含蓄釉色則為仿宋龍泉青釉。燒製單色釉瓷，技藝須
Imperial collections. As with many monochrome wares
凝練，從高純度的黏土和均勻的釉層，到拿捏精準的火候，
produced during his reign, both the form and glaze reference
稍一不慎就會功虧一簣。
celebrated traditions from China’s illustrious cultural history.
The form is a reinterpretation of the archaic bronze zun, while
見一近例，鮑氏典藏，載於長谷部樂爾及中沢富士雄合編，
the subtle glaze has been created in imitation of Longquan
《中国の陶磁．清の官窯》，卷11，東京，1996年，圖版
celadon of the Song period (960-1279). Monochrome vessels
50。另一例藏景德鎮陶瓷博物館，收錄於《江西藏瓷全集》
required great skill in every stage of their production, from the
purity of the clay and precision of potting to the evenness of ，北京，2008年，卷II，圖版69。還有一例曾在新加坡國家
the glaze and control of the firing process. 博物館《中國青瓷》展覽上展出，新加坡，1979年，編號
274。胡惠春家族舊藏一款式相類之渣斗，售於紐約蘇富比
A closely related example from the Baur collection is
1995年9月23日，編號427。再有一例，兩度售於倫敦蘇富
illustrated in Gakuji Hasebe and Fujio Nakazawa eds, Chūgoku
比，1974年12月3日，編號356及2009年5月13日，編號220
no tōji. Shin no kanyō [Chinese ceramics. Official wares in
Qing dynasty], vol. 11, Tokyo, 1996, pl. 50; another in the 。
Jingdezhen Ceramic Museum is illustrated in The Complete
Collection of Porcelain of Jiangxi Province, Beijing, 2008, vol. 此類渣斗器形似乎深得雍正歡心，成品釉色豐富，一例仿汝
II, pl. 69; and a further example was included in the exhibition 釉，台北故宮博物院藏，見《故宮藏瓷大系．鈞窰之部》，
Chinese Celadons and Other Related Wares in Southeast Asia, 台北，1999年，圖版15。另一例仿官釉，Herbert Ingram
National Museum of Singapore, 1979, cat. no. 274. See also a 爵士舊藏，現藏牛津阿什莫林博物館，見詹甯斯，《Later
zhadou of this type, from the J.M. Hu Family collection, sold Chinese Porcelain. The Ch’ing Dynasty (1644-1912)》，
in our New York rooms, 23rd September 1995, lot 427; and 倫敦，1951年，圖版LXVI，圖2。再有兩件孔雀藍釉例，售
another sold in our London rooms, 3rd December 1974, lot
於倫敦佳士得1984年4月10日，編號227。大維德爵士舊藏雍
356, and again, 13th May 2009, lot 220.
正六年（1728年）製《古玩圖》卷載有兩尊渣斗，手卷現存
Zhadou of this form appear to have been favoured by the 倫敦大英博物館，曾展於《盛世華章》，皇家美術學院，倫
Yongzheng Emperor and were also created with various 敦，2005年，編號168。
glazes; for example, one of comparable size, but with a
Ru-type glaze, in the National Palace Museum, Taipei is
illustrated in A Panorama of Ceramics in the National Palace
Museum: Chun ware, Taipei, 1999, pl. 15; one covered in a
guan-type glaze, from the collection of Sir Herbert Ingram,
now in the Ashmolean Museum, Oxford, is illustrated in
Soame Jenyns, Later Chinese Porcelain. The Ch’ing Dynasty
(1644-1912), London, 1951, pl. LXVI, fig. 2; and two turquoise-
glazed examples were sold at Christie’s London, 10th April,
1984, lot 227. Two zhadou are also depicted in the 1728
handscroll, Guwantu [Pictures of Antiquities], from the Sir
Percival David collection, now in the British Museum, London,
and included in the exhibition China. The Three Emperors.
1662-1795, Royal Academy of Arts, London, 2005, cat. no.
168.