Page 54 - Bonhams Fine Chinese Ceramics and Works of Art, Nov 2014 Hong Kong

Image courtesy of the Palace Museum, Beijing Image courtesy of the National Palace Museum, Taipei

The present lot is a jewel-like example of the finest production from A related but larger jar and cover, removed from the Yuanmingyuan
the imperial workshops in Beijing: the exquisite coloured enamels in 1860 and previously in the collections of Lord Loch of Drylaw and
combine varied and richly decorative elements into a highly detailed Alfred Morrison (the Fonthill Heirlooms) was sold at Sotheby’s Hong
but sophisticated and elegant whole. Two remarkably similar vases Kong, 9 October 2007, lot 1325.
and covers, with almost identical design to the present lot, are
illustrated in the Compendium of Collections in the Palace Museum: 此包袱瓶紋樣活潑，色彩明艷，作工十分精緻，無疑是北京宮廷造辦
Enamels 5, Beijing, 2011, nos.141 and 142. A further closely related 處所生產出品質最好的器物之一，猶如一顆璀璨的明珠。北京故宮博
vase but larger (35cm high) and of baluster shape with lappets around 物院藏兩件非常相似的例子，見《故宮博物院藏品大系：琺瑯器篇5》
the foot, is also illustrated in ibid., Beijing, 2011, no.140. Another ，北京，2011年，圖版141和142。另一件類似但尺寸較大（35厘米
similar Qianlong mark and period example, from the National Palace 高）的例子，可參考同上，北京，2011年，圖版140。臺北國立故宮
Museum, Taipei, is illustrated in Enamel Ware in the Ming and Chi’ng 博物院藏一件清乾隆帶款包袱罐，造型和紋飾與本器相似，參閱
Dynasty, Taipei, 1999, no.109, and the same collection exhibits the 《明清琺瑯器展覽圖錄》，臺北，1999年，編號109；而同一收藏系
Yongzheng inspiration for this piece, ibid., Taipei, 1999, no.108. 列中也曾展出了雍正時期的例子，見同上，臺北，1999年，編號108
，可見乾隆時期的包袱罐是受了雍正畫琺瑯作品啟發。
It is interesting to note the foreign influences on a piece such as
the present lot. Enamelled metal wares were first introduced to the 畫琺瑯起源於西歐法國，於16世紀由歐洲商人及傳教士經廣東傳入中
Chinese court in the 17th century by European Jesuit visitors eager 國。畫琺瑯工藝首次引入中國便受到康熙皇帝的青睞與重視，於北京
to gain access to the highest levels of power and to promote their 皇宮造辦處及廣東兩地設立琺瑯作坊，生產銅胎和料胎畫琺瑯製品，
missions of spreading Christianity and diplomacy. These enamelled 在康熙三十年宮內已試燒成功，在十八世紀畫琺瑯工藝已進入技術成
gifts first inspired the Kangxi emperor to set up workshops at 熟的階段。乾隆帝酷愛琺瑯工藝，多次從廣東選送優秀琺瑯工匠進京
the palace to produce painted enamels on metal and glass, with 效力，把畫琺瑯工藝推至頂峰。以包袱裝飾禮物是日本傳統的禮儀，
production methods established by the 30th year of his reign, and 雖然西方對畫琺瑯的裝飾有很大的影響，本拍品的包袱罐卻具有日本
further perfected throughout the 18th century. The Qianlong emperor 工藝美術的品味。
in particular enthusiastically recruited artisans from Guangdong to
work at the imperial workshops to boost techniques and production. 本拍品反映了清宮對外來技藝的吸納態度。此包袱紋除了表現在銅
The Western origins of painted enamel often inspired the choice of 胎上，也因而帶給了其他材料設計靈感，包括瓷器、掐絲琺瑯和玻
decoration also, however the present lot instead turns to the East, 璃。參考一件清乾隆帶款的料胎例子，應為北京宮廷造辦處所製，
to the Japanese furoshiki packing tradition of wrapping a piece with 藏於香港藝術館，曾於2005年在倫敦皇家美術學院《China: The
knotted cloth. Three Emperors 1662-1795》展覽中出展，見其圖錄，編號99。也
對比一件清乾隆的瓷胎松石綠地尊，著錄於《故宮博物院藏清盛世瓷
The present lot therefore reflects the more cosmopolitan interests of 選粹》，香港，1994年，頁292，編號23。再參考巴黎吉美國立亞
the Qing Court, learning and absorbing new techniques and designs 洲藝術博物館藏一件清乾隆例子，著錄於X.Besse，《La Chine des
to re-produce them in its own distinctive imperial style. This design porcelaines》，巴黎，2004年，頁136，編號54。
inspired Chinese pieces in a variety of materials including porcelain,
cloisonné and glass. Compare for example a glass vase in the Hong 可對比一件尺寸較大的蓋罐，此例於1860年遷出圓明園，為Lord
Kong Museum of Art, moulded to resemble folds of cloth and tied Loch of Drylaw和Alfred Morrison（放山居）舊藏，後拍賣於香港蘇富
with a pink sash on a yellow ground, with a Qianlong four-character 比，2007年10月9日，拍品編號1325。
mark and attributed to the Beijing Palace Workshops, included in the
2005 exhibition China: The Three Emperors 1662-1795 at the Royal
Academy of Arts, London, and illustrated Catalogue, no.99. Compare
also a porcelain zun-shaped turquoise-ground vase, Qianlong mark
and period, illustrated in Selected Porcelain of the Flourishing Qing
Dynasty at the Palace Museum, Hong Kong, 1994, p.292, no.23,
and a bottle vase in the Musée Guimet, Qianlong mark within a
double square and of the period, illustrated by X.Besse, La Chine des
porcelaines, Paris, 2004, p.136, no.54.