Page 34 - Important Chinese Ceramics and Works of Art Christie's Hong Kong May 29, 2019

fig. 1 A blue and white vase with dragons in pursuit of a flaming pearl. fig. 2 A carved celadon-glazed vase. Qianlong mark and period.
Yongzheng mark and period. Gift of Mr. and Mrs. J. M. Hu. Collection of the Shanghai Museum
Collection of the Palace Museum, Beijing 圖二 清乾隆 青釉剔刻花饕餮紋大尊 胡惠春先生王華雲女士捐贈
圖一 清雍正 青花戲珠龍紋大尊 北京故宮博物院藏品 上海博物館藏品

Li Ziwei from the Jingdezhen Ceramic Archaeological Research 司庫白世秀，將繕寫得陶冶圖上諭折片一件持進，交
Institute has done extensive research on the Illustration of the 太監高玉等轉奏。奉旨：將此片改正折片于陶冶圖俱
Intricacies of Porcelain Production albums, and has found that an
earlier version was already in the collection of the Qing court by 交唐英。欽此。」其後，「于本年六月二十一日，將
the third year of the Qianlong reign (1739). It is highly possible 唐英寫得對詞呈陶冶圖二十張隨原折片一件持進，交
that the illustrations in the earlier version are depicting activities 太監高玉呈進，訖。」。則此套《陶冶圖》所載之圖
at the Imperial kilns during the Yongzheng period, or even earlier. 說，為景德鎮督陶官唐英為乾隆早期所著，另據景德
As the illustrations in the 1743 version are likely based on an
鎮市陶瓷考古研究所李子嵬考證，乾隆三年之前北京
earlier version – possibly the 1739 version, they provide a relatively
realistic depiction of the operation of the Imperial kilns during the 宮廷即藏有《陶冶圖冊》，「其繪製時間極有可能是
Yongzheng period. 雍正或更早。」（參見李子嵬，〈院畫本〈陶冶圖〉
It appears that Yongzheng Emperor’s enthusiasm for porcelain began 小考〉，載于《督陶官文化與景德鎮學術研討會論文
early, and even before his ascendance to the throne, as evidenced by 集》，江西美術出版社，2011 年，頁 331）則《陶冶
the commission of ceramics bearing the mark of Langyinge – his
圖》所繪施釉場景，當可視為雍正朝御窯廠此類大尊
residence at the Yuanmingyuan. The production of larger ceramics
would have been very difficult and highly expensive to produce, 製作之實景。
and were probably special commissions. Those remaining examples 青花四季三多紋大尊，自外口沿而下分別繪有纏枝靈
of the Yongzheng blue and white wares preserved in the collection
of the Palace Museum, Beijing, attest to the Emperor’s fondness for 芝紋、單層如意雲頭紋、纏枝蓮紋、雙層如意雲頭紋、
these as display objects within the palaces. 纏枝花卉紋、覆蓮瓣紋、四季三多紋、仰蓮瓣紋及海
水波濤紋九種紋飾，皆源自兩岸故宮清宮舊藏明代永
The current vase is painted with nine bands of motifs arranged
in horizontal registers, starting from the top there are bands of 樂、宣德時期的青花瓷器，例如青花纏枝牡丹紋梅瓶、
lingzhi-scroll, ruyi-cloud collar, lotus-scroll, overlapping ruyi- 青花海水龍紋盌、青花靈芝紋尊、青花萱蝶紋玉壺春
cloud collar, composite floral-scroll, pendent lotus petals, sanduo 瓶、青花纏枝蓮紋盌、青花扁壺、及青花折枝花果紋
and flower sprays, upright lotus petals, and crashing waves. These
盌等器物，可謂集明代早期永樂、宣德青花紋飾之大
motifs are borrowed from various blue and white vessels of the
Ming Dynasty Yongle and Xuande periods, and can be variously 成者。（請參閱頁 34-35 之比較圖）今北京故宮清宮

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