Page 44 - Important Chinese Ceramics and Works of Art Christie's Hong Kong May 29, 2019

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A VERY RARE IMITATION-LACQUER ‘DRAGON’ ideal media for potters to display their virtuosity. A hat stand
PORCELAIN HAT STAND decorated with openwork dragons is held in the National
QIANLONG PERIOD (1736-1795) Palace Museum and published in Stunning Decorative
Porcelains from the Ch’ien-lung Reign, Taipei, 2008, pp. 212-
The hat stand is finely executed simulating carved cinnabar 213, no. 75. For two famille rose hat stands of different design,
lacquer, the globular top is decorated in relief with four five- see Qing Porcelain of Kangxi, Yongzheng and Qianlong Periods
clawed dragons chasing the flaming pearl amongst bats and cloud from the Palace Museum Collection, Hong Kong, 1989, pp. 428-
scrolls all reserved on a patterned ground. The upper aperture is 429, pls. 110 and 111.
fitted with a cover in the form of a pierced cash symbol. The upper For other examples of Qianlong imitation-lacquer porcelain
section rests on a lotus petal base which is supported on a column wares, refer to a begonia-shaped porcelain tray in the Shenyang
decorated to the bulbous centre with flanges, the lower bell-shaped Palace Museum Collection, illustrated in The Prime Cultural
section is decorated with four stylised dragon-form spandrels. Relics Collected by Shenyang Imperial Palace Museum: The
The entire stand rests on four ruyi-head feet separating a scalloped Chinaware Volume - The Second Part, Shenyang, 2008, p. 191.
apron. The exterior and underside is covered with a bright red
glaze decorated with gilt highlights.
10 ¡ in. (26.5 cm.) high 清乾隆 仿雕漆珊瑚紅地描金瑞蝠穿雲游龍紋冠架
HK$1,500,000-2,600,000 US$200,000-330,000 來源
英國私人珍藏，入藏於二十世紀初，此後於家族中流傳
PROVENANCE 倫敦蘇富比，2012 年 5 月 16 日，拍品 179 號
Property of an English gentleman, acquired in the early 20th
century and thence by descent within the family 乾隆御瓷盛行模仿玉雕、掐絲琺瑯、木、漆、銅、金銀器等物
Sold at Sotheby’s London, 16 May 2012, lot 179 料，造型維肖維妙，幾可亂真。陶匠對胎釉和裝飾技術及把握，
During the Qianlong period, as porcelain was a medium that 已達爐火純青的境界。
was relatively easy to control and decorated to high standards
of imperial quality, a variety of porcelain wares were produced 參考兩件造型相似的冠架，雕暗八仙紋，托架施藍彩，落描金
simulating other materials such as hardstones, cloisonné 乾隆六字篆書款，一件藏國立故宮博物院，載於《清康雍乾名
enamels, wood, bronze, and in this case, lacquer. For a 瓷特展》，台北，1986 年，頁 139，圖版 112；另一件藏瀋陽故
discussion on the virtuosity of the Chinese potters during the 宮博物院，著錄於《瀋陽故宮博物院院藏文物經粹－瓷器卷－
Qianlong period in simulating other materials in porcelain, see
Soame Jenyns, Later Chinese Porcelain, London, 1971, p. 67. 下》，瀋陽，2008 年，頁 188-189。
Compare two very similar hat stands with a six-character gilt 另可參考一件造型裝飾及釉色幾乎相同、書嘉慶款的例子，藏
Qianlong seal mark decorated with the attributes of the Eight 中國國家博物館，著錄於耿東升主編，《中國國家博物館館藏
Immortals and famille rose spandrels, one published in Catalog 文物研究叢書：瓷器卷：清代》，上海，2006 年，編號 132。
of the Special Exhibition of K’ang-hsi, Yung-cheng, and Ch’ien-
lung Porcelain Ware from the Ch’ing Dynasty in the National 乾隆皇帝似乎特別欣賞設計複雜玲瓏的雕瓷，冠架的獨特造型
Palace Museum, Taipei, 1986, p. 139, no. 112, and the other 則讓瓷匠提供豐富的發揮空間，故乾隆一朝，出現多件匠心獨
in The Prime Cultural Relics Collected by Shenyang Imperial 運的透雕轉心冠架，如北京故宮博物院藏兩件乾隆粉彩冠架，
Palace Museum: The Chinaware Volume - The Second Part, 載於《故宮珍藏康雍乾瓷器圖錄》，香港，1989 年，頁 428-
Shenyang, 2008, pp. 188-189.
429，圖版 110 及 111。
It can be suggested that the present lot was a source of
inspiration for an almost identical Jiaqing-marked piece in the 亦可參考其他乾隆仿漆瓷，如瀋陽故宮博物院藏一件仿剔紅海
Chinese National Museum, published in Geng Dongsheng 棠形盤，見瀋陽 2008 年出版《瀋陽故宮博物院院藏文物經粹－
ed, Studies of the Collections of the National Museum of 瓷器卷》，下冊，頁 191。
China: Qing Dynasty Ceramics, Shanghai, 2006, no. 132.
The Qianlong Emperor appears to be a great admirer of the
skill that was required to create complicated pieces that
were reticulated and revolved. Hat stands were, therefore,

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