Page 43 - In His Majesty's Palm Excuisite Playthings April 5 17 HK Sothebys

Delicately painted with a landscape that covers the whole 本對雍正墨彩小盃外壁精繪通景山水，由其可窺雍正帝對
surface of the vessels, these cups represent the Yongzheng 新創雅器之孜孜熱忱。康熙朝即有以墨彩飾瓷之嘗試，
Emperor’s passion for unassuming elegant wares made with 小有所成但仍差強人意（參見 S.W. Bushell，《Oriental
innovative techniques. Attempts at using fine ink on porcelain Ceramic Art》，倫敦，1981年，頁202）。至清世宗，終
had been made during the Kangxi reign with little success 成完善之墨彩瓷，深得聖意。畫師以墨彩於瓷上作畫，可
(see S.W. Bushell, Oriental Ceramic Art, London, 1981, p. 202) 顯濃淡墨色，筆法皴染，一如中國傳統山水畫，其間人
and it was only during the Yongzheng reign that successfully 物、遠山、斜樹清晰可見，錯落有致。墨彩紋飾簡雅意
fired wares painted in black ink first appeared, which the 深，符合雍正帝審美要求，且融會水墨之意境，極得帝王
Emperor quickly grew very fond of. This new technique 歡心。
allowed the potters to follow closely the style of traditional
Chinese landscape painting, with details of figures, distant 蔡和璧在《清宮中琺瑯彩瓷特展》導論中提及雍正十年
mountain peaks and weathered trees executed with shading, （1732年）的一道聖諭，讚墨彩瓷道：「畫水墨畫琺瑯甚
so as to reproduce the light and dark strokes of brush-and-ink 好，將畫畫人戴恆、湯振基伊二人著畫琺瑯活計，其所進
drawings. This category of wares would have been among 之畫持出，再唐岱所進之畫亦持出，其餘活計俱好，著留
the Emperor’s favourites, with the simplicity of the design 下，欽此。畫畫人戴、湯二人改畫琺瑯」（參見蔡和璧，
reflecting his discerning taste. 《清宮中琺瑯彩瓷特展》，國立故宮博物院，台北，1992
年，頁12）。
Cai Hebi in the introduction to the Special Exhibition of Ch’ing
Dynasty Enamelled Porcelains of the Imperial Ateliers, National 本品所繪山水承「南派」畫風，此「南北宗論」為明代畫
Palace Museum, Taipei, 1992, p. 12, mentions an edict from 家、史學家董其昌所提，對清初繪畫之風格影響頗深。北
1732 in which the Emperor praises the making of sepia wares: 京首都博物館可見一極相似例，錄於《中國陶瓷全集》
‘For Grand Minister Hai Wang to transmit the following edict: ，卷14：清，上海，2000年，圖版176。另有一對例，
the enamel paintings in sepia are all exceedingly fine. Employ 售於紐約佳士得2010年3月26日，編號1438。還見一對
the two painters Tai Heng and T’ang Chen-chi as enamel 墨彩盌例，屬羅桂祥舊藏，現藏香港藝術館，展於《清
painters and remove the paintings brought as samples of their 瓷薈錦：香港藝術館藏清代陶瓷》，香港，1984年，編
works. Also remove the sample paintings by T’ang Tai. The 號57。William and Jennifer Shaw 伉儷雅蓄亦見一對類
work of the others is all fine and they may remain. By Imperial 例，三度售於蘇富比，分別為倫敦1972年2月29日，編號
Command. Have the painters T’ang Tai transferred to enamel 265；香港1995年10月31日，編號552；以及紐約2012
painting’. 年9月11/12日，編號83。另可比較一對相似盌例，趙從
衍典藏，曾數次售於香港蘇富比，分別為1974年，1978
The motif on this pair of cups follows the style of the Southern 年，1987年，1996年，最近一次為2015年4月7日，編號
School as conceived by the painter and art historian Dong 101。另見一雍正款筆筒例，其裝飾風格與本品相似，可
Qichang (1555-1636), whose theories were highly influential 資比較，現貯波士頓美術博物館，載於《世界陶磁全書》
in the early Qing dynasty. A closely related cup in the Capital ，卷15，東京，1983年，圖版73。
Museum, Beijing, is illustrated in The Complete Works of
Chinese Ceramics. Qing, vol. 14, Shanghai, 2000, pl. 176; and
a pair was sold at Christie’s New York, 26th March 2010, lot
1438. See also a pair of bowls decorated with a landscape
in grisaille, from the K.S. Lo Collection and now in the Hong
Kong Museum of Art, Hong Kong, included in the Museum’s
exhibition The Wonders of the Potter’s Palette, Hong Kong,
1984, cat. no. 57; another pair sold in our London rooms, 29th
February 1972, lot 265, in these rooms, 31st October 1995, lot
552, and in our New York rooms, 11th/12th September 2012,
lot 83, from the collection of William and Jennifer Shaw; and
a further pair of bowls from the T.Y. Chao Collection, sold
several times in our Hong Kong rooms in 1974, 1978, 1987,
1996, and most recently 7th April 2015, lot 101. Compare also
a Yongzheng mark and period brushpot painted in a related
style, in the Museum of Fine Arts, Boston, illustrated in Sekai
toji zenshu/ Ceramic Art of the World, vol. 15, Tokyo, 1983, pl.
73.

IN HIS MAJESTY’S PALM: EXQUISITE PORCELAIN PLAYTHINGS 41