Page 39 - Sotheby's NYC September 21 2022 Important Chinese Art

Meticulously painted with confronted chilong amidst a
本品以松石綠為地，瓶身繪四組團龍紋，筆法細緻精
turquoise-blue ground, the present vase demonstrates the 湛，盡顯乾隆年間御窰的至臻工藝與創新精神。雍正
playful emulations that were the result of technical mastery 帝素愛淡雅，在位期間對於繁縟的掐絲琺瑯器品並未
and experimentation at the Imperial workshops during the
Qianlong period. The vase belongs to a group of vessels 著力發展，而其繼任者乾隆帝卻對這一華麗品類鐘愛
commissioned by the Qianlong Emperor (r. 1736-1795) 有加，在位期間更是命工匠仿其外觀大量生產銅胎以
in imitation of cloisonné enamel. The Qianlong Emperor 及瓷胎仿掐絲琺瑯器，前者於器身描金線代替掐絲，
was particularly fond of cloisonné enamel work, which he 匠心獨運，工藝非凡，而本品則為瓷胎仿掐絲琺瑯
revived on a grand scale after a period of disregard under 器之典例。
the Yongzheng Emperor. Cloisonné-imitation works were
commissioned in both enameled porcelain, such as the 雖然十八世紀前就已有能工巧匠以瓷身模仿各式材質
present vase, and copper, where the wires separating the 的器物，但乾隆年間，繪藝精湛，這些擬仿藝作近
cloisons of different colors were mirrored by finely painted 乎完美，視覺上時常無法辨別彩繪與原本材料的區
golden lines.
別。參考其它乾隆仿掐絲琺瑯瓷器例，包括一多穆壺
Although the idea of imitating other materials through 例，羅桂祥博士捐於香港藝術館，錄於《清瓷薈錦：
porcelain had existed well before the 18th century, the 香港藝術館藏清代陶瓷》，香港藝術館，香港，1984
craftsmen of the Qianlong period advanced the technique
to a new level of perfection, sometimes creating ingenious 年，編號70；另有兩例為北京故宮博物院館藏，其一
trompe l’oeil works virtually indistinguishable from the 為包袱式瓶，圖見《康雍乾：故宮珍藏瓷器圖錄》
actual medium they were simulating. Other Qianlong period ，香港，1989年，圖版40，其二則為螭耳瓶，圖見《
porcelains imitating cloisonné enamel include a Tibetan-style 故宮博物院藏文物珍品全集：琺瑯彩・粉彩》，香
ewer, duomuhu, gifted to the Hong Kong Museum of Art by 港，1999年，圖版119。再比一例藏上海博物館，纏
Dr. K.S. Lo, included in the exhibition The Wonders of the
Potter’s Palette : Qing Ceramics from the Collection of the 枝蓮紋葫蘆瓶，可參考《清代雍正-宣統官窯瓷器》
Hong Kong Museum of Art, Hong Kong Museum of Art, Hong ，上海，2014年，圖版5-39。與本品相類例在拍場上
Kong, 1984, cat. no. 70; a baluster vase with a simulated 亦見兩例，其一為雙耳瓶，W.W.Winkworth及張宗憲
‘ribbon’ tied around the body, in the Palace Museum, Beijing, 舊藏，售於倫敦蘇富比1972年12月12日，編號175，
illustrated in Qing Porcelain of Kangxi, Yongzheng and 繼售於香港蘇富比2003年10月26日，編號121，其二
Qianlong Periods from the Palace Museum Collection, Hong
Kong, 1989, pl. 40; a handled ‘lotus’ vase, also in the Palace 為暗八仙紋象耳尊，1987年11月24至25日售於香港蘇
Museum, illustrated in The Complete Collection of Treasures 富比，編號182，後再度於2008年12月3日在香港佳士
of the Palace Museum. Porcelains with Cloisonné Enamel 得易手，編號2566。
Decoration and Famille Rose Decoration, Hong Kong, 1999, pl.
119; and a double-gourd ‘lotus’ vase in the Shanghai Museum, 乾隆御瓷紋飾當中常見此類色地飾螭龍或蝙蝠團紋
illustrated in Qingdai Yongzheng - Xuantong Guanyao Ciqi 式樣，配纏枝花卉，再描金勾邊，雅麗吉祥，或取
[Qing Dynasty Official Wares from the Yongzheng to the 材自當時流行的織物圖樣。參考一尺寸較大之瓷例
Xuantong Reigns], Shanghai, 2014, pl. 5-39. A handled vase （高73.7公分），胭脂紅地蝙蝠蓮花團紋瓶，紐約
with lotus scroll formerly in the W.W. Winkworth and Robert 著名藏家Benjamin Altman遺贈，現藏於紐約大都會
Chang Collections has sold several times at auction, first in
our London rooms, 12th December 1972, lot 175, and more 藝術博物館，館藏編號14.40.406，圖載於 Suzanne G.
recently in our Hong Kong rooms, 26th October 2003, lot 121. Valenstein，《A Handbook of Chinese Ceramics》，紐
See also a vase with lotus and the Eight Daoist Emblems, first 約，1989年，圖版 278。
sold in our Hong Kong rooms, 24th-25th November 1987, lot
182, and again at Christie’s Hong Kong, 3rd December 2008,
lot 2566.
The composition of circular medallions formed by chilong or
bats framed by floral sprays highlighted with gilt against a
vibrantly-enameled ground is found on other porcelains from
the reign, and was possibly inspired by contemporaneous
textile designs. Compare a much larger (73.7cm high)
ruby-ground vase with bat and lotus medallions, from the
collection of Benjamin Altman, now in the Metropolitan
Museum of Art, New York (accession no. 14.40.406),
illustrated in Suzanne G. Valenstein, A Handbook of Chinese
Ceramics, New York, 1989, pl. 278.
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