Page 18 - Christie's Hong Kong Wang Zing Lou Collection May 30 2022

fig. 1 Collection of the Palace Museum, Beijing fig. 2 Collection of the Shanghai Museum fig. 3 J.M. Hu and Robert Chang Collections, later sold
圖一 北京故宮博物院藏品 圖二 上海博物院藏品 at Christie’s Hong Kong, 28 November 2006, lot 1317.
圖三 胡惠春及張宗憲先後遞藏，2006 年 11 月 28 日於
香港佳士得拍賣，拍品 1317 號

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The five-clawed dragon continued as an imperial symbol during the 此瓶器型雋秀，青花發色清麗，雙龍張牙舞爪，矯健有勁，為典型的
Qing dynasty, and its use was even more severely restricted than in 康熙龍紋造型，與明中晚期較纖細草率的龍紋形象明顯不同，極具
the Ming. The rendition of the dragon on the present lot is characteristic
of that in the Kangxi period, which is exemplified by a fierce and 時代特徵。同類例子有青花、釉裏紅、青花釉裏紅品種，但署康熙年
powerful demeanour giving an impression of authority and majesty, with 款的青花例子並不多見，北京故宮博物院藏一件類似的康熙款青花
finely detailed painting of the head and scales. This is a considerable 龍紋梅瓶，著錄於《故宮珍藏康雍乾瓷器圖錄》，香港，1989年，
development from the more freely drawn and often, more simplified,
versions of the late Ming dynasty. The full-faced representation of the 圖版6號(圖一）；上海博物館藏一例，著錄於1998年香港出版《上海
dragon already existed in Ming times, and became popular in the Qing, 博物館藏康熙瓷圖錄》，圖版12（圖二）；胡惠春及張宗憲先後遞藏
but it is from the Kangxi period onwards, as evident from the present lot, 一例，2006年11月28日於香港佳士得拍賣，拍品1317號（圖三）。
that the dragon was imbued with a greater sense of vitality and
martial spirit.
另可參考數件康熙款釉裏紅龍紋梅瓶，一件藏上海博物館，見《上
Dragon vases of this type appear with both underglaze-blue and copper- 海博物館藏康熙瓷圖錄》，圖版70；日內瓦鮑氏珍藏一件，見John
red decorations, although it is rare to find a blue and white example with
a Kangxi reign mark. The closest comparisons to the present vase are Ayers著《Chinese Ceramics in the Baur Collection》，第二冊，
the examples with identical design and Kangxi marks, an ovoid vase of 日內瓦，1999年，圖版146；一件為Harry Garner爵士舊藏，1964
slightly more elongated form in the Beijing Palace Museum, illustrated 年展於東洋陶瓷學會展覽《Arts of the Ch’ng Dynasty》，圖
i
in Kangxi Yongzheng Qianlong, Hong Kong, 1989, p. 23, pl. 6 (fig. 1);
one from the Shanghai Museum, illustrated in Kangxi Porcelain Wares 錄圖版108號。大維德基金會藏一件青花釉裏紅例子，現藏大英博
from the Shanghai Museum Collection, Hong Kong, 1998, pl. 12 (fig. 2); 物館，著錄於《Oriental Ceramics》，第六冊，日本，1982年，圖版
and another one formerly in the J.M. Hu and Robert Chang Collections, 208號。
later sold at Christie’s Hong Kong, 28 November 2006, lot 1317 (fig. 3).
Compare also the vases of this form and pattern with Kangxi marks, but
painted in underglaze-red, one of more meiping shape in the Shanghai
Museum, illustrated op. cit., 1998, pl. 70; one in the Baur Collection,
illustrated by John Ayers, Chinese Ceramics in the Baur Collection, Vol.
2, Geneva, 1999, pl. 146 [A527]; one from the Sir Harry and Lady Garner
Collection, included in the Oriental Ceramic Society Exhibition, Arts
of the Ch’ing Dynasty, London, 1964, Catalogue no. 108; one from the
Walters Art Gallery, Baltimore, illustrated by Stephen Bushell, Oriental
Ceramic Art, New York, 1897, fig. 225; and another, also more of a
traditional meiping shape from the Asian Art Museum of San Francisco,
illustrated by He Li, Chinese Ceramics: A New Comprehensive Survey,
San Francisco, 1996, p. 286, pl. 576. A vase decorated in both red and
blue but with the same pattern is in the Percival David Foundation,
illustrated in Oriental Ceramics, Kodansha Series, vol. 6, Japan, 1982,
pl. 208; while a larger vase with the addition of underglaze-blue waves is
also illustrated ibid., col. pl. 49.

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