Page 86 - Christie's Hong Kong Wang Zing Lou Collection May 30 2022

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題識
錦繡堂中開畫屏，牡丹紅間老松青
日烘始識三春麗，歲暮猶看百尺亭。
夭矯拏空欣得地，輝煌散彩正當庭。
一般都是生生意，坐對從知筆有靈。
「惟精」、「惟一」印
〈題蔣南沙相國畫屏五景．蒼松牡丹〉，
《御製詩樂善堂全集定本》，卷24，頁15
天上春陽回未回，早傳消息到庭梅。
暗香和雪尋常放，嫩蕚侵寒三兩開。
每傍階前照清淺，更於月下重徘徊。
一枝風物資清供，調鼎還看濟世才。
「比德」、「潤朗」印
fig. 1 Collection of fig. 2 Collection of the National Palace 〈題蔣南沙相國畫屏五景．梅〉，
the Palace Museum, Museum, Taipei 《御製詩樂善堂全集定本》，卷24，頁16
Beijing 圖二 國立故宮博物院藏品
圖一 玉鏡平鋪一帶長，紅衣翠蓋儼明妝。
北京故宮博物院藏品 不爭艶麗當春日，獨濯清漣傍夕陽。
雲髻峨峨疑洛浦，秋風嫋嫋憶瀟湘。
The four imperial poems inscribed on the present vase were composed 鷺鷥可是知人意，雙落明波領晚香。
by the Qianlong Emperor when he was still Prince Bao, before he 「乾隆」、「辰翰」印
ascended the throne, and are recorded in Yuzhi Leshantang quanji 〈題蔣南沙相國畫屏五景．荷〉，
dingben [Complete works from the Delight in Goodness Hall, by 《御製詩樂善堂全集定本》，卷24，頁15
His Majesty), vol. 24, pp. 15-16. These four poems, together with an
additional one, were written in eulogy for a set of five flower paintings by 金絲錦浪舞東風，點綴陽和尺幅中。
Jiang Tingxi (1669-1732), a subject consistent with the decorations seen 見說花源春靄靄，遙知灞岸雨濛蒙。
on the present vase. 輕綃雜間參差綠，翠帶低臨深淺紅。
消息化工歸變理，丹鉛未許畫師同。
According to palace archival records, on the 16th day of 10th month 「乾隆」、「辰翰」印
of Qianlong 17th year (1752), the superintendent at Jingdezhen, Tang 〈題蔣南沙相國畫屏五景．桃柳〉，
Ying, was presented with four copies of Compiled Imperial Poems by 《御製詩樂善堂全集定本》，卷24，頁15
the Qianlong Emperor, and was given the order ‘going forward, when
applying poems on porcelains, select works from these copies instead of
the Leshantang poems’. Since the poems inscribed on the current vase
belong to Qianlong’s Leshantang poems, this record suggests our vase 瓶松石綠為地，上施洋彩紋飾，瓶腹分八開光，四面繪牡丹、梅花、
was very likely made prior to 1752, during the early reign of Qianlong. 荷花、桃柳四季花卉圖，四面書乾隆御題詩。四首詩皆出自《御製
詩樂善堂全集定本》，為乾隆寶親王時期所作，原題為〈題蔣南沙相
Jiang Tingxi was an esteemed scholar-official and painter active during 國畫屏五景〉。蔣南沙相國，亦即蔣廷錫（1669－1732），字酉君、
the Kangxi and Yongzheng reigns. It appears that the Qianlong Emperor 楊孫，號南沙，康熙雍正時期文官、畫家，歷任禮部侍郎、户部尚書
held high regard for his works, as there have been several imperial 等職，拜文華殿大學士。
porcelains inscribed with the same poems in praise of Jiang’s paintings.
A large Qianlong famille rose vase (74.5 cm.), similarly decorated on 據清宮《活計檔》記載，「乾隆十七年十月十六日，員外郎白世秀達
four sides with four different flowers, and inscribed on the other four
other sides with the same poems, is in the Palace Museum Collection 子來說，總管王常貴交御製詩四套，傳旨着賞唐英，嗣後燒造瓷器應
(fig. 1), illustrated on the museum’s website https://www.dpm.org.cn/ 用詩之處即用此詩揀選，燒造不必用樂善堂詩文，欽此。」本瓶詩文
collection/ceramic/227725.html. Another smaller lantern-shaped vase 出自《御製詩樂善堂全集定本》，可見應為乾隆十七年（1752）前所
(40 cm.), also inscribed with the same poems and decorated with 燒製，屬乾隆早期作品。
flowers of the four seasons, was formerly from Yamanaka and later
sold at Sotheby’s Hong Kong, 5 April 2017, lot 3626. Compare also to 乾隆皇帝似乎對蔣廷錫作畫的花卉五景畫屏非常欣賞，多次將此題
a similarly inscribed and decorated doucai and famille rose vase in the 材融入其御製瓷器中，如北京故宮博物院藏一件乾隆綠地粉彩大瓶
Palace Museum, illustrated in The Complete Collection of Treasures of （74.5公分），同樣分八面，四面墨書出處相同的四首御製詩，四面
the Palace Museum, Porcelains with Cloisonné Enamel Decoration and 繪四季花卉圖（圖一），可參照官方網站https://www.dpm.org.cn/
Famille Rose Decoration, , Hong Kong, 1999, pl. 97.
collection/ceramic/227725.html。香港蘇富比曾拍賣一件山中商
Paintings by Jiang Tingxi have been well preserved by the Qing court, 會舊藏乾隆粉彩八開光燈籠瓶（40公分），四開光書出處相同的御製
and it appears his paintings did provide inspiration to the ceramic artist 詩，四面繪四季花卉圖，2017年4月5日，拍品3626號。另可參考一
who painted the current vase. For example, the multi-petalled peony 件故宮博物院藏乾隆八開光花卉御製詩瓶，鬥彩纏枝花卉紋為地，
bloom on the vase is strikingly similar to a peony painting by Jiang 載於《故宮博物院藏文物珍品全集．琺瑯彩、粉彩》，香港，1999年，
(fig. 2), now preserved in the National Palace Museum, Taipei (accession 圖版97。
number: guhua00322500001). In fact, as early as the Kangxi period,
ceramic artists started to appropriate Jiang’s paintings on imperial 蔣廷錫書畫備受清帝賞識，其作品在清宮多有保留。本瓶紋飾以
porcelains made for the Emperor. A Kangxi falangcai bowl, formerly in 蔣廷錫畫作為藍本，畫風亦受其影響，例如細觀瓶上牡丹花多瓣盛
the Robert Chang Collection, painted with ‘double-headed’ lotus stems,
is inspired by a painting by Jiang executed in 1722 known as Lotus of 放的形態，便與國立故宮博物院藏一幅蔣廷錫畫牡丹圖的神韻甚
a Thousand Petals. The bowl was later sold at Christie’s Hong Kong, 為相近（典藏編號：故畫00322500001）（圖二）。甚至早於康熙
27 November 2019, lot 2988. This bowl, as well as the current vase, 時期，已出現以蔣廷錫畫作為藍本的御製瓷器，例如張宗憲舊藏一
illustrate the special attachment the Qing emperors had for the artistic 件康熙紅地琺瑯彩盌，盌上所繪並蒂蓮正師法蔣廷錫在康熙六十一
works by Jiang Tingxi, and the considerable role Jiang played in works 年作畫的《敖漢千葉蓮》圖，可見蔣廷錫在清代宮廷藝術佔有一定地
made for the imperial court. 位。該琺瑯彩盌2019年11月27日於香港佳士得拍賣，拍品2988號。

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