Page 185 - Christie's Chinese Works of Art March 24 and 25th, 2022 NYC

In the case of the current bowl, it is not only the use of the underglaze blue and the clear, bright purple applied over the opaque white on the trousers of
yuzhi mark which indicates a close link to the Kangxi reign and probably an the attendant. It is likely that all these enamel colours were developed and/
early Yongzheng date. This is also suggested by both the enamel painting or perfected in the 1720s. Interestingly, the surviving Qing Court Archives
style and the choice of motifs. There is much in the style of painting to link of the Imperial Workshops note that in the seventh month of the sixth year
this bowl to the finest famille verte enamelled porcelains from the latter part of Yongzheng [1728] Prince Yi (1686-1730, thirteenth son of the Kangxi
of the Kangxi reign. In particular, the fine iron-red outlines and details of Emperor, who was promoted by his step brother, the Yongzheng Emperor,
the faces – albeit that on the current bowl the faces have also been given a to the First Rank and given the position of Superintendent of Court Affairs)
very pale iron-red wash, in contrast to those of Kangxi figures, and the use presented new and improved enamel colours, which were subsequently
of flowing, sometimes transparent, enamels - such as the yellow, green, and stored at the Imperial Workshops and given to Nian Xiyao (1671-1738) for use
clear aubergine, all suggest a closeness to the Kangxi reign, as does the on porcelains. Among these colours were opaque white and ‘grape’ purple
muted blue on the edging of Shoulao’s robe. This blue is closer to the early (see Jincheng xuying – Qing Yongzheng falangcai ci, op. cit., p. 8).
blue enamel developed in the latter part of the Kangxi reign (for discussion
see Rosemary Scott, ‘18th century overglaze enamels: the influence of The depiction of the Star God of Longevity, Shou Lao, as seen on the interior
technological development on painting style’, Style in the East Asian Tradition of the current bowl, is relatively rare on Yongzheng imperial porcelains.
– Colloquies on Art & Archaeology in Asia No. 14, London, 1987, pp. 152-4). The While a popular theme on fine Kangxi porcelains, few Yongzheng porcelains
use of black details under this blue and under the pale clear aubergine on the were decorated using this figural scene with the exception of a small group
fur tied around the attendant’s hips is also reminiscent of the style of Kangxi of fine doucai dishes depicting Shou Lao seated under a pine tree, such
famille verte enamelled porcelains. This fur may be compared to that around as the dish illustrated in Porcelains in Polychrome and Contrasting Colours,
the hips of female immortals on the extremely fine Kangxi famille verte The Complete Collection of Treasures of the Palace Museum, op. cit., p. 239,
bowl in the collection of Sir Percival David (illustrated by Rosemary Scott in no. 219. This and similar dishes in the collection of the Palace Museum,
Imperial Taste – Chinese Ceramics from the Percival David Foundation, Los Beijing, a pair included by the Hong Kong Oriental Ceramic Society in their
Angeles/San Francisco, 1989, p. 78, no. 47 (PDF 859). Indeed, there are a 1977 exhibition Ch'ing Polychrome Porcelain, Hong Kong, no. 63, and others,
number of similarities between the depiction of the female immortals on the have an enamelled crane and peach roundel on the base and are usually
David bowl and the male attendant on the current bowl. dated to the late Kangxi or early Yongzheng period. Shou Lao, shown on the
current bowl riding a spotted deer - one of his familiars - is the Star god of
It is worth noting that a small number of imperial Yongzheng porcelains Longevity, while the deer and peach are additional symbols of longevity. It is
were decorated entirely in the famille verte palette. One such vessel is the also interesting to see the red bats which form part of the decoration of both
Yongzheng famille verte vase in the collection of Sir Percival David illustrated the interior and exterior of the bowl. Five red bats appear on the exterior,
by Rosemary Scott in For the Imperial Court – Qing Porcelain from the Percival symbolising the Five Blessings of health, wealth, long life, love of virtue
David Foundation of Chinese Art, New York/Singapore/London, 1997, pp. 120- and a peaceful death. A further red bat appears on the interior, flying above
1, no. 46 (PDF 823). Three Yongzheng bowls decorated solely in famille verte Shou Lao, emphasising happiness and blessings. This arrangement also
enamels are illustrated in Porcelains in Polychrome and Contrasting Colours, suggests an early Yongzheng date for this beautiful porcelain bowl, since
The Complete Collection of Treasures of the Palace Museum, vol. 38, Hong later in the reign the designs on the interior and exterior of bowls and dishes
Kong, 1999, pp. 168-70, nos. 154-6. However, these bowls and the Percival were often arranged to be ‘read’ together, so that on porcelains such as the
David vase, all bear underglaze blue six-character nianzhi marks, rather than famous famille rose peach dishes (see Rosemary Scott, Elegant Form and
the rarer four-character yuzhi mark seen on the current bowl. Harmonious Decoration – Four Dynasties of Jingdezhen Porcelain, Singapore/
London, 1992, p. 139, no. 158 for an example in the collection of Sir Percival
Three enamel colours used to good effect on the current bowl differentiate David) two red bats were painted on the interior and three on the exterior -
it from those porcelains painted solely in the famille verte palette, and to make five. In contrast, the designs on the interior and the exterior of the
presage the full famille rose palette associated with the mature Yongzheng current bowl are symbolically complete on each surface.
overglaze enamel style. These are the opaque white, seen for example on
Shou Lao’s robes and as the base colour for both the peach and the trousers Thus, the current elegant bowl appears to be a very rare and important
of the attendant; the rose enamel applied to the upper part of the peach; example of imperial porcelain from the early years of the Yongzheng reign.

福
福
福
福
福
福
福
福
福
福
福
福
祿
祿
祿
祿
祿
祿
祿
祿
福
祿
祿
祿
彩
彩
粉
彩
彩
彩
粉
粉
粉
粉
粉
粉
彩
彩
彩
福
福
彩
彩
彩
彩
彩
彩
彩
祿
圖
圖
圖
盌
盌
盌
圖
圖
圖
圖
圖
圖
盌
盌
盌
盌
盌
盌
盌
盌
盌
盌
盌
盌
壽
壽
壽
壽
壽
壽
祿
祿
祿
壽
壽
壽
圖
圖
圖
圖
圖
圖
壽
壽
壽
壽
壽
壽
正
正
正
正
正
正
正
正
正
御
御
御
御
正
正
正
正
正
雍
雍
雍
雍
雍
雍
雍 正 御 製 粉 彩 福 祿 壽 圖 盌
雍正御製粉彩福祿壽圖盌
雍
雍
雍
正
雍
雍
雍
雍
雍
雍
粉
粉
粉
粉
粉
製
製
粉
粉
粉
製
製
製
製
製
製
製
製
製
御
御
御
御
御
御
御
御
御
製
製
製
製
御
御
雍正御製粉彩福祿壽圖盌
蘇玫瑰
蘇
蘇玫瑰
蘇
蘇 玫 瑰
瑰
瑰
玫
玫
ỵ⒤學者暨故宮陶瓷研②所客座研②員
此盌工★藝絕˞紋飾禎祥，Ֆ̃畫工♢膩嫻熟，器底所署青花Ǚ雍正御製ǚो字楷
書款更是珍➱̃極ǐǙ御製ǚ款肇始於康熙 Ռ元 至 年在Ψ
末年ⅴ家ṁ 就本拍品而〕，它與康熙ˏ朝密ֲ相關˞很可能燒造於雍正׀年̃ㄗ據，˩非僅限 Ѣ得ˏ提ⅲ是，ҷˠ品中̑有單̩͠彩為飾ⅲ雍正御瓷，惟Ւ數量寥若晨星ǐ就此 此盌Շ底所❡ⅲ壽老在雍正御瓷中較為➱見ǐ這ˏ題材雖是康熙ω瓷ⅲ常見主題，
製ⅲ畫琺瑯瓷器ǐǙ康熙御製ǚो字楷書款͠釉˖藍彩或粉紅彩署於色ঃ瓷器底 於青花御製年款ǐ就此而〕，۷ˏΫㄗ關̅Ւ畫琺瑯風格與紋飾題材ǐ單͠畫風而 可參考૯維德Ḍૈ珍藏雍正̩彩瓶，圖見拙著Ǘ'PS UIF *NQFSJBM $PVSU ě 2JOH 但卻鮮見於雍正器ḵ，而ˏ小批❡松˗壽老ⅲ˖̊鬥彩盤可ヘ┤中ṁ例，就此可
部，٫̺故宮博ḵ院藏̣例黃ঃ瓷盌可資參照，圖見Ǘ故宮博ḵ院藏文ḵ珍品Ո集 〕，本拍品與康熙較後期ⅲ̩彩畫琺瑯ω瓷淵源甚深，Ւ中最⑪֨者莫如́ḵⅲ礬 1PSDFMBJO GSPN UIF 1FSDJWBM %BWJE 'PVOEBUJPO PG $IJOFTF "SUǘ 紐☼Ǐ新؟ 參照ע述著ηǗ故宮博ḵ院藏文ḵ珍品Ո集 ：̩彩Ǐ鬥彩ǘ頁 編號 所示
：琺瑯彩Ǐ粉彩ǘ頁 編號 及 香港：
ǐ署御製年款者͠盃盌類居૨，間 紅㎈廓線和面部♢節 惟此盌͠若有若無ⅲ礬紅彩渲染́ḵ臉部ⅲ手法，ⅲ確有別 ঠ及і敦：
頁 編號 館藏號1%'
ǐ۷有˕例僅飾̩彩ⅲ雍正 瓷盤ǐ這ˏ實例Ǐ٫̺故宮珍藏ⅲ近Κ瓷盤 Ւ中ˏ對曾̼相於香港東方陶瓷學會
或̷見於印泥盒和瓷瓶，台٫४⒤故宮博ḵ院Ǘ清代畫琺瑯ṁ展目錄ǘ 台٫：
於康熙瓷器ⅲ́ḵ畫法
，՞者Ւ琺瑯彩 如黃Ǐ綠及明澈ⅲ茄皮紫彩
靈動透̼， 盌，圖見Ǘ故宮博ḵ院藏文ḵ珍品Ո集 ：̩彩Ǐ鬥彩ǘ頁 編號 香 年在香港舉行ⅲǗCh'ing Polychrome Porcelainǘで見展覽圖錄編號
及
中各收錄ˏ例，で見編號 及 ǐ署青花ो字楷書御製款ⅲ康熙琺瑯彩瓷益發稀少， 與康熙時期ⅲ風格息息相關，而壽老袍沿ⅲ霽藍彩̷然ǐ這ˏ色調ⅲ藍彩更接近康 港：
ǐ然而，ע述˕盌和૯維德瓶Ц署青花Ս字楷書Ǚ年製ǚ款，而非像本拍 Ւ他近Κ例，Շ底Ц飾畫琺瑯仙鶴與團花桃紋，而˞泰ڑ斷代為康熙末年或雍正׀
Ւ中ˏ例是˖海博ḵ館珍藏ⅲ珊瑚紅ঃ花卉紋盌，圖見Ǘ˖海博ḵ館藏康熙瓷圖 熙較後期研製創燒ⅲ藍彩，で見拙ηǗ十Ջˠ紀釉˖琺瑯彩：畫風ⅲ技術沿革所衍 品般採用較為➱見ⅲो字楷書御製款ǐ 年ǐ本拍品ⅲ壽老͠Ւ常見配搭梅花鹿為ঙ騎，壽老又名壽星，乃長壽̃神，而仙
錄ǘ 香港：
頁 編號 ，۷有數例散見於٫̺故宮與台٫故宮珍藏ǐ 生ⅲ影響 UI DFOUVSZ PWFSHMB[F FOBNFMT UIF JOGMVFODF PG UFDIOPMPHJDBM 鹿Ǐ蟠桃均屬福壽̃徵ǐ՞者，盌નՇ外ⅲ紅蝠̷意趣盎然ǐ盌外̩隻紅蝠喻Ǚ̩
EFWFMPQNFOU PO QBJOUJOH TUZMF
ǘ，Ո文載於Ǘ4UZMF JO UIF &BTU "TJBO 本拍品ⅲ琺瑯彩有˕者運用得֨神Ն٪，這˙僅將此器與僅❡̩彩̃ηڈֱ開Ϝ， 福ǚ，即康寧Ǐ富貴Ǐ長壽Ǐ好德Ǐ善終ǐ盌Շ壽老˖方有ˏ紅蝠翱翔，如意吉祥ⅲ寓
ṁ製御瓷署ो字楷書御製款̃慣例，ˏ直延❾至雍正年間，但綜觀現存實例，此類 5SBEJUJPO ě $PMMPRVJFT PO "SU "SDIBFPMPHZ JO "TJB /P ǘ頁 і 更肇始̞日後與雍正釉˖琺瑯彩成熟風格密˙可ֱⅲ各色粉彩ǐՒˏ是壽老衣袍ⅲ 意更呼̃欲֨ǐ這ˏ構圖̑意味着此盌應燒造於雍正׀年，因為͠雍正ˏ朝較後期
年款֨現ⅲ次數應˙及康熙ˏ朝ǐ根據台٫故宮 年推֨ⅲ雍正畫琺瑯瓷器 敦：
ǐ此處ⅲ藍彩，͠及Ϣ從腰❢獸皮在清淺明̼ⅲ紫彩̃˗所❡ⅲ黑彩斑 失透白彩，桃實與Ϣ者褲子ⅲ底色̷然；Ւ̣是桃實˖ڑ部ⅲ粉紅彩；Ւ˕是Ϣ者 ⅲ盌盤而〕，ՒՇ外紋飾૯૨為Ǚ渾然ˏ體ǚা，͠著名ⅲ粉彩桃紋盤為例，Ւ̩隻
展，૯૨數雍正御製款瓷器ⅲ色ঃ裝飾手法Κ̅近Κ康熙瓷，で見Ǘ金成旭映：清 紋，̑ϕ́聯想㈯康熙̩彩畫琺瑯瓷器ⅲ風格ǐ這種呈現獸皮ⅲ手法，與૯維德Ḍ 褲子ⅲ失透白彩̃˖ⅲ鮮紫色ǐ這̮琺瑯彩很可能ⅳ創燒˩完善於 年代ǐ有 紅蝠便是͠外̣Շ˕ⅲ方式呈現，拙ηǗ形秀色麗ो代珍ǘ 新؟ঠ及і敦：
雍正琺瑯彩瓷ǘ 台٫：
頁 及 編號 及 ，て等η品Ц署 ૈ珍藏康熙̩彩盌遙相呼應，圖見拙著Ǘ*NQFSJBM 5BTUF $IJOFTF $FSBNJDT 意思ⅲ是，清代造㏇處活計檔曾提到，雍正Ս年 <即Ռ元 年>ˑ月，怡賢親王 頁 編號 收錄ⅲ૯維德Ḍૈ珍藏桃紋盤便是ˏ例ǐ相較̃˗，本拍品ⅲՇ外
青花ो字楷書御製年款ǐ٫̺故宮̷珍藏ˏ件ो字楷書御製款雍正瓷盃，圖見ע述 GSPN UIF 1FSDJWBM %BWJE 'PVOEBUJPOǘ 洛杉磯與˕藩市：
頁 編號 Ռ元 至 年，康熙帝十˕子，雍正同ḍ₢母̃弟，封和碩怡親王，✼理戶部
構圖在ㅿ徵意義˖可ヘ各成ˏ體ǐ綜˖所述，可見這例ω妙瓷器應是雍正׀年御瓷
著ηǗ故宮博ḵ院藏文ḵ珍品Ո集 ：琺瑯彩Ǐ粉彩ǘ頁 編號 ǐ至於像本拍品 館藏號1%'
ǐ若で؟比對૯維德盌˖ⅲ仙女與本拍品ⅲ待從，便會發現Չ者 進呈新燒ⅲ改良琺瑯料，Ւ後收貯於造㏇處，̵͠由年希ਸ Ռ元 至 年
中ⅲ➱貴̃ηǐ
般ঃ子Բ素ⅲ雍正御製款ω瓷，更是少如鳳毛麟角ǐ然ם，台٫故宮̷珍藏ˏ例署 確有若干相Κ̃處ǐ 燒造御瓷ǐバ色新彩̃中，̑有失透白彩與葡萄紫ⅲ芳踨，で見ע述著ηǗ金成旭
青花Ǚ雍正御製ǚ款小盌，Ւ白ঃ̃˖★❡琺瑯彩玫瑰翠Ⓘ圖，圖見ע述著ηǗ清代 映：清雍正琺瑯彩瓷ǘ頁 ǐ
畫琺瑯ṁ展目錄ǘ編號 ǐ
183