Page 291 - Sothebys HK Dragon Emperor April 2024

Rarely have the doucai and fencai (famille rose) palettes 鬪彩瓷，創燒於明成化一朝，青花作勾勒，滿填各色
been as successfully combined as on this impressive 釉上彩，色彩選擇仍有侷限。粉彩創於康熙晚期，色
moonflask, which celebrates the creative breadth of 系更豐富，增添許多淡雅柔美的色調，雍正年間，初
porcelain production under the Qianlong Emperor with its
brilliant colour palette. Only one pair of such vases, though 次嘗試結合二者，但多限於在鬪彩瓷上，些微增添少
with dragon handles, appears to have been produced. 量粉彩釉色。此扁壺，以鬪彩、粉彩技法相綴，華麗
The doucai painting style, with its delicate drawing in fine 尊貴，珍稀非凡，展現乾隆窰造瓷技術之創新。現知
blue outlines and its colouration in polychrome washes, was 乾窰存世例子僅見本品及一對相類龍耳例。
the archetypal style of decoration in the Chenghua reign
when the colours were still limited to a few bright shades. 本品紋飾以青花勾勒，填以粉彩，大膽結合二種技
It was only by the end of the Kangxi reign that the fencai 法，視覺效果明豔繽紛，強而有力，極為罕見，實為
palette, with its wide range of tones and subtle pastel tints,
became available. The first trials in combining the two colour 乾隆御瓷之範例。
schemes began in the Yongzheng period, but were generally
restricted to small touches of fencai enamels included 存世僅見一對相似雙龍耳例，其一曾屬英國鐵路基
among typical doucai designs. 金會藏品，1989年5月16日售於香港蘇富比，編號87
This moon flask represents a very ambitious combination of ，並錄於《特別展：中国の陶磁》，東京國立博物
the two colour schemes, since the full famille rose enamel 館，1994年，編號342；另一先售於香港蘇富比1982
palette is here used with the underglaze-blue outlines that 年11月8日，編號204，再售於香港1990年10月8日，
are characteristic of doucai. Although aesthetically most 編號525，後經徐氏藝術館及劉鑾雄遞藏。
satisfactory and striking, the marriage of these two painting
techniques remained rare. An achievement of the Qianlong
period, the full incorporation of the doucai and famille rose 與此器相類作例，參考 Iver Munthe Daae 舊藏一件鬪
palettes was usually applied only to the depiction of flowers 彩扁瓶，足較寬，蝙蝠耳，現藏奧斯陸國立美術博物
and clothes to enhance the overall visual effect. 館，藏品編號 OK-03389，展出於《Daae Samlingen》
Only one other pair of vessels of this design appears to be ，Kunstindustrimuseet i Oslo，奧斯陸，1989-90年，頁
recorded: one flask was formerly in the collection of the 38。本品桃紋，以粉彩細緻色調相綴，粉紅、紫、
British Rail Pension Fund, sold in these rooms, 16th May 黃、淺綠，烘托出碩果豐美之色彩變化，與奧斯陸博
1989, lot 87, and included in the Special Exhibition. Chinese
Ceramics, Tokyo National Museum, Tokyo, 1994, cat. no. 物館藏品相比，更加自然寫實，桃實、石榴子描寫細
342; the other flask was sold twice, first in these rooms, 8th 膩，色彩漸層柔和，光影綽綽，乃鬪彩無可及之。
November 1982, lot 204, then at Christie’s Hong Kong, 8th
October 1990, lot 525, subsequently entered the collections
of the Tsui Museum of Art and Joseph Lau.
The design of this piece is known from a closely related
moonflask with a wider foot, and handles in the form of
bats, which is painted in doucai only, from the collection
of Iver Munthe Daae, now in the collection of the National
Museum, Oslo (accession no. OK-03389), and included in
the exhibition Daae Samlingen, Kunstindustrimuseet i Oslo,
Oslo, 1989-90, catalogue p. 38. Thanks to the colours of the
famille rose palette, the fruits on the present moonflask that
are delicately shaded in layered tones of pink, purple, yellow
and lime-green, are represented much more naturalistically
compared with those on the Oslo vessel. The skin of the
peaches is particularly sensitively painted in a range of
gradations and the seeds of the pomegranates are carefully
rendered as if reflecting light – effects not available with the
doucai palette.

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