Page 128 - Bonhams Hong Kong The Skinner Moon Flasks

A Legacy of Chenghua, Hong Kong, 1993, no.C95 Special Exhibition of Ch’eng-hua Porcelain Ware, National Palace Museum,
《成窯遺珍：景德鎮珠山出土成化官窯瓷器》， Taipei, 2003, nos.129 and 130
《成化瓷器特展圖錄》，國立故宮博物院，台北，2003年，編號129及130
香港，1993年，編號C95

The present pair of doucai ‘baoxiang’ cups is exceedingly rare and 杯敞口，斜壁，深腹，腹下漸斂，圈足。杯口沿下青花飾雙弦紋，腹
only one other example (which has not been published) in the Palace 壁以鬥彩飾不同顏色寶相花四朵，花形碩大，以青花勾勒輪廓，再分
Museum, Beijing, appears to be recorded, museum no.GUXIN90595. 別以黃、紫、礬紅、珊瑚紅四色釉上彩填色，間以纏枝藤，風格清新
秀麗，頗有成窯之風。圈足內青花書「大清雍正年製」六字楷書雙方
The design of the cups follows similar ones produced during the 框款。
celebrated reign of the Chenghua emperor, known for its strict
standards requiring perfection of form and execution of design. The 此式雍正仿成化寶相花杯傳世品中極為少見，完全相同者，目前僅見
Yongzheng emperor, though a Manchu, was also a strong proponent 北京故宮博物院院藏一例，由1958年入藏但未曾有著錄，博物館編
of traditional Confucian thinking in Han Chinese culture, seeking to 號：故新90595。
achieve cultural continuity, reflected in him continuing the project
of compiling a history of the previous Ming dynasty to demonstrate 自古有「明看成化，清看雍正」之說，此對寶相花杯形制、紋飾、
the orthodoxy of Qing rule. His fascination with antiquity led him 釉彩完全仿效同式之成化鬥彩寶相花杯。成窯御用瓷器以造型玲瓏
to repeatedly send antiques from the Palace to the kilns to serve 秀奇、胎體細潤晶瑩、材料精選純正、色調柔和寧靜、繪畫淡雅幽婉
as standards for quality, models for designs and as inspiration for 而著稱。步入清代盛世的雍正一朝，御用瓷的燒製受到雍正帝重漢尊
innovation; see Harmony and Integrity: The Yongzheng Emperor and 儒、崇尚佛道思想的影響，其瓷質瑩潔、工藝精細、器形雋秀、典
His Times, Taipei, 2009, p.159; and E.S.Rawski and J.Rawson, eds., 雅優美，這種嚴肅認真的製瓷風氣為隨後的乾隆時期所不及。見《
China: The Three Emperors 1662 - 1795, London, 2005, p.245. 雍正：清世宗文物大展》，台北，2009年，頁159，以及E.S.Rawski
和J.Rawson編，《China: The Three Emperors 1662 - 1795》，倫
According to Tao Cheng Jishi Beiji, ‘Commemorative Stele on Ceramic 敦，2005年，頁245。
Production’, which was composed by Tang Ying (1682-1756), the
renowned supervisor of the Imperial porcelain kilns, the Yongzheng 根據唐英（1682-1756）《陶成紀事碑》之記載，雍正御窯廠曾燒造
emperor commissioned wucai cups after the type produced during 「仿成化五彩器皿」，見江建新，《唐英〈陶成紀事碑記〉及其出土
the Chenghua period, of which the doucai style was originally probably 殘碑遺文校釋》，刊登於《景德鎮陶瓷考古研究》，景德鎮陶瓷考古
referred to as wucai; see Jiang Jianxin, ‘Revised Interpretation of 研究所，北京，2013年，頁236-248，而《清宮造辦處各作成做活計
Records on the Commemorative Stele on Ceramic Production by 清檔》中所指雍正五彩亦是泛指和統稱，對如今定義之五彩、粉彩、
Tang Ying’, in Jingdezhen Taoci Kaogu Yanjiu, The Institute of Ceramic 鬥彩等，並無嚴格區分，因此此對寶相花杯極有可能屬於被記載之
Archaeology of Jingdezhen City, Beijing, 2013, pp.236-248. 一。

Cups of similar design to the present lot were made during the 景德鎮珠山御器廠窯址出土的成化器中，可見此對寶相花杯之原型，
Chenghua reign, with three examples unearthed from Zhushan, 見《成窯遺珍：景德鎮珠山出土成化官窯瓷器》，香港，1993年，
Jingdezhen. See a doucai baoxiang cup, Chenghua six-character 編號C95；相同紋飾之例，另見台北故宮博物院藏兩隻成化窯青花纏
mark within a double square and of the period, illustrated in A Legacy 枝寶相花杯，著錄於《成化瓷器特展圖錄》，國立故宮博物院，台
of Chenghua, Hong Kong, 1993, no.C95; and two further similar 北，2003年，編號129及130。
blue and white baoxiang cups, Chenghua six-character marks within
double squares and of the period, missing their enamels, illustrated 香港佳士得曾售出一件清雍正鬥彩纏枝寶相花瓶，其紋飾和釉彩與本
in Special Exhibition of Ch’eng-hua Porcelain Ware, National Palace 器類似，亦為仿效成窯名品而燒製，2011年6月1日，拍品3523。
Museum, Taipei, 2003, nos.129 and 130.

It is therefore very likely that the present pair of cups belong to a very
rare small group of doucai cups commissioned by the Yongzheng
emperor after the Chenghua period prototypes.

Compare a related pair of Ming-style doucai ‘lingzhi’ cups, Yongzheng
six-character marks and period, also made after a Chenghua period
prototype, which was sold at Christie’s Hong Kong, 1 June 2011, lot
3523.