Page 75 - Christie's, The Palmer Family Collection May 31 to June 1, 2023 Hong Kong

Fig. 3 Collection of the National Palace Museum, Taipei Fig. 4 Collection of Zhuyuetang
圖三 台北故宮博物院藏品 圖四 竹月堂藏品

(唐英 1682-1756), in his Taocheng jishi bei ji (陶成紀事碑記 National Palace Museum, Taipei, illustrated in Porcelain with
Commemorative Stele on Ceramic Production), noted black painted enamels of Qing Yongzheng period (1723-1735) 金成旭映
glazes among the almost 40 types of monochrome glaze 清雍正琺瑯彩瓷, Taipei, 2014, pp. 46-7, no. 13. These dishes
mentioned. Tang Ying lists: have four-character overglaze blue enamel Yongzheng marks
on their bases.
‘New reproduction of mirror black glazes: including those
with white designs and those with gilding’ 新制仿烏金釉: The use of black on the back of the current dish may be a
黑地白花’ 黑地描金二種; and ‘New European mirror black subtle reference to the ink used by scholars in painting and
glazes’ 新制西洋烏金器皿. (English translations by Peter calligraphy, or may have been intended to suggest black
Lam in Shimmering Colours – Monochromes of the Yuan lacquer, which, on rare occasions, had been applied to the
to Qing Periods – The Zhuyuetang Collection, Hong Kong, exterior of high-fired ceramics since the Tang dynasty - for
2005, p. 45.) example the mise ware bowl excavated from amongst the
royal gifts found in the crypt of the Famen temple. However,
An example of a Yongzheng porcelain vessel with white given the exceptional quality of the decoration on the
interior and black on the exterior, decorated with dragons interior of the dish, and the close links to imperial bird and
in gold, is the Yongzheng-marked stem cup in the collection flower painting, a reference to ink seems more probable.
of the Palace Museum, Beijing, illustrated in The Complete
Collection of Treasures of the Palace Museum, 37, Monochrome The current dish was with the well-known dealers Yamanaka
Porcelains, Hong Kong 1999, p. 133, no. 122, where the & Co. Ltd. in London in the 1930s, and was purchased from
Tang Ying text is quoted. This stem cup has a six-character Yamanaka in July of 1936 by R.H.R Palmer, and accessioned
underglaze blue Yongzheng reign mark written on the into the Palmer collection as no. 422. It was loaned by Mr.
underside of the splayed foot. An example of Yongzheng and Mrs. Palmer to the 1951 London Oriental Ceramic
porcelain with black ground decorated with white flowers, Society Exhibition of Enamelled Polychrome Porcelain of the
is the pair of small falangcai dishes in the collection of the Manchu Dynasty 1644-1912, as exhibit 65.

跟本拍品一樣，竹月堂藏品器底亦書青花六字楷書款。 小巧玲瓏的黑地白花琺瑯彩盤，圖見《金成旭映：清雍正琺瑯
彩瓷》頁46-7編號13 (臺北：2014)。該對作品的器底書釉上青
黑釉瓷器於康熙年間 (公元1662至1722年) 東山再起，而「烏 花四字楷書款。
金」釉的配製也與康熙一朝密不可分，由於其呈色的鐵中添加
了錳與鈷，釉色和質感益發醇濃。但尤須一提的是，雍正末年 本拍品外掛黑釉，這或是效法文人書畫翰墨，或是模擬自唐以
(即公元1735年)，景德鎮御窯知名督陶官唐英 (公元1682至 降少量高溫陶瓷器外所髹的黑漆，就此可證諸法門寺地宮出土
1756年) 在《陶成紀事碑記》列舉的四十類單色釉中也曾提到 的御 秘色盌。然而，鑑於此盤紋飾畫意盎然，加上與宮廷花
黑釉：「新製仿烏金釉，黑地白花、黑地描金二種」，以及「新製 鳥畫息息相關，師法墨韵的可能性較高。
西洋烏金器皿」，英譯本可參照林業強著作《五色瓊霞：竹月堂
藏元明清一道釉瓷器》頁45 (香港：2005)。 1930年代，本拍品的物主為倫敦著名古董商山中商會，1936年
7月始易手帕默(R.H.R Palmer，典藏號422)。1951年，帕默伉
內白外黑的雍正佳瓷之中，北京故宮博物院藏一例雍正款描金 儷將之外借予倫敦東方陶瓷學會，在該會舉辦的《Exhibition
雲龍紋高足盃，圖見《故宮博物院藏文物珍品大系37：顏色釉》 of Enamelled Polychrome Porcelain of the Manchu
頁133編號122 (香港：1999)，書中也引用了前述唐英碑文。此 Dynasty 1644-1912》中亮相 (展品65號)。
高足盃撇足內書釉下青花六字楷書雍正款。臺北故宮珍藏一對

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