Page 110 - 2020 December 1 Bonhams Hong Kong, Fine Chinese Ceramics and Works of art

The present vase, together with a small group of large Yongzheng
vases of this form, was inspired by Qingbai and Longquan prototypes
made during the Song and Yuan dynasties. See for example, a
Longquan celadon-glazed vase of similar form and relief-decorated
design, Yuan dynasty, in the Qing Court Collection, illustrated in The
Complete Collection of Treasures of the Palace Museum: Monochrome
Porcelain, Hong Kong, 1999, no.167. Its complex shape and baluster
form were clearly developed from Qingbai wares produced in the
Song dynasty; see for example, a vase illustrated by J.Ayers, Chinese
Ceramics in the Baur Collection, vol.1, Geneva, 1999, pl.57.

The moulded design on the present vase is precise and crisp,
particularly remarkable given its large size. It is beautifully spaced
around the surface demonstrating the technical virtuosity achieved
by the potters during the Yongzheng reign. The Yongzheng emperor
is well known for his personal affinity for antiquity and his admiration
for archaic forms. As the aesthetic reference to the monochrome
Image courtesy of Palace Museum, Beijing wares of the Song and Yuan dynasties were in line with the emperor’s
北京故宮博物院藏 personal taste, designs in imitation of early monochrome wares were
submitted to the Imperial Workshops for production subject to the
emperor’s approval.

Compare a closely-related example of a celadon-glazed relief-
decorated vase, Yongzheng mark and period, imitating a Longquan
prototype, in the National Palace Museum, Taipei, illustrated in
Harmony and Integrity: The Yongzheng Emperor and His Times,
Taipei, 2009, no.II-29, p.202. See also another celadon-glazed vase
of nearly identical design, Yongzheng mark and period, in the Palace
Museum, Beijing, illustrated in Gugong bowuyuan cang qingdai
yuyao ciqi, vol.1, Beijing, 2005, no.101. See also a Yongzheng mark
and period blue and white vase of similar size and form in the Qing
Court Collection, illustrated in The Palace Museum’s Collection of
Blue and White Porcelains from Yongzheng Period of Qing Dynasty,
Beijing, 2017, pl.141.

侈口，粗長頸，豐肩，鼓腹微斂，圈足微撇，器形碩大，端莊秀雅。
通體内外施白釉，器身外壁以模印裝飾，口沿外壁弦紋七道，頸部前
後飾纏枝花兩組，肩部飾雙弦紋，腹部飾纏枝牡丹花紋一周，足脛部
飾細長形仰菊瓣紋。底部以青花書「大清雍正年製」六字楷書款。

此瓶尺寸碩大，造型規整，施釉均勻，釉質熒潤，釉面瑩澤，模印紋
Image courtesy of National Palace Museum, 飾清晰，佈局疏密有致，為存世雍正御窯瓷器中慕古創新之佳作。其
Taipei 台北故宮博物院藏 形制、紋飾及釉色皆為慕仿宋元時期青白瓷及龍泉瓷而來，如清宮舊
藏藏一件元代龍泉窯青釉模印凸花尊，現存北京故宮博物院，著錄於
《故宮博物院藏文物珍品大系：顏色釉》，香港，1999年，圖167，
頁184-185。其鼓腹粗頸的形制亦起源於宋元時期景德鎮青白瓷，如
鮑爾基金會收藏一件宋代刻畫鼓腹瓶，著錄於《Chinese Ceramics in
the Baur Collection》，卷一，日内瓦，1999年，圖版57。

雍正皇帝在藝術審美上的追求素以「仿古創新」及「文雅淳厚」著
稱，在皇家御用器方面，無論模仿自古代文物的器形，或在釉彩及紋
樣上融合新舊元素，都直接反映出傳統中創新的藝術風格。宋元時期
單色釉在藝術審美上符合雍正皇帝的要求，因此特命景德鎮御窯廠予
以仿製。

參看台北故宮博物院藏一件清雍正仿龍泉窯鳳尾尊，形制與此瓶非常
接近，唯器身腹部花朶稍有不同，著錄於《雍正：清世宗文物大展》，
台北，2009年，圖版II-28。另見北京故宮博物院藏一件清雍正粉清
釉暗纏枝蓮紋尊，尺寸、紋飾及花朵樣式皆與此瓶相似，著錄於《故
宮博物院藏清代御窯瓷器》卷一下冊，北京，2005年，圖101。與其
相近的摹古創新之作可見北京故宮博物院藏清雍正青花纏枝蓮托八寶
尊，著錄於 《故宮博物院藏清雍正青花瓷器》，北京，2017年，圖
版141。

Image courtesy of Palace Museum, Beijing
北京故宮博物院藏
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