Page 69 - 2020 December 1 Bonhams Hong Kong, Fine Chinese Ceramics and Works of art
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           A FINE AND RARE CLOISONNÉ ENAMEL
           BOTTLE VASE
           Yongzheng/early Qianlong
           The globular body surmounted by a tall cylindrical
           neck with lipped rim, vibrantly decorated in blue,
           turquoise, red, pink, yellow and purple enamels
           within bold gilt-bronze outlines, depicting medallions
           separately and jointly enclosing floral motifs and
           stylised chilong, reserved on a honeycomb diaper
           ground and florettes.
           23m (9in) high.

           HKD300,000 - 500,000
           US$39,000 - 65,000

           清雍正/乾隆早期 銅胎掐絲琺瑯團花錦地瓶

           The design of medallions is reminiscent of designs
           on gilt-decorated black lacquer of the Yongzheng
           and mid Qing era; see for example a rectangular
           box with embossed lacquer designs of roundels and
           floral motifs, mid Qing dynasty, in the Qing Court
           Collection, illustrated in Lacquer Wares of the Qing
           Dynasty: The Complete Collection of Treasures
           of the Palace Museum, Shanghai, 2006, p.197,
           no.148. See also a red lacquer case with design
           of roundels in the Qing Court Collection, mid Qing
           dynasty, illustrated in ibid., p.76, no.52. The design
           of roundels on lacquer may have been influenced by
           Japanese lacquer and design.

           Compare with the medallion design on a cloisonné
           enamel vase, meiping, mid Qing dynasty, illustrated
           in Compendium of Collections in the Palace
           Museum, Beijing, 2011, vol.3, no.96. The floral
           roundels were a popular design particularly on
           Beijing enamel wares during the Qianlong period.
           See several Beijing enamel vases depicted with
           roundels in the Palace Museum, Beijing, which are
           illustrated in ibid. vol.5, nos.57-59.

           瓶方口翻唇,頸朝下漸展,瓶身球形收於矮小圈
           足,瓶以銅為胎,瓶身以細絲掐出菱花錦地圖案,
           再填以紅、綠、藍、黃、白色諸料,錦地之間再掐
           飾多邊形、花邊形、球形團花圖案,看似繁亂,實
           則兩兩相對,兩對成組。

           雍正一朝,皇帝對藝術砥礪熱忱,御器的題材、工
           藝不斷創新,然而並不常在器物身上留下款識。其
           子乾隆帝則不然,幾乎每每留款。乾隆在位逾一甲
           子,御製藝術亦多有創見,卻總不出雍正一朝所創
           的框架,多在細節上繁複而已。

           團花紋是倭漆常見紋樣,雍正時期内廷大量仿製日
           本蒔繪漆器,團花紋由此在御用器物上開始流行。
           參見北京故宮藏兩件漆器,一件清中期識紋描金仙
           莊載詠長方盒,便是蒔繪風格的作品,其團花紋内
           部亦描繪花草,一如本件掐絲琺瑯之團花;另有一
           件清中期剔紅團花書函式匣,其錦地團花紋樣,便
           是本件紋飾之同脈,見《故宮博物院藏文物珍品全
           集:清代漆器》,上海,2006年,圖版52及148,
           頁76及197。

           掐絲琺瑯團花瓶可比較一件北京故宮藏清中期掐
           絲琺瑯團花紋梅瓶,其團花與本件頗似,惟非錦
           地,見《故宮博物院藏品大系琺瑯篇》,卷三,北
           京,2011年,圖版96,頁131。乾隆時期團花紋主
           要出現在銅胎畫琺瑯器物上,參考數件北京故宮藏
           乾隆畫琺瑯團花紋瓶,見前書,卷五,圖版57-59,
           頁90-92。
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