Page 153 - Important Chinese Art Hong Kong April 2, 2019 Sotheby's

The present vase is notable for its impressive size, fine 此件貫耳壺形制碩大，胎體端雅，紋飾細緻精美，體
potting and skilfully executed varying decorative bands, 現出乾隆一朝製瓷工匠的高超技藝。為製作此類華麗
and represents the expertise of craftsmen working during 奪目的瓷器大作，乾隆皇帝敕令景德鎮御窰廠的製瓷
the Qianlong reign. In order to satisfy his own flamboyant 工匠大膽求變、嘗試製作高難度的創新品種。他對器
taste, the Qianlong Emperor is known to have commissioned 物炫目華麗的裝飾紋樣及精湛技藝亦同樣關注。由於
artists working in the Imperial kilns at Jingdezhen to make
pieces that were highly challenging and unconventional, 採用的原料品質講究、精煉上乘，既令如斯碩大的器
often placing more emphasis on the showier aspects of 皿得以製作，也同時為繪工陶匠們充分展現其高超技
production and on the virtuosity of craftsmanship. The 藝創造了條件。
refinement of the material allowed for the making of such
large vessels, which provided a platform for artists to be 此壺以漢代祭祀禮儀青銅器壺的造型為藍本作仿燒、
ambitious in their repertoire. 複雜多變的的造型要求陶工具備十分專業的工藝技
The form of this vase required considerable expertise from 巧，漢代（公元前206-公元220年）器皿通常以當時
the potter and is an adaptation of the Han ritual bronze 稀有而備受珍重的青銅原料製成，並用於先祖的祭祀
vessel, hu. During the Han dynasty (206BC-AD220) vessels 典禮儀式之中。這類古代器物也同樣受到了身為偉大
were produced in highly prized material such as bronze 鑒賞家和古董收藏家的乾隆皇帝的青睞，及被視作模
and were intended for use during ancestor worship rituals. 仿的對象。
This reference to archaic forms would also have been much
appreciated by the emperor who was a great connoisseur 此壺上繽紛繁複的纏枝花卉圖案受到十五世紀明代青
and a keen collector of archaic pieces.
花瓷器紋飾的影響。而其濃豔的青花呈色則反映出清
Further reference to China’s celebrated past is seen in the 代工匠的高超技藝，畫師運用點刻工藝藉以重現明代
intricately painted floral scrolls which were inspired by 15th 早期青花瓷器的典型鐵斑效果。
century Ming dynasty blue and white porcelain. Painted in
a brilliant deep blue glaze which reflects the high level of
technical achievement by Qing craftsmen, Qing painters 在過去的拍賣會上，亦見數個相類的大壺售出：如於
employed the ‘heaping and piling’ technique in the intention 1977年5月16日香港蘇富比（編號90）售出，現屬香
to simulate the stippled effect of the cobalt glaze typically 港藝術館藏品，見《清瓷薈錦：香港藝術館藏清代陶
found on early Ming pieces. 瓷》，香港藝術館，香港，1984年，編號63。另一件
源自英國 Ralph Harwood K.C.B., K.CV.O. 爵士收藏
A closely related Qianlong vase sold in these rooms, 16th
May 1977, lot 90, now in the Hong Kong Museum of Art, 的大壺，於1994年6月7日倫敦蘇富比售出，編號358
was included the Museum’s exhibition The Wonders of the 。此收藏家曾擔任英王喬治五世的財務大臣兼皇室內
Potter’s Palette, Hong Kong Museum of Art, Hong Kong, 務總管，而大壺應原為温莎城堡的皇家收藏，並為瑪
1984, cat. no. 63. Compare also a vase from the collection 麗皇后所賜贈。還可比較兩個大壺，其一為香港蘇富
of Sir Ralph Harwood, K.C.B., K.C.V.O., at one time Financial 比1993年4月27日售出之品，編號174，後復現於2003
Secretary to King George V and Controller of the Royal 年4月27日，編號221及2006年10月8日，編號1074。另
Household, and believed to have been presented to him by 一則在紐約蘇富比2001年10月17日拍出，編號175。
Queen Mary, out of the Royal collections at Windsor Castle,
sold in our London rooms, 7th June 1994, lot 358. Another
vase of this type was sold in these rooms, 8th April 2009, lot 近似此類大瓶造型，但瓶頸更加細長且不對圈足的雍
1604. 正製品為以明宣德投壺作造型藍本。此類雍正瓷瓶形
制在乾隆初期仍為工匠所效仿，而後才逐步演化出現
Large vases of this type, but with a long cylindrical neck
and no foot that derived from Xuande arrow vases, were 拍品的嶄新樣式。試比較一繪有類似纏枝花卉紋樣的
produced during the Yongzheng reign. This Yongzheng form 雍正作例，現藏北京故宮博物院，收錄於《清代御窰
appears to have been copied by potters early in the Qianlong 瓷器》，卷1（下），北京，2005年，頁178。另有一
period before developing into a new form as exemplified 件造型近似，繪有蓮花紋樣的罕見乾隆作例，於2008
by the present piece. Compare a Yongzheng vase similarly 年5月27日香港佳士得售出，編號1579。還可參考一
decorated with flower scrolls in the Palace Museum, Beijing, 件明代青花瓶原型，見北京故宮博物院清宮舊藏，
illustrated in Qingdai yuyao ciqi, vol. 1, pt. II, Beijing, 2005, pl. 著錄於耿寶昌，《故宮博物院藏明初青花瓷》，北
178; and a rare Qianlong vase of related form but decorated
with lotus flowers, sold at Christie’s Hong Kong, 27th May 京，2002年，卷1，圖版82。
2008, lot 1579. For a Ming blue and white prototype, see a
vase from the Qing court collection and still in the Palace
Museum, Beijing, published in Geng Baochang ed., Gugong
Bowuyuan cang. Ming chu qinghua ci [Early Ming blue and
white porcelain in the Palace Museum], Beijing, 2002, vol. 1,
pl. 82.

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