Page 219 - Important Chinese Art Hong Kong April 2, 2019 Sotheby's

The subtle elegance and technical perfection characteristic Imperial Perfection. The Palace Porcelain of Three Chinese
of Yongzheng porcelain is evident on this vase. Its fine Emperors, Hong Kong, 2004, pl. 80; one covered in a Jun-
potting, harmonious form and luminous crackled glaze type glaze was sold in these rooms, 30th October 2002, lot
display the major technical advances made at the imperial 230; another was sold at Christie’s New York, 29th March
kilns in Jingdezhen in the 18th century, when the enthusiastic 2006, lot 463; a third with the characters Xuanhe impressed
patronage of the Emperor resulted in the creation of in the base, referring to a reign period of the Song Emperor
innovative wares that also evoked the glorious past. Huizong (r. 1101-1125), in the Baur collection, is illustrated
in John Ayers, Chinese Ceramics in the Baur Collection, vol.
As with many Yongzheng monochrome wares, this piece 2, Geneva, 1999, pl. 263; and a further vase of this form
combines a form inspired by archaic bronzes and a glaze
that imitates the celebrated ge wares of the Song dynasty. covered in a Ru-type glaze was sold at Christie’s New York,
These beautiful crackled glazes were universally admired 15th September 2009, lot 396.
in the Ming and Qing dynasties, and the Jingdezhen kilns’ Compare also two vases of this form but covered in a
first attempts at reproducing them date back to the early speckled brown glaze and with a four-character Yongzheng
Ming dynasty. Attempts were made also in the Kangxi mark, in the Palace Museum, Beijing, illustrated in The
period, although it was only during the Yongzheng reign Complete Collection of Treasures in the Palace Museum.
that the glaze recipe was perfected and wares covered in Monochrome Porcelain, Hong Kong, 1999, pls 254 and
this attractive luminous glaze were created. The remarkable 256; a blue-glazed example with a six-character mark
improvements are attributed to the genius of Tang Ying in standard script, also in the Palace Museum, Beijing,
(1682-1756), Superintendent at the imperial kilns, who had published in Qingdai yuyao ciqi [Porcelains from the Qing
direct exposure to the extensive court collection during dynasty imperial kilns], Beijing, 2005, vol. I, pt. II, pl. 122; and
his employment at the Neiwufu (Imperial Household another of smaller size and lacking the two apertures on the
Department) in the Forbidden City. A ge-type glaze on an foot, in the National Palace Museum, Taipei, included in the
iron body is mentioned in Tang’s record of official porcelain Museum’s exhibition Harmony and Integrity. The Yongzheng
from 1735, where he comments that “These are of two kinds Emperor and His Times, Taipei, 2009, cat. no. II-45.
– (I) rice-coloured, (2) pale blue, or green (celadon), both This form is also known with tubular handles, such as a
copied from the colours of the glazes of ancient pieces sent ge-type vase sold in these rooms, 26th October 1993, lot
from the imperial palace” (S.W. Bushell, Oriental Ceramic 96; a guan-type example from the collection of Vernon
Art, London, 1981 (1896), p. 195). This piece is especially Wethered, sold at Christie’s London in 1982, twice in our
successful in the harmonious overlapping of prominent London rooms in 2001 and 2006, and again in these rooms,
blackish crackles with more subtle ones, a characteristic 8th October 2009, lot 1637; and a flambé-glazed example
of the Song prototype known as ‘golden threads and iron with a four-character mark, in the Palace Museum, Beijing,
wires’.
illustrated in The Complete Collection of Treasures in the
Vases of this shape and glaze are rare and no other closely Palace Museum, op. cit., pl. 180.
related example appears to be known. The form is however Ge-type wares were produced in the Kangxi reign, but the
known covered in other monochrome glazes inspired by glazes were generally inferior to those found on Yongzheng
Song dynasty prototypes; a slightly smaller guan-type vessels. A ge-type vase of related form but with a lipped
vase in the National Palace Museum, Taipei, is published rim and shorter foot, attributed to the Kangxi period, in the
in the Illustrated Catalogue of Ch’ing Dynasty Porcelain in Palace Museum, Beijing, is illustrated in Selection of Ge
the National Palace Museum, Tokyo, 1980, vol. 211, pl. 130; Ware. The Palace Museum Collection and Archaeological
another from the Wang Xing Lou collection is illustrated in
Discoveries, Beijing, 2017, 128.

仿官釉觶瓶，造形古典，線條柔美，釉色光潤，整體 例，2002年10月30日售於香港蘇富比，編號230；另
優雅內斂，盡顯雍正官窰完美臻熟之製瓷技術。 一例售於紐約佳士得，2006年3月29日，編號463；第
三例底刻「宣和」款，現藏鮑爾收藏館，刊於約翰．
器形取材高古青銅器，釉色傚仿宋哥窰。釉面開片疏 艾爾斯，《Chinese Ceramics in the Baur Collection》
密有致，釉色溫雅，深得後朝傾慕，明代已有仿燒， ，卷2，日內瓦，1999年，圖版263；還有一件仿汝釉
清康熙朝亦見試作，雍正時期方得成功，成品釉面厚 瓶，2009年9月15日售於紐約佳士得，編號396。
潤，層次變化無窮，藝術性至高。如此技術乃景德
鎮御窰督陶官唐英治下之傲績，唐英十六歲入宮， 參考其他單色釉觶瓶，如北京故宮博物院藏一例，
進內務府伺候，涉獵清宮浩瀚庋藏，1735年，唐氏曾 錄於《故宮博物院藏文物珍品全集．顏色釉》，香
載此類哥釉鐵胎之器可分二類，一為米色釉，另為淡 港，1999年，圖版254、256，藏品中另一件霽藍釉
青，皆按照宮廷所藏前朝古器而作（S.W. Bushell， 瓶，錄於《清代御窰瓷器》，卷1，北京，2005年，
《Oriental Ceramic Art》，倫敦，1896年，頁195）。 圖版122；台北國立故宮博物院藏一件尺寸較小觶
本品釉色淡青，金絲鐵線，近類宋例，典雅秀麗。 瓶，圈足無孔，載於《雍正：清世宗文物大展》，國
立故宮博物院，台北，2009年，編號II-45。
比較台北故宮博物院藏一件尺寸較小之仿官釉瓶，錄
於《故宮清瓷圖錄》，東京，1980年，卷211，圖版 康熙窰仿哥釉瓷，釉色不及雍正作例，數量甚稀，如
130；望星樓藏一例，載於《清代康雍乾官窯瓷器： 北京故宮博物院藏一器，刊於《哥瓷雅集：故宮博物
望星樓藏瓷》，香港，2004年，圖版80；一件仿鈞釉 院珍藏及出土哥窰瓷器薈萃》，北京，2017年，編號
128。
217