Page 112 - Bonhams Hong King May 30 2017 THE SONGZHUTANG COLLECTION OF EARLY JADES

Image courtesy of the Victoria & Albert Museum, London Image courtesy of the Palace Museum, Beijing
倫敦維多利亞及阿伯特博物館 北京故宮博物院

The later added four-character inscription Yongbao changchun (永寶長 灰白玉，褐沁。盃身一旁飾曲身爬行的遊龍為器把，遊龍對面刻一面
春) has an auspicious meaning of ‘Forever Spring’, and was probably 相貌祥和的仙女，亦為器把。仙女服飾華麗，雙手扶著盃沿，與遊龍
added during the 17th or 18th century. 兩兩相望。盃底微凹，底部凹處有後代加刻的「永寶長春」四字篆
書，或為十七/十八世紀後加款。整器渾厚圓潤，製作精細，別具匠
The high-relief carving of the dragon and Lady Immortal, so 心，是難得的玉雕精品。
dynamically carved around the beautifully proportioned cup,
demonstrates an exceptional level of craftsmanship and ingenuity of 本器造型和裝飾風格顯示了宋元時代玉雕之風，見倫敦維多利亞及阿
carving. In its superb modelling and carving style it is comparable to 伯特博物館藏一件南宋白玉遊龍童子盃，其器面刻海水雲紋，盃耳一
some of the finest jade cups of the Song and Yuan dynasties, extant in 邊浮雕龍紋，另一邊雕童子，結構與此遊龍仙子盃相類，見
important museum collections. M. Wilson，《Chinese Jades》，倫敦，2004年，頁43，圖版40。
再參考美國克利夫蘭藝術博物館藏一件元代白玉仙女盃，盃耳為腳
The form and style on the present cup is comparable to an example of 踏雲朵的仙女，其造型結構和仙女的雕刻風格與本器相類，見J.C.Y.
a white jade cup with two handles in the form of a dragon and a boy, Watt，《Chinese Jades from Han to Ch’ing》，紐約，1980年，頁
Southern Song dynasty, in the Victoria and Albert Museum, London, 159，圖版131；再參考北京故宮博物院藏一件宋代青玉雙立人耳禮樂
illustrated by M.Wilson, Chinese Jades, London, 2004, p.43, pl.40. 紋玉盃，與上述例子類似，也是以仙女為器把，見《故宮博物院藏品
See another example of a white jade cup with two female immortals 大系：玉器編5：唐宋遼金元》，北京，2011年，頁65，圖版56。此
flanking as handles, Yuan dynasty, in the Cleveland Museum of Art, 類雙耳玉盃似乎也特別受到清代乾隆皇帝青睞，參考北京故宮博物院
illustrated by J.C.Y.Watt, Chinese Jades from Han to Ch’ing, New 藏一件乾隆時期的仿古作品，形制相似，底刻「大清乾隆仿古」隸書
York, 1980, p.159, pl.131. Compare also a white jade cup flanked by 款，見《故宮博物院藏品大系：玉器編10：清》，北京，2011年，
two female immortals forming the handles, Song dynasty, illustrated 圖版148。
in Compendium of Collections in the Palace Museum: Jades 5 Tang,
Song, Liao, Jin and Yuan Dynasties, Beijing, 2011, pl.56, and which
clearly was greatly admired by the Qianlong emperor, who had it
reproduced, as demonstrated in a similar cup bearing a Qianlong
fanggu mark and period, from the Qing Court collection, illustrated in
Compendium of Collections in the Palace Museum: Jades 10 Qing
Dynasty, Beijing, 2011, pl.148.

110 | BONHAMS