Page 58 - Collection of Maureen Pilkington Hong Kong April 2017

This bowl, decorated in a highly complex variation of the 本品用色豐富，以黃地綠彩為主，乃雍正朝新創，此後歷朝皆無
green-and-yellow colour scheme, represents a rare innovation 他例。此盌主調為綠、黃、白三色，基本屬三彩瓷類，但其蝙蝠
introduced in the Yongzheng reign (1723-35) and not 及彩帶先留白，後施紅、藍彩，淺青葫蘆又添褐斑。由於白釉地
continued beyond this period. The design is basically a sancai 著彩，是以礬紅略呈粉色，因此同類盌常被誤認作粉彩瓷。
(‘three colour’) pattern in green, yellow and white, but the
elements that had remained white – the bats and the ribbons 北京故宮博物院收藏一件近例，載錄甚豐，如《故宮珍藏康雍
– are overpainted in red and blue, respectively, and the pale 乾瓷器圖錄》，香港，1989年，頁238，圖版67；《故宮博物
green gourds have been given brown spots. Since the white 院藏文物珍品全集．琺瑯彩．粉彩》，香港，1999年，圖版83
areas were emphasised by application of white slip, the iron- ；耿寶昌主編，《故宮博物院藏清代御窰瓷器》，北京，2005
red pigment there takes on a pinkish hue, so that this type of 年，卷2，圖版66。Constantinidi 舊藏也有一盌，售於倫敦蘇
bowls is often mistakenly described as belonging to the famille 富比1947年7月8日，編號24，錄於 Soame Jenyns，《Later
rose. Chinese Porcelain: The Ch’ing Dynasty》，倫敦，1951年，圖
版LXIX，編號3。紐約蘇富比1975年4月24日且曾拍出一例，編
A similar bowl in the Palace Museum, Beijing has been 號364，後納入英國鐵路基金會收藏，再售於倫敦蘇富比1989年
repeatedly published, for example, in Kangxi, Yongzheng, 5月16日，編號78。
Qianlong. Qing Porcelain from the Palace Museum Collection,
Hong Kong, 1989, p. 238, pl. 67; in The Complete Collection of 雍正一朝，此類豐富用色，也見於其他紋飾之品，如仙鶴暗八仙
Treasures of the Palace Museum. Porcelains with Cloisonne 紋盌，H.M. Knight 舊藏一例，展於東方陶瓷學會舉辦之《The
Enamel Decoration and Famille Rose Decoration, Hong Arts of the Ch’ing Dynasty》，倫敦，1963年，編號189，售
Kong, 1999, pl. 83; and again in Geng Baochang, ed., Gugong 於香港蘇富比1983年11月15日，編號263，後又展於《天民樓藏
Bowuyuan cang Qingdai yuyao ciqi [Qing porcelains from 瓷》，香港藝術館，香港，1987年，編號101。《天民樓藏瓷》
the Imperial kilns preserved in the Palace Museum], Beijing, 展覽圖錄摘錄耿寶昌於《明清瓷器鑑定》一書所言：「這類黃釉
2005, vol. 2, pl. 66; a bowl from the Constantinidi collection, 地彩器上，施有紅、藍、白、綠、紫、黑各色……當時稱之為『
sold in our London rooms, 8th July 1947, lot 24, is illustrated in 五彩新品』」（香港，修訂版，1993年，頁248）。耿氏書中同
Soame Jenyns, Later Chinese Porcelain: The Ch’ing Dynasty 載一黃釉地五彩雲鶴紋盌，圖版105，施有黃、綠、白三彩，鶴
(1644-1912), London, 1951, pl. LXIX, no. 3; and another was 冠礬紅及翎毛末端墨彩均繪於白釉之上。
sold in our New York rooms, 24th April 1975, lot 364, and in
our London rooms, 16th May 1989, lot 78, from the British Rail
Pension Fund collection.

During the Yongzheng period, the elaborate colour scheme
was also employed on one other design, on bowls decorated
with cranes carrying the emblems of the Eight Immortals;
compare a bowl from the H.M. Knight collection, included in
the Oriental Ceramic Society exhibition The Arts of the Ch’ing
Dynasty, London, 1963, cat. no. 189, and in the exhibition
Chinese Porcelain. The S.C. Ko Tianminlou Collection, Hong
Kong Museum of Art, Hong Kong, 1987, cat. no. 101, and sold
in these rooms, 15th November 1983, lot 263; the Tianminlou
catalogue quotes Geng Baochang, Ming Qing ciqi jianding
[Appraisal of Ming and Qing porcelain], Hong Kong, (rev.ed.)
1993, p. 248, where he states that these yellow-ground pieces
with red, blue, white, green, purple and black enamels were
at the time known as a ‘new type of wucai’. Geng illustrates,
op.cit., pl. 105, a ‘crane’ bowl in yellow, green and white, where
only the birds’ red crests and black feather tips were painted
in enamels over areas of white.

56 SOTHEBY’S 蘇富比