Page 109 - 2019 October Important Chinese Art Sotheby's Hong Kong

This vase exudes an air of serene elegance through its 花籃尊線條簡約，形可上遡高古銅壺，頸、肩與足上
luminous celadon glaze and seemingly simple form. 妙添菊瓣，罩施青釉柔和悅目，樸雅中見靈秀，透視
It encapsulates the Yongzheng Emperor’s admiration 雍正窰匠心獨運，藝通古今。
for celebrated wares of the past and his penchant for
contemporary designs, which resulted in a piece that is 秋菊乃九月之花，清雅引思，宋朝已有以菊為飾之
both familiar and innovative. While its form derives from
archaic bronze wine vessels, zun, the bands of moulded 品，康熙瓷瓶也有足上模印菊瓣紋者。到了雍正一
chrysanthemum petals on the neck, shoulder and above the 朝，世宗尤好菊紋，圖案常見於瓷器之上。薛好佩曾
foot were an innovation of the Yongzheng reign. 在專文中，指雍正帝或景仰著名詩人陶潛（365-427
年），是以在位期間，多製菊紋之器，詳見〈In the
A symbol of autumn and of the 9th month of the year,
the chrysanthemum flower provided much inspiration to path of Tao Qian: ‘Chrysanthemum’ wares of the Yongzheng
potters and craftsmen from as early as the Song dynasty emperor〉，《Arts of Asia》，2015年5-6月，頁72-85
(960-1279). Bands of moulded chrysanthemum petals are 。東晉義熙元年（405年），陶潛辭官歸隱，遠離煩
known on vases of the preceding Kangxi reign (r. 1662-1722), 囂，躬耕自足，品酒賞菊，活出道家崇尚的逍遙自
although on these wares they are ubiquitously found above 在，讓文士嚮慕。世祖崇道，對隨遇而安的生活，更
the foot. The Yongzheng Emperor must have found this 是神往。
motif particularly appealing, as evidenced by the numerous
porcelain wares that feature this design. Hajni Elias in 據花籃尊口內綴四繫，可猜或曾懸掛作花籃之用，極
‘In the path of Tao Qian: “Chrysanthemum” wares of the
Yongzheng emperor’, Arts of Asia, May-June 2015, pp. 72-85, 為獨特。雖無近例可資參考，但耿寶昌《明清瓷器鑑
discusses these wares and suggests that they may reveal 定》載一線描圖，畫有乾隆年間之花籃尊，堪作參考
the Emperor’s admiration for Tao Qian (365-427), one of （香港，1993年，圖版452，編號3）。
China’s most famous poets. Having retired from his official
position in 405, Tao Qian’s humble and modest life in tune
with nature embodied the Daoist ideal of retirement that
resonated not only among scholar-officials but also with the
Yongzheng Emperor, who was a devout Daoist.
The small loop handles on the interior of the mouth make
this piece unusual and suggest it may have been used as
a hanging basket. While no other closely related example
appears to have been published, a line drawing of a vase of
this type but from the Qianlong period, is illustrated in Geng
Baochang, Ming Qing ciqi jianding [Appraisal of Ming and
Qing porcelain], Hong Kong, 1993, pl. 452, no. 3.

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