Page 131 - 2019 October Important Chinese Art Sotheby's Hong Kong

This early Ming shape appears to have been a particular 青花龍耳折方瓶，器形始見於明初，其時多通體遍
favourite of the Yongzheng Emperor, although the Ming 飾牽牛。至清之時，甚得雍正帝垂青，命燒相類之
prototypes mostly differ in design, with morning glories 器。兩幅分別繪於雍正六年（1728年）及七年（1729
covering the whole vessel. Two extant handscrolls of the 年）描繪宮藏文玩珍寶之《古玩圖卷》，各繪相類
Yongzheng period, dated in accordance with 1728 and
1729, respectively, depicting works of art from the imperial 折方瓶二件，並連木座，圖見康蕊君，〈Art in the
collection include two such vases each, all four shown Yongzheng Period: Legacy of an Eccentric Art Lover〉，
on different wooden stands; see Regina Krahl, ‘Art in the 《Orientations》，2005年11/12月，頁65-66。清宮畫家
Yongzheng Period: Legacy of an Eccentric Art Lover’, 郎世寧筆下，曾繪另一相仿之器，盛以牡丹成雙，圖
Orientations, November/December 2005, pp. 65-66. A 見於王耀庭，《新視界—郎世寧與清宮西洋風》，台
veritable ‘portrait’ of yet another such vase holding an 北，2007年，圖版16。在《神筆丹青－郎世寧來華三
auspicious branch of peony with twin blooms was executed 百年特展》圖錄中，刊錄台北故宮藏數件青花牽牛花
by the court painter Giuseppe Castiglione; see Wang Yaoting,
Xin shi jie. Lang Shining yu Qinggong xiyang feng/New Visions 紋方折瓶，並載郎世寧《瓶花圖》及《古玩圖卷》相
at the Ch’ing Court. Giuseppe Castiglione and Western-Style 應局部以便對比，台北，2015年，編號I-13。
Trends, Taipei, 2007, pl. 16. In the exhibition catalogue of
Shenbi danqing: Lang Shining lai hua sanbai nian tezhan/ 折方瓶外形複雜多棱，有別於一般圓器琢器，明顯受
Portrayals from a Brush Divine: A Special Exhibition on the 到金屬器的影響。中東一帶，多棱之器並不罕有，因
Tricentennial of Giuseppe Castiglione’s Arrival in China, 此折方瓶器形源流或可遠追中東。參見 Basil Gray，
several ‘morning glory’ vases in the National Palace Museum, 〈The Influence of Near Eastern Metalwork on Chinese
Taipei, are published alongside with details of Castiglione’s Ceramics〉，《東方陶瓷學會彙刊》，卷18，1940-
painting and the Yongzheng handscrolls, Taipei, 2015, cat. 1941年，圖版6c及6d，作者把一件折方瓷瓶，與倫敦
no. I-13.
維多利亞與艾伯特博物館藏早期波斯青銅花澆作對
The complex geometric shape, which does not come 比，其後 Assadullah Souren Melikian-Chirvani 再就此
naturally to a potter, was clearly influenced by metal 發表研究，圖文並茂，見《Islamic Metalwork from the
prototypes, probably of Middle Eastern origin, where Iranian World. 8th–18th Centuries》，倫敦，1982年，
facetted shapes are not uncommon. Basil Gray, ‘The
Influence of Near Eastern Metalwork on Chinese Ceramics’, 圖版5。
Transactions of the Oriental Ceramic Society, vol. 18, 1940-
41, pl. 6c and d, compares a porcelain vase of this form 北京故宮博物院清宮舊藏有一雍正年款折方瓶與本品
to an earlier Persian bronze rose-water sprinkler in the 十分相似，圖見耿寶昌編，《故宮博物院藏明初青花
Victoria and Albert Museum, London, which is illustrated 瓷》，北京，2002年，下冊，圖版186，同書並載相
and discussed also in Assadullah Souren Melikian-Chirvani, 關宣德年款器，參見上冊，圖版83。參考香港蘇富比
Islamic Metalwork from the Iranian World. 8th-18th Centuries, 拍出兩例，分別為2004年10月31日，編號181及2011年
London, 1982, pl. 5.
10月5日，編號30，後者原屬玫茵堂寶蓄。日內瓦鮑
A very similar vase of Yongzheng mark and period from 氏典藏也有雍正折方瓶，紋與此同，但加飾黃綠彩，
the Qing court collection in the Palace Museum, Beijing, is 見於約翰．艾爾斯，《Chinese Ceramics in the Baur
illustrated in Geng Baochang, ed., Gugong Bowuyuan cang Collection》，日內瓦，1999年，卷2，圖版212。
Ming chu qinghua ci [Early Ming blue-and-white porcelain in
the Palace Museum], Beijing, 2002, vol. 2, pl. 186, together 本品瓶頸環飾如意雲頭，中間留白，然雍正年間，較
with a prototype of Xuande mark and period, vol. 1, pl.
83. Two similar vases were sold in these rooms: one on 多見中間處滿繪牽牛花之器，如台北故宮博物院藏
31st October 2004, lot 181, the other from the Meiyintang 品，見於《明宣德瓷器特展目錄》，台北，1980年，
collection, 5th October 2011, lot 30. A Yongzheng vase of this 編號5。
pattern decorated in overglaze-yellow and green enamels
is in the Baur Collection, Geneva, illustrated in John Ayers,
Chinese Ceramics in the Baur Collection, Geneva, 1999, vol.
2, pl. 212.
This design was in the Yongzheng period more common in
a slightly different version, with scrolls of morning glory also
covering the blank areas of the neck; compare an example of
this design in the National Palace Museum, Taipei, included
in the exhibition Ming Xuande ciqi tezhan mulu/Catalogue
of a Special Exhibition of Hsuan-te Period Porcelain, Taipei,
1980, cat. no. 5.

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