Page 182 - Christie's Asia Week March 2024 Chinese Art

IMPORTANT CHINESE ART INCLUDING THE COLLECTION OF DOROTHY TAPPER GOLDMAN 重要中४藝術暨高曼珍藏

enhanced palette. Qing Imperial archives reflect the Kangxi Emperor’s show both the kilns’ mastery of the copper oxide glazes by this period
desire for progress with the new style, and both foreign and local and also the esteem with which these wares were held.
enamelers were recruited, as recorded in 1716 by a Guangzhou official
who dispatched enamelers to the workshops in Beijing. But it was under the Yongzheng Emperor that perhaps the greatest
use was made of the deep rose or ruby glaze. Combining exquisitely
Crucial to the new ‘famille rose’ palette were a rose-pink derived from fine decoration in the new enamel palette on the front of a dish or
colloidal gold, a lead-potassia opaque white, an opaque lead-stannate the interior of a bowl with a copper-red – or ruby – solid glaze on its
yellow, and a new, lead-potassia cobalt blue used overglaze. The exterior was an innovation of the Yongzheng kilns. Some scholars have
Chinese lead-based white differed from the European tin-based white speculated that this innovation came about because of the elegantly
(used at Delft, in Persia and in Turkey to simulate Chinese porcelain). thin potting of these wares, some ‘eggshell’ and some ‘semi-eggshell’.
It allowed the Chinese enamelers to create subtle shading and multiple A ruby glaze on their backs provided a solid canvas for the finely
tones of enamel color, enabling the creation of extremely delicate enameled scenes that otherwise would have been rendered on an
and refined decoration on porcelain. Bird and flower subjects inspired almost transparent surface.
by Chinese painting traditions display the enameling mastery of the
Yongzheng period potters, whose wares often showed an extremely Ruby-back porcelains of the Yongzheng period have been highly
spare elegance, sometimes with sophisticated innovations like the desirable in the West since they were first collected early in the 19 th
continuation of a motif over the rim of a dish or bowl. century. The holdings of major museums reflect their prominence in
such collections as that of Percival David (the British Museum), P.A.B.
Before the new ‘famille rose’ palette was mastered Chinese potters Widener (National Gallery, Washington DC), James A. Garland (St.
had used copper-red enamel to create both deep reds and a ruby pink. Louis Art Museum) and Benjamin Altman (the Metropolitan Museum
The only pigment other than cobalt blue able to withstand a high- of Art). Today, these meticulously painted, finely potted porcelains
temperature firing, copper-red was difficult to control, but with great remain as fascinating as they no doubt were at the court of Yongzheng
care could be fired in a reduction atmosphere to create a deep magenta in the 1720s and 30s.
red (langyao) or the deep rose known as ‘peachbloom’ (in Chinese,
sometimes known as pingguo hong, apple red, jiangdou hong, bean red, Becky MacGuire
or meiren zui, drunken beauty). The famed Kangxi period peachblooms Independent Researcher
made for the scholars table, the Eight Great Numbers, or ba da ma, Author, Four Centuries of Blue & White: the Frelinghuysen Collection
of Chinese & Japanese Export Porcelain

調ⅲ審美標準，受耶穌會ૈϜ華進貢ⅲ歐洲彩❡琺瑯器所影響，遂令御器廠؟ 清׀⒋ف雖已如日方中，雍正釉色ם更˖ˏ層樓，Ւ時品類百花齊放，胭脂紅
͠研發新釉ǐ據清檔所載，康熙ⅴ帝力求進步，र選中外巨匠進駐官⒋提升技 可ヘˏ枝ỵ秀ǐע述胎薄質♢ⅲ小巧盤盌，ˏ類外ન罩施胭脂紅釉，内ન★勾
術，〦錄指 年有廣州官員派遣廣府匠師˖̺ژηǐ ♢勒，拼凑宛㎢美妙ⅲ粉彩紋飾，堪稱雍正瓷器ⅲ神Ϝ̃ηǐ有學者推測，瓷
ঘ̃輕盈➇♢可歸功於ע朝ⅲ脫胎或ڑ脫胎法，成就雍正♢器Ǚ薄如گ幕ǚ̃
這種新興Ǚ粉彩ǚⅲ重要成ֱ，包括從膠態金中提煉֨Ϝⅲ玫瑰粉色Ǐ含錫鉛 美ㅁǐ至於色ঃ粉彩，胭脂紅ⅲ烘托更見相得益彰，˙然紋飾ঙ落幾近透明ⅲ
ⅲ˙透明白Ǐ含錫酸鉛ⅲ˙透明黃͠及含錫鉛ⅲ釉˖鈷藍ǐ中४ⅲ含鉛白有別 Բ素背景，略顯索然無味ǐ
於歐洲ⅲ含錫白（荷蘭代ḓ夫ṁǏ波斯及土耳Ւ用̃模仿中४瓷器）ǐע者
Property from the Collection of Professor and Mrs. Yu Chunming
有إ彩料提升濃淡層次，增强色度ㅌ٪，令彩瓷紋飾更趨♢膩ǐ受中४۵畫啟 雍正胭脂紅ঃ粉彩̃魅力無遠弗届，自十̏ˠ紀͠Ϝˏ直深受西方鑑藏家青
發，雍正粉彩瓷器˙時͠花鳥為題，Ւ畫意生動，筆』酣暢，˞ґ發新潮，為 睞，例見現藏૯英博ḵ館ⅲ૯維德Ḍૈ（1FSDJWBM %BWJE）珍藏Ǐ美४華府 979
盤Ǐ盌❡飾極Ւ複雜ⅲ邊飾圖案ǐ ४家美術館 1 " # ．維德納（1 " # 8JEFOFS）珍藏Ǐ聖㊌易斯藝術博ḵ A FAMILLE ROSE 'EGGSHELL' RUBY-BACK 'LADY
館ぬ姆ૈ．"．؟蘭（+BNFT " (BSMBOE）珍藏及૯都會博ḵ館班雅明．阿 AND CHILDREN' DISH
在粉彩燒造工藝尚未成形̃時，瓷匠૨用銅紅發色，調製深沉至翠艷等效果ǐ ṁ曼（#FOKBNJO "MUNBO）珍藏ǐ時至今日，這̮曠۵ω器風采ϯ然，中外 YONGZHENG PERIOD (1723-1735)
除鈷藍͠外，銅紅是₤時唯ˏ能承受高溫ⅲ顏料，雖極難控ד，但若ㄈ慎處 藏家無˙對雍正官⒋彩瓷趨̃若鶩ǐ 78 in. (20.1 cm.) diam.
理，即能在還原性氣氛過程中形成ˏ種朦朧幽眇ⅲ非֜色調ĜĜǙ郎⒋紅ǚ及
Ǚ海棠紅ǚ（又稱Ǚ蘋果紅ǚǏǙㅬㅫ紅ǚ或Ǚ美́醉ǚ）ǐ康熙郎⒋紅聞名 馬博懿 $10,000-15,000
遐邇，૨͠製ηՔ雅秀巧ⅲ文房用品ǐ涵蓋太白尊Ǐ印盒̃ǙՋ૯碼ǚ深受時 ỵ⒤學者，著有Ǘ青花ो百年：費里林海森珍藏中日外銷瓷ǘ PROVENANCE:
́青睞，足証₤時氧٪銅釉ⅲ燒製技術已甚爐火純青ǐ Cohen & Cohen, London.
EXHIBITED:
San Diego, San Diego Chinese Historical Museum, World in Porcelain: 16th-
19th Century Chinese Export Porcelain, 15 September 2018-19 January 2019.
δ春明教授伉儷珍藏
清雍正 外胭脂紅ঃՇ粉彩良母教子圖盤
Ϝ源
Cohen Cohen，і敦
展覽
聖ঃḨ哥中華歷史博ḵ館，Ǚ瓷˖ˠ₇: 中४16 19ˠ紀外銷瓷器展ǚ，2018年9月 (reverse)
15日 2019年1月19日
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