Page 113 - Sotheby's Hong Kong Important Chinese Works of Art, Oct. 9, 2022

and White Porcelain with Underglaze Red (I), Hong Kong, 玉壺春口沿微撇、頸細而腹碩，器型雅緻，為清代景
2000, pl. 33. The arrangement of flowers and rocks, the 德鎮典範之作，彼時製瓷工藝之純熟，由此可見一
depiction of lappets and the scroll band at the neck, as well 斑。能工者既摹古創新，雙管齊下，彰顯中國輝煌歷
as the small lotus flowers at the foot are very similar.
史。此般功績，非技藝高超、思維廣散之巧匠而不能
Scenes of sophisticated gardens with fantastic rocks, 就；還歸功於督陶官之朝督暮責，唐英便為其一，任
bamboo, banana trees and other plants began to be painted
on blue and white porcelain during the Yuan dynasty, 職於雍正與乾隆早年期間，天賦異禀、瓷藝卓絕。同
where the motif proved most popular among a Middle 時，清初統治者急欲借復興瓷業之舉以匡正其統治，
Eastern audience who was attracted by the exotic nature of 宣揚聖威，亦視為關鍵因素。
these plants. In the Ming dynasty, the design took a highly
symbolic character and embodied the qualities and virtues 雍正時期，皇帝便時常傳旨運送歷代佳瓷至景德鎮御
of the scholar. Bamboo symbolises longevity, endurance 窰廠，著其照樣燒造，至乾隆朝，此舉愈興。據唐英
and loyalty, as it remains green in winter and does not break
in the wind. Rocks symbolise durability and steadfastness 所紀官窰事宜，明初青花器備受清廷眷睞，自雍正十
and are associated with reliability and friendship. Plantain 年（1732年）起，仿永、宣二朝之佳品迭出。竹石芭
leaves on the other hand, are one of the fourteen treasures 蕉圖玉壺春瓶始燒於洪武朝，然清代仿製品之形制更
of the scholar and represent education and self-cultivation. 近永窰器，不論花、石樣式，頸部蕉葉紋及卷草紋之
Banana leaves were used for practicing calligraphy by 描繪，或是圈足點綴之蓮瓣紋，均甚為相似，可見北
famous historical figures and poets, including Huaisu (c. 735-
c.799). The Qianlong Emperor himself is portrayed writing 京故宮所藏一作例，圖刊於《故宮博物院藏文物珍品
on a banana leaf as Prince Hongli in the anonymous painting 全集．青花釉裏紅（上）》，香港，2000年，圖版33。
Prince Hongli Practicing Calligraphy on a Banana Leaf, in the
Palace Museum, Beijing, included in the exhibition China: The 繪庭院小景題材之青花器，始見於元，繪欄柵、洞
Tree Emperors 1662-1795, Royal Academy of Arts, London, 石，配修竹、芭蕉等，清麗風雅，別開生面。此番
2005, cat. no. 187.
中式景緻，饒有本土意境，尤投中東諸國所好，喜其
A closely related vase in the National Palace Museum, Taipei, 異國情調。明朝圖樣設計，多以物喻人，寄興寓情。
is illustrated in Porcelain of the National Palace Museum. 竹，冬寒而常青，風饕愈凌然，素托以長壽、堅韌、
Blue and White Wares of the Ch’ing Dynasty, vol. II, Hong
Kong, 1968, pl. 12; one in the Palace Museum, Beijing, is 忠貞之品質。石質堅，象徵隱忍、剛毅之性情，又可
illustrated in Zhongguo taoci quanji [Complete series on 表牢靠之關係、友誼。蕉能代紙，為文人十四寶之
Chinese ceramics], vol. 15, Shanghai, 2000, pl. 12; another 一，以其借喻學識淵博、品行高遠之士。文人墨客以
was sold in our New York rooms, 20th March 1976, lot 174, 蕉代紙，揮毫撒墨，於其上習字題詩，古有懷素「蕉
and again at Christie’s New York, 17th September 2008, lot 書」之韻事。佚名宮廷畫師曾作一幅四阿哥弘曆蕉書
459; and a fourth example was sold Christie’s Hong Kong,
30th May 2006, lot 1410, and again in these rooms, 8th 圖，現藏北京故宮博物院，展於《盛世華章》，皇家
October 2010, lot 2773. 藝術學院，倫敦，2005年，編號187。
Vases of this design were made from the Yongzheng reign
through the Xuantong period; a closely related vase is 台北故宮博物院藏一類例，圖見《故宮藏瓷．清青
illustrated together with examples from the Yongzheng, 花瓷》，卷2，香港，1968年，圖版12。北京故宮博
Daoguang, Xianfeng and Tongzhi reigns in the Shanghai 物院亦存一例，著錄於《中國陶瓷全集》，卷15，上
Museum in Lu Minghua, Qingdai Yongzheng – Xuantong 海，2000年，圖版12。另一相若例，售於紐約蘇富比
guanyao ciqi [Qing dynasty official wares from the
Yongzheng to the Xuantong reigns], Shanghai, 2014, pls 1976年3月20日，編號174，後又於紐約佳士得2008年
3-107 and 3-32. 9月17日易手，編號459。再比較一例，兩度售於香港
佳士得，分別為2006年5月30日，編號1410，及2010年
10月8日，編號2773。

竹石芭蕉圖玉壺春瓶自雍正至宣統均有燒造，上海博
物館現藏雍正、乾隆、道光、咸豐及同治五朝作例，
可資比較，圖見陸明華，《清代雍正．宣統官窰瓷
器》，上海，2014年，圖版3-107及3-32。

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