Page 43 - Sotheby's Chinese Ceramics Nov 30 2017 Hong Kong
P. 43

This moonflask has been finely executed to imitate the   此器形仿明初扁壺,又巧以點苔之技,模擬前朝回青黑
                            celebrated wares of the early fifteenth century through both   疵。參考鄂圖曼蘇丹舊藏永樂青花折枝花卉扁壺,現存伊
                            its form and the use of the ‘heaped and piled’ technique to   斯坦堡托普卡比宮殿博物館,收錄於康蕊君,《Chinese
                            render the design. Qing craftsmen skilfully manipulated the
                                                                      Ceramics in the Topkapi Saray Museum, Istanbul》,卷
                            cobalt pigment to simulate the uneven blue tones of early Ming
                            underglaze blue designs. Its flattened globular form, tall and   2,倫敦,1986年,圖版613。扁壺上所繪福壽雙全圖,
                            gently waisted neck, and two handles were also adapted from   應創於雍正年間,盛於乾隆一朝,時見於各式御品,不止
                            early Ming prototypes, such as a moonflask attributed to the
                                                                      限於瓷器,因其祥瑞,尤宜作萬壽賀禮。
                            Yongle reign (1403-1424), painted with flower sprays, from
                            the former collection of the Ottoman Sultans and now in the   此類乾隆帶款扁壺,世界各大公私收藏有蓄,如南京博物
                            Topkapi Saray Museum, Istanbul, illustrated in Regina Krahl,   院,見《宮廷珍藏:中國清代官窰瓷器》,上海,2004
                            Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol.
                                                                      年,編號220。印第安納波利斯美術館藏品,則展於
                            2, London, 1986, pl. 613.
                                                                      《Beauty and Tranquillity. The Eli Lilly Collection of
                            Qianlong mark and period moonflasks of this type are held
                                                                      Chinese Art》,印第安納波利斯,1983年,編號116。
                            in important museum and private collections worldwide; see
                            one in the Nanjing Museum, published in Treasures in the   R.I.C. Herridge 舊藏扁壺也可資比較,售於香港蘇富比
                            Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty,   1978年11月29日,編號235。
                            Shanghai, 2004, cat. no. 220; and another in the Indianapolis
                            Museum of Art, included in the Museum’s exhibition Beauty
                            and Tranquillity. The Eli Lilly Collection of Chinese Art,
                            Indianapolis, 1983, cat. no. 116. Further examples include one
                            from the collection of R.I.C. Herridge, sold in these rooms, 29th
                            November 1978, lot 235.
                            The design of peaches and bats, with its highly auspicious
                            message, appears to have originated in the Yongzheng reign
                            (1722-1735) and grew in popularity during the Qianlong period
                            (1736-1795), when it was represented in all possible media.
                            The bat (fu) and peach (shoutao) create the pun fushou
                            shuangquan (‘May you have both blessings and longevity’),
                            which makes this piece particularly suited to be presented as a
                            gift on the occasion of a birthday.










































                                          CHINESE ART INCLUDING SELECTED WORKS OF ART FROM THE T.Y. CHAO FAMILY COLLECTION  41
   38   39   40   41   42   43   44   45   46   47   48