Page 126 - The Parry Collection Bonhams London November 2 2021

This remarkable vase was included in the International Exhibition of 本拍品曾借展1935至1936年於倫敦皇家藝術學院伯靈頓宮舉辦的中
Chinese Art held at the Royal Academy of Arts, Burlington House, 國藝術國際展覽會。這一史無前例的展覽得到了中英政府及雙方人
London, in 1935-1936. This seminal exhibition had the patronage of 士的大力支持，由雙方元首擔任名譽主持人，英王喬治五世和瑪麗王
their Majesties King George V and Queen Mary, and the President 后為監理。展品共計三千餘件，中國政府應邀出借包括故宮文物在
of the Chinese Republic. It included over 3,000 objects. These were 內的近千件藏品，也是藏品首次在中國境外展出；展覽還包括了英國
variously loaned by the Chinese Government, including pieces shown 皇室的中國文物收藏，以及來自世界各地重要博物館（如大英博物
for the first time outside China, objects from the collection of Sir 館、維多利亞和阿爾伯特博物館、盧浮宮、吉美博物館、賽努奇博
Percival David, which were exhibited for the first time in public, pieces 物館、託卡比皇宮博物館、大都會藝術博物館、克利夫蘭藝術博物
from the British Royal Collection, and from many important museums 館、堪薩斯城納爾遜-阿特金斯藝術博物館、科隆博物館、德累斯頓
including the British Museum, the V&A, the Louvre, Guimet, Cernuschi, 博物館等）與著名私人藏家（如瑞典王儲、Alan Barlow爵士、R.C.
Topkapi Saray, the Metropolitan Museum of Art, Cleveland, Kansas Bruce、Buchanan-Jardine男爵、克拉克伉儷（Mr & Mrs Alfred
City, Cologne, Dresden, and by notable private collectors including Clark）、Leonard Gow博士、盧芹齋、卡爾·坎普（Carl Kempe）、
HRH Crown Prince of Sweden, Alan Barlow, R.C. Bruce, Buchanan- H.J. Oppenheim、Oscar Raphael, F. Schiller、Walter Sedgwick伉
Jardine, Mr & Mrs Alfred Clark, Dr Leonard Gow, C.T. Loo, Carl 儷、A. Stoclet、S.D. Winkworth、W. Perceval Yetts教授等）的公私收
Kempe, H.J. Oppenheim, Oscar Raphael, F. Schiller, Mr & Mrs Walter 藏精品，名單幾乎囊括了二十世紀西方世界最為重要的中國藝術收藏
Sedgwick, A. Stoclet , S.D. Winkworth and Prof. W. Perceval Yetts - a 家。 E.A. Parry向本次展覽出借了六件藏品，這也顯示了其收藏品味
roll call of the greatest collectors of Chinese art in the West in the 20th 之卓越及展覽籌備委員會對其之激賞。展覽結束後，Parry氏藏品淡出
century. E.A. Parry loaned 6 pieces to the Exhibition, demonstrating 公眾視野，僅供家族成員賞玩；本次拍賣是1936年以來本品首次出現
the superb quality of the Collection and the high esteem in which it 在公眾面前。
was held by the Exhibition Committee, which was directed by Sir
Percival David. These pieces were admired to this date in the Parry 瓶呈方形，脖頸與腹下內收，使器身四面交界線呈弧形，方中有圓而
family homes and this is the first time since the 1935-1936 Exhibition 更顯委婉多姿。外壁以三匝藍色回紋為界，頸於粉地之上繪變形蕉葉
that they are seen in public once again. 紋，頸部以下滿飾黃地雜色花卉，兩側飾獸鈕。器身前後作葉形開光
繪仙人像。其一手持靈芝駕於雲上，身旁童子手捧仙桃；另一攜花籃
During the Qianlong period, the southern port of Guangzhou (otherwise 與采芝童子行於山中，或為西王母和麻姑之形象。
known as Canton) was the main trade entrepot between Europe and
China. Influenced by European painted enamels and oil paintings, local 十五世紀中葉，歐洲發明了畫琺瑯的製作技法，後隨海運貿易往來以
craftsmen began producing a large number of painted enamel wares 及西方傳教士呈進傳入中國。清初畫琺瑯製品經由粵海關入境時，
depicting foreign flowers, architecture and Western figures as well as 就地設廠研製， 之 「洋磁」；康熙年間始設內務府造辦處琺瑯作，
Chinese Immortals and subject matter which were sent as tribute to 開始燒造畫琺瑯器；至雍正朝，已經形成了內廷琺瑯處和廣州、蘇州
the Imperial Court in Beijing. Apart from the Guangzhou workshops, 三大畫琺瑯生產中心。
a smaller number of painted enamel wares were also manufactured in
the Imperial Workshops in the Forbidden City, Beijing, which were first 本例所飾人物形象可比較清宮舊藏一例清乾隆畫琺瑯開光仕女圖撇口
established during the reign of the Kangxi Emperor. 瓶，見《故宮博物院藏品大系·琺瑯器編5：清畫琺瑯》，北京，2011
年，頁106-107，編號72。同書亦收錄兩例清乾隆畫琺瑯開光山水人
Xiwangmu, the Queen Mother of the West, shown on one side of the 物圖貫耳壺，編號119與120，所飾花卉紋可與本例比對。
vase, is a Daoist deity often depicted with an assistant carrying a basket
of peaches beside her, such as on the present lot. She has an orchard
of peaches deep in the Kunlun mountains in the West, which when
eaten bestow Immortality. Magu, shown on the other side, is another
female Immortal associated with the elixir of life. She is often portrayed
next to a basket of flowers or herbs with life-giving properties.

Compare the painting of Xiwangmu with another similar female
Immortal on a painted enamel vase, Qianlong seal mark and period,
in the Qing Court Collection, illustrated in Compendium of Collections
in the Palace Museum: Enamels, 5, Beijing, 2011, pp.106-107,
no.72. Compare also the dense foliate scrolls with similar ones on two
Imperial-tribute painted enamel vases, Qianlong seal marks and of the
period, illustrated in Ibid., nos.119 and 120.

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