Page 29 - Sothebys HK Dragon Emperor April 2024

Exquisitely decorated with silhouettes of bats against 兩盌成對，釉面素潔明潤，粉青清恬典雅，雍正帝意趣
a luminous celadon ground, these monochrome 高遠，尤愛宋瓷，此對盡顯其好。粉青地上各模印五只
bowls exude an understated elegance that reflects the 蝙蝠，諧音「五福」，靈動妙肖，既見御窰精工卓藝，
sophisticated aesthetic sensibilities of the Yongzheng 又頌壽、富、康寧、攸好德、考終命等五種福益。
Emperor and his penchant for celebrated Song dynasty
wares. The five bats (wufu) so delicately rendered on 青釉工藝於雍正一朝已臻化境，燒出多種深淺不一的青
each bowl exemplify not only the remarkable technical
developments achieved at the imperial kilns to cater 綠色調，所成之器精細典雅，品種豐富。1735年，景德
to the Emperor's exacting standards but also convey 鎮督陶官唐英集成《陶成紀事碑記》，載述試燒青釉若
portents of good fortune as they represent the five 干種（詳見卜士禮，《Oriental Ceramic Art. Illustrated
blessings of longevity, wealth, health, love of virtue, and a by Examples from the Collection of W.T. Walters》
peaceful passing. ，紐約，1896年，倫敦，1981年再版，頁197），所記
成就之一便是鑽研宋、明瓷珍以明晰青釉質地與工藝。
In the Yongzheng period, the production of celadon 憑此心得，御窰廠改弦更張，擷取前朝精華用於時下新
wares was greatly expanded and many different glaze
tones were created with absolute precision. According 器，此對粉青釉盌便可鑑證陶匠已深諳粉青單色釉之配
to the Taocheng shiyi jishi beiji [Commemorative 比及火力。
stele on ceramic production], compiled in 1735 by the
celebrated supervisor of the imperial factory, Tang Ying 此對紋飾頗罕，可比一例，藏倫敦維多利亞與艾爾伯特
(1682-1756), several varieties of celadon glazes were 博物館，藏品編號588-1907，及一例，錄康蕊君，《
experimented with at the time (see Stephen W. Bushell, 玫茵堂中國陶瓷》，倫敦，1994-2010年，卷四，編號
Oriental Ceramic Art. Illustrated by Examples from 855。另比一對，Marcus Ezekiel 舊藏，曾展於《中
the Collection of W.T. Walters, New York, 1896; reprint 國藝術國際展覽會》，皇家藝術研究院，倫敦，1935至
London, 1981, p. 197). Under Tang Ying's supervision, the 1936年，編號2223及2225，後售於倫敦蘇富比1946
finest ceramics of the Song and Ming dynasties were 年5月21日，編號122；仍有一對，售於倫敦蘇富比
studied in detail in order to understand the physical
qualities and craftsmanship. This knowledge was then 2003年6月12日，編號173。
applied to redesigned, modern versions produced at
the imperial kilns and the current pair of bowls testify to
the proficiency required in understanding the chemical
compositions and the firing of such deceptively simple
monochrome wares.

For comparable examples of this considerably rare
design, see one in the Victoria and Albert Museum,
London, accession no. 588-1907, another illustrated in
Regina Krahl, Chinese Ceramics from the Meiyintang
Collection, London, 1994-2010, vol. 4, no. 855. See also a
pair from the collection of Marcus Ezekiel, included in the
International Exhibition of Chinese Art, Royal Academy of
Arts, London, 1935-1936, cat. nos 2223 and 2225, later
sold in our London rooms, 21st May 1946, lot 122; and
another pair sold in our London rooms, 12th June 2003,
lot 173.

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