Page 26 - Important Chinese Ceramics & Works of Art, Hong Kong

fig. 3
圖三

The current cup and the Chuang cups are painted in a very distinctive 例亦可參見王建華在《故宮博物院八十華誕：古陶瓷國際學
and elegant style with refined use of the enamel colours. The dark 術研討會論文集》184-85 頁發表的〈故宮博物院古陶瓷資
outlines of the individual flowers are extremely fine, so as to define 料研究〉，北京，2007 年。莊紹綏先生珍藏一對盃腹較淺
the shape without detracting from the delicacy of the petals. The 的雍正琺瑯彩盃，其紋飾與本拍品幾乎一模一樣，圖見《中
petals themselves are very subtly shaded with pale greenish-yellow 國瓷器：莊紹綏收藏》，香港，2009 年，278-281 頁，編號
towards the centre, and the tiny stamens of the flowers are depicted 116。本拍品還加插了一個紋飾題材，即盃身一方下側的翠
in egg-yolk yellow enamel which stands impasto on the surface. 竹。梅花象徵美麗皎潔、傳春報喜，且梅開五瓣，故又喻「五
Interestingly the entire decoration is painted on the colourless glaze, 福」，即長壽、康寧、富貴、好德、善終；竹代表剛正不阿，
which has been reserved against the ruby ground, with the exception 常被視為潔身自愛的文人化身。本拍品還有一個未見於莊氏
of one detail. On both the current cup and the two Chuang cups, 小盃的巧思，即在一面盃身的花卉之上繪兩隻惟妙惟肖的蜜
the lichen on the branches of the plum tree has been painted over the 蜂（圖三）。蜜蜂或胡蜂音諧「封」，暗含封侯或封賜之意，
ruby ground. This effectively adds to its texture. 此外亦諧「豐」，帶出了「五穀豐登」的古老祝願。本拍品
盃腹略深，故有額外的空間添加細節，此乃盃腹較淺者所不
The ruby ground of these cups, which appears only to the outside 及。
of the vessels, has a soufflé-like texture and it seems likely that it has
been applied by blowing the pink enamel through a tube with gauze 本拍品及莊氏二盃的畫工新穎別緻、細膩典雅，施琺瑯彩的
over the end. This is a technique used for the application of so-called 技術亦妙至毫巔。每朵花均用極細的深色線勾勒輪廓，既
‘powder-blue’, but would have required even greater breath control 層次分明，又無損花瓣之嬌美。花瓣本身的顏色青中泛黃，
for the pink enamel. A ruby ground of similar colour and texture to 向花芯處的漸變深淺有致，纖細的花蕊用蛋黃琺瑯彩厚塗而
that on the current cup can be seen on a Yongzheng four character- 成，甚具立體效果。頗堪玩味的是，所有紋飾俱是在胭脂紅
marked bowl in the collection of the Palace Museum, Beijing (see 地留白處的透明釉上作畫，惟一的例外是梅枝上的青苔。無
Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, 論是本拍品或莊氏珍藏雙盃，其青苔均是直接在胭脂紅地上
op. cit., pp. 24-25, no. 21) (fig. 4). This bowl has three white circular 畫成，看來更為逼真寫實。
panels reserved against the ruby ground and decorated with overglaze
enamels, as well as scattered multi-coloured flower heads between and 這些外壁施胭脂紅地的小盃，呈色質感酥潤，工匠可能是將
around the panels. 竹管蒙上細紗，再將粉紅色琺瑯彩吹至器表。「灑藍釉」採
用的正是這種工藝，但吹製粉紅彩的難度相對較大。北京故
Decoration of plum blossom on a ruby ground can already be seen 宮珍藏一例雍正四字楷書款瓷盌，其胭脂紅地的色調和質感
on vessels of the late Kangxi reign, although the blossoms are usually 均與本拍品相若，詳見前述著作《故宮博物院藏文物珍品大
larger in scale than those on the current cup and the Chuang cups. A 系：琺瑯彩．粉彩》，24-25 頁，圖版 21 號（圖四）。該
falangcai cup with a four-character Kangxi mark in pink enamel, from 盌以胭脂紅為地，飾三面白色圓形開光及釉上琺瑯彩，開光
the Paul and Helen Bernat collection, now in the Museum of Fine 之間和四周繪各色朵花。
Arts, Boston, is decorated with plum blossom depicted against a ruby
ground (illustrated in The World’s Great Collections, Oriental Ceramics, 康熙末年已出現胭脂紅地梅花紋器物，但與本拍品和莊氏
vol. 10, Museum of Fine Arts, Boston, Tokyo, 1980, colour plate 90).
A Kangxi bowl with plum blossom on a ruby ground in enamels on
metal is in the collection of the British Museum (illustrated in By
Imperial Command: An Introduction to Ch’ing Painted Enamels, Hong
Kong, 1976, pl. 10).

A small number of Yongzheng bowls and dishes are known decorated
with plum blossom on a ruby ground. A Yongzheng falangcai bowl

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