Page 27 - Important Chinese Ceramics & Works of Art, Hong Kong

fig. 4 Collection of the Palace Museum, Beijing fig. 5 Collection of the National Palace Museum, Taipei
圖四 北京故宮博物院藏品 圖五 國立故宮博物院藏品

with four-character mark in blue enamel from the collection of 雙盃相比，其梅花通常較大。波士頓美術館現有一例白納
the National Palace Museum, Taipei, is illustrated in Harmony and 德伉儷（Paul and Helen Bernat）舊藏粉紅彩四字康熙款琺瑯
Integrity – The Yongzheng Emperor and His Times, Taipei, 2009, p. 196, 彩盃，其盃身亦飾胭脂紅地梅花紋，圖見《The World’s Great
no. 11-24 (fig. 5). A smaller Yongzheng bowl with similar design Collections, Oriental Ceramics》第十冊之《波士頓美術館》，東
is in the collection of the Freer Gallery of Art (illustrated in By 京，1980 年，圖版 90 號。大英博物館藏一例康熙胭脂紅地琺
Imperial Command: An Introduction to Ch’ing Painted Enamels, op. cit., 瑯彩梅紋金屬盌，圖見《By Imperial Command: An Introduction
pl. 56. Two Yongzheng dishes decorated with plum blossom on a to Ch’ing Painted Enamels》香港，1976 年，圖版 10 號。
ruby ground have also been published. The bowl and the dishes all
have proportionally larger flowers than the current cup. The larger 在已知作品中，飾胭脂紅地梅紋的雍正盌盤數量甚少。台
of the two dishes is illustrated in Special Exhibition of Ch’ing Dynasty 北故宮博物院藏一例署四字藍彩楷書款的雍正琺瑯彩盌，
Enamelled Porcelains of the Imperial Ateliers, Taipei, 1991, pp. 178-79, no. 圖見《雍正：清世宗文物大展》，台北，2009 年，196 頁，
88. The smaller dish is illustrated in Qingdai hua falang tezhan mulu 圖版 11-24 號（圖五）。弗利爾美術館藏一例較小但紋飾
(Special Exhibition of Qing dynasty painted enamels catalogue), 類似的雍正盌，圖見前述著作《By Imperial Command: An
Taipei, 1984, no. 57, while the larger dish is also illustrated in that Introduction to Ch’ing Painted Enamels》，圖版 56 號。已發
volume in black and white as no. 56. A Yongzheng imperial snuff 表作品中，尚有二例胭脂紅地梅紋雍正盤。就比例而言，這
bottle with plum blossom against a ruby ground in enamels on copper 些盌盤的花卉均大於本拍品。至於二盤之中的較大者，可參
from the collection of the Palace Museum, Beijing, was illustrated 見《Special Exhibition of Ch’ing Dynasty Enamelled Porcelains
in the exhibition catalogue China – The Three Emperors 1662-1795, of the Imperial Ateliers》，台北，1991 年，178-79 頁，編號
London, 2005, p.204, no. 101. The design of plum blossom against a 88。較小的雍正盤載於《清代畫琺瑯特展目錄》，台北，
white or coloured ground clearly found considerable favour at court 1984 年，編號 57，而較大者的黑白圖片可參見書中圖版編
in the Yongzheng reign since all are represented on dishes in the 號 56。北京故宮亦珍藏一例雍正御製銅胎畫琺瑯胭脂紅地
National Palace Museum, Taipei and illustrated in Special Exhibition 梅紋鼻煙壺，圖見《盛世華章》，倫敦，2005 年，204 頁，
of Ch’ing Dynasty Enamelled Porcelains of the Imperial Ateliers, op. cit., pp. 編號 101 頁。無疑，白地或色地梅花紋的樣式在雍正年間曾
160-61, no. 79 (white ground), pp. 176-77, no. 87 (yellow ground), and 於宮中大行其道，就此可證諸台北故宮珍藏多件瓷盤，圖見
p. 195, no. 97 (blue ground). 前述著作《清宮中琺瑯彩瓷特展》，編號 79，160-61 頁（白
地）、編號 87，176-77 頁（黃地）及編號 97，195 頁（藍地）。
The current cup was formerly in one of the most prestigious
Chinese private collections of the 20th century. It belonged to the 本拍品來自二十世紀中國私人收藏界泰斗 —— 上海暫得樓主
Shanghainese connoisseur and collector J. M. Hu (Hu Jenmou, also 胡惠春先生（1911 至 1995 年）的舊藏。「暫得」典出書聖王
known as Hu Huichun 胡 惠 春 1911-1995), who took as his studio 羲之於公元 353 年的名篇《蘭亭序》：「當其欣於所遇，暫
name 暫 得 樓 Zande Lou (The Studio of Transitory Pleasure). The 得於己，快然自足」。胡氏深明文物珍藏的教化之功，故將
name of his studio derived from a section of 蘭 亭 序 Lanting Xu 其收藏的一批陶瓷重器贈予上海博物館，並大力襄助香港中
(Preface to the Gathering at the Orchid Pavilion), written by the 文大學文物館等機構，此外還是香港敏求精舍的創會成員。
famous calligrapher 王羲之 Wang Xizhi in AD 353: 當 其 欣 於 所
遇 , 暫 得 於 己 , 快 然 自 足 (I am content with whatever happiness
comes to me, however transitory, I am satisfied). J. M. Hu had a keen
sense of the educational role of collections and an important group of
ceramics from his collection was donated to the Shanghai Museum,
while he also supported institutions such as the Art Gallery of the
Chinese University of Hong Kong, and was a founder member of the
Min Chiu Society in Hong Kong.

25