Page 203 - Important Chinese Art Hong Kong Sotheby's April 2017

Qianlong famille-rose vases decorated with the eye-catching 此粉彩包袱紋瓷形飾出眾，雅致像生，為弘曆喜愛。景德
motif of a knotted cloth were much favoured by the Qianlong 鎮御窰瓷匠奉乾隆帝命，推陳創新，所製珍品標新立異，
Emperor who had a preference for porcelain vessels that 巧奪天工，本品正為佳例，尤合帝意。乾隆年間，御匠工
contained elements simulating objects in other materials. The 藝更見嫻熟，材質出眾，所製瓷器，愈見雄心。本瓶精巧
emperor challenged the potters active at the imperial kilns in 臻妙，令人驚嘆，乃像生瓷中之佳例精品。
Jingdezhen to create pieces that were technically innovative
and unconventional in their aesthetics, and the present vase 乾隆年製之包袱紋瓷器，異常罕見，論器形、紋飾，本品
is a good example of what the emperor may have envisaged. 舉世無雙，孤例也。相類飾有包袱紋之品，可參見北京故
During the Qianlong reign potters became highly ambitious 宮博物院收藏一松石綠地例，尺寸較小，錄於《清宮珍藏
in their repertoire following the refinement of materials and 康雍乾瓷器圖錄》，香港，1989年，頁359，圖版40。另
craftsmanship. Vases such as this piece were made for show 有一觚例，瓶口環飾如意雲頭紋，售於倫敦佳士得1999年
and are remarkable examples trompe l’oeil. 6月15日，編號100。胡惠春家族舊藏粉彩粉地包袱紋蓋罐
一對，也可資參考，售於紐約蘇富比1985年6月4日，編號
Qianlong porcelains with the knotted cloth design are very 72，後兩度易手於香港蘇富比，分別為1999年11月1日，
rare and these are all of unique design, differing in form 編號400及2016年10月5日，編號3611。
and decoration to the current vases. See a slightly smaller
turquoise-ground baluster vase with a pink sash, in the Palace 此瓶所繪包袱紋，受啟發於日式傳統包袱布風呂敷，常
Museum, Beijing, illustrated in Kangxi. Yongzheng. Qianlong. 見於日本漆器，例見一盒，展出於《東洋漆工芸》，
Qing Porcelain from the Palace Museum Collection, Hong 東京，1977年，編號297。如此包袱裝飾，除瓷器外，
Kong, 1989, p. 359, pl. 40; one of gu shape, also with a ruyi- 有見於乾隆年製各式器物之上，例如北京故宮博物院
head shape band at the mouth, sold at Christie’s London, 藏金屬胎畫琺瑯彩黃地包袱紋罐，展於《Splendors of
15th June 1999, lot 100; and a pair of pink-ground baluster China’s Forbidden City. The Glorious Reign of Emperor
vases, from the J.M. Hu family collection, sold in our New York Qianlong》，菲爾德博物館，芝加哥，2004年，編號336
rooms, 4th June 1985, lot 72, and twice in these rooms, 1st 。另可比較咸豐帝兄長恭忠親王奕訢舊藏乾隆料瓶，整體
November 1999, lot 400, and 5th October 2016, lot 3611. 作黃地牡丹鳳紋包袱之形，瓶頸以粉色綬帶打結束之，先
後入 A.W. Bahr 及 Paul and Helen Bernat 伉儷收藏，錄
The silky knotted cloth motif on this vase is a concept 於莫士撝，《御製》，香港，1976年，圖版41，售於香港
borrowed from Japan, particularly from Japanese furoshiki 蘇富比1988年11月15日，編號77。
packaging tradition. This motif is often found on Japanese
lacquerware, such as a box included in the exhibition Toyo no
urushi kogei [Oriental Lacquer Arts], Tokyo National Museum,
Tokyo, 1977, cat. no. 297. This design was also employed
on wares of various media during the Qianlong reign, for
example see a painted enamel yellow-ground vase, in the
Palace Museum, Beijing, included in the exhibition Splendours
of China’s Forbidden City. The Glorious Reign of Emperor
Qianlong, The Field Museum, Chicago, 2004, cat. no. 336; and
a yellow-ground enamelled glass version modelled in the form
of a yellow brocade bag with a pink sash, from the collections
of Prince Gong Yixin, brother of the Xianfeng Emperor (r. 1851-
61), A.W. Bahr and Paul and Helen Bernat, illustrated in Hugh
Moss, By Imperial Command, Hong Kong, 1976, pl. 41, sold in
these rooms, 15th November 1988, lot 77.

IMPORTANT CHINESE ART 201