Page 16 - 2020 October 8 HK Fine Classical Paintings

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PROPERTY OF A GENTLEMAN 清乾隆 青花折技花果紋梅瓶
A BLUE AND WHITE VASE, MEIPING 《大清乾隆年製》款
SEAL MARK AND PERIOD OF QIANLONG
來源：
the shouldered body decorated in rich cobalt tones with three
flowering branches above boughs of peach, pomegranate 駟德堂收藏
and lychee, each rising from a sprig of fungus, evenly spaced 香港佳士得2013年11月27日，編號3421
above a double line and a band of overlapping upright leaves
encircling the base, the shoulders with a collar of radiating
lotus petal panels and the short narrow waisted neck with 此類梅瓶器型線條豐腴，與其青花紋飾構圖配置，盡
florettes and leaves below the lipped rim, the base inscribed
with a six-character seal mark 顯協調和美為一特色。以折枝花葉紋蔓生至一底點，
32 cm, 12½ in. 作倒三角形構圖修飾瓶肩豐碩線條，瓶腹作菱形構圖
折枝花果紋強調斂腰曲線。此瓶尤以清麗畫工，濃艷
PROVENANCE 發色為難得，展現瓷匠之高藝及駕馭藍料之能。
Si De Tang collection.
Christie’s Hong Kong, 27th November 2013, lot 3421. 南京博物院藏有一近似作例，錄於《中國清代官窰瓷
器》，上海，2003年，頁215。仇焱之舊藏有一瓶，售
HK$ 6,000,000-8,000,000 於香港蘇富比1981年5月19日，編號546，錄於 Michel
US$ 780,000-1,040,000
Beurdeley 和 Guy Raindre，《Qing Porcelain》，倫
敦，1987年，圖版153。另一瓶著錄於《天民樓藏瓷》
Vases of this type represent the technical advances made ，香港，1987年，編號63，以此作例，朱湯生撰文探討
in porcelain production which provided a canvas on which 清瓷傚仿永樂青花圖紋，及積釉黑斑特色之作法（頁
to recreate celebrated Ming ceramic designs suitable
to contemporary taste. The fine porcelain body and the 30）。
craftsman’s ability to manipulate the pigment are particularly
notable in the present vase, as seen in the lucidly painted 類同瓷瓶可參見趙從衍收藏內一對作例，曾展於《趙
design which has been rendered in a range of vivid cobalt 從衍家族基金會明清瓷器收藏展》，香港藝術館，香
tones. 港，1978年，編號79，原售於紐約蘇富比1974年5月24
A closely related example in the Nanjing Museum, Nanjing, 日，編號420，後於1987年5月19日香港蘇富比分售，
is illustrated in The Official Kiln Porcelain of the Chinese Qing 編號270及271。另一瓶二度售於香港蘇富比，1986年5
Dynasty, Shanghai, 2003, p. 215; and one, from the Edward
T. Chow collection, sold in these rooms, 19th May 1981, lot 月20日，編號41，及2010年10月8日，編號2635。還可
546, is illustrated in Michel Beurdeley and Guy Raindre, Qing 參考張宗憲與張永珍博士遞藏之器，售於香港蘇富比
Porcelain, London, 1987, pl. 153. See a third vase published in 2012年10月9日，編號123。
Chinese Porcelain. The S.C. Ko Tianminlou Collection, Hong
Kong, 1987, cat. no. 63, where Julian Thompson discusses 明代雛本，悅目可愛，然清初仿作之品，至乾隆一
this group of Qing blue and white wares as painted with 朝，已演化成型，發展出井然有序之樣式。明代梅
re-designed Yongle motifs and patterns, particularly in the
borders and the simulated ‘heaping and piling’ of cobalt blue 瓶，外形線條誇張，肩寬圓，足細小，至清之時，形
which further serves to heighten the three-dimensional quality 制略改。上層花紋，枝葉橫伸，作倒置三角形之貌，
of the design (p. 30). 下層果紋則作菱形狀，以樣飾佈局呼應梅瓶上豐下歛
Further vases of this type include one sold twice in these 之形。
rooms, 20th May 1986, lot 41, and again, 8th October 2010, lot
2635; another example from the Shorenstein collection, sold
twice at Christie’s Hong Kong, 18th March 1991, lot 567, and
again, 1st December 2010, lot 2970; and a third one, from the
collections of Robert Chang and Dr Alice Cheng, sold in these
rooms, 9th October 2012, lot 123.
By the Qianlong period, the nonchalant charm of the Ming
original had evolved into a crisply organised motif: the form
of the meiping, its dramatic silhouette characterised by broad
shoulders tapering to a narrow foot, required a reinvention of
the early design. Leafy flowering branches extend out around
the shoulder, neatly converging at a point in the form of an
inverted triangle to complement the swell of the shoulders,
while the fruiting branches composed in a diamond form
highlight the narrow lower section of the vase.

Mark

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