Page 35 - March 17, 2020 Impotant Chinese Art, Sotheby's, New York

From the Kangxi period, dark-colored grounds adorned with 康熙以降，造辦處御製琺瑯彩瓷多見濃色
vibrant polychrome floral designs were favored for their 地上繪明豔嬌蕊，華貴耀眼。此件珊瑚紅
dramatic demonstration of the newly developed falangcai
enamels at the Palace Workshops in Beijing. The form and 地五彩牡丹紋盌製於雍正早期景德鎮御窰
colors of this bowl are typical of the porcelain produced 廠，器形及色調均沿續康熙朝宮造琺瑯彩
in the early Yongzheng period at the imperial kilns in 瓷風格，「雍正御製」款識，意指此為專
Jingdezhen and continue in the style pioneered by craftsmen 屬帝王自身使用之器。
of the Kangxi period in imitation of those produced at
Beijing. Such bowls were made for the use of the Yongzheng 同類紋飾器形者甚稀，參考兩件近似瓷
Emperor, as indicated by the Yongzheng yuzhi mark.
盌，其一藏於台北國立故宮博物院，展出
Bowls of this form and decoration are rare; see two closely
related examples, in the National Palace Museum, Taipei, 於《金成旭映：清雍正琺瑯彩瓷》，2013
included in the Museum’s exhibition Porcelain with Painted 年，編號20，此款配色及紋飾，可見於較
Enamels of Qing Yongzheng period (1723-1735), 2013, cat. 為淺腹器形盌器，如編號18、19。鴻禧美
no. 020. The color scheme and design of this piece is related 術館亦藏二件淺腹花卉紋盌，錄於《中
to Yongzheng yuzhi marked bowls of shallower form, see 國歷代陶瓷選集》，台北，1990年，圖版
two of shallower form with related design and color scheme,
ibid., cat. nos 18 and 19. Two additional shallow bowls, in the 142。Alfred Beit 爵士珍藏一例，器形稍
Chang Foundation, are published in Selected Ceramics from 大，直壁，書「雍正年製」款，2013年11
Han to Qing Dynasties, Taipei, 1990, pl. 142. Compare also a 月6日售於倫敦蘇富比，編號75。
slightly larger bowl with straight sides, but with a Yongzheng
nianzhi mark, from the collection of Sir Alfred Beit, sold in 此類口沿微撇之盌，多飾珊瑚紅地「九
our London rooms, 6th November 2013, lot 75. 秋同慶」，見一盌刊於 Hugh Moss，《御
The form of this bowl, with its slightly flared rim, is more 製》，香港，1976年，圖版5，書中訂為
often found decorated with a myriad of flowering blooms and 景德鎮1722至1728年間燒造之器。香港蘇
leaves on a coral ground; see one illustrated in Hugh Moss, 富比於2010年4月8日亦售出一例，可作參
By Imperial Command. An Introduction to Ch’ing Imperial
Painted Enamels, Hong Kong, 1976, pl. 5, where he attributes 考，編號1803。
it to the Jingdezhen imperial kilns between 1722 and 1728;
and another sold in our Hong Kong rooms, 8th April 2010, 有別於「年製」款，書「御製」年款瓷珍
lot 1803. 罕，應為內宮用器。景德鎮御窰燒製白釉
Reign marks with the wording yuzhi [made for the imperial 無款素盌，直送紫禁城造辦處加彩複燒，
use of…] following the reign name, rather than nianzhi [made 器底多書「御製」藍料或紅料款。至於青
in the years of…] are rare and suggest a closer relationship 花年款，理應於景德鎮燒造前書寫，又
to the imperial court. Wares enameled in the imperial 因書青花「御製」、「年製」字之盌例並
workshops in the Forbidden City of Beijing rather than by the
imperial kilns at Jingdezhen in Jiangxi bear such yuzhi marks, 見，備受學者討論，一說其紋飾乃宮中處
but in overglaze blue or pink enamel, since the plain white 加繪，然其紋飾風格與藍料及紅料款例相
porcelains came from Jingdezhen fully glazed and fired. The 異，見 Hugh Moss，前述出處，頁82，筆
significance of the underglaze-blue yuzhi mark, which would 者論及此類釉彩謹遵傳統五彩瓷，認為宮
have been added at Jingdezhen, has been much discussed, 造洋彩瓷尚未臻備之際，造辦處瓷作匠師
particularly since identical bowls are also known with
underglaze-blue nianzhi marks. It has been suggested that 以康熙瓷為範，傚仿內宮御瓷。
such bowls were enameled in the Palace at Beijing, with only
the mark inscribed at Jingdezhen before firing. However,
it is likely that they were decorated in Jingdezhen as the
style of enameling differs from that decorated with blue
and pink enamels. Hugh Moss, op. cit., p. 82, suggests that
such bowls bearing the famille-verte palette were probably
produced in Jingdezhen following porcelains painted in the
Palace Workshops in Beijing. Until the craftsmen in Beijing
became acquainted with the developments in famille-rose
of the Palace Workshops they continued to work in the
dominant style of the Kangxi period.

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