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LOT 3318

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LOT 3312

目錄

CONTENTS

2

146

149

159

160

161

163

165

拍品

Property for Sale

重要通告及目錄編列方法之說明

Important Notices and Explanation of Cataloguing Practice

業務規則

Condition of Business

競投登記須知

Important Notice about Bidding Registration

財務付款須知

Important Notice about Payment

拍賣品提存運送出口須知

Important Notices About Storage Collection Shipping and Export

競投登記表格

Bidding Registration Form

委託競投表格

Absentee Bid Registration

3301

清嘉慶  珊瑚紅地五彩描金嬰戲圖碗

    「大清嘉慶年製」

A CORAL-GROUND FAMILLE VERTE 'BOYS' BOWL

MARK AND PERIOD OF JIAQING

PROVENANCE

The Meiyintang Collection, Switzerland

LITERATURE

Regina Krahl, Chinese Ceramics from the Meiyintang Collection,

vol. 4, London, 1994-2010, no. 1726

D 20.8cm

This charming bowl is painted with the motif of boys at play in a

fenced garden, which represents the wish for many sons. Each boy

is engaged in activities that are filled with auspicious meaning,

such as the boy holding a lotus spray, which represents the wish

for descendants to live in harmony, and another carrying a vase,

which is homophonous with peace.

本品碗口微撇，深弧壁，圈足，外壁滿施珊瑚紅釉，以珊瑚

紅釉為地，通景以五彩繪庭院嬰戲圖，松林庭院間，十六童

子濟濟一堂，面龐圓潤喜悅，神情稚拙可愛，或圍缸戲水，

或執木偶，或碰瓶而視，呈現出熱鬧歡快的喜慶氣氛。其後

景色以金彩描繪，清幽雅致，絢麗奪目。全器畫藝細膩流

暢，紋飾繁縟華麗，主題吉利祥瑞，寓意連生貴子、五子登

科、百子千孫，亦有祈福求安之意，代表了清嘉慶時官窯瓷

藝的最高水平，品相完美，可為珍貴。底部青花書「大清嘉

慶年製」六字三行篆書款。

來源

玫茵堂，瑞士

出版

《玫茵堂中國陶瓷》，康蕊君，倫敦，1994-2010年，卷4，

編號1726

HK$ 400,000 - 600,000

US$ 51,000 - 77,000

款識

Mark

出版於《玫茵堂中國陶瓷》，康蕊君，倫敦，1994-2010

年，卷4，編號1726

Published in Regina Krahl, Chinese Ceramics from the

Meiyintang Collection, vol. 4, London, 1994-2010, no. 1726

2

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

嬰戲圖是嘉慶瓷器主要紋飾之一，常繪十六子。人物及環境

佈局與康、雍、乾時基本相同，畫面兒童眾多，呈現出熱鬧

歡快的喜慶氣氛。兼具珊瑚紅地、五彩、描金的瓷器品類較

少，目前僅見嘉慶此類之上，其珊瑚紅嬌艷，與金色燦然配

之，富有皇家榮華富貴之品格。庭院嬰戲圖，與明代宣德期

間流行的庭院仕女圖紋戚戚相關，嗣後庭院仕女、庭院嬰戲

紋飾常出現在碗、盤外壁。陶瓷上嬰戲圖自宋代起步發展，

北宋末畫師蘇漢臣擅繪佛像、人物，其中尤以童嬰題材最獲

贊賞，北宋青白瓷器亦見刻花嬰戲紋，紋飾至清中期到達鼎

峰，而嬰童從簡單的一、兩個幼童到百多個，人物皆神態活

潑，場面熱鬧。嬰戲圖反映了古往今來祈求人壽年豐，多子

多福，望子成龍的美好願望。

此器原型始自明代嬰戲圖碗，永樂青花相似例子可見於香港

藝術館，《天民樓藏瓷》，香港，1987 年，圖版15 號。嘉慶

實例，故宮博物院藏有相同的例子，見《故宮博物院藏文物

珍品全集：五彩．鬥彩》，香港，圖版159 號；兩件載於東

方陶瓷協會之展覽圖錄，《Exhibition of Ch'ing Polychrome

Porcelain》，香港，1977 年，圖版100 號；還有一件例子刊

登於《From the Dragon's Treasure，Chinese Porcelain from

the 19th and 20th Centuries in the Weishaupt Collection》，

倫敦，37 頁，圖版32 號。另一例曾展出於日本陶磁協會

1962年舉辦《近世中國名陶展：明末·清朝 》，圖版104號

（二之一）。

清嘉慶 珊瑚紅地五彩描金嬰戲圖碗

©故宮博物院藏

A coral-ground famille verte 'boys' bowl, mark

and period of Jiaqing

©The Palace Museum

明成化 青花嬰戲圖碗

保利香港2019年10月7日，編號3406

成交價：HKD 15,360,000

An outstanding blue and white 'boys' bowl, mark and

period of Chenghua

Sold in Poly Hong Kong, 7 October 2019, lot 3406 at

HKD 15,360,000

A closely related bowl in the Palace Museum, Beijing, is illustrated

in The Complete Collection of Treasures of the Palace Museum.

Porcelains of Polychrome and Contrasting Colours, Hong Kong,

1999, pl. 159; one in the Shanghai Museum, Shanghai, is

illustrated in Lu Minghua, Qingdai Yongzheng-Xuantong guanyao

ciqi [Qing dynasty official wares from the Yongzheng to the

Xuantong reigns], Shanghai, 2014, pl. 3-88; and another, in

the Hong Kong Museum of Art, was included in the Museum’s

exhibition The Wonders of the Potter’s Palette, Hong Kong, 1984,

cat. no. 93; and a further bowl, included in the Oriental Ceramic

Society of Hong Kong exhibition Ch’ing Polychrome Porcelain, Fung

Ping Shan Museum, Hong Kong, 1977, cat. no. 100, was sold at

Christie’s London, 13 December 1982, lot 528.

For the prototype of this design, see a Kangxi mark and period

bowl illustrated in The Tsui Museum of Art, Chinese Ceramics

IV, Qing Dynasty, Hong Kong, 1995, pl. 104; compare another

example with Kangxi mark from the collection of Soame Jenyns,

the Assistant Keeper of Oriental Antiquities at the British Museum,

sold at Christie’s London, 6 November 2018, lot 36.

4

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

3302

清雍正  白釉菊瓣盤

        「大清雍正年製」

A WHITE-GLAZED 'CHRYSANTHEMUM' DISH

MARK AND PERIOD OF YONGZHENG

PROVENANCE

The Meiyintang Collection, Switzerland

EXHIBITION

Pure and Natural: Special Exhibition of Ming and Qing Monochrome

Porcelains, Poly Art Museum, Beijing, 2018

LITERATURE

1. Regina Krahl, Chinese Ceramics from the Meiyintang Collection,

vol. 4 (2), London, 1994-2010, pp.320-321, no.1781

2. Pure and Natural: Special Exhibition of Ming and Qing

Monochrome Porcelains, Poly Art Museum, Beijing, 2018, p.277,

no.105

D 16cm

本品釉色潔白，胎質溫潤。盤壁呈菊花瓣狀，造型秀美端

莊，線條優美舒暢，配以勻淨瑩潤的釉色，顯示了雍正時期

製器靜雅纖麗的藝術風格及高超的製瓷水平。雖後世乾隆朝

亦有製作，但難及雍正本朝形巧色美。外底施白釉，內書青

花雙圈「大清雍正年製」六字雙行楷書款。

來源

玫茵堂，瑞士

展覽

《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博物

館，北京，2018年

出版

1. 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦，

1994-2010年，頁320-321，編號1781

2.《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博物

館，北京，2018年，頁277，編號105

HK$ 200,000 - 250,000

US$ 26,000 - 32,000

款識

Mark

出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫

敦，1994-2010年，頁320-321，編號1781

Published in Regina Krahl, Chinese Ceramics from the

Meiyintang Collection , vol. 4 (2), London, 1994-2010,

pp.320-321, no.1781

6

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

甜白釉由純釉石提煉，幾乎不含釉灰。甜白釉釉面臻美，潔

白玲瓏，瑩亮而溫潤不寒，光致而觸手柔滑，無論凝神細

賞、或把於掌中，皆為賞心樂事，意趣無窮。雍正帝對白釉

器別有青睞，據現內務府造辦處檔案最早記載年希堯榷陶的

史實，就是雍正皇帝令其仿燒前朝白瓷。

然而，從史料中所見，清宮所藏的雍正白釉瓷器甚為稀少。

參考乾隆二年《各作成做活計清文件》記錄：「內務府慶豐

司員外郎臣唐英今將乾隆貳年分選存貳色琢元瓷器佑計價值

敬繕黃冊恭呈御覽計開：貳色元器：第拾貳桶：……填白釉菊

瓣六寸盤拾柒件（每件捌分筭價銀壹兩三錢陸分）」，嘉慶元

年《各作成做活計清文件》中記錄：「九月十五日收，華妃遺

下：……填白磁菊花盤一件（紫檀座）、（嘉慶十七年十月

二十一日賞祿喜等），在民國十四年清室善後委員會《故宮物

品點查報告》中盤點壽安宮物品報告中得知：「故宮物品點查

報告－壽安宮：闕字四三〇木櫃一個：三十三號，雍正欵白地

葵瓣菊花盤一對。」均為此類盤在清宮中收藏、賞賜情況，尤

其可見此雍正白釉盤在清宮存瓷中較為稀少。

同類拍品可參見香港佳士得，2012年5月30日，編號3967，

以及倫敦蘇富比，1967年11月14日，編號136。出版物可參

閱《五色瓊霞——竹月堂藏元明清一道釉瓷器》，香港中文

大學文物館，2005年，頁83，圖25；《故宮博物院藏文物珍

品大系．顏色釉》，上海科學技術出版社，1999年，頁282，

圖257；《故宮博物院藏文物珍品大系．顏色釉》，上海科學

技術出版社，1999年，頁92，圖85。

The dish is potted with the delicate shallow rounded sides and is

exquisitely moulded in the form of twenty-four slender fluted petals,

simulating a chrysanthemum bloom. All these are supported on

a foot of corresponding form. It is covered overall save for the

footring with an even opaque white glaze. The base is inscribed in

underglaze blue with a six-character reign mark within a double

circle.

Chrysanthemum-shaped dishes appear in complete sets of twelve

colors, with the most notable set, all with Yongzheng marks,

being in the Beijing Palace Museum, illustrated in The Complete

Collection of Treasures of the Palace Museum - Monochrome

Porcelain, Hong Kong, 1999, pl. 257.

Other white-glazed Yongzheng-marked chrysanthemum dishes are

known. See one from a set of seven, illustrated in The Official Kiln

Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 180.

清雍正 檸檬黃釉菊瓣盤

©瑞士鮑爾收藏

A fine lemon-yellow-glazed chrysanthemum dish,

Yongzheng period

©The Baur Collection, Geneva

8

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

side view 側面

3303

清雍正  紫金釉菊瓣盤

    「大清雍正年製」

A PERSIMMON-GLAZED 'CHRYSANTHEMUM' DISH

MARK AND PERIOD OF YONGZHENG

PROVENANCE

1. Eskenazi Ltd, London

2. The Meiyintang Collection, Switzerland

EXHIBITION

1. A Selection of Ming and Qing Porcelain, Eskenazi, London, 2004

2. Pure and Natural: Special Exhibition of Ming and Qing

Monochrome Porcelains, Poly Art Museum, Beijing, 2018

LITERATURE

1. Regina Krahl, Chinese Ceramics from the Meiyintang Collection,

vol. 4(2), London, 1994-2010, p.392, no.1831

2. A Selection of Ming and Qing Porcelain, Eskenazi, London,

2004, no.12

3. Pure and Natural: Special Exhibition of Ming and Qing

Monochrome Porcelains, Poly Art Museum, Beijing, 2018, p.294,

no.114

D 17.5cm

本品呈菊花瓣形，弧壁，圈足。盤內外施紫金釉。足圈內施

白釉，底青花雙圈內書「大清雍正年製」楷書款。紫金釉又

名醬釉，是以鐵為著色劑的一種高溫釉。雍正紫金釉承宣德

醬釉的優秀傳統，燒製出了如此器般色澤烏亮、釉面瑩潤的

紫金釉，展示了雍正單色釉的最高水準。

來源

1. Eskenazi Ltd，倫敦

2. 玫茵堂，瑞士

展覽

1. 《明清陶瓷選粹》，Eskenazi，倫敦，2004年

2. 《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博物

館，北京，2018年

出版

1. 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦，

1994-2010年，頁392，編號1831

2. Eskenazi，《明清陶瓷選粹》，倫敦，2004年，編號12

3.《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博物

館，北京，2018年，頁294，編號114

HK$ 350,000 - 450,000

US$ 45,000 - 58,000

款識

Mark

出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫

敦，1994-2010年，頁392，編號1831

Published in Regina Krahl, Chinese Ceramics from the

Meiyintang Collection, vol. 4(2), London, 1994-2010, p.392,

no.1831

出版於Eskenazi，《明清陶瓷選粹》，倫敦，2004年，編號12

Published in A Selection of Ming and Qing Porcelain ,

Eskenazi, London, 2004, no.12

10

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

side view 側面

故宮博物院藏一套十二件雍正款單色釉菊瓣形盤，包括紫金

釉，見《故宮博物院藏文物珍品全集——顏色釉》，1999

年，香港，頁282-283，圖版257。北京首都博物館藏同色盤

一件，見熊寥著《官窯名瓷》，1993年，台北，圖版153；

另一例展於《敏求精舍——明清單色釉瓷展覽》，刊於展覽

圖錄，1977年，香港，圖版95；以及倫敦大維德基金會藏品

一件，蘇玫瑰，《Illustrated Catalogue of Ming and Qing

Monochrome Wares in the Percival David Foundation of

Chinese Art》，倫敦，1989年，圖錄編號B597。同款盤見

H.M. Knight Collection舊藏，後成為霍爾家族藏品；1988年

展出於牛津Ashmolean Museum舉辦東方陶瓷學會展覽《Iron

in the Fire》，圖版90；後售紐約佳士得，2004年9月21日，

編號305。

The dish is potted with the sides finely moulded with forty-four

fluted petals radiating from a slightly recessed flat centre to form

a foliate rim. It is supported on a straight foot of conforming shape

and is covered overall in an even glossy and opaque coffee-brown

glaze. The base is left white with a six-character Yongzheng mark

within a double circle.

Other similar Yongzheng café-au-lait glazed dishes are published,

one in the Capital Museum, Beijing, illustrated by Xiong Liao,

Beauty of Ceramics: Gems of the Official Kilns, Taipei, 1993, pl.

153; one included in the Min Chiu Society exhibition, Monochrome

Ceramics of Ming and Ch’ing Dynasties, Hong Kong Museum of

Art, 1977, illustrated in the catalogue, no. 95; and one with a pale

café-au-lait enamel in the Percival David Foundation, illustrated in

the catalogue, Section 6, no. B597.

12

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

3304

清雍正  胭脂紫釉菊瓣盤

      「大清雍正年製」

A VERY RARE RUBY-GLAZED 'CHRYSANTHEMUM' DISH

MARK AND PERIOD OF YONGZHENG

PROVENANCE

1. Christie’s Hong Kong, 30 May 2005, lot 1484

2. Eskenazi Ltd, London

3. The Meiyintang Collection, Switzerland

EXHIBITION

Pure and Natural: Special Exhibition of Ming and Qing Monochrome

Porcelains, Poly Art Museum, Beijing, 2018

LITERATURE

1. Eskenazi, A Dealer's Hand: The Chinese Art World Through the

Eyes of Giuseppe Eskenazi, London, 2012, p. 339, pl. 406

2. Pure and Natural: Special Exhibition of Ming and Qing

Monochrome Porcelains, Poly Art Museum, Beijing, 2018, p.282,

no.108

D 17.5cm

本品呈菊瓣形，弧壁，圈足。盤內外施胭脂紫釉。此盤造型

源自宋代漆器，擬取秋菊之形，盤壁呈盛開的菊花瓣狀，線

條俊秀優美，胎質細緻堅密，胎體輕薄，通體施胭脂紫釉，

釉光鮮亮細潤，圈足外撇，足圈內施白釉，底青花雙圈內書

「大清雍正年製」雙行六字楷書款。

來源

1. 香港佳士得，2005年5月30日，編號1484

2. Eskenazi Ltd，倫敦

3. 玫茵堂，瑞士

展覽

《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博物

館，北京，2018年

出版

1. Eskenazi，《中國藝術品經眼錄：埃斯卡納齊的回憶》，

倫敦，2012年，頁339，圖版406

2.《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博物

館，北京，2018年，頁282，編號108

HK$ 300,000 - 380,000

US$ 39,000 - 49,000

款識

Mark

出版於Eskenazi，《中國藝術品經眼錄：埃斯卡納齊的回憶》，倫

敦，2012年，頁339，圖版406

Published in Eskenazi, A Dealer's Hand: The Chinese Art World

Through the Eyes of Giuseppe Eskenazi, London, 2012, p. 339,

pl. 406

14

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

side view 側面

胭脂紫釉是清宮顏色釉瓷器的新品種，名貴無比而著稱，以

「紅若赤霞，赧如羞女」而獨步瓷壇。胭脂紫釉是1650年荷

蘭人卡西亞（Cassias）發明，屬於低溫色釉，1680年開始

應用於瓷器繪畫，直到1682年（康熙二十一年）才開始在景

德鎮使用。康熙時期署有「辛丑年製」款的胭脂釉器，為早

期的器物。陳瀏《陶雅》謂之「華貴中之佚麗者也。勻淨明

艷，殆亡倫比。紫晶遜其鮮妍，玫瑰無其嬌麗」。其以黃金

為著色劑，釉汁細膩，光潤勻淨，色如胭脂，故名。在薄胎

製品上，內施白釉，外施胭脂水，紅白相映，瑰麗非凡。

此類雍正款胭脂紫釉菊瓣盤存世極少，僅見Carl Kempe 博士

收藏一例，編號1230，Eskenazi Ltd遞藏，並於2013年香港

蘇富比釋出，可資對比。歐州藏家卡特萊特 （The Cartwright

Collection） 舊藏一例乾隆胭脂紅菊瓣盤例，售於倫敦蘇富

比，2011年11月9日，編號65。另市場流通一例，可見香港

蘇富比，2007年4月8日，編號704。公私收藏中，可見數例

乾隆款胭脂紅菊瓣盤，唯雍正例極為少有。

The dish is potted with the shallow rounded sides superbly

moulded in the form of slender fluted petals radiating from a

slightly recessed flat centre simulating a chrysanthemum bloom. It

is supported on a foot of corresponding form and is covered overall

in a rich ruby-purple glaze. The base is left white and is inscribed

with a six-character reign mark in underglaze blue.

The Yongzheng Emperor is recorded to have commissioned Nian

Xiyao, Supervisor of the imperial kilns at Jingdezhen, to produce

chrysanthemum dishes in twelve colours, forty pieces of each.

However, no original complete set of twelve dishes is preserved

and chrysanthemum dishes of the Yongzheng period are known

to have more than twelve colours. The Palace Museum, Beijing,

has indeed published dishes covered in thirteen different tones,

which have been assembled from different sources, and at least six

further colours are recorded elsewhere.

16

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

3305

清雍正  鬥彩團夔龍紋臥足碗

      「大清雍正年製」

A DOUCAI 'KUI-DRAGON' MEDALLION BOWL

MARK AND PERIOD OF YONGZHENG

D 9.6cm

The present bowl is potted with rounded sides rising from a

recessed base, brightly painted to the exterior with five medallions

composed of stylised dragons, floral and foliate strapwork. The

base is inscribed with a six-character reign mark within a doublecircle.

本品為敞口，淺腹，臥足，造型精巧圓潤，秀氣婉約；造型

典雅端莊而不失俊美，胎質細膩瑩白，修足極為規整，以手

撫之，瑩熟無比，釉色純淨，青花色澤純正，幽靜淡雅。底

為雙圈青花「大清雍正年製」楷書款。臥足式，屬碗中最為

尊貴的碗形之一。其紋飾仿成化之淡雅，碗內心光素，所施

白釉勻淨恬白。碗外壁鬥彩繪一週五組團夔龍紋飾；團夔龍

佈局繁密，勾畫填彩細膩淡雅，清新脫俗。整器胎釉渾然一

體，麗質非凡，蕩漾出雍正御瓷獨有的溫婉之氣。

HK$ 800,000 - 1,500,000

US$ 102,000 - 192,000

款識

Mark

18

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

此碗藝術構思高妙，燒製工藝極為精美，體現了雍正官窯青

花的最高造詣。雍正一朝燒製仿成窯臥足碗一類，多以外壁

纏枝蓮、荷塘鴛鴦或梵文紋飾，內壁寶相花為飾者多見，此

種又以青花團龍者多，鬥彩者罕。成窯鬥彩淡恬雅致，獨步

古今，後世官民皆仰慕而後摹之，本品乃雍正御器廠所仿成

窯鬥彩團龍臥足碗之佳作。其形雋巧怡人，纖薄如玉，恰在

手掌之內，甚宜把玩。胎釉極其溫潤而雅，鬥彩恬淡明快，

外壁四組團龍紋，塗繪細緻工整，頗見成窯遺韻。

清雍正 鬥彩夔龍紋臥足碗

©故宮博物院藏

A doucai dragon medallion bowl, mark

and period of Yongzheng

©The Palace Museum

This charming bowl is a testament of the Yongzheng Emperor’s

penchant for classic styles of the past. Its finely potted body,

smooth and tactile glaze, and its delicate motif were inspired by

prototypes of the Chenghua reign, which were especially treasured

by the Yongzheng Emperor.

A small number of bowls with short footring and similar doucai

pattern are known, such as the pair in the Tianminlou Collection

bearing a Yongzheng mark within double squares, illustrated in

Chinese Porcelain, The S.C. Ko Tianminlou Collection, Hong Kong,

1987, no. 100; a pair sold at Christie's Hong Kong, 29 May 2013,

lot 2269; and a pair from the Edward T. Chow Collection, sold at

Sotheby's Hong Kong, 25 November 1980, lot 132.

20

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

3306

清康熙  青花五月石榴花神杯

      「大清康熙年製」

AN INSCRIBED BLUE AND WHITE 'POMEGRANATE' CUP

MARK AND PERIOD OF KANGXI

十二月花神杯為康熙官窯之首創，是康熙年間御窯廠燒製的

時令酒具，僅以五彩和青花兩類工藝燒造，素雅脫俗。此杯

即為其中之一，敞口弧腹，胎薄質輕，釉潤似玉。通體以青

花繪飾，發色清麗，繪工精湛，採用一面詩一面畫之方式通

景式繪飾石榴花紋樣，前畫後詩，雅致絕倫。所繪石榴枝

葉葳蕤，花果累累。注重青花色澤濃淡的深淺變幻，使紋

飾具有陰陽向背的層次感，畫面清新動人，層次暈染豐富。

樹下並見萱草及小花。另一側詩題：「露色珠簾映，香風粉

壁遮。」，並鈐印「賞」字。這種構圖方式頗具文人畫之韻

味，細緻而不拘謹，秀麗而不纖弱，佈局留白妥帖，尚簡而

有神。《陶雅》對康熙景德鎮窯之記載：「官窯力求工細，

下筆不肯苟率，自其所長。」可見此一時期為了追求最佳的

視覺效果，瓷書及瓷畫皆為不同匠師所為。

以十二月花神為主題的花神杯，成套藏品在故宮博物院、上

海博物館，四川博物館等皆有入藏，除青花外，本品亦有五

彩所繪，拍品原為徐展堂先生「在望山莊」舊藏，來源明

確，可堪珍賞。

思月堂是香港本地收藏，歷經三十餘載，蒐集精品陶瓷。其

收藏理念素來秉承「精、真、稀」的原則，好古敏求，醉心

收藏，務求將此一類別的國粹傳承、延續下去。唯因堂主低

調謙遜，默默耕耘，以此堂鮮為人知曉。

來源

1. 徐展堂先生舊藏

2. 思月堂舊藏

HK$ 800,000 -1,200,000

US$ 102,000 - 153,000

PROVENANCE

1. T. T. Tsui collection

2. The Si Yue Tang Collection

D 6.8cm

This fine month cup belongs to the set of twelve floral month

cups, which was first produced in the Kangxi Period, used as wine

vessels. This cup is finely potted with steep gently curved sides

rising from a short tapering foot to a slightly everted rim, delicately

painted with a flowering pomegranate in underglazed blue, the

leafy plant amidst smaller flowers and rockwork, the reverse

with a ten-character poem in underglaze blue. The base writes in

underglaze blue with a six-character Kangxi mark within a doublecircle.

Month cups depicting seasonal flowers accompanied by pertinent

two-line poems, represent a classic design of the Kangxi period.

Complete sets of month cups are extremely rare. A full set of

month cups in the Palace Museum, Bejing, is illustrated in Kangxi.

Yongzheng. Qianlong. Qing Porcelain from the Palace Museum

Collection, Hong Kong, 1989, p. 65, pl. 48; another set from the Sir

Percival David collection and now in the British Museum, London,

is published in the Illustrated Catalogue of Qing Enamelled Wares

in the Percival David Foundation of Chinese Art, rev. ed., London,

1991, pl. 815.

The poem on the present cup can be translated as follows:

The colour unfolds like the sun on pearl curtains.

The breeze bears the fragrance

in the shade of the white-washed wall.

款識

Mark

清康熙 青花石榴花神杯

©故宮博物院藏

An inscribed blue and white 'pomegranate' cup, mark and

period of Kangxi

©The Palace Museum

22

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

正面 Front view

背面 Back view

3307

清乾隆  白地粉彩番蓮托八寶雙耳鼎式爐

      「大清乾隆年製」

A FINE AND RARE WHITE GROUND FAMILLE ROSE ‘EIGHT BUDDHIST EMBLEMS’ TRIPOD CENSER

MARK AND PERIOD OF QIANLONG

爐胎體厚重堅致，造型端莊大方，直邊平沿口，短束頸，球

狀腹，圜底，蹄形三足，肩置對稱沖天大耳。器內外滿施白

釉，勻凈厚潤。器外白地描繪多層粉彩紋飾：口沿回紋，頸

部纏枝蓮紋，肩部如意雲紋；腹部主題紋飾為纏枝蓮托八寶

紋，上、下相錯排列，紋樣繁複，色彩絢爛，富麗堂皇；

三鼎足飾纏枝蓮紋；兩耳中有長方形穿孔，正背面飾纏枝蓮

紋，側面為回紋。平口沿和圜底、足底邊則分別用紅、青花

繪回紋。繪畫精細，一絲不茍，布局繁縟而不失秩序，處處

彰顯乾隆彩瓷之華貴與堂皇。口沿外側青花雙框內書寫「大

清乾隆年製」六字橫款，篆法規整，結構嚴謹。

來源

1. 倫敦富藝斯，1974年10月23日，編號101

2. 郭克禮（1920-2018）收藏，新加坡

3. 香港佳士得，2019年5月29日，編號3139

HK$ 1,500,000 -2,500,000

US$ 192,000 - 319,000

PROVENANCE

1. Philips London, 23 October 1974, lot 101

2. The Quek Kiok Lee (1920-2018) collection, Singapore

3. Christie's Hong Kong, 29 May 2019, lot 3139

H 24.3cm

The censer is potted with a compressed globular body decorated in

underglaze-blue and enamelled with the Eight Buddhist Emblems,

alternating with lotus blooms on scrolling leafy tendrils extending

onto the cabriole legs beneath a band of ruyi-heads. The shoulders

are set with tall upright curved handles, a scrolling lotus foliage

collar around the recessed neck, below a galleried rim with a

multi-coloured key-fret border reserving the reign mark written in

a horizontal line. The base is decorated with a flowerhead within a

puce floral border.

款識

Mark

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Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

乾隆彩瓷以華麗富貴而著稱，尤以色地粉彩器為最，常見有

胭脂紅、松石綠、黃彩等，數倍於白地者，故類若本品白地

粉彩者則更為珍貴，其以白釉為底，上繪諸彩，更能映襯彩

料之妍美華麗，藝術格調上更勝一籌。

此類器型原為五供中的其中一供，多見施胭脂紅釉之例。同

樣以白地為類似例的乾隆六字橫款香爐，可參照台北故宮博

物院所藏一件八寶紋白地粉彩鼎式爐，載於《故宮歷代香具

圖錄》，台北，1994年，圖版120號。此外亦可比較一件售於

倫敦佳士得，2013年5月14日，編號226之八寶紋白地粉彩鼎

式爐，其原為Gordon博士及Rosemary Fryers博士之收藏。

新加坡藏家郭克禮先生（1920-2018）曾為東南亞陶瓷學會

創始人之一，1994年更被新加坡國立大學校長邀任大學博物

館入藏中國藝術館藏的學術顧問，六年後才在耄耋之年退任

該職。他於2018年以98歲高齡辭世，身後留下的畢生精髓收

藏，可謂盡顯其華風傲骨。「縱觀郭先生的珍藏，實能切身

體會老一輩藏家對藝術的滿腔熱忱。」何懿行感嘆道，「他

的收藏絕非作投資用途，所有藏品均置於家中，無時無刻不

隨手捻來觀看把玩。翻開他兩本厚實的收藏記錄，上千條

眉批腳注均細列闡明每件藏品的外觀、來源、價格及相關歷

史，字裡行間無不透露出這位藏家是如何看待這批縈心半世

的收藏。」收藏對他而言，不僅止於把玩，更是親身感受藝

術融入生活的互動。

A related Qianlong mark-and-period white-ground famille rose

censer with similar shape and decoration but with a slightly

different mouth rim is included in National Palace Museum, Taipei,

Special Exhibition of Incense Burners and Perfumes throughout the

Dynasties, Taipei, 1994, p. 266, no. 120. Compare also with the

slightly larger Qianlong mark and period white-ground famille rose

censer with a similar decoration from the collection of Dr. Gordon

and Dr. Rosemary Fryer sold at Christie’s London, 14 May 2013,

lot 226.

Two similar censers but reserved on a pink ground were sold in

auction, one in Christie’s London, 15 May 2018, lot 262, from

the collection of the Gardener family, Hertfordshire; another in

Christie’s Hong Kong, 26 November 2014, lot 3314. A unique

comparable censer with rouge-enamel for the dragon decoration

and glazed in turquoise-ground was sold at Christie’s Hong Kong

on 28 November 2018, lot 2925.

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頤華：宮廷藝術珍品選粹

3308

清乾隆  窯變釉八卦紋雙螭耳扁壺

      「大清乾隆年製」

A RARE FLAMBE-GLAZED 'EIGHT TRIGRAM' MOONFLASK, BIANHU

MARK AND PERIOD OF QIANLONG

扁圓身，直口，頸部兩側飾螭耳，圓角長方形圈足。頸部有

一道凸弦紋，腹部兩面中央凸出，周圍凸飾八卦一圈，器身

兩側各飾二乳釘紋。通體施仿窯變釉，釉面佈滿細密開片

紋。底施醬釉，中心刻印「大清乾隆年製」三行六字篆書

款。

此瓶器形碩大，為清代景德鎮御窯廠陶匠巔峰之作。此類器

形的燒造對胎質比重要求極高，否則容易承受不住窯內高溫

而導致變形。匠人在保留了前朝簡潔素雅器形的基礎上又作

出創新輔以模印紋飾，並且以嫻熟技藝通過對窯內溫度控

制，模仿宋代鈞釉的流淌，既突顯了紅釉的線條豐盈潤澤，

又體現了乾隆帝對宋代御用名窯之追慕。

來源

歐洲私人收藏，1950年代得於歐洲，後於家族傳承

HK$ 800,000 - 1,200,000

US$ 102,000 - 153,000

PROVENANCE

A European private collection, acquired in the 1950s in Europe,

thence by descent within the family

H 50cm

This vase is exquisitely modelled after a Middle Eastern metalwork

prototype with a flattened spherical body supported on a spreading

foot, surmounted by a cylindrical neck with a raised rib flanked by

a pair of archaistic animal scroll handles, adorned on each side

with the 'eight trigrams' radiating from a roundel at the centre. The

narrow sides are decorated with raised bosses, covered overall in a

brilliant glaze of vibrant purplish-red tones, streaked with cascades

of milky blue striations. The underside is covered in a mottled

yellowish-brown wash covering the incised six-character Qianlong

seal mark.

款識

Mark

28

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

雍正帝偏愛鈞瓷，曾詔命景德鎮御窯廠燒造仿古鈞瓷。雍正

十年（1732年）御窯廠燒造的瓷器名單中，記載至少九種

當時研發出的新釉色仿鈞器。督陶官唐英在任期間，曾派其

幕友到河南均州窯瓷器產地調查鈞窯器釉料配製法，見《雍

正：清世宗文物大展》，台北故宮博物院，台北，2009年，

頁227-228。乾隆帝繼立後承傳此風，摹古創新，此後窯變釉

續有延燒，此扁壺即為一例。

該瓶器身模印太極八卦圖，飾「乾、坤、坎、離、震、巽、

艮、兌」卦，分別代表「天、地、水、火、雷、風、山、

澤」，而道家以八卦闡述天地運行之道，並作參透當下、

預見未來之用，其意義與當朝天子所負治理天下之重任相

呼應。清朝除雍正帝以外，大部份皇帝倡導佛教，但對道

教也有一定的扶持。至乾隆一朝，雖然清廷對道教活動的

限制日趨嚴格，但在為皇帝慶壽時亦有道教儀式舉行，見

P.Berger，〈Religion〉，E.S.Rawski 及 J.Rawson編，

《China: The Three Emperors 1662 – 1795》，倫敦，2005

年，頁132-133。

乾隆一朝之太極八卦紋抱月瓶頗為罕見，此瓶襲前朝之風，

在器形及紋飾上均延續雍正一朝同類抱月瓶，參看香港蘇富

比，2023年4月8日，編號3708之清雍正仿鈞窯變釉太極八

卦抱月瓶；另瀋陽故宮博物院藏一件清雍正冬青釉太極八卦

扁瓶可作比較，見《瀋陽故宮博物院藏文物精粹：瓷器卷

（下）》，遼寧，2008年，頁61；台北故宮博物院亦藏清雍

正仿哥釉太極八卦抱月瓶一例，博物館編號中瓷003964N。

The 'eight trigrams' moulded onto the body were symbols used

since ancient times to explain cosmological principles and were

a means of understanding the state of the present and aiding in

decisions for the future.

Flambé-glazed vessels are rarely of such large size as the present

piece, and this shape may be unique among pieces of this mottled

glaze colour, which was apparently derived from attempts to

recreate Song dynasty Jun glazes. On the present piece the two

characteristic appearances of the Jun glaze, the milky blue tinged

with a mushroom colour, and the bright purple with flecks of blue,

have been brilliantly captured, although the whole vessel is a pure

Yongzheng invention.

Flasks of this type and glaze are extremely rare, and the present

example appears to be unique. For related examples, but of guan

and ge-type glazed 'eight trigrams' moonflasks, Yongzheng seal

marks and period, see one imitating ge glaze from the National

Palace Museum, Taipei, museum no.ZC003964N; and another

imitating guan glaze sold at Sotheby's London, 8 November 2006,

lot 173. See also a related flambé-glazed moonflask, Yongzheng

seal mark and period, without the 'eight trigrams' design, illustrated

by R.Krahl, Chinese Ceramics from the Meiyintang Collection, vol.

IV, part II, London, 1994-2010, no.835.

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頤華：宮廷藝術珍品選粹

3309

清乾隆  仿官釉三羊開泰弦紋尊

    「大清乾隆年製」

A GUAN-TYPE 'THREE RAMS' VASE, ZUN

MARK AND PERIOD OF QIANLONG

PROVENANCE

The Meiyintang Collection, Switzerland

EXHIBITION

Pure and Natural: Special Exhibition of Ming and Qing Monochrome

Porcelains, Poly Art Museum, Beijing, 2018

LITERATURE

Pure and Natural: Special Exhibition of Ming and Qing Monochrome

Porcelains, Poly Art Museum, Beijing, 2018, p. 188-189, no. 69

H 34.5cm

The vase is finely potted with the globular body supported by a

flared foot and rising to a thick waisted neck and flared mouth.

The body is further encircled by two double-raised fillets around

the body and another at the shoulder, and is applied with three

ram heads. It is covered with a stunning blue-green celadon

glaze, thinning to reveal their finely detailed features. The base is

inscribed with the six-character seal mark in underglaze-blue.

尊形仿自上古三代青銅器，於雍正朝開始以瓷燒造。本品尊

形壯碩，口沿外撇，器身起弦紋三條，肩部堆塑三羊首為

耳，羊首高起，形式古樸。通體所施仿官釉一色，勻淨瑩

亮，細膩肥潤，釉色青白，靜穆古雅，胎骨細薄堅致，麗質

怡人，遠視之，宛若佳人玉立，風韻無限。足部鐵色圈足

形成仿宋官窯「紫口鐵足」的特徵；底部青花「大清乾隆年

製」六字篆書年款。

來源

玫茵堂，瑞士

展覽

《大樸尚簡─明清單色釉瓷器菁華展》，保利藝術博物

館，北京，2018年

出版

《大樸尚簡─明清單色釉瓷器菁華展》，北京，2018年，

頁188-189，編號69

HK$ 600,000 - 800,000

US$ 77,000 - 102,000

款識

Mark

32

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

三羊開泰，因古時「羊」、「陽」通假，亦稱「三陽開

泰」。《易經》中稱：「十月為坤卦，純陰之象。十一月

為復卦，一陽生於下。十二月為臨卦，二陽在下。下月為泰

卦，三陽大下。」其意為冬去春來，陰消陽長，萬物復蘇，

因此三陽開泰有吉祥之象。此外，中國宗法社會亦有「君為

陽」，「父為陽」的思想，故此紋飾在清代受到皇家大力推

廣，而成為官窯瓷器的經典紋樣。

三羊尊以其古雅敦實的造型深得乾隆皇帝所愛，據乾隆三年

六月二十五日《造辦處活計清檔》記載，乾隆皇帝曾下發

「廠官釉三羊尊」讓唐英「具照樣燒造送來」，此處所言

「廠官釉三羊尊」應是雍正朝之御物，可知雍乾二朝均燒造

廠官釉的三羊尊。同時乾隆皇帝還將其它色釉裝飾三羊尊，

文獻所知例如《陶雅》「乾隆冬青窯變各瓶，有勻配三羊頭

於肩際者」的記述則表明在晚清時期至少見有冬青釉和窯變

釉二種流傳於世，目前所見實物除仿官釉之外尚有仿哥釉、

窯變釉，見香港鐘氏懷海堂之典藏。

縱觀雍乾二朝御瓷之燒造實況，此一器多釉的燒造模式非常

流行，往往表明君王對某類器形懷有獨特的鍾愛。本品雋雅

古典，是為唐英榷陶之下的乾隆早期御窯之佳器，至為難

得。故宮博物院藏一例仿汝釉三羊尊，著錄於《故宮博物院

藏清代御窯瓷器》卷一下冊，紫禁城出版社，2005年，頁

379，圖175，可資比較。另見一哥釉例，為丸ヱ大野商店舊

藏，售於廈門保利，2018年7月15日，編號0922。

清乾隆 仿汝釉三羊尊

©南京博物院藏

A ru-type 'three rams' vase, mark

and period of Qianlong

©Nanjing Museum

The ram is a traditional emblem of good luck, since the Chinese

term for ram (or goat), yang, is a homophone of yang, 'sun', and

represents the male or positive principle in the yin-yang duality. The

Chinese character for ram is also used as a variant for a similar

character pronounced xiang, which means happiness. Three rams,

san yang, are considered a particularly auspicious symbol, evoking

the expression san yang kai tai, the awakening of nature in spring,

which signifies good luck and happiness.

Compare a 'three ram' vase of meiping form with a guan-type glaze,

also of Qianlong mark and period, from the Qing court collection

which still remains in the Palace Museum, Beijing, published in

The Complete Collection of Treasures of the Palace Museum:

Monochrome Porcelain, Hong Kong, 1999, pl.208.

34

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頤華：宮廷藝術珍品選粹

3310

清乾隆  仿官釉貫耳瓶一對

    「大清乾隆年製」

A PAIR OF GUAN-TYPE VASES

MARKS AND PERIOD OF QIANLONG

PROVENANCE

The Meiyintang Collection, Switzerland

LITERATURE

Regina Krahl, Chinese Ceramics from the Meiyintang Collection,

vol. 2, London, 1994-2010, p. 216, no. 874

H 14.5cm

Each well-potted pear-shaped vase rises from the flaring foot

towards the everted rim, and is decorated by a pair of lug-handles.

Each vase is covered in a lustrous pale bluish-green glaze suffused

with a fine, clear crackle in imitation the style of guan-ware as an

expression of nostalgia while inscribed with an imperial reign mark.

瓶直口，鼓腹，隨形設雙貫耳，通體施仿官釉。器身光素不

設雕飾，色澤蒼雅靜穆，光澤厚潤柔和，富有天然韻致，尤

顯溫婉爾雅、風韻雋永。底足圓潤而飾黑褐之色，以摹鐵足

效果，觀之古意盎然，猶可辨趙宋遺韻。底款以青花書「大

清乾隆年製」，篆法精妙，筆力遒勁，為乾隆早期風格。

來源

玫茵堂，瑞士

出版

《玫茵堂藏中國陶瓷》，康蕊君，倫敦，1994-2010年，卷

二，頁216，編號874

HK$ 400,000 - 600,000

US$ 51,000 - 77,000

款識

Marks

出版於《玫茵堂藏中國陶瓷》，康蕊君，倫敦，1994-2010

年，卷二，頁216，編號874

Published in Regina Krahl, Chinese Ceramics from the Meiyintang

Collection, vol. 2, London, 1994-2010, p. 216, no. 874

36

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

貫耳瓶造型源於上古青銅器，宋代官窯首先將其運用於瓷器

之中。清代貫耳瓶器形多樣，有圓、方之分、大小之別。如

本品式樣八方貫耳瓶，常見有兩種，一類高度為14公分的小

尺寸貫耳瓶，一類高度為30至40公分的杏圓貫耳方瓶，本品

即為小尺寸者，手可盈握把玩，查閱各大博物館館藏及近年

拍賣市場資料，不過寥寥數例。

據《陶成紀事碑》載，仿汝釉器乃按照清宮所發宋代器物而

制的記載相合。「廠內所造各種釉水、款項甚多，不能備

載。茲舉其仿古、採今，宜於大小盤、杯、盅、碟、瓶、

罍、罇、彝，歲例貢御者五十七種，開列與後，以志大概」

台北故宮博物院藏兩件造型及尺寸相若之仿汝釉與仿官釉

製品，分別於器底題刻乾隆皇帝御題詩，其中「簪花勝酒

斟」、「擷芳攜取供吟興」兩句，表明是為花器之用，可見

於《得佳趣—乾隆皇帝的陶瓷品味》，台北，2012，頁188、

189，圖85、86。

Guan-type vases were first found in the Song dynasty. During the

Qing dynasty, guan-type vases were developed into various forms

including round and square shapes, and in an array of different

sizes. Two popular styles of this pear-shaped vase were found, one

with taller size, above 30cm, with a medallion in the shape of a

peach on the sides, and the other one potted in around 14cm. The

current pair of vases belong to the later group in smaller size.

Similar guan-type works could be found in the palace collection in

Taipei, illustrated in Obtaining Refined Enjoyment: The Qianlong

Emperor's Taste In Ceramics, Taipei, 2012, p.188 & 189, pl. 85 &

86.

38

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹