PALATIAL SPLENDOUR: Imperial Ceramics and Works of ArtPALATIAL SPLENDOUR Imperial Ceramics and Works of Art 御貢凝輝：宮廷御製珍品 Hong Kong 2 December 2021 香港 2021 年 12 月 2 日 御 貢 凝 輝 ： 宮 廷 御 製 珍 品 7TH FLOOR, ONE PACIFIC PLACE, 88 QUEENSWAY, ADMIRALTY, HONG KONG • 88 1 7 • +852 2303 9899 2 DECEMBER 2021 HKF3321-3

LOT 3404

LOT 3406 LOT 34103

保�香� 拍賣日� POLY AUCTION (HONG KONG) SALES CALENDAR ��珠�專場 MAGNIFICENT JEWELS ���HKF2621-1 SALE: HKF2621-1 2021 年 11 月 27 日 星期� SATURDAY, 27 NOV. 2021 下午 1:30 1:30PM 陳年貴州茅�酒專場 ���HKF1621-2 KWEICHOW MOUTAI AUCTION 2021 年 11 月 27 日 星期� SALE: HKF1621-2 下午 5:00 SATURDAY, 27 NOV. 2021 中國書畫專場 5:00PM ���HKF3021 2021 年 11 月 28 日 星期日 FINE CHINESE PAINTINGS AND CALLIGRAPHY 上午 10:30 SALE: HKF3021 �貴��專場 SUNDAY, 28 NOV. 2021 ���HKF2621-2 10:30AM 2021 年 11 月 28 日 星期日 下午 4:30 IMPORTANT WATCHES 保利拍賣�������� SALE: HKF2621-2 二十���當代��和��日間拍賣 SUNDAY, 28 NOV. 2021 ���JA2111PP-D 4:30PM 2021 年 11 月 29 日 星期一 上午 11:00 20TH CENTURY & CONTEMPORARY ART AND DESIGN DAY SALE 保利拍賣�������� IN ASSOCIATION WITH PHILLIPS AUCTION 二十���當代���間拍賣 SALE: JA2111PP-D ���JA2111PP-E MONDAY, 29 NOV. 2021 2021 年 11 月 30 日 星期二 11:00AM �上 7:00 時�知味�陳年�洱���品專場 20TH CENTURY & CONTEMPORARY ART EVENING SALE ���HKF1621-3 IN ASSOCIATION WITH PHILLIPS AUCTION 2021 年 12 月 1 日 星期三 SALE: JA2111PP-E 上午 11:00 TUESDAY, 30 NOV 2021 尚品手��潮玩專場 7:00PM ���HKF2921 2021 年 12 月 1 日 星期三 RARE PU'ER TEA AUCTION 下午 2:30 SALE: HKF1621-3 ��日月��國杜尚家��重�中國� WEDNESDAY, 1 DEC. 2021 ��品（二） 11:00AM ���HKF3321-2 2021 年 12 月 2 日 星期四 NOBLE HANDBAGS AND HYPE COLLECTIBLES 上午 10:30 SALE: HKF2921 中國古董�玩 WEDNESDAY, 1 DEC. 2021 ���HKF3321-1 2:30PM 2021 年 12 月 2 日 星期四 順� THE DUCHANGE FAMILY COLLECTION OF IMPORTANT CHINESE ART II �貢��������品 SALE: HKF3321-2 ���HKF3321-3 THURSDAY, 2 DEC. 2021 2021 年 12 月 2 日 星期四 10:30AM 下午 2:00 盛�皇�����粉青釉��「��� CHINESE CERAMICS AND WORKS OF ART �」�大� SALE: HKF3321-1 ���HKF3321-4 THURSDAY, 2 DEC. 2021 2021 年 12 月 2 日 星期四 POSTPONE 順� �映���玫�堂�元������ PALATIAL SPLENDOUR: IMPERIAL CERAMICS AND WORKS OF ART ���HKF3321-5 SALE: HKF3321-3 2021 年 12 月 2 日 星期四 THURSDAY, 2 DEC. 2021 順� 2:00PM �稀�士��干�專場 ���HKF1621-1 THE GRAND EMPIRE: THE CELADON 'DRAGON' JAR 2021 年 12 月 2 日 星期四 SALE: HKF3321-4 下午 4:00 THURSDAY, 2 DEC. 2021 POSTPONE LOT 3419 A ROMANCE AMONG BLOOMING ROSES: THE MEIYINTANG COLLECTION OF THREE DYNASTIES IMPERIAL CERAMICS SALE: HKF3321-5 THURSDAY, 2 DEC. 2021 POSTPONE RARE WHISKY AND COGNAC AUCTION SALE: HKF1621-1 THURSDAY, 2 DEC. 2021 4:00PM 預先�� PRE-REGISTRATION 若�下是首���競投，同時未�得保�香�拍賣有��司�可的�冊����，保��為�� 500,000 元。��下 打算競投�估價拍賣品（在���� / 或電����標有〇符�之拍賣品），保��為�� 1,000,000 元。保�香� 拍賣有���力�時���估價拍賣品之保��� / 或手� , 而不需��行�知◦在�下競投前 , ��司�有���力 向�下��提供任何有��下的財��明。��司有���力��任何�之競投登記而不需�予任何�釋◦ If this is the first time you bid with Poly Auction (Hong Kong) Limited, and you are not recommended by a registered client endorsed by us, the deposit will be HK$500,000. If you intend to bid on a “Premium Lot”(i.e., a lot marked with 〇 in the printed catalogue and/or the digital catalogue), the deposit will be HK$1,000,000, please be aware the amount of deposit and/or bidding registration procedure for “Premium Lot” can be changed at any time at Poly Auction(Hong Kong)’s sole discretion without prior notice. In either case, you must deliver to Poly Auction (Hong Kong) Limited such necessary financial references, guarantees, deposits and/or such other security as Poly Auction (Hong Kong) Limited may in its absolute discretion require for before your bid. Poly Auction (Hong Kong) Limited may refuse any bidding registration without any explanation at its’ sole discretion.

保�香� 2021 秋�拍賣� Poly Auction Hong Kong CHINESE CERAMICS AND Autumn Auctions 2021 WORKS OF ART ��預� �北預� Touring Preview 中國古董珍玩 2021 年 10 月 23 � 24 日（星期�、日） 早上 10 時��上 6:30 Taipei Preview 拍賣 華南�行國���中� 23 and 24 October 2021 (Saturday and Sunday) �北��義��仁路 123 � 2 � 10:00 am ‒ 6:30 pm 懷藏日月：法國杜尚家族藏重要中國藝術珍品（二） HNBK International Convention Center �圳預� 2F, No. 123 Song Ren Road, Xinyi District, Taipei 2021 年 12 月 2 日 星期四 上午 10:30（拍品 3301-3334） 2021 年 10 月 26 � 27 日（星期二、三） 拍賣編號：HKF3321-2 早上 11 時��上 7 時 Shenzhen Preview �圳鵬瑞萊�士酒� 26 and 27 October 2021 (Tuesday and Wednesday) 中國古董珍玩 �圳�南��中�路 3008 ��圳� 1 � T7 11:00 am ‒ 7:00 pm 二��湖�、��� Raffles Shenzhen 2021 年 12 月 2 日 星期四 順延（拍品 3001-3184） Xianhu Room, Guanlan Room 拍賣編號：HKF3321-1 上�預� 2/F, T7, One Shenzhen Bay, 3008 Zhongxin Road, 2021 年 10 月 31 日� 11 月 1 日（星期日、一） Nanshan District, Shenzhen 御貢凝輝：宮廷御製珍品 早上 11 時��上 7 時 上���瑞吉酒� Shanghai Preview 2021 年 12 月 2 日 星期四 下午 2:00（拍品 3401-3426） 上��北��路 1008 �三� 31 October to 1 November 2021 (Sunday and Monday) 拍賣編號：HKF3321-3 �功�� 1 11:00 am ‒ 7:00 pm Function Room 1 盛清皇權：清乾隆粉青釉浮雕「蒼龍教子」圖大罐 北�預� The St. Regis Shanghai Jingan 2021 年 11 月 4 � 5 日（星期�、�） Level 3, 1008 Beijing West Road, Shanghai 2021 年 12 月 2 日 星期四 順延（拍品 3501） 早上 11 時��上 7 時 拍賣編號：HKF3321-4 北���酒� Beijing Preview 北���陽�呼����中� 4 and 5 November 2021 (Thursday and Friday) 瑰映如茵：玫茵堂藏元明清御窯雅蓄 ����� 11:00 am ‒ 7:00 pm Rosewood Beijing 2021 年 12 月 2 日 星期四 順延（拍品 3551-3595） 上�預�暨 ART021 ����� Pavilion 拍賣編號：HKF3321-5 2021 年 11 月 11 � 14 日（星期��日） 4/F, Jing Guang Center, Hujialou, Chaoyang District, Beijing 早上 11 時��上 6 時 AUCTION 上�廿一當代����� Shanghai Preview and ART021 Art Fair THE DUCHANGE FAMILY COLLECTION OF IMPORTANT CHINESE 上�������中路 1000 � 11 to 14 November 2021 (Thursday to Sunday) ART II 上���中�一� S44 �� 11:00 am ‒ 6:00 pm Thursday, 2 DECEMBER 2021 10:30AM (Lots 3301-3334) ART021 Shanghai Contemporary Art Fair Sale Number: HKF3321-2 香�預� Booth S44, 1/F, Shanghai Exhibition Center 2021 年 11 月 24 � 26 日（星期三��） No. 1000, Yan�an Road Middle, Jingan District, Shanghai CHINESE CERAMICS AND WORKS OF ART 早上 10 時��上 8 時 Thursday, 2 DECEMBER 2021 POSTPONE (Lots 3001-3184) 香�君�酒� Hong Kong Preview Sale Number: HKF3321-1 香������ 1 � 24 to 26 November 2021 (Wednesday to Friday) 10:00 am ‒ 8:00 pm PALATIAL SPLENDOUR: IMPERIAL CERAMICS AND WORKS OF ART 拍賣 Grand Hyatt Hong Kong Thursday, 2 DECEMBER 2021 2:00PM (Lots 3401-3426) 1 Harbour Road, Wan Chai, Hong Kong Sale Number: HKF3321-3 2021 年 11 月 27 日� 12 月 2 日 保�香����間 Auction THE GRAND EMPIRE: THE CELADON 'DRAGON' JAR 香������ 88 � Thursday, 2 DECEMBER 2021 POSTPONE (Lot 3501) �古�場 1 期 7 � 27 November to 2 December 2021 Sale Number: HKF3321-4 Poly Gallery Hong Kong 保�拍賣�������� 7/F, One Pacific Place A ROMANCE AMONG BLOOMING ROSES: THE MEIYINTANG 二十���當代��和��拍賣� 88 Queensway, Admiralty, Hong Kong COLLECTION OF THREE DYNASTIES IMPERIAL CERAMICS 香� JW 萬�酒� Thursday, 2 DECEMBER 2021 POSTPONE (Lots 3551-3595) 香������ 88 � 20th Century & Contemporary Art and Design Sales in Sale Number: HKF3321-5 association with Phillips Auction: 查� JW Marriott Hotel Hong Kong 電��+852 2303 9899 88 Queensway, Admiralty, Hong Kong 電郵�info@polyauction.com.hk Enquiries Tel: +852 2303 9899 Email: info@polyauction.com.hk

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PALATIAL SPLENDOUR: IMPERIAL CERAMICS AND WORKS OF ART 御貢凝輝：宮廷御製珍品 目 錄 CONTENTS 2  拍品 Property for Sale 118 重要通告及目錄編列方法之說明 Important Notices and Explanation of Cataloguing Practice 121 業務規則 Condition of Business 131 競投登記須知 Important Notice about Bidding Registration 132 財務付款須知 Important Notice about Payment 133 拍賣品提存運送出口須知 Important Notices About Storage Collection Shipping and Export 135 競投登記表格 Bidding Registration Form 137 委託競投表格 Absentee Bid Registration LOT 3403

3401 A BLUE AND WHITE 'DRAGON' BRUSH BOX AND COVER 明萬曆  青花雲龍紋長方筆盒 WANLI PERIOD, 1573-1620           「大明萬曆年製」 PROVENANCE 1. A Japanese private collection 來源 2. Christie's Hong Kong, 28 November 2006, lot 1638 1. 日本私人收藏 2. 香港佳士得，2006年11月28日，編號1638 L 30cm HK$ 300,000 - 800,000 US$ 39,000 - 64,000 筆盒呈長方形，盒內設「山」形筆格，為宮內文房用 Of rectangular shape with blunt angles, the cover rises from 具，可用來裝筆，設計頗為精巧，但於燒造卻非易事， the rim and to form a flat surface with slight convex sides. 需將泥料做成合適大小後以釉泥粘合而成，故溫度等 The other half of the box rises from a foot and is curved on 要求很高，稍有疏忽便有開裂變形，成品率很低。盒與 the sides to meet the cover at the rim. Two dragons depicted 蓋外壁均以青花滿繪紋飾，盒身外壁繪雲龍紋，內底繪 horizontally across the surface of the cover are surrounded 「壬」字形雲紋。盒底雙框從上至下書「大明萬曆年 by auspicious clouds, and are framed within pairs of dragons 製」六字楷書款。青花發色濃艷，佈局疏密有致，為典 on the sides. The motif of two dragons in the sky recurs 型明代萬曆時期風格。 throughout the surface of the vessel and all of which are decorated in a vivid and rich blue underglaze. At the bottom of the box is an inscription of Wanli's six-character reign mark. Mark 明萬曆 青花龍紋長方筆盒 梅澤紀念館藏 © 《龍泉集芳》卷一 Palatial Splendour: Imperial Ceramics and Works of Art 2  御貢凝輝：宮廷御製珍品

由於材質和結構的原因加之年代久遠，筆盒相較於其他 Writing boxes such as this example would have been used 蓋盒，極為稀見。遍翻資料，僅見日本梅澤紀念館收藏 as part of a scholar or calligrapher's set. Porcelain writing 有一件與拍品相同的萬曆青花雲龍紋長方筆盒，出版於 boxes began to be made at the imperial kilns in Jingdezhen 《龍泉集芳》，卷一，繭山龍泉堂，1976年，頁323， during the Yongle reign and continued to be popular through 圖965。 the Ming period. Compare an early example painted with a flower scroll and attributed to the early Ming dynasty, from the 萬曆一朝，官窯瓷器制樣可謂極盡巧思，各種器形層出 Sir Percival David Collection and now in the British Museum, 不窮，大至龍缸、大罐、屏風等陳設器，小至筆架、棋 London, illustrated in Stacey Pierson, Blue and White for 子等日用品，林林總總，難以盡述，而且似乎對各式各 China: Porcelain Treasures in the Percival David Collection, 樣的盒子情有獨鍾，本品即為一例。 London, 2004, pl. 22. This box is well preserved in Japan and is accompanied with two Japanese wood boxes, reflecting 長久以來，從中國傳入之物，日本珍而重之，稱為「唐 that the current object is highly appreciated by the Japanese 物」。數百年來，日本所存中國瓷器甚殷，尤好晚明御 collector. 瓷。Nicole Coolidge Rousmaniere 道，十六世紀時， 至少在日本西岸一帶，珍藏、習用中國瓷器者，比比皆 然，詳見《Vessels of Influence. China and the Birth of Porcelain in Medieval and Early Modern Japan》，倫 敦，2012年，頁97。日本人欣賞中國瓷器之美，用諸茶 道，也為日用。此拍品在日本流傳經年，為人所賞，配 雙重木盒，珍而重之。 Palatial Splendour: Imperial Ceramics and Works of Art 4  御貢凝輝：宮廷御製珍品

Palatial Splendour: Imperial Ceramics and Works of Art 6  御貢凝輝：宮廷御製珍品

3402 A RARE AND IMPORTANT BLUE AND WHITE 'DRAGON' ALMS BOWL 明宣德  青花雲龍紋鉢 XUANDE PERIOD, 1426-1435           「大明宣德年製」 D 27.5cm HK$ 300,000 - 500,000 US$ 39,000 - 64,000 拍品造型敦實，胎骨厚重。外壁以青花繪雲龍紋，雲氣 Finely potted and painted in contrasting tones of blue and 飛動，青龍矯健；口沿及脛部分別飾海水紋、蓮瓣紋， white on the exterior with five-clawed dragons striding amidst 均為小筆觸精繪技法。青花發色亮麗，深處間帶黑褐疵 clouds, mouth and neck with borders of cresting waves and 斑，白釉泛青，器內尤甚。鉢心青花雙圈內書「大明宣 lotus petal lappets respectively. Double circle at the base with 德年製」款。 a six-character mark in underglaze blue. 永宣時期為中國青花瓷燒造的黃金時代。宣德青花瓷製 Blue and white 'dragon' alms bowls of Xuande Period are 作精湛，紋飾精美，胎釉細膩，青花濃艷，備受世人稱 archived at The Palace Museum and The National Palace 讚。明人王世性《廣志繹》稱：「本朝以宣、成二窯為 Museum. See Catalogue of the Special Exhibition of Selected 佳，宣窯以青花勝，成窯以五彩，宣窯之青，真蘇渤泥 Hsüan-te Imperial Porcelains of the Ming Dynasty, Taiwan, 青也」。清人《南窯筆記》記有：「宣窯一種極其精雅 1998, pp.128, 129, no.37, and The Complete Collection of 古樸，用料有濃淡，墨勢渾然而莊重。」 Treasures of the Palace Museum - Blue and White Porcelain with Underglaze Red (I), Hong Kong, 2000, p.132, no.124. 永樂年間，成祖力興藏傳佛教，供養藏僧，修建寺院， 到了宣德一朝，宣宗續崇其教。「鉢」字是佛教盛貯器 This lot is distinct from Ming and Qing Dynasty vessels and is 的譯音，自傳入中國後，僧人多用之。鉢一般用於佛教 unique to the Xuande period. It is a ritual bowl designated for 儀式及置壇前供奉，當中飾有五爪龍紋或署年款者，無 worshipping Tibetan Buddhism. 疑乃屬皇家獻奉，以得超脫，永垂不朽。 此式青花雲龍紋鉢為典型宣德官窯青花器，兩岸故宮博 物院均有收藏，參見《明代宣德官窯菁華特展圖錄》， 國立故宮博物院，頁128、129，圖37；《故宮博物院藏 文物珍品大系——青花釉裡紅》上冊，故宮博物院，頁 132，圖124。此種器形不見於明清兩代其它各朝，乃宣 德時獨有，根據近年來的研究，應專為供奉藏傳佛教而 燒造。 Mark 明宣德 青花雲龍紋鉢 © 台北故宮博物院 Palatial Splendour: Imperial Ceramics and Works of Art 8  御貢凝輝：宮廷御製珍品

3403 A LARGE BLUE AND WHITE 'LOTUS' DISH 明宣德  青花纏枝蓮紋大盤 XUANDE PERIOD, 1426-1435           「大明宣德年製」 PROVENANCE 1. Collection of Sam Williams 來源 2. Christie's New York, 9 November 1981, lot 114 1. Sam Williams收藏 3. Christie's London, 9 June 1997, lot 63 2. 紐約佳士得，1981年11月9日，編號114 3. 倫敦佳士得，1997年6月9日，編號63 LITERATURE Anthony du Boulay, Christie's Pictorial History of Chinese 出版 Ceramics, London, 1984, p. 123, pl. 2 Anthony du Boulay，《佳士得圖說中國陶瓷史》，倫 敦，1984年，頁123，圖2 D 27.6cm HK$ 4,500,000 - 5,000,000 The dish rises from a foot to form a shallow interior with a US$ 575,000 - 641,000 concave wall curving gently towards the center, arriving at the rim. Clusters of lotus flowers and spiraling branches 盤敞口，弧腹，圈足漸斂。盤心繪四朵蓮花圍著中心花 constitute the design of this dish. Six flowers are arranged to 頭。內壁飾六對花卉包括牡丹、菊、蓮、茶花等，口沿 form a circle in the center, accompanied by lotuses on the 內飾回紋一周。外壁飾纏枝各式花卉，口沿外一圈靈芝 raised interior wall. The overall composition is complimented 紋，近底環飾三葉紋。口沿雙線下青花書「大明宣德年 by blue underglaze with occasional iron spots at the tips of 製」橫款。 petals and branches, naturally creating an illusion of light and shadow. The base is inscribed with a six-character reign mark 本品為宣德青花御瓷之卓越代表，其選料、制樣、畫 of Xuande. 器、題款無一不精，為宣德一朝新出樣式，造型端莊美 觀，線條轉折流暢生動，釉汁凝潤泛青，胎骨堅致細 薄。與永樂同類器相比，腹部微鼓，整器形態敦厚豐 滿。畫風的變化是劃分「永宣不分」的方法之一，與前 朝相比，宣德青花線條略粗，促成畫風豪放的特徵。因 為使用「蘇麻離青」，線條的增粗使青花色調更為濃豔 深鬱。 出版於Anthony du Boulay，《佳士得圖說中國陶瓷史》，倫 Mark 敦，1984年，頁123，圖2 Palatial Splendour: Imperial Ceramics and Works of Art 10  御貢凝輝：宮廷御製珍品

宣德一朝御瓷款識的粉本應出自當時大書法家沈度之 Dishes of this pattern are rarely marked. A very similar 手，沈度的書法深得聖意鍾愛，宣德皇帝常以之為師， marked dish in the Victoria and Albert Museum is illustrated 故《萬曆野獲編》贊宣德皇帝的書法「學顏清臣，而 in Sir H. Garner, Oriental Blue and White, London, 1954, 微帶沈度姿態。」沈氏對明初宮廷文化生活影響頗大。 no.16. Unmarked dishes of this pattern are considerably 明焦竑《玉堂叢話》卷七「巧藝」條記述：「度書獨為 more common and are usually attributed to the Yongle period. 上所愛，凡玉冊、金簡，用之宗廟朝廷、藏秘府、施四 裔、刻之貞石，必命度書之」。今審沈度著名墨蹟《張 Examples of this type are in museum and private collections 桓墓碣銘》中的「宣德」、「年」三字與瓷器上的款式 worldwide, including two examples recorded by Alexander 如出一人之手，無論其點之大小，劃之長短，運筆之輕 Pope, Chinese Porcelains from the Ardebil Shrine, Washington 重，間架之疏密均非常相像，可見宣德瓷器上的年款是 D.C., 1956, no. 29.118-119, one of which is illustrated on 由沈度書寫後，再交工匠臨摹上瓷的。 pl. 36 bottom right; two published in Helen D. Ling and E.T. Chow, Complete Collection of Ming Dynasty Kingtehchen 如本品所繪的纏枝花卉紋，明代永樂時期有所燒製，如 Porcelain from the Hall of Disciplined Learning, Hong Kong, 清宮舊藏的青花纏枝花卉花口盤，然而此種纏枝花卉宣 1950, vol. I, pl. 28; and one from the Meiyintang Collection, 德款大盤所見公私館藏，或市場流通極少，宣德青花纏 sold at Sotheby’s Hong Kong, 5 October 2011, lot 24. 枝花卉盤無論青花發色，至紋飾紋樣，於此種等級者極 為少見。與本品相仿紋飾的青花盤遍查資料僅見二例著 Compare also to a group of Xuande-marked dishes of similar 錄。一例為1982年景德鎮珠山出土，見1998年台北出 pattern but with some variations. These are painted with a 版《景德鎮出土明宣德官窯瓷器》，圖版92。另一例大 related lotus scroll in the centre, which is composed of only 小與本盤相若，為胡惠春、靜觀堂先後收藏，先售於紐 five lotus blooms instead of six. Examples from this group 約蘇富比，1985年6月4日，編號3；後於紐約佳士得， include one excavated at Zhushan in 1982 and published in 1997年3月20日，編號71。 Xuande Imperial Porcelain Excavated at Jingdezhen, Taipei, 1998, no. 92; and one sold at Christie’s Hong Kong, 30 May 此紋飾的青花盤多無款，帶款者極其罕見。相同例子 2012, lot 3972. 參考倫敦維多利亞阿爾伯特博物館所藏一例，載於H. Garner爵士著《Oriental Blue and White》，倫敦，1954 年，圖版16。 紋飾相同但無款之例多定年為永樂，數量較多，見諸 於全球公私珍藏，包括：兩件紀錄於波普著《Chinese Porcelains from the Ardebil Shrine》，華盛頓特區， 1956年，圖版34(29.98)及36；兩件載於Helen D. Ling及 仇焱之合著《抗希齋珍藏有明全代景德鎮名瓷影譜》， 上冊，香港，1950年，圖版28；一件為前瑞典國王古 斯塔夫六世·阿道夫舊藏，現藏於斯德哥爾摩東方博物 館，載於《Oriental Ceramics》，第九冊，1976年，東 京，圖版215；一載於A. Joseph著《Ming Porcelain》， 倫敦，1971年，圖版20；一件售於香港佳士得，1990年 10月8日，編號420；另一件為玫茵堂珍藏，售於香港蘇 富比，2011年10月5日，編號24。再一例著錄於Anthony du Boulay，《Christie's Pictorial History of Chinese Ceramics》，牛津，1984年，頁123，圖版2，後為寶 芳閣舊藏，售於香港佳士得，2019年5月29日，編號 2812。 Palatial Splendour: Imperial Ceramics and Works of Art 12  御貢凝輝：宮廷御製珍品

Palatial Splendour: Imperial Ceramics and Works of Art 14  御貢凝輝：宮廷御製珍品

3404 A LARGE SUPERB BLUE AND WHITE 'LOTUS AND POND' VASE WITH HANDLES 清乾隆  青花蓮池清趣圖折肩大貫耳壺 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 PROVENANCE 來源 1. An Italian private collection, acquired in China in early 20th 1. 意大利藏家收藏，於20世紀早期購自中國 century 2. 倫敦蘇富比，2003年11月12日，編號172 2. Sotheby's London, 12 November 2003, lot 172 3. 重要私人藏家收藏 3. An important private collection 4. 香港佳士得，2008年5月27日，編號1579 4. Christie's Hong Kong, 27 May 2008, lot 1579 5. 北美十面靈璧山居舊藏，編號EK340，購自Eskenazi 5. The Ten-views Lingbi Rock Retreat Collection, no.EK340, purchased from Eskenazi 出版 1. 「拍賣新聞」,《亞洲藝術》，卷34，2004年3-4月， LITERATURE 頁130 1. \"Auction News\", CANS ASIA ART NEWS, vol. 34, March-April 2.《Orientations》，卷35，2004年1-2月，頁84 2004, p.130 2. Orientations, vol. 35, January-February 2004, p.84 HK$ 15,000,000 - 22,000,000 US$ 1,916,000 - 2,810,000 H 54cm 此件體量碩大，直口，長頸，頸兩側對稱飾貼豎直管狀 The vase is supported on a ring foot, gradually rising upwards 耳，折肩，肩下漸收，圈足，造型穩重古樸。口沿、頸 to form a voluminous body, then to a slightly angled shoulder 下方、近底足處各繪帶狀海水紋一周。雙耳之上各繪荷 and a long cylindrical neck adorned with two handles on the 花一組。頸部、肩部、腹部滿繪高低錯落的荷花、荷 sides. An exterior richly adorned with blooming lotus flowers 葉，紋飾繁複有序，清新而不媚俗，雅致且尊貴。底施 and lotus leaves, painted in varying hues of vibrant blue 白釉，正中落「大清乾隆年製」六字三行篆書款。 underglaze, a definitive characteristic of Qianlong blue and white porcelains. A six-character reign mark of Qianlong is inscribed at the base. Mark 清乾隆 青花荷花圖貫耳瓶 Palatial Splendour: Imperial Ceramics and Works of Art © 故宮博物院 清宮舊藏 16  御貢凝輝：宮廷御製珍品

本品繪畫極大有別於乾隆傳統青花器，畫面運用寫實的 The present lot is distinctive for its unusual representation 手法，將荷花、荷葉、蓮蓬、花莖描繪得惟妙惟肖，呈 of a lotus pond. Lotus flowers as a theme on blue and white 現出一派夏日荷塘的淡雅景致。青花發色沈穩而不失豔 porcelains are commonly seen as medallion clusters surrounded 麗，層次分明，將荷葉的陰陽向背，荷花的花榮花謝表 by organized spirals of branches. The motif rose to popularity 現得十分準確，體現了乾隆時期青花瓷燒造爐火純青的 in the Yuan dynasty with the proliferation of blue and white 藝術水準。宋代周敦頤的名篇《愛蓮說》中「出淤泥而 porcelains. The design appealed to several Ming and Qing 不染，濯清漣而不妖」，這一讚美荷花高潔品格寓意的 emperors, including Qianlong, whose reign witnessed some of 名句，使後世文人備加推崇荷花。此外，蓮蓬又有「多 the most splendid works. 子多福」的寓意，是頗具吉祥喜慶色彩的圖案。這件器 物整體裝飾富麗堂皇，保存完好，具有濃郁的乾隆時期 Lotus buds on the present jar are depicted in profile with 繁複的藝術風格，實為一件極為珍罕的陳設雅器。同類 intertwining leaves growing upwards. Lotus petals also show 器傳世極為罕有，可見故宮博物院，清宮舊藏例，錄於 a gradation of colour which reflects an attention to highlights 《故宮博物院藏文物珍品全集．青花釉裡紅（下）》， and shadows, or inspiration from European chiaroscuro 2000年，頁144。 painting techniques. Overall, a fine and thoughtful piece from the court of Qianlong. 清乾隆 琺瑯彩蓮池鷺文瓶 清乾隆 藍地鬥彩荷蓮紋繡墩 清乾隆 青花蓮托八寶貫耳瓶 © 日內瓦鮑爾 © 故宮博物院 © 故宮博物院 清乾隆 高宗熏風琴韻圖 軸 紙本設色 縱149.5公分 橫77公分 © 故宮博物院 Palatial Splendour: Imperial Ceramics and Works of Art 18  御貢凝輝：宮廷御製珍品

“綠葉撐如油碧傘，紅葩擎似赤瓊杯”，無論在昆明湖 佚名 乾隆及妃古裝像軸（妃子） 絹本設色 縱100.2厘米 橫63厘米 還是後溪河，荷花是頤和園夏日水中絕對的主角。乾隆皇 © 故宮博物院 帝於夏日最愛觀荷賞蓮，不僅將之入畫，並且題寫了眾多 御製詩。其中描寫有關清漪園（頤和園前身）荷蓮的御製 詩就將近六十首，有： “便趁心紓試沿泛，六橋西畔藕花多。” ——乾隆二十三年《泛舟昆明湖觀荷效採蓮體》 “出綠柳蔭知岸遠，入紅蓮路蕩舟輕。” ——乾隆二十五年《雨後昆明湖泛舟騁望》 “幾日因循未此過，趁晴沿泛一觀荷。” ——乾隆二十六年《昆明湖觀荷》 “逾月昆明未泛漪，此來雨後正荷時。” —— 乾隆三十三年《昆明湖泛舟觀荷》 清 郎世寧 弘歷觀荷撫琴圖（局部） 軸 絹本設色 © 故宮博物院

Palatial Splendour: Imperial Ceramics and Works of Art 22  御貢凝輝：宮廷御製珍品

3405 AN IMPERIAL INSCRIBED GILT-DECORATED 'IMITATION BRONZE' WALL VASE 清乾隆  仿古銅釉夔龍描金御題詩文雙螭 耳壁瓶 QIANLONG PERIOD, 1736-1795 題詩:「蘅皋掇菁藻，氈室伴清嘉，卻喜多風韻，偏宜對 H 23.2cm 月華，蔘來紅艷夥，暎處綠叢斜，還從文軒側，微吟倚 碧紗。」「乾隆癸亥御題」「乾」「隆」 HK$ 1,000,000 - 1,500,000 US$ 128,000 - 192,000 此件壁瓶外壁以古銅彩為地，營造鏽蝕斑駁的質感，減 Finely potted on a short and slightly splayed foot, with a 地浮雕夔龍紋，紋飾描金彩。器身中央開光墨彩書乾隆 rectangular body that rises to a neck attached with two beast- 御題詩文，曰：「蘅皋掇菁藻，氈室伴清嘉。卻喜多風 shaped handles on the sides. An imperial inscription written 韻，偏宜對月華。紛披紅艷伙，掩映綠叢斜。還似文軒 in seal script is framed in the center of the vase. The exterior 側，微吟倚碧紗」，末鈐紅彩「乾」、「隆」篆書印。 is adorned with glaze that resembles the tint of corrosion on ancient bronzes, and the raised archaic patterns are painted 壁瓶作半器狀，背面平坦設凹槽，便於懸掛。明人文震亨 in gilt. 《長物志》中稱之「壁瓶」，清代則稱為「掛瓶」或「轎 瓶」。其主要用途為插花，陳之廳堂、轎輦，以作裝飾。 The front is centered by a slightly convex panel enclosing 壁瓶自明萬曆年間開始逐漸流行，此時壁瓶尺寸較大，懸 an imperial poem and followed by an inscription meaning 掛於居室。明代高濂《遵生八箋．卷七．起居安樂篇．高 imperially inscribed in the guihai year of Qianlong, 子書齋說》云：「床內後柱上釘銅鈎，用掛壁瓶，四時插 accompanied by two iron-red seals Qian and Long. The vase 花，人作花伴，清芬滿床，臥之神爽意快，冬夏兩可」。 is also nicely supported on a faux-bois stand. 及至清代，隨著帝王審美的變化，壁瓶的形制與尺寸變化 很大，御窯廠燒造大批壁瓶用於裝飾宮殿，以瓷瓶插花逐 See a similar Qianlong imitation-bronze wall vase of this 漸成為宮中習俗。寂園叟《陶雅．卷下．陶雅十一》提 type, but inscribed with a four-character reign mark, in the 及：「一瓶之式樣，千變萬化。無有窮期，故瓶獨尊於他 National Palace Museum, Taipei, included in the museum's 品」。而壁瓶作為瓶式的一種，在乾隆時期種類更是繁雜 exhibition, The Enchanting Splendor of Vases and Planters: A 多樣。 Special Exhibition of Flower Vessels from the Ming and Qing Dynasties, Taipei, 2014, pl. II-47. 《御製詩初集》卷十六 <掛瓶疊前韻> Palatial Splendour: Imperial Ceramics and Works of Art 24  御貢凝輝：宮廷御製珍品

清乾隆 仿古銅釉描金御題詩雙螭耳壁瓶 © 台北故宮博物院 除了造型多樣的器形，這一時期壁瓶還出現了一種開創性 內容大多是乾隆皇帝出行在外有感而發即興所作，瓶身 的裝飾技法，即將瓷器紋飾造型與帝王御題詩句相結合。 再配以人物、山石、花鳥等裝飾，從而展示出不同的組 壁瓶也因其可「隨行供嘯詠，沿路擷芳華」，故深得乾隆 合效果。通過一種特殊的方法記錄了帝王的日常生活點 帝青睞。從傳世品及《清檔》資料可知，乾隆帝對壁瓶珍 滴，也為在枯燥的宮廷政治之外增添了一些生活情趣， 愛有加，並多次下旨交由唐英燒造，以用來裝飾內廷及文 成為帝王娛樂的一種方式。乾隆帝的這種細緻情懷，高 房陳設。 度契合了中國人情感上與傳統精神中極為深刻的東西， 儘管壁瓶這一品種在龐大的瓷器分類中所佔的比例不 起先御窯廠燒製壁瓶只有畫而無題詠，後於乾隆七年， 大，卻正是因為其少見，才更見余味雋永。 皇帝曾專門下諭旨於唐英：「將御製詩一首，交唐英燒 造在轎瓶上用，其字並寶璽酌量收小，其安詩地方並花 全器搭配和諧雅致，詩、書、印融為一體，相得益彰。 樣亦酌量燒造」，自此，壁瓶集詩書畫於一體，無論是 縱觀今日公私收藏，此種仿古銅青綠描金開光裝飾形式 器形、紋飾和品種都更為豐富多彩。拍品此詩是乾隆癸 的乾隆壁瓶數量稀少。筆者檢閱相關資料，目前所知台 亥（乾隆八年）七月中旬西巡途中所作。據《清宮造 北故宮博物院藏有一件清乾隆仿銅金彩詩文瓷轎瓶，並 辦處活計清檔》記載，乾隆八年，「八月初四日，廣儲 與乾隆五十五年《呈貢檔》：「正月初五日，……遵旨 司庫使曹報上帶來內大臣海望信帖一封，內開本年七月 查看得原任九江道海紹之妻呈繳入宮貢物：……御製詩 二十七日太監高玉交御題《蘅皋掇菁藻》五言詩一首。 仿青綠鎏金轎瓶二件……」所載瓶例相符。其紋飾、制 傳旨：著寄與唐英照從前燒造過掛瓶式樣，將此詩寫 式皆與本拍品十分相似，參見《瓶盆風華．明清花器特 上，燒造數件送赴來京，欽此」。由此可知，此件壁瓶 展》，台北故宮博物院，2014年，頁226，圖Ⅱ-47，可 式樣和搭配的御製詩，是乾隆帝所欽定。乾隆壁瓶詩文 資參考。 Palatial Splendour: Imperial Ceramics and Works of Art 26  御貢凝輝：宮廷御製珍品

3406 A YELLOW-GROUND AND FAMILLE-ROSE 'BAJIXIANG' 清乾隆  黃地粉彩纏枝蓮托八吉祥紋賁巴瓶 ALTAR VASE           「大清乾隆年製」 QIANLONG PERIOD, 1736-1795 來源 PROVENANCE 香港拍賣行，1990年5月20日，編號254 Hong Kong Auctioneers, 20 May 1990, lot 254 HK$ 2,200,000 - 3,200,000 H26cm US$ 282,000 - 410,000 瓶呈台形口，束頸而高，鼓腹，外撇式高圈足。台形口 The globular body is supported on a wide splayed foot, then 沿外側以黃釉為底，粉彩細描纏枝花卉，頸部主體以各 rising to a bulbous moulded neck surmounted by a cap- 色蓮瓣紋裝飾，腹部飾以蓮托八吉祥紋。八吉祥是瓷器 shaped mouth. A brilliant yellow glaze dominates the colour 裝飾中典型的宗教紋樣，由法螺、法輪、寶傘、白蓋、 theme of the vessel, the rounded body is further adorned 蓮花、寶瓶、金魚、盤長八種吉祥物組成。八吉祥初始 with famille-rose 'bajixiang' and foliate design, echoing the 排列無一定規則，明永樂起，按輪、螺、幢、傘、花、 theme at the mouth. The interconnecting neck is vibrantly 魚、瓶、結排列，從明萬曆至清代則以輪、螺、幢、 painted with alternative fourfold lappets. The base is painted 傘、花、瓶、魚、結為序。脛部近圈足處以鬆石綠及鵝 in turquoise glaze, with a six-character Qianlong reign mark 黃兩種蓮瓣紋相間裝飾。底心以松石綠為地，中心紅彩 inscribed in the middle. 書「大清乾隆年製」六字三行篆書款。 香港拍賣行，1990年5月20日，編號254 Mark 清乾隆 黃地粉彩纏枝蓮八吉祥賁巴瓶 Palatial Splendour: Imperial Ceramics and Works of Art © 中國國家博物館 28  御貢凝輝：宮廷御製珍品

賁巴瓶的用途眾多，是藏族宗教活動中為神像和信徒本 A closely related example is included in the exhibition Late 人沐浴時所用的淨水瓶，多為金、銀、銅質。瓷質彩繪 Chinese Imperial Porcelain, Art Gallery of New South Wales, 賁巴瓶為乾隆朝之首創，除用作佛堂供器之外，還可作 Sydney, 1980, cat. no. 10; and another was sold in Sotheby’s 為御禮賞賜西藏等地宗教領袖。整器造型秀美、繪工精 Hong Kong, 29 October 2001, lot 598. 細、色彩協調、紋飾考究，這是一件將西藏地區傳統造 型與宮廷御瓷完美結合的器物，更是漢藏文化融合的歷 Vases of this type were first produced during Qianlong period 史見證。 in imitation of metal Tibetan altar vases, such as the jewelled silver benja pot made for use in one of the Buddhist chapels 賁巴瓶作為藏傳佛教器具具有諸多功能。第一，作為藏 in the Forbidden City, illustrated in Cultural Relics of Tibetan 傳佛教灌頂及盛聖水之用。「賁巴」為藏語音譯，在 Buddhism Collected in the Qing Palace, Beijing, 1992 pl. 藏語中即「瓶」的意思，也稱「奔巴壺」。第二，作 146. For further more examples in the market, see one sold 為活佛轉世靈童掣籤金瓶而用，賁巴壺有流嘴，若去掉 twice in Sotheby’s Hong Kong, 22 May 1979, lot 268, and 流嘴，便為賁巴瓶。賁巴瓶也稱「賁巴寶瓶」，是為活 17th May 1988, lot 112, and a third time at Christie’s Hong 佛轉世靈童金瓶掣籤而用的。現在西藏博物館藏有清乾 Kong, 29 May 2007, lot 1507. 隆金質賁巴瓶就是重要的佐證。第三，作為佛前清供的 禮佛用具而用，《乾隆三十四年各作成做活計清檔．行 文》中記：「十月初三日，庫掌四德、五德將九江關監 督伊齡阿送到配蓋……奔巴瓶一件持進，交太監胡適傑 呈覽。奉旨：……奔巴瓶一件著在熱河獅子園文供佛前 供。其現交配蓋奔巴瓶得時，不必在此安供。」 從目前的文獻和實物資料來看，乾隆皇帝不僅對賁巴 瓶、壺此類法器尤為虔誠恭敬，並下旨修復有殘破者， 可見盛世之君對此品類瓶之珍視。見《乾隆五十年各 作成做活計清檔．金玉作》中記載：「十月二十四日， 郎中五德、員外郎大達色、掌庫福海、催長舒與來說， 太監鄂魯裡交青花白地磁賁巴壺一把（紫檀木座，春耦 齋，壺嘴傷折磕缺）。傳旨：將傷折處粘好，壺嘴邊上 磕缺處磨齊，呈覽。欽此。」 Palatial Splendour: Imperial Ceramics and Works of Art 30  御貢凝輝：宮廷御製珍品

3407 A CELADON AND COPPER-RED-GLAZED 'WUFU' BOWL 清雍正  冬青釉釉裡紅五福紋碗 YONGZHENG PERIOD, 1723-1735           「大清雍正年製」 PROVENANCE 來源 1. Ralph M.Chait Galleries, New York 1. Ralph M.Chait Galleries收藏 ，紐約 2. Collection of Edward (Ted) Wrangham, O.B.E. (1928-2009), 2. 愛德華阮南爵士（1928-2009）收藏，倫敦，於1970 purchased from Hugh Moss Ltd., London, on 6 April 1970 年4月6日購於倫敦水松石山房 3. Christie's New York, 19 September 2006, lot401 3. 紐約佳士得，2006年9月19日，編號401 LITERATURE 出版 O. du Sartel, La porcelain de Chine, Paris, 1881, pp. 209- O. du Sartel，《La porcelain de Chine》/ [O. du Sartel 210, 308, pl.XXXII, no.157 收藏中國磁]，巴黎，1881年，頁209-210，308，圖版 XXXII，編號157 D15.5cm HK$ 300,000 - 500,000 US$ 39,000 - 64,000 碗敞口，斂腹，圈足。通體施以冬青釉，外壁裝飾五隻 The flared sides of this bowl is decorated in copper red of 飛翔的紅蝠，姿態不一，甚有動感。碗胎骨堅致白皙， crushed strawberry tone with five bats in flight reserved 釉色溫潤似玉，釉裡紅呈色鮮紅，質感分明，在冬青色 against the soft pale green celadon glaze. Quite a few 地映襯之下更為奪目。 examples of this type of bowl have been recorded. See J. Ayers, The Baur Collection, vol. IV, Geneva, 1974, A532, for a 本品寓意吉祥美好，一器之上集冬青釉之細膩雅靜與釉 similar bowl. 裡紅之妍美亮麗，深諳色彩搭配之妙，殊為巧思。底圈 修足圓潤，書「大清雍正年製」六字雙行楷書款，字體 One other example was sold at Christie's Hong Kong, 1 工整秀麗。 November 2004, lot 880. In 1729, towards the end of the Yongzheng reign, the superintendent Tang Ying categorized 本品為雍正官窯經典品類，即雍正十三年唐英在《陶成 imperial wares and listed the 'wufu' bowl as one of the 紀事碑》中所記御窯品種「一仿宣窯寶燒，有三魚、 official designs bearing an auspicious message. See further 三果、三芝、五福四種」中之五福紋樣。因「蝠」與 discussion in S. Bushell, Oriental Ceramic Art, London, 1981, 「福」諧音，五隻蝙蝠寓意「五福」，《書．洪範》 p.198. 載：「五福：一曰壽；二曰富；三曰康寧；四曰修好德 （積德行善）；五曰考終命（長壽善終）」。此碗所繪 五蝠即為此意。 雍正朝釉裡紅五蝠紋碗有兩個品種，一為白釉地，外壁 和內底裝飾釉裡紅蝠紋；一為冬青釉地，外壁裝飾五蝠 紋，本品即為一例。同類冬青釉裏紅五福紋碗可見於 《香港藝術館藏清代陶瓷》，香港藝術館，1984年， 頁95；《Chinese Ceramics in the Baur Collection》， John Ayers，日內瓦，1974年，卷4，圖A532，此二例 為本拍品提供重要參考。 Mark 清雍正 冬青釉釉裡紅五福紋碗 Palatial Splendour: Imperial Ceramics and Works of Art © 瑞士鮑爾 32  御貢凝輝：宮廷御製珍品

3408 A FINE AND RARE PINK-GLAZED 'CHRYSANTHEMUM' DISH 清乾隆  胭脂紅釉菊瓣盤 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 PROVENANCE 來源 1. John Sparks Ltd. Collection 1. 倫敦John Sparks Ltd. 舊藏 2. The Cartwright Collection 2. 歐州藏家卡特萊特 (The Cartwright Collection) 舊藏 3. Sotheby's London, 9 November 2011, lot 65 3. 倫敦蘇富比，2011年11月9日，編號65 D 18cm HK$ 1,000,000 - 1,800,000 US$ 128,000 - 231,000 菊瓣盤是清代御窑名貴品種，雍正時期開始燒造。此件胭 The dish is potted with the sides finely moulded with forty- 脂紅釉菊瓣盤，敞口，盤壁呈菊花瓣狀，淺弧壁，胎薄體 four fluted petals radiating from a slightly recessed flat centre 輕，圈足。施胭脂紅釉。盤壁花瓣大小分佈均勻，胎體細 to form a foliate rim. It is supported on a straight foot of 緻堅密，胎體細薄，迎光能透。此盤擬取秋菊之形，造型 conforming shape and is covered overall in a rich pink red 雋美，配以勻淨瑩潤的釉色，彰顯出此器清新脫俗之藝術 glaze of crushed raspberry tone. The base is left white with a 魅力。底書「大清乾隆年製」六字雙行楷書款。 six-character Qianlong mark within a double circle. 此菊瓣盤瓣尖略圓，且盤子整個圈足內均施白釉，而非 典型乾隆單色釉的款內留白。雖然盤底以青花書「大清 乾隆年製」六字雙行楷書款，然而書寫方正，深得雍正 時期寫款之精髓。因此，估計此器應為雍正乾隆過渡期 的產物。 Mark Palatial Splendour: Imperial Ceramics and Works of Art 34  御貢凝輝：宮廷御製珍品

清乾隆 胭脂紅釉菊瓣盤 「敏求精舍」 《明清一色釉瓷展覽》，頁37，圖19 據《清檔．雍正記事雜錄》雍正十一年（1733）對於 The use of a regular script of the mark on this exquisite 此類器物記載：「雍正十一年十二月二十七日，年希堯 chrysanthemum dish suggests that it was created at the 家人鄭天賜送來各式菊花式瓷盤十二色（內每色一件） beginning of the Qianlong era. Qianlong dishes of this type are 呈覽。奉旨：著交江西燒造瓷器處照此樣每色燒造四十 known in various coloured glazes; see two examples, one of 件。」台北故宮博物院一套清宮舊藏十二色菊瓣盤，為 coral glaze and the other of turquoise glaze, illustrated in John 雍正親自授意景德鎮御窑廠燒造的。 Ayers, The Baur Collection, Geneva, vol. III, Geneva, 1972, pls A499 and A450 respectively; a celadon-glazed example 胭脂紅釉創燒於康熙末年，雍正以後多有生產，且雍乾 included in the Oriental Ceramic Society exhibition Iron in the 二朝甚為流行，為清代官窑色釉中的名貴品種，多施於 Fire, Ashmolean Museum, Oxford, 1988, cat. no. 83. 盤、碗、杯、碟等小件器物上。胭脂紅釉由外國傳入， 是一種以微量黃金做呈色劑的低溫紅釉，因色如胭脂而 得名，又稱為「洋金紅」。 檢閱各大公私收藏，故宮博物院藏有雍正十二色釉菊 瓣盤一套（參見《故宮博物院藏文物珍品大系—顏色 釉》，頁54，圖版48），其中一隻為胭脂紅釉色。落乾 隆款胭脂紅釉菊瓣盤存世甚少，其中一件可見2000年5 月2日香港蘇富比拍賣，編號367。《玫茵堂中國陶瓷． 第二卷》，頁245，圖916，著錄了一件落款大清乾隆年 製的胭脂紅釉菊瓣盤。另有落相同乾隆款識其他釉色菊 瓣盤，出光美術館藏一件松石綠釉盤（載於《中國陶瓷 名品展》，出光美術館藏，1994年，頁60）；瑞士鮑爾 藏一件乾隆款珊瑚紅釉菊瓣盤和另一乾隆款淡綠色釉菊 瓣盤（載《鮑爾中國藏瓷》，1972年，圖499），可資 參考。此外，「敏求精舍」曾於80年代於香港藝術館展 出一件同為乾隆款識的胭脂紅釉菊瓣盤，著錄於《明清 一色釉瓷展覽》，1977年8月2日至10月4日，頁37，圖 19，亦可供參考。 Palatial Splendour: Imperial Ceramics and Works of Art 36  御貢凝輝：宮廷御製珍品

3409 A BLUE AND WHITE 'DRAGON AND PHOENIX' DOUBLE-VASE 清乾隆  青花夔龍夔鳳紋雙聯瓶 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 H 23.2cm HK$ 600,000 - 800,000 US$ 77,000 - 103,000 瓶為盤口，短頸豐肩，腹下漸收，寬足外撇，形制古樸 Potted on a slightly splayed foot, rising to a narrow waist and 規整，又如彼肩的雙生佳人，端莊雅緻。周身以青花裝 a rounded shoulder, then to a short neck, followed by a raised 飾，瓶口飾圈點紋，頸部描繪變形蕉葉紋，下承一周如 mouth rim. The double-vase takes the shape of two vases 意紋。腹部所繪圖案為左夔龍、右夔鳳，寓意龍鳳呈 joined as one in the middle. A dragon and a phoenix are 祥，龍鳳軀體蟠曲，做飛翔狀，亦可謂龍飛鳳舞，而雙 depicted in underglaze blue, stylistically resembling similar 連瓶蘊含成雙成對，圓滿之意，搭配龍鳳，相得益彰。 images on ancient jades and bronzes. A band of leaves is 脛部及圈足飾蕉葉紋及火珠蓮瓣紋，底落「大清乾隆年 depicted at the foot, and the image is mirrored at the neck. 製」六字單行篆書款。 Whether horizontally or vertically, the ornamentations and the form of this vase is meticulouly arranged to mirror its other half. The base is inscribed with a six-character Qianlong reign mark. Mark Palatial Splendour: Imperial Ceramics and Works of Art 38  御貢凝輝：宮廷御製珍品

清乾隆 琺瑯彩夔龍夔鳳紋雙聯瓶 © 上海博物館藏 雙聯瓶因其造型為兩瓶相連而得名，又稱合歡瓶，雖早 Conjoined forms, incorporating sections of two or more 見於唐代三彩器之上，但此後甚為少見，直至乾隆御窯 shapes to create a single vessel, were a visual innovation 創燒，是其中一種窮工極巧的創新品種，造型見於《明 widely propagated among a number of monochrome ceramic 清瓷器鑑定》乾隆器形示意圖。據《清檔》中記載，此 shapes of Yongzheng period (1723-1735). Compare the 造型瓶見有不同材質，記錄有「磁胎畫琺瑯合歡罐」、 Guan-type quadruple vase from the Alsdorf and Robert Chang 「洋彩紅翠地錦上添花合歡罐」、「洋彩三陽開泰合歡 Collections, sold at Christie's Hong Kong, 2 November 1999, 罐」等琺瑯彩器，均稱上品。乾隆六年《各作成做活計 lot 524; and the celadon-glazed double-bottle vase in the 清檔》中錄：「七月十七日，司庫劉山久白世秀來說， Bernat and Robert Chang Collections, sold at Christie's Hong 太監高玉交：……嘉窯青夔龍合歡罐一對……，傳旨： Kong, 31 October 2000, lot 825; and a Ru-type double- 著俱各配座，欽此」，此或為本品青花器之記錄。 vase offered in our current sale, lot 3412. The production of conjoined vessels continued into the subsequent Qianlong 類似藏品見於台北故宮博物院，刊於《清康雍乾名 reign. 瓷》，故宮博物院，1986年，頁100，圖70；上海博物 館，錄於《中國陶瓷全集15清（下）》，上海人民美術 The phoenix is highly regarded in Chinese mythology. As the 出版社，2000年，頁36，圖4。本場尚包括一件仿汝釉 king of birds, legend has it that this creature appears only 雙聯瓶（拍品3412）。 at the time of peace and prosperity. Thus, the combination of the phoenix and dragon was widely adopted on imperial porcelains. Palatial Splendour: Imperial Ceramics and Works of Art 40  御貢凝輝：宮廷御製珍品

Palatial Splendour: Imperial Ceramics and Works of Art 42  御貢凝輝：宮廷御製珍品

3410 A GREEN-GROUND IRON-RED-GLAZED GILT- DECORATED 'DRAGONS' GOURD-SHAPED VASE 清乾隆  蘋果綠地礬紅描金「五龍祥雲」 葫蘆瓶 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 PROVENANCE Collection of Nicholas Branch, England, acquired in the 60s 來源 in Belgium 英國Nicholas Branch收藏，六十年代購於比利時 H 33.8cm HK$ 2,800,000 - 3,800,000 US$ 358,000 - 486,000 本品呈葫蘆式樣，以蘋果綠釉為地，礬紅勾勒，再施以 Of globular lower body, pear-shaped upper half and a 描金五龍穿梭祥雲，翻騰江海之上，雙目炯炯，五爪分 waisted midsection, flaring rim with a border of ruyi lappets, 張，威武雄健，恰應乾隆禦宇天下，國力隆盛之氣象。 the exterior painted in green-glaze and iron-red-glaze, the 本葫蘆瓶淡淡的嫩翠色，予人無限嬌美之感。龍紋華 five-clawed dragons striding amidst the seas is further 麗，塑型精准，既見藝匠造詣，亦現當朝盛世。紋飾佈 embellished with gilt. The base is inscribed with six-character 局精妙，構圖虛實運用流暢，更顯整體紋飾和諧勻稱。 seal mark in gilt. 底施松石綠釉，描金「大清乾隆年製」六字篆書款。自 清朝立國以來，代代皇帝皆重視景德鎮官窯生產，推動 瓷器工藝發展，是以精品佳器屢出，技藝時有創新改 良，本品即為一例。 葫蘆在我國栽培歷史源遠流長，《詩經．邶風》云： 「匏有苦葉，濟有涉深」；《幽風》云：「七月食瓜， 八月斷壺」；《小雅》云：「南有木，甘瓠累之」。其 中的「匏」、「壺」、「甘瓠」均指葫蘆。葫蘆，因型 似「吉」字，讀音似「福祿」，又多籽，故自古以來便 承載起人們希望吉祥如意、福祿雙全、多子多孫的美好 心願。乾隆時期國力空前強盛，經濟高度繁榮，祈禱吉 祥富足也因此成了當時社會藝術的主流，以葫蘆為題材 的各式宮廷陳設亦應運而生，即為這一時期下的產物。 乾隆帝一直以「盛德聖王」自居，除在內府所藏古瓷上 鏨刻「比德」、「德充符」等印記外，更將燒造精美 高超的瓷器作為彰顯聖德的標準之一。如在其《古陶 缶歌》中既有:「腹橢口翕德能畜，……陶於河濱此其 躅」，其中「陶於河濱」典出《史記．五帝本紀》，載 舜「陶河濱，河濱器皆不苦窳。」這個典故闡明因為舜 帝秉承了至高的德行，所以燒製的陶器皆無「髻墾薜 暴」之態。乾隆皇帝自注「髻墾薜暴」謂之:「髻墾謂其 器之不正，薜暴謂其釉之不純。」由此燒造器型規矩， 釉色純美、紋飾精美的御瓷，被乾隆認為是體現帝王 「盛德」的象徵。 Mark Palatial Splendour: Imperial Ceramics and Works of Art 44  御貢凝輝：宮廷御製珍品

葫蘆器形象徵多產多福，繁葉枝藤及帶斑葫蘆圖紋，更 The double gourd, hulu, was widely viewed in the Ming and 強調其吉祥寓意。葫蘆之圓潤體態，子核豐富，使其自 Qing dynasties as auspicious. Its large number of seeds 然成為多產多子之象徵。細長瓜藤更代表子嗣綿延無 represents fertility and the wish for numerous sons. It was 盡，代表子孫萬代。葫蘆乃八仙之一李鐵拐之法寶，是 also an important symbol of Daoism, particularly associated 以葫蘆亦與道教密不可分。本瓶裝飾海水雲龍紋，寄予 with Li Tieguai, one of the Eight Immortals, who is often 無限福壽，天子萬年，是一件乾隆宮廷的藝術珍品。 depicted with a double gourd at his waist containing the elixir of immortality. In addition, the Chinese word for double gourd 乾隆在康熙、雍正兩朝製瓷工藝取得高度成就的基礎 forms a rebus with the phrase fulu, meaning happiness and 上，彩瓷和單色釉瓷無論在數量或品質上都達到了極高 prosperity through government positions. 的水準，種類繁多，器形豐富。 Vases applied with apple green glaze are rare and precious. 色地描金是明清官窯瓷器經典的裝飾技法，多見於各式 Compare an apple-green enameled vase decorated with 低溫色釉和高溫霽藍釉之上，若如本作品般於淡綠釉上 dragon, sold in Christie’s Hong Kong, 27 November 2013, Lot 描金，則是乾隆朝御瓷之首創，運用此裝飾技法者例子 3207. The dragons on the current vase are further highlighted 亦不多。故宮博物院藏清乾隆綠地礬紅彩雲蝠紋葫蘆 with gilt. Another pair of vases decorated with gilt against an 瓶，其裝飾技法和器物造型與拍品相近，見《故宮博物 apple-green ground was sold in Christie’s Hong Kong, 30 May 院藏文物珍品大系—雜釉彩．素三彩》，上海科學技術 2018, lot 2753. 出版社，2009年，頁72，73，圖61。 香港趙從衍（1912-1999年）原收藏有一件清乾隆釉裡紅 雲龍鴻福葫蘆瓶，造型、紋飾與拍品相近，出版於《趙 從衍基金會藏明清陶瓷》，香港藝術館，香港，1978 年，編號78。清宮舊藏一件清乾隆釉裡紅雲龍紋葫蘆 瓶，造型與本品相類，現存北京紫禁城養心殿隨安室， 實景圖載於《清代宮廷生活》，香港，1985年，圖版 177。 本瓶創意自乾隆一朝，常見者為飾正面及側面龍紋之釉 裡紅葫蘆瓶，流行於嘉慶一朝，參見倫敦蘇富比，2018 年11月7日，編號70，清嘉慶青花雲龍戲珠紋葫蘆瓶，兩 者器型、紋飾佈局相似，可見對嘉慶一朝的影響。 清嘉慶 青花雲龍戲珠紋葫蘆瓶 清乾隆 蘋果綠釉凸雕蒼龍教 清乾隆 釉裡紅雲龍鴻福葫蘆瓶 倫敦蘇富比，2018年11月7日， 子燈籠尊 © 《趙從衍基金會藏明清陶瓷》， 編號70 香港佳士得，2013年11月27 日，編號3207 1978年，編號78 Palatial Splendour: Imperial Ceramics and Works of Art 46  御貢凝輝：宮廷御製珍品

3411 A PAIR OF SMALL LEMON YELLOW-GLAZED DISHES 清乾隆  檸檬黃釉束腰小盤一對 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 D 11.4cm HK$ 500,000 - 800,000 US$ 64,000 - 103,000 本品為一對，皆敞口束腰，圈足。胎體細膩輕薄，形制 This pair of dishes each rises from a short foot to a waisted 秀巧。內壁素白，外壁施檸檬黃釉，色澤鮮豔嬌嫩，顏 middle. A brilliant lemon-yellow enamel is applied to the 色均勻而滋潤。底落「大清乾隆年製」青花六字三行篆 exterior, while the interior is left white. The white base comes 書款。 with a six-character reign mark written in underglaze blue. Monochrome wares of this form demand absolute precision 檸檬黃釉因色澤近似蛋黃色，故又稱「蛋黃釉」或「淡 in potting, glazing and firing. Any inconsistency would disrupt 黃釉」，為乾隆時期受西方影響而燒造的瓷器品種之 the harmony of the entire piece. 一，極為名貴。此釉出現於清康熙年間，因色如雞蛋黃 而得名。康熙時釉黃微重，釉層透明。到乾隆時，因釉 Amongst all the different monochrome glazes, yellow is the 中摻有玻璃白，使釉汁混而不透，呈色嫩淡。多用於單 only colour that has direct imperial association. Such yellow 色釉器。 enamel was a Yongzheng innovation achieved when the antimoniate of iron was combined with tin oxide resulting in 明、清黃釉以鐵為著色劑的鐵黃，用氧化焰低溫燒成， an opaque yellow glaze of vibrant hue. See another pair of 色黃潤光滑，釉面晶瑩透澈。此黃釉器製作方法是燒成 Qianlong lemon-yellow dishes of this size and form, sold in 的白瓷釉面上塗以含鐵色料，再低溫燒成。 此對檸檬黃 Sotheby’s Hong Kong, 3rd April 2019, lot 3661. 釉折沿小盤，外壁施黃釉，釉面肥厚，發色淡雅嬌嫩， 光亮滋潤，乃乾隆官窯中至珍精品，式樣優雅。此折腰 樣式盤甚是少見，成對保存，甚為難得。 Marks Palatial Splendour: Imperial Ceramics and Works of Art 48  御貢凝輝：宮廷御製珍品

3412 A RU-TYPE DOUBLE-VASE 清乾隆  仿汝釉雙聯瓶 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 PROVENANCE 1. Collection of Ian Thomas LVO (1929-1993) 來源 2. An English Private Collection 1. Ian Thomas LVO (1929-1993) 收藏 2. 英國私人收藏 H 18.3cm HK$ 1,000,000 - 1,500,000 US$ 128,000 - 192,000 瓶為盤口，短頸豐肩，腹下漸收，寬足外撇，形制古樸 Finely potted on a foot that rises to a narrow waist, and 規整，又如彼肩的雙生佳人，端莊雅緻。通體滿施仿汝 immediately broadening towards the rounded shoulder. The 釉，光素無紋，釉色肥潤，古樸淡雅。底以青花書「大 rim of the mouth is raised, and the silhouette of the neck 清乾隆年製」六字單行篆書款。 resembles the curvatures near the foot. This vessel takes the shape of a pair of intertwined vases that are joined in the 本場尚包括一件乾隆青花龍鳳紋雙聯瓶（拍品3408）。 middle. A thin layer of glaze that is reminiscent of Ru wares 雙聯瓶因其造型為兩瓶相連而得名，又稱合歡瓶，雖早 is applied on top, and the stylish natural distribution of the 見於唐代三彩器之上，但此後甚為少見，直至乾隆御窯 glaze is translucent. At the bottom is a six-character mark of 創燒，是其中一種窮工極巧的創新品種，造型見於《明 Qianlong inscribed in underglaze blue. Overall, a very pleasant 清瓷器鑑定》乾隆器形示意圖。據《清檔》中記載，此 piece with a gentle hue. 造型瓶見有不同材質，記錄有「磁胎畫琺瑯合歡罐」、 「洋彩紅翠地錦上添花合歡罐」、「洋彩三陽開泰合歡 Making conjoined vases by incorporating sections of two or 罐」等琺瑯彩器，均稱上品。乾隆六年《各作成做活計 more shapes to create a single vessel was one of the most 清檔》中錄：「七月十七日，司庫劉山久白世秀來說， challenging tasks of the imperial kilns during the Qianlong 太監高玉交：……嘉窯青夔龍合歡罐一對……，傳旨： period. The double-vase form is commonly decorated with 著俱各配座，欽此」。 enamels. Only one other Qianlong mark and period conjoined vase with a monochrome glaze is known, similarly applied 類似藏品見於台北故宮博物院，刊於《清康雍乾名 with Ru-type glaze, acquired by the Metropolitan Museum of 瓷》，國立故宮博物院，1986年，頁100，圖70；上海 Art, New York, in 1879 (acc.no. 79.2.952). See also a double- 博物館，錄於《中國陶瓷全集15清（下）》，上海人民 vase sold in this sale (lot 3408). 美術出版社，2000年，頁36，圖4。美國大都會博物館 亦藏一例仿汝釉雙聯瓶，藏品編號79.2.952。 Mark 清乾隆 仿汝釉雙連瓶 Palatial Splendour: Imperial Ceramics and Works of Art © 美國大都會博物館 50  御貢凝輝：宮廷御製珍品

Palatial Splendour: Imperial Ceramics and Works of Art 52  御貢凝輝：宮廷御製珍品

3413 A RU-TYPE GOURD-SHAPED MOONFLASK 清乾隆  仿汝釉綬帶耳蒜頭抱月瓶 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 PROVENANCE 1. A British private collection 來源 2. Collection of Alice Boney, acquired in the United States in 1. 英國私人收藏 the 1940s 2. Alice Boney（愛麗絲．鮑尼）舊藏，1940年代購於美國 H 51cm HK$ 1,000,000 - 1,800,000 US$ 128,000 - 230,000 乾隆帝崇古之情尤甚，故乾隆一朝御窯，多有對歷代名 Of compressed double-gourd-shaped body rising from a short 瓷的臨摹與仿製，本品之抱月瓶即為遵照欽定瓷器之樣 foot to a narrow waisted neck set with a pair of ruyi-shaped 式，仿永宣之形制，結合時人之巧思化裁而成，相較於 strap handles, garlic head-shaped mouth, and painted in 明代抱月瓶，本品之蒜頭狀瓶口更為秀雅圓潤，瓶口至 thick elusive blue glaze of Ru wares. The minimalist design 腹部收束的短頸，彰顯腹部之渾圓，口部至肩部左右對 approach accentuates the Ru-imitation glaze as the major 稱飾如意耳，線條流暢婉轉，使整體造型趨於秀美穩 feature of this moon flask. 定。此抱月瓶莊重典雅，仿汝釉色澤純正清麗，釉質凝 潤，不輸粉青釉。撫之細膩柔潤，圓碩而扁平的瓶體與 優美靈動的雙耳搭配，使得器形穩重而不失秀麗，令人 感觸其工藝之精妙。 Mark Palatial Splendour: Imperial Ceramics and Works of Art 54  御貢凝輝：宮廷御製珍品

整器體格碩大，造型嚴整而不失流暢之致，修坯精細， 清乾隆 青花纏枝花卉抱月瓶 幾乎看不出接痕，底足亦處理的十分考究。整器造型宏 © 故宮博物院 偉，華麗典雅，令人贊嘆。清新的釉色與秀美的造型， 具清代御製瓷器之神逸。可對比北京保利2019年12月6 清乾隆 青花青釉唐革紋雙耳扁壺 日，編號5711，清乾隆粉青暗刻青花團壽大抱月瓶，日 © 靜嘉堂 本靜嘉堂也藏有一例，三者造型尺寸相同，可作參考。 摹古與寓意是雍乾二朝宮廷藝術的重要理念，胤禛父子 二人以個人的美學修養與審美喜好有意識地倡導一種理 想的工藝審美格調，於瓷器一項，無不以宋名器、永宣 御窯為典範，致力摹古求真，同時卻不拘於純粹的摹 仿，注重在傳統構成因素中創新，借鑒原來的工藝造型 和紋飾進行抽繹，組合出具有時代特色的新樣式，寄予 新的美好吉祥寓意，從而確立新的古典主義審美品格。 此番精神在高級的御瓷之中體現尤為明顯，本品即為一 佳例。新穎明快的釉色與仿古出新的造型完美結合，傳 世罕見。 The elegant form of the current vase was greatly influenced by early Ming blue and white moonflasks such as the two examples in the collection of the National Palace Musuem, Taipei, illustrated in Blue-and-White Ware of the Ming Dynasty, Hong Kong, 1963, Book II, Part 1, pp. 38-41, pls. 9-10c. The current vase stands out as an exceptional example of the Qianlong adaptation of the Song dynasty Ru glaze. A very similar Ru-type glazed vase of this shape but slightly larger in size (57 cm) was sold at Sotheby's London, 12 July 2006, lot 131. A related Yongzheng Guan-type moonflask with incurved garlic mouth (52.7 cm high), was included in the exhibition Etheral Elegance: Porcelain Vases of the Imperial Qing, The Huaihaitang Collection, Chinese University of Hong Kong, 2007, pl. 31. Palatial Splendour: Imperial Ceramics and Works of Art 56  御貢凝輝：宮廷御製珍品

Palatial Splendour: Imperial Ceramics and Works of Art 58  御貢凝輝：宮廷御製珍品

3414 A RARE TEA-DUST GLAZED 'BRONZE IMITATION' MOONFLASK 清乾隆  茶葉末釉點古銅彩鋪首抱月瓶 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 PROVENANCE 來源 1. Collection of M. O. du Sartel, before 1881 1. M. O. du Sartel收藏，1881年前 2. Hotel Drouot, 3-5 April 1882, lot 130 2. 巴黎Hotel Drouot，1882年4月3-5日，編號130 LITERATURE 出版 O. du Sartel, La porcelain de Chine / [O. du Sartel], Paris, O. du Sartel，《La porcelain de Chine》/ [O. du 1881, no.157, p. 209-210,308, pl. XXXII Sartel收藏中國磁]，巴黎，1881年，編號157，頁209- 210,308，圖版XXXII H43cm H46.8cm with stand HK$ 5,800,000 - 6,500,000 US$ 741,000 - 831,000 本品長頸，扁圓腹，形仿先秦青銅扁壺，肩對飾獸耳銜 An exquisite moonflask supported on a short and splayed 環。通體施仿古銅釉，器形設計搭配獨特，疑為孤品。 foot, with a flat spherical body adorned with two animal mask 腹部主體飾夔龍捧壽，兩兩雙對。仿古青銅瓷器多施紫 handles on the sides, rising to a rather cylindrical neck and 金或茶葉抹釉，飾以描金，或加綠彩摹銅鏽，紋樣懷 a neat mouth rim. The flamboyant adornments are a clear 古，追殷摹周，為大雅之器。 indication of a Qianlong dating. A 'shou' medallion is encircled by an outer frame and archaic symbols of auspicious beasts, all painted in tea-dust glaze against a carved a ground with rectangular spirals. Occasional splatters of turquoise glaze in the center and on slightly concaved parts of the vessel are an artistic attempt to recreate the appearance of corroded ancient bronzes. The base of this moonflask is inscribed with a six-character Qianlong reign mark. Mark 巴黎Hotel Drouot，1882年4月3-5日，編號130 Palatial Splendour: Imperial Ceramics and Works of Art 60  御貢凝輝：宮廷御製珍品

乾隆在康熙、雍正兩朝製瓷工藝取得高度成就的基礎 With the technical advances and virtuosity of porcelain 上，彩瓷和單色釉瓷無論在數量或質量上都達到了極高 production during the Qianlong period, potters from the 的水平。種類繁多，器形豐富。尤其高水平的仿真象生 official kilns were able to experiment with different methods 瓷為最，以瓷器仿製的各類金、銀、竹、石、木器等工 and techniques to satisfy the emperor’s penchant for the 藝品令人叫絕。朱琰在《陶說》中評述說 ：「戧金、 curious and archaic. Porcelain was frequently used to 鏤銀、琢石、髹漆、螺鈿、竹木、匏蠡諸作，無不以陶 simulate works of art made from other media, including 為之，仿效而肖。」青銅器、漆器、木器、竹器和玉石 hardstones, cloisonné enamels, wood, lacquer, and in this 的仿製都十分逼真。所有仿製的品種不僅形態、色澤十 instance, bronze. 分接近木材的本色，紋理和木料的質感也能精確地反映 出來。本品之創燒，即唐窯之於仿生青銅的一大重要突 Although the idea of porcelain imitating other materials was 破。 pioneered by the potters of the late Kangxi and Yongzheng periods, it was during the Qianlong reign that this technique 陳瀏於《陶雅》中曾如此評述：「古銅彩獨推乾隆朝， reached its zenith, and the present vase is no exception. The 花紋皆凸雕，或以金寫之。」古銅彩為以燒製出青銅器 present vase is the more unusual as it incorporates the colour 鏽跡斑駁的效果，或用金彩摹繪璀璨的錯金銀紋飾，其 of archaic bronze and those bluish green bronze patinas on 質感色彩均於青銅真品相若。典型器如故宮博物院藏古 the surface. 銅彩犧耳尊，古樸典雅，造型逼真，可謂精絕。古銅彩 的燒製一直延續到清末、民國，但其製作工藝和色彩運 A censer which is similarly enamelled in turquoise and gilt- 用遠不及乾隆時期。 russet in imitation of gilt-bronze, but with a different pattern featuring dragons reserved in cartouches, is in the National 見有故宮博物院藏仿古尊，通體施茶葉末釉，上飾爐鈞 Palace Museum, Taipei, included in A Special Exhibition of 釉帶狀細邊，可資比對，詳見《故宮珍藏康雍乾瓷器圖 Incense Burners and Perfumers Throughout the Dynasties, 錄》，北京1989年，頁412，圖版93；同書另載仿青銅 1994, illustrated in the catalogue, no. 83. 觚及鐘（出處同上，頁414f.，圖版95及96）。署乾隆年 款三足香爐，仿黑銅鎏金，就圖片所見，沒施綠釉，開 A porcelain censer in the form of a fangding, also combining 光貼飾變形夔龍，與本品紋樣相近，見耿寶昌著《明清 turquoise and russet, was formerly in the E.T. Chow Collection, 瓷器鑒定》，香港1993年，頁282，圖486。上海博物館 sold at Sotheby's Hong Kong, 16 December 1980, lot 528, 藏無署款瓷觚，上施松石綠釉，與器形相近的商代青銅 and a gu-shaped vase from the J.M. Hu Collection was sold at 觚，並展於《Treasures from Shanghai.Ancient Chinese Christie’s Hong Kong, 30 May 2005, lot 1239. Bronzes and Jades》，大英博物館，倫敦，2009年， 編號56a及b）。 翻閱清宮檔案可見，仿青銅效果之瓷器多見督陶官以個 人名義進貢的瓷器，每款最多不過製作兩對，如清宮檔 案 載 ： 乾 隆 十 六 年 ， 「 唐 英 恭 進 …… 仿 青 綠 瓷 花 尊 二 對」；乾隆十九年，「唐英進文王鼎、瓶、盒一份」； 乾隆三十六年，「伊齡阿跪進……（交養心殿內）仿青 綠古銅獸面雙環罍成對……」；乾隆三十七年，「伊齡 阿跪進……（交淳化軒）仿青綠地漢紋獸面尊成對…… （交佛堂）仿青綠地拱花花觚成對，（交佛堂）仿青綠 地夔鳳花插成對……」。進貢之時，唐英、伊齡阿皆任 九江關監督，兼御窯督陶官。相比大運瓷器，督陶官為 博皇帝聖心，以個人名義進貢皇帝之瓷器，在製作過程 中當更為用心，甚至可能不因陳式，精益求精，而使此 類器物更勝於大運和傳辦瓷。且貢瓷數量較少，更顯此 類之珍稀貴重。 Palatial Splendour: Imperial Ceramics and Works of Art 62  御貢凝輝：宮廷御製珍品

3415 A PAIR OF IMPERIAL INSCRIBED FAMILLE-ROSE 'GARDEN LANDSCAPE' WALL VASES 清乾隆  粉彩錦上添花開光山水亭廊圖御 題詩壁瓶一對 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 PROVENANCE 1. An American private collection 題詩：「官汝稱名品，新瓶製更嘉。隨行供嘯咏，沿路 2. Sotheby's New York, 21 March 2018, lot 545 擷芳華。挂處輕車稱，簪來野卉斜。紅塵安得近，香籟 度帷紗。乾隆御題」「乾」「隆」 H 20.1cm H 20.3cm 來源 1. 美國藏家收藏 2. 紐約蘇富比，2018年3月21日，編號545 HK$ 3,800,000 - 4,800,000 US$ 486,000 - 614,000 拍品以礬紅卷草為地，腹部開光繪山水詩文，邊飾以洋 Each with a slightly raised rectangular rim, supported on a 彩繪製纏枝西番蓮紋，紋飾明顯受到了西洋洛可哥式裝 slender neck and a quatrefoil-shaped body, all rising from 飾風格的影響，佈局緊湊飽滿，彩料亮麗耀眼，繪製筆 a tromp l'oeil base. In the centre of one vase is a landscape 法細膩精緻，氣息雍容華貴。其中一隻腹部開光墨書御 scene with growing willows by a pond, while the other vase is 制五言詩：「官汝稱名品，新瓶製更嘉。隨行供嘯咏， inscribed with a poem by Qianlong. The base of the two vases 沿路擷芳華。挂處輕車稱，簪來野卉斜。紅塵安得近， are inscribed with a six-character Qianlong reign mark each. 香籟度帷紗。」此詩即收錄於《清高宗御制詩文全集》 之「詠掛瓶」。下有紅彩「乾」、「隆」二方一朱一白 These two wall vases are conceived as a pair with one vase 文印。底書「大清乾隆年製」六字描金篆書款。形制規 illustrating a scene that complements the poem on its mate. 整，色彩豔麗，極富皇家氣息。 Surviving vessels of this type are exceedingly rare. They are reminiscent of rich albums and handscrolls depicting idealized landscapes and accompanied by calligraphic inscriptions and seals of the artist or collector, which were bordered in sumptuous textile. As such, vessels of this type would have appealed to the emperor both for their craftsmanship and association with other scholarly pursuits. While porcelain wall vases were produced from the late Ming period, the present examples embody the technical advances Marks 《御製詩初集》卷十一 <咏掛瓶> Palatial Splendour: Imperial Ceramics and Works of Art 64  御貢凝輝：宮廷御製珍品

乾隆皇帝酷愛以壁瓶裝飾宮廷，珍藏稀世法帖的養心殿 in porcelain production during the early 18th century and 三希堂的東板牆上即掛有壁瓶十四隻，他還把轎瓶作為 combine several decorative techniques which were developed 其御輦的掛飾，供途中欣賞。《清高宗御製詩文全集》 at the imperial kilns. The Qianlong emperor’s predilection 有七首詠「掛瓶」的詩，反復吟咏，可見其珍愛。 for porcelain vessels that contained elements simulating objects in other materials resulted in remarkable examples 壁瓶，因懸掛於牆壁面而名，亦稱轎瓶、掛瓶。壁瓶 of trompe l’oeil. The stands on which the vases rest resemble 創燒於明代，但直至乾隆朝才因皇帝的喜愛而流行起 gilt-decorated lacquer stands. Together with the rich web of 來。清檔中亦有大量燒造和陳設壁瓶的記載，例如： iron-red scrolls and a reinterpretation of a classic 'confronting 「（乾隆十一年）六月十四日，四庫白世秀來說太監胡 phoenix' motif in the newly developed pastel palette, a lavish 世傑交轎瓶一件……傳旨：照此轎瓶款樣……做掛瓶六 design has been created in accordance with the emperor’s 件：菱荷香箭柱上掛四件、屋內簷柱上掛兩件，要錦上 taste. 添蓮花，留空堂寫詩，……俱先畫樣呈覽，準時交江西 燒造。欽此……六月十八日，司庫白世秀將畫得錦上添 The poem on the present vase is found on several Qianlong 蓮花轎瓶紙樣大小二張持進，交太監胡士傑呈覽。奉 mark and period wall vases. See one painted in yangcai 旨：准交江西照樣燒造大轎瓶二件、小轎瓶四件……欽 enamels on a yellow ground, in the National Palace Museum, 此……十一月二十六日，七品首領薩木哈將江西燒造得 Taipei, included in the Museum’s exhibition Stunning 有洋彩紅地錦上添蓮花掛瓶大小二對、洋彩黃地錦上添 Decorative Porcelains from the Ch’ien-lung Reign, Taipei, 蓮花小掛瓶一對……持進，交太監胡士傑呈覽。奉旨： 2008, cat. no. 20; a blue-ground pair, in the Nanjing Museum, 將……掛瓶……交圓明園園內總管收貯，挨房得時著造 Nanjing, included in the exhibition Qing Imperial Porcelain of 辦處人拴掛安設。欽此。」 the Kangxi, Yongzheng and Qianlong Reigns, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1995, cat. no. 97; another from the collection of Sir Percival David, now in the British Museum, illustrated in Rosemary E. Scott, Qing Porcelain for the Imperial Court, London, 1998, pl. 3; and a fourth example, the inscription enameled in gilt, included in the exhibition Chinese Porcelain. The S.C. Ko Tianminlou Collection, vol. 1, Hong Kong Museum of Art, Hong Kong, 1987, pl. 116. Palatial Splendour: Imperial Ceramics and Works of Art 66  御貢凝輝：宮廷御製珍品

3416 A RARE FAMILLE-ROSE ROSE-PINK GROUND 'BAJIXIANG' ALTAR VASE 清乾隆  粉紅地粉彩纏枝蓮托八吉祥紋賁 巴瓶 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 PROVENANCE Christie's Hong Kong, 30 May 2006, lot 1297 來源 香港佳士得，2006年5月30日，編號1297 H 26cm HK$ 1,500,000 - 2,500,000 US$ 192,000 - 320,000 瓶呈台形口，束頸而高，鼓腹，外撇式高圈足。台形口 Of a globular body supported on a wide splayed foot. The 沿外側以粉紅為底，粉彩細描纏枝花卉，頸部主體以 vessel has a dramatic silhouette, with a rotund belly, a 各色蓮瓣紋裝飾，腹部以粉紅為底，飾以蓮托八吉祥 bulbous neck, and a cap-shaped mouth. In the center of 紋，八吉祥是瓷器裝飾中典型的宗教紋樣，由法螺、法 the vessel are the ‘bajixiang’ symbols and several rosettes 輪、寶傘、白蓋、蓮花、寶瓶、金魚、盤長八種吉祥物 painted in famille-rose against a velvety pink ground. The neck 組成。八吉祥初始時排列無一定規則，明永樂起按輪、 is a band of fourfold lappets, meticulously painted to show a 螺、幢、傘、花、魚、瓶、結排列，從明萬曆至清代則 gradual decolorization towards the shoulder. A band of foliate 以輪、螺、幢、傘、花、瓶、魚、結為序。脛部靠腹部 scroll is applied on the linkage between the mouth and the 處施色調較淡的粉紅，脛部近圈足處以松石綠及鵝黃兩 neck. Floral motifs depicted to a smaller scale are echoed on 種蓮瓣紋相間裝飾。底心以松石綠為地，中心紅彩篆書 the mouth which has an elegant gilt finish to the edges. The 「大清乾隆年製」六字三行篆書款。 base is inscribed in red glaze with a six-character reign mark. Mark Palatial Splendour: Imperial Ceramics and Works of Art 68  御貢凝輝：宮廷御製珍品

賁巴瓶作為藏傳佛教器具具有諸多功能。第一，作為藏 The form of the present lot is derived from Tibetan altar vases, 傳佛教灌頂及盛聖水之用，「賁巴」為藏語音譯，在藏 and is probably based on a jewel-encrusted silver original 語中即「瓶」的意思，也稱「奔巴壺」。據《佛學大辭 known as a Bumpa, the Tibetan word for 'vase'. Vessels of this 典》介紹：「天竺國王即位時，以奔巴壺盛四大海之水 type were made for use in Buddhist chapels, situated within 灌於頂而表祝願，密教效此世法，於其人加行成就。嗣 the Palace grounds, which were constructed throughout the 阿犁位時，設壇而行灌頂之式。」在藏傳佛教密宗修行 Qianlong period as they are believed to have the power to 儀式中，賁巴壺被專用以宗教儀式，除用於念經誦咒或 cleanse the heart of practitioners from evil. For an illustration 灌頂儀式外，還為神像和信徒淋浴時盛聖水之用。《中 of a silver Bumpa, see Cultural Relics of Tibetan Buddhism 國古陶瓷圖典》定義為：「壺式之一，流行於清代，由 Collected in the Qing Palace, pl. 146; where the author 藏族金屬製品演變而來。器形為洗口，束頸，球形腹， mentioned Bumpa vessels were originally used in Tibet for 高足外撇，腹部有龍首形流彎曲向上，無柄，是一種祭 displaying sprays of herbs and placed in front of images of 祀用品。」第二，作為活佛轉世靈童掣簽金瓶而用，賁 Buddha. 巴壺有流嘴，若去掉流嘴，便為賁巴瓶。賁巴瓶也稱 「賁巴寶瓶」，是為活佛轉世靈童金瓶掣簽而用的。乾 In both form and design, these ritual vases are steeped in 隆五十七年（1792年），清朝廷為杜絕達賴、班禪轉 Tibetan Buddhist practice and teachings yet also represent 世中的弊端，頒布《欽定二十九條章程》：「茲予製一 the opulent Sino-Tibetan aesthetic developed to suit the 金瓶，送往西藏，於凡轉世之呼必勒罕，眾所舉數人， Qianlong emperor’s eclectic taste. A devout follower and 各書其名置瓶中，掣簽以定」，「各蒙古之大呼必勒罕 patron of Tibetan Buddhism, Qianlong commissioned the 轉世，令於雍和宮之金瓶內掣簽」。現在西藏博物館藏 building of numerous halls and shrines dedicated to the 有「清乾隆 金質賁巴瓶」就是賁巴瓶作為活佛轉世靈 recitation of Buddhist scriptures, including the Baoxiang lou 童掣簽瓶的實物證據。第三，作為佛前清供的禮佛用 (Tower of Precious Forms), which was built around 1771 for 具，《乾隆三十四年各作成做活計清檔．行文》中記： his mother, Empress Xiaosheng. These were lavishly furnished 「十月初三日，庫掌四德、五德將九江關監督伊齡阿 with Buddhist sculptures and altar wares which were made to 送到配蓋……奔巴瓶一件持進，交太監胡適傑呈覽。奉 the highest standards, such as the present vase. 旨：……奔巴瓶一件著在熱河獅子園文供佛前供。其現 交配蓋奔巴瓶得時，不必在此安供。」 Three pairs of similar famille rose vases, each pair decorated with different coloured-ground, from the Fonthill Heirlooms 此瓶形制仿照一類西藏嵌寶銀瓶，稱作「賁巴」，為佛 were sold in Christie’s London, 18 October 1971, lot 71, of 前供器。乾隆期間，景德鎮御窯廠燒製了大量的賁巴瓶 rose-pink ground; lot 72, Ruby-red ground; lot 73, yellow- 及賁巴壺，應與乾隆皇帝好佛有關。放山居珍藏裡有三 ground. A turquoise-ground example in the Shanghai Museum 對不同色地的賁巴瓶，紋飾及器形與本器相似，一對為 is illustrated in Chugoku Toji Zenshu [The Complete Book of 粉紅地、一對為胭脂紅地、一對為黃地，1971年10月18 Chinese Ceramics], vol. 12, pl. 130, as well as in Qingdai Ciqi 日於倫敦佳士得拍賣，拍品71、72、73號。另可參考一 Shangjian [Appreciating Qing dynasty porcelains], Hong Kong, 件松石綠地例子，為上海博物館藏品，著錄於1994年香 1994, pp. 119-120. 港出版《清代瓷器賞鑒》，頁119-120。瓷質彩繪賁巴瓶 為乾隆朝之首創，作為佛心天子，弘歷的一份獻禮而載 入瓷史，除了供自身修持佛法之外，還作為高級御禮賞 賜西藏、青海等地宗教領袖，是當時清皇室與密宗上層 思想感情交流的見證，寄託雙方的共同信仰。 Palatial Splendour: Imperial Ceramics and Works of Art 70  御貢凝輝：宮廷御製珍品

3417 A GORYEO CELADON 'DRAGON' VASE, MEIPING 十二世紀  高麗翠青釉雲龍紋梅瓶 12TH CENTURY 來源 日本私人收藏 PROVENANCE A Japanese private collection HK$ 1,800,000 - 2,500,000 US$ 230,000 - 320,000 H37.4cm 瓶微盤口，薄口沿，短頸，豐肩，肩部以下漸收至脛 Of broad rounded shoulders with a band of ruyi lappets on the 部微向外撇，圈足，通體施一層薄青釉，隱約可見瓷 top surmounted by a short waisted neck and lipped rim, the 胎。此造型與同時期宋代湖田窯影青梅瓶相似，可以看 exterior covered overall in sage-green glaze decorated with a 出兩者傳承。瓶頸與肩部連接處飾一周如意葉紋近足處 scaly four-clawed dragon with protruding eyes striding amidst 飾一周回紋，器身飾立龍紋，龍大口，銅鈴眼，細頸， clouds. 四爪，龍鱗凹凸有致，伴有行雲和火焰形寶珠，鱗爪飛 揚，氣勢恢弘。本件梅瓶胎質細膩，滿施青釉，釉質堅 Goryeo potters were introduced to the aesthetics of Song 實肥膩，以釉色及線條勝人，同時也可以看出中原藝術 dynasty ceramics. They then reinvented the distinctive Goryeo 對高麗瓷的影響。 style, making the tenth century a new era of technical and stylistic sophistication in the production of celadon wares in 高麗青瓷向為高麗上層人士所鍾愛，高麗詩人李奎報賦 Korea. 詩讚賞高麗青瓷：「影影綽綽如青玉，玲瓏剔透如水 晶」，「致密的玉如嫩膚，觸手猶如撫玉膚」。青瓷的 完美塑造，展示了高麗製瓷工匠的聰明才智。從現存的 實物看，器物的造型多姿多彩，所體現的藝術內涵豐富 多變，反映出人們對藝術和精神生活的追求。這些都需 要工匠們自身的素質、修養、審美等深厚的功底，還需 要對每件作品進行精心地設計。高麗青瓷作為貴重的官 方禮品贈與宋庭與權貴。 北宋太平老人曾在《袖中錦》評價當時眾多天下第一， 曾語：「監書、內酒、端硯、洛陽花、建州茶、蜀錦、 定磁、……高麗秘色……京師婦人，皆為天下第一，他 處雖效之，終不及。」可見有宋一朝，當時世人把建 盞、定瓷和高麗瓷並稱天下第一。也反映高麗青瓷在當 時的認知度之高。從文獻和杭州宋皇宮遺址出土都可看 到高麗青瓷進奉南宋宮廷的佐證。 十二世紀 高麗青瓷荷塘游鴨紋梅瓶 清乾隆 粉青釉浮雕雲龍紋梅瓶 © 費城藝術館 © 靜觀堂 Palatial Splendour: Imperial Ceramics and Works of Art 72  御貢凝輝：宮廷御製珍品

高麗青釉梅瓶，承傳龍泉窯、汝窯、越窯及耀州窯等工 The excavations from several kiln sites located in the Middle 藝特色。青釉材質珍貴，只供貴族使用。瓷胎多呈土灰 Western part of the Korean peninsula strongly attest to the 色，施薄釉，燒造以後，青釉透底可見瓷胎，釉料中所 possible transmission of firing technology from the Chinese 含雜質一般較多，因此發色呈灰，釉色優雅柔和。本品 Yue kilns located in Yuezhou county, present-day Zhejiang 以龍紋為主題，先於瓷胎上雕刻，再施青釉，此工藝不 province, where had manufactured celadons of the best 亞於耀州窯青釉器。與此種裝飾異曲同工者在景德鎮御 quality since the Tang dynasty. 窯瓷中偶有見到，最為接近可作參考者，可見靜觀堂舊 藏清乾隆粉青釉淺浮雕雲龍紋梅瓶。兩者相較，有一種 Goryeo celadon stands out as the epitome of ceramic 跨越時空的相似。 production of the era. Over the centuries, the integration of foreign and domestic designs and technologies are featured 高麗青釉瓷，以至朝鮮粉青瓷、白瓷等朝鮮半島所產陶 in the Korean Goryeo period celadons. Even after the Goryeo 瓷器，紋飾偏向素淡雅。高麗瓷早期紋飾較為疏朗，紋 dynasty collapsed, the technology and aesthetic value of 樣精細，晚期花紋佈局均衡，更顯主題，以典雅清秀取 Goryeo celadon endured. 勝。本品瓷胎略灰，釉色青翠，造型公整，綫條柔美， 該品應出自技能熟練陶匠之手，為高麗瓷器中之極尚佳 Compare another celadon meiping vase engraved with lotus 品。 論高麗青釉器的主題紋飾，鶴紋比龍紋較常見。有 flowers and branches, exhibited in the Museum of Oriental 學者推斷本品所刻畫之龍紋源於中原地區遼代金銀器， Ceramics in Osaka from 5 September to 23 November 2013. 飛龍蜿蜒，仰首朝天，與遼代陳國公主墓出土一件金帶 扣上鏨龍紋形態幾乎相同。 The Boston Museum of Fine Arts and the Gwangju National Museum each houses a 'dragon' celadon meiping vase. See 現存高麗青釉瓷寥寥可數，刻劃龍紋而且青釉發色呈翠 also a Goryeo 'lotus' celadon vase sold in Sotheby's New York, 綠的更是不可多得，高麗青釉瓷多以鑲嵌顏色泥土裝 11 September 2019, lot 0527. Also, a 12 century Goryeo 飾，此品匯合中原、契丹及高麗美術工藝，確是難能 'ducks' celadon meiping vase in the Philadelphia Museum of 可貴。美國波士頓美術館及韓國光州博物館分別有藏兩 Art. The Tokyo National Museum and the Museum of Oriental 件高麗龍紋青釉器，兩件館藏青瓷均是梅花瓶，而且龍 Ceramics in Osaka each holds several Goryeo celadons with 紋佈局與本品類近。紐約蘇富比2019年9月11日，編號 floral decorations, but none with a design as grandiose as the 527，高麗王朝青釉暗花纏枝蓮紋梅瓶；亦可參考費城博 present lot. 物館收藏的十二世紀高麗青瓷荷塘游鴨紋梅瓶。東京國 立博物館和大阪東洋陶瓷博物館都有同類型高麗青瓷的 作品收藏，但多是素紋、梅花、纏枝蓮等簡單紋飾，未 見如此高級者。 Palatial Splendour: Imperial Ceramics and Works of Art 74  御貢凝輝：宮廷御製珍品

3418 AN 'AUSPICIOUS SIGNS' INLAID ZITAN HANGING 清中期  紫檀嵌百寶太平有象掛屏 SCREEN 來源 MID QING DYNASTY, 18TH CENTURY 歐洲私人收藏 PROVENANCE HK$ 800,000 - 1,200,000 A European private collection US$ 103,000 - 154,000 H 129cm W 68.5cm 此件掛屏呈長方形，鑲紫檀木為框，背髹黑漆，屏心髹 The creen is of rectangular shape with a zitan frame, a 赭黃色漆為地，頂部作雙色剔彩漆雕掛簽，各式精美花 lacquer back, and hangs from a gilt-bronze ruyi handle. At 紋拱衛中心描金「壽」字，主題鮮明而突出，為仿清宮 the top are three alternative red and black lacquer screens 春節宮內所貼掛簽，匠心獨運。 meticulously carved in relief. The center of the screen is inlaid with jade, agate, cloisonne enamel, and other hardstones 掛屏以紫檀木為框，鑲嵌百寶圖案，背髹黑漆，頂部作 to depict an ensemblle of precious objects. Including a large 雙色剔彩工藝，各式精美吉祥花紋拱衛中心團花紋。屏 dish with fruits made of amber, an underglaze blue vase 心髹赭黃色漆為地，百寶嵌裝飾，選用材質豐富，以 before a ruyi scepter, an elephant inlaid with soapstone with 玉、壽山石、角、瑪瑙、掐絲琺瑯以及青花壁瓶鑲嵌。 a cloisonne enamel pot on the saddle, and a few scrolls at the 掛屏的中心位置鑲嵌著一件清中期青花洋菊壁瓶，瓶中 bottom right, all against a lacquer ground. 插兩束花果，以雞翅木為枝，以骨為枝葉，分別用蜜 蠟、琥珀和骨裝飾花果，壁瓶腳下放置一把剔紅嵌青玉 如意。掛屏左側放置一盤以掐絲琺瑯碗盛滿的壽果。掛 屏下方鑲嵌著一尊壽山石大象，其上馱掐絲琺瑯瓶，三 個小童在大象身側戲耍，意寓太平有象。掛屏最下則為 骨雕一組書卷。掛屏上的四組紋飾各有吉祥寓意，工藝 精湛，極為寫實，若置庭室，熠熠生輝，裝飾性極強。 運用多種百寶嵌工藝於一身，尤其罕見的青花壁瓶鑲 嵌，觀之大體氣勢十足，窺細處妙趣橫生，可視為清代 宮廷工藝集大成之傑作。 Palatial Splendour: Imperial Ceramics and Works of Art 76  御貢凝輝：宮廷御製珍品

掛屏使用淡赭黃色漆作為底色，推光極細，如瓷似玉， This magnificent panel has been executed with meticulous 如同在老宣紙上作畫，視覺效果頗佳。紋飾圖案吉祥， detail and great skill in reverse trompe l’oeil, whereby the 相同搭配還可見於故宮博物院翠雲館所藏另一幅乾隆百 objects depicted are reproduced in miniature in their original 寶御製詩文掛屏，同樣以黃色漆為底色，只是缺少所嵌 material and placed against a flat surface. The manufacturing 掛簽，參見《故宮博物院藏文物珍品大系—明清家具》 of the various objects required the cooperation of various 下，商務印書館、上海科學技術出版社，2007年，頁 Palace Workshops, where skilled craftsmen paid particular 309，圖262。 attention faithfully to recreating miniature copies of treasured objects from the Imperial collection. Panels in reverse trompe 清宮中百寶嵌，除「造辦處」製造外，許多作品由蘇 l’oeil are an innovation of the Qianlong period and reflect the 州、揚州、廣州等地方官吏進貢，部分作品由宮廷中畫 emperor’s fondness for technically challenging and innovative 樣，交由地方承做。而此件掛屏為乾隆至嘉慶時期百寶 designs. 嵌工藝的巔峰之作，佈局之綿密，構圖之巧思，工藝之 精絕，堪稱清宮造辦處最高水準之代表，遍閱眾多百寶 Wall-panels of this type are rare although three related 掛屏，罕有出其右者。 examples are known: the first, inscribed with a poem with a cyclical date corresponding to 1779, was sold in Sotheby’s Hong Kong, 29th April 1997, lot 770, the second dated 1773, was sold at Christie’s Hong Kong, 29th May 2009, lot 1816; and the third is sold in Sothebys’ Hong Kong, 6th October 2015, lot 3001. The objects adorning these panels not only represent the scholar’s studio, but are also steeped in auspicious symbolism, such as the wish for longevity, good fortune and wealth represented by cloisonné enamel bowl filled with grapes which expresses the wish for abundance of children and furthermore, pomegranate with exposed seeds which similarly symbolises fertility and abundance. 清乾隆 紫檀框漆地百寶嵌花鳥圖掛屏 © 故宮博物院 雲翠館藏 Palatial Splendour: Imperial Ceramics and Works of Art 78  御貢凝輝：宮廷御製珍品

Palatial Splendour: Imperial Ceramics and Works of Art 80  御貢凝輝：宮廷御製珍品

3419 A PAIR OF INLAID CHAMPLEVÉ ENAMEL MYTHICAL 清乾隆  銅鏨胎填琺瑯嵌松石珊瑚青金石 BEASTS, LUDUAN 甪端熏爐一對 QIANLONG PERIOD, 1736-1795 來源 英國法蘭西絲·布奇·卡德收藏 (即戴安娜王妃之母） PROVENANCE Collection of Frances Shand Kydd (previously Lady Spencer) HK$ 2,500,000 - 4,500,000 US$ 320,000 - 575,000 H25cm 甪端是古代傳說中一種神異的瑞獸，傳說中獨角獸，古 A pair of gilt bronze censers cast as luduan, a mythical beast 代稱角端。 《元史》卷一四六〈耶律楚材傳〉記載： with rotund body decorated with flowers and red corals made 「甲申，帝至東印度，駐鐵門關，有一角獸，形如鹿 of champlevé enamels, standing on four legs with four-clawed 而馬尾，其色綠，作人言，謂侍衛者曰：『汝主宜早 paws clutching against hexagonal ground. Each of the beasts, 還。』帝以問楚材，對曰：『此瑞獸也其名‘甪端’， centered with a bell on top of a vertical band of scales made 能言四方語，好生惡殺，此天降符以告陛下。陛下天 of pink enamel extending from neck to chest. The jaw is 之元子，天下之人，皆陛下之子，願承天心，以全民 opened, revealing sharp fangs broad nose with flaring nostrils, 命。』帝即日班師。」《宋書 ·符瑞志下》載：「甪 protruding eyes inset with cabouchon stones, upright ears, 端日行萬八千里，又曉四夷之語，聖主在位，明達方外 and single horn as finial. Waisted mid-section of hexagonal 幽遠，則奉書而至。耶律楚材謂為旌星之精，靈異如鬼 ground, embellished with a band of lazurite in between two 神」。以甪端護衛在側，顯示皇帝為有道明君，身在寶 rows of turquoise, chased with scrolling peonies above the 座而曉天下事，做到八方歸順，四海來朝。故甪端崇拜 legs. 在明清兩代均為皇家所重視，內府專置有司負責製造事 宜，以供內廷之用。現故宮博物院的保和殿、中和殿保 存了類似的藏品。 其中掐絲琺瑯甪端的製造始於明萬曆年間，故宮博物院 典藏「明萬曆款 掐絲琺瑯甪端」是目前所見帶年號款的 掐絲琺瑯甪端最早的例證，為明宮御用監所造。掐絲琺 瑯甪端在紫禁城宮殿中皇帝的寶座前多有陳設，使殿堂 中的氣氛更加肅穆威嚴。 戴安娜王妃及其母親，法蘭西絲·布 奇·卡德 Palatial Splendour: Imperial Ceramics and Works of Art 82  御貢凝輝：宮廷御製珍品

明萬曆 銅胎掐絲琺瑯甪端熏爐 © 故宮博物院 清承明制，尤其乾隆一朝，摹古思潮尤甚，掐絲琺瑯甪 Mythical beasts of this form are known as luduan, legendary 端的製作步入空前高峰，式樣豐富，色彩華麗。而鏨胎 creatures capable of distinguishing between good and evil. 塡琺瑯在其基礎之上更加豐富多樣，本品即為此番好古 Due to these qualities incense burners of this form were 情懷的見證。本器器表鎏金，厚實凝重，光潤絢麗，體 placed beside or in front of the imperial throne to symbolise 態豐滿結實，犀角、獅身，四肢宛若龍爪，粗茁有力。 that the emperor, protected by these animals, was a virtuous 昂首向上，雙目有神，氣勢威嚴。甪端前胸配以鎏金纓 and intelligent ruler. In this function a pair of cloisonné 絡鈴鐺。甪端腹部中空，張口嘶吼狀，作為煙道，因此 enamel incense burners of this form can be seen in situ in a 可作香熏使用。通體鏨胎打底，作毛髮及火焰，其間塡 photograph of the throne in the Hall of Supreme Harmony 松石綠琺瑯釉為地，火焰塡紅色琺瑯料，鬍鬚塡藍色琺 illustrated in Palaces of the Forbidden City, Hong Kong, 1986, 瑯料。獸身鏨胎裝飾花卉紋，非塡琺瑯技法，而是鑲嵌 pp. 66-67. 青金石，花卉中間的花蕊鑲嵌珊瑚，極為華麗罕見。甪 端端立於六方束腰須彌座上，寶座裝飾仰俯蓮瓣一周， Compare also with a larger luduan-form censer in the 蓮瓣飽滿，鏨胎鑲嵌綠松石，工藝複雜。 Shenyang Museum, modelled with a very similar expression and pierced upward facing ears, illustrated in The Prime 本對甪端代表了清宮琺瑯作的最高技藝，華麗精湛，呈 Cultural Relics Collected by Shenyang Imperial Palace 現了甪端莊嚴威武的形象。甪端一大一小，神態自若中 Museum: The Enamel Volume, Shenyang, 2007, p. 93, no. 5. 似有交流，一起陳設畢然蓬蓽生輝。縱觀乾隆一朝，掐 絲琺瑯器皿不乏佳器，融合了掐絲琺瑯、鏨胎琺瑯以及 鑲嵌工藝者屈指可數，由此可知，本品級別高貴，非同 凡響，為乾隆盛世內府瑰寶，雖歷近三百年風霜依然寶 光照人，今日出現，是為幸事。此對甪端將掐絲琺瑯、 鏨胎琺瑯以及鑲嵌工藝完美結合，造型生動，鎏金璨 然，釉色搭配和諧，應為乾隆朝養心殿造辦處琺瑯器之 典型佳作。 Palatial Splendour: Imperial Ceramics and Works of Art 84  御貢凝輝：宮廷御製珍品