御海凝珍：懷海堂藏清乾隆御瓷粹珍

QIANLONG

THE HUAIHAITANG COLLECTION

Hong Kong 14 July 2022 | 香港 2022 年 7 月 14 日

2

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

懷海堂主人樂善美德，遠見卓識，恩承家族之旨，在香港及內地積極支

持慈善福利工作，致力捐助教育機構及醫療基建發展。懷海堂主人傾心

收藏逾五十載，為敏求精舍重要一員，並曾出任副會長一職。他歷年搜

求集萃，嚴選慎挑，廣集佳瓷，創「懷海堂」，眾川赴海，海納百川之

瓷，弘揚中國藝術之精。懷海堂主人所藏包括明代珍稀御瓷，也有清代

華瓷雅器。證藏家明辯善鑑，眼光獨到，品味非凡，見明、清數百年來

製瓷技術與風格的嬗變。

懷海堂主人身為藏家，謙遜可恭，過去輔助香港相關博物館不遺餘力，特

別是香港藝術館、香港中文大學文物館，以及即將落成的香港故宮文化博

物館，多次籌備展覽，踴躍捐贈瑰寶，慷慨借展，並且集萃成冊，如2007

年至2008年「機暇清賞——懷海堂藏清代御窯瓷缾」（圖一）、2012至

2013年「機暇明道——懷海堂藏明代中晚期官窯瓷器」（圖二）、2019

年「皇朝禮器」（圖三）、2021年「#物色──館藏文物的色彩美學」及

2022年「萬國同風：全球化浪潮中的明清外銷瓷」，大方分享寶蓄，讓學

者、藏家親身鑑賞研討，致力推動本地文物界發展，今見香港文物收藏界

一片繁華之景，懷海堂主人功不可沒。

茲蒙懷海堂主人信賴，得委以重任，精挑六組清乾隆珍瓷，欣呈予廣大

同好，實藝壇美事。雖僅六器，足以包羅盛清御瓷萬象，見證清代御窯

製作之顛，我們深感榮幸玉成其美。

靜水流深

The Treasures of the Deep

Huaihaitang is perhaps one of the most recognizable collection

names in Hong Kong at present. Behind the splendour of the

collection is a humble story of a man who is equally absorbed in

the preservation of Chinese art as he is in giving back to society.

Translated as the ‘Hall of Remembrance of the Sea’, the collection

‘Huaihaitang’ was named in memory of the collector’s father. In

honour of his father, the collector dedicates his achievements through

charity to the education and medical sector. For half a century,

the collector travelled across continents to gather lost treasures of

Chinese culture. His discernment and studious nature eventually led

him to the Min Chiu Society, Hong Kong, where he also served as vice

president.

As a collector, Huaihaitang makes frequent donations to local

museums for research and public education. Some notable

collaborations include Ethereal Elegance: Porcelain Vases of the

Imperial Qing The Huaihaitang Collection (Fig.1), Enlightening

Elegance: Imperial Porcelain of the Mid to Late Ming The Huaihaitang

Collection (Fig.2) and For Blessings and Guidance: the Qianlong

Emperor’s Design for State Sacrificial Vessels (Fig.3), held respectively

from 2007 to 2008, 2012 to 2013 and 2019, in partnership with

the Art Museum of the Chinese University of Hong Kong. Two more

recent exhibitions were held in the Hong Kong Museum of Art in

2021, titled #popcolours: The Aesthetics of Hues in Antiquities from

the HKMoA Collection and Enchanting Expeditions: Chinese Trade

Porcelains across the Globe in Art Museum of the Chinese University

of Hong Kong. Huaihaitang is unequivocally an important presence to

academic institutions.

We are very honoured to be entrusted with six important groups of

Qianlong porcelains that are equally sophisticated in design and craft.

It is our pleasure to present these magnificent treasures at our tenthyear anniversary auction.

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Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

©故宮博物

院

《乾隆皇

帝

朝服像》

絹

本

設色

軸

©Palace Museum, Beijing

Portrait of the Qianlong Emperor

in Court Robe, ink and colour on

silk, hanging scroll

清乾隆一朝，百業俱興，景德鎮瓷藝技術一日千

里，承襲康、雍兩朝成果，在前朝基礎上更進一

步，堪稱陶藝製作頂峰。尤見於單色釉製作，乾

隆一代顯然製瓷呈色更為穩定，如本場Lot3801

清乾隆天藍釉螭耳鹿頭尊，色調淺淡素雅，有晴

空疏朗之美，甚得人喜愛。亦見Lot3805清乾隆

粉青釉剔刻蓮紋螭龍貫耳六方大瓶，以粉青淡恬

之柔美配飾六方硬朗之造型，舒朗花葉配蕉葉筋

骨，實收剛柔相濟之妙，可見設計者獨具匠心。

Inheriting the foundation o f the Kangxi and

Yongzheng dynasties, the porcelain craf t in

Jingdezhen was greatly advanced during the Qianlong

period. Such achievement was particularly reflected in

the production of monochromes which were fired in a

more even and stable colour as demonstrated in the

rare clair-de-lune-glazed handled vase (Lot 3801) in

light and elegant sky-blue tone, resembling the beauty

of clear sky. Another monochrome example such

as the fine carved celadon-glazed ‘lotus’ hexagonal

arrow vase (Lot 3805) successfully demonstrates the

softness of bluish-green color combined harmoniously

with its angular hexagonal shape.

圖一

Fig.1

圖二

Fig.2

圖三

Fig.3

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Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

康雍兩朝青花多以仿傚永宣為宗，至乾隆初年青

花多用浙料，發色純正、穩定，紋飾層次鮮明，

如Lot3802清乾隆青花纏枝蕃蓮紋貫耳扁瓶青花

發色鮮艷明快，秀斂亦不蒙滯，筆法以點青法上

色，仿永宣蘇麻離青結晶斑之效，紋飾濃淡相

宜，層次宛然。

清高宗對宮廷藝術滿腔熱血，尤愛仿古創新，屢

出主意，Lot3806清乾隆青花纏枝蕃蓮紋出戟雙

耳瓶，即仿製商至西周青銅罍造型，飾以青花，

展現其超越古人的雄心，仿古更勝古，青花纏枝

花卉刻劃細膩，如紙上作畫，令人印象深刻。

The blue and white porcelain in the Kangxi and

Yongzheng periods was often decorated after the style

of the Yongle and Xuande periods. Later in the early

Qianlong period, the cobalt blue was mined locally

in Zhejiang province, producing intense and bright

shades of blue. For example, the fine and rare Mingstyle blue and white arrow vase (Lot 3802) in bright

and vivid blue color brilliantly simulates the import

cobalt Samarra blue which yielded a glaze with darker

spots.

Qianlong Emperor had a lasting love of the ancient

objects while he always came up with innovative ideas

on creating new vessel types. The rare blue and white

‘lotus’ handled vase (Lot 3806) is an impressive

imitation of a bronze vessel, lei, of the Shang and

Western Zhou dynasties, demonstrating his ambition

to surpass the ancients.

Lot3801 Lot3805

論及乾隆御窯最精之處，要數Lot3804清乾隆嫩

綠地粉彩纏枝蓮紋「如意萬壽」綬帶耳瓶一對

及Lot3803清乾隆鬥彩加粉彩礬紅雲蝠「海水雲

龍」紋雙螭耳瓶。對瓶仿製掐絲琺瑯器，製作不

惜工本，色彩繽紛，松石綠地上繪纏枝花卉紋，

圖案豐富，令人嘆為觀止，其中雙耳裝飾細節匠

心獨具，用色講究，刻意仿金銅、仿綬帶絹布等

材質，工藝繁縟，極具創意，貼塑雙耳的手法雖

非乾隆一朝所創，但能夠製作出如此精巧的耳飾

則是乾隆時期之創舉。

Another exquisite example of imperial porcelain

commissioned by the Qianlong Emperor is the

extremely important pair of lime-green-ground famillerose and gilt-decorated ‘lotus’ handled vases (Lot

3804) which were enamelled in vibrant colours,

resembling those colours of cloisonne enamel. They

were further applied with ruyi-shaped handles and

the wan symbol suspended on a red ribbon. Such

distinctive decoration though was not first invented

in the Qianlong period, it perfectly fit the Qianlong

Emperor's infatuation with the portents of good

fortune.

Lot3806 Lot3802

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Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

而Lot3803鬥彩加粉彩礬紅雲蝠「海水雲龍」紋

雙螭耳瓶形態和紋飾皆為臻作，尺寸小巧適合手

中把玩，或置於博古架上。瓶頸立體的螭龍耳與

腹身龍紋主題互相呼應，器身龍紋充分顯現出莊

嚴大度之皇室氣派。瓶身經二次燒製，先燒製青

花勾線，二次入窯燒製粉彩及礬紅彩，礬紅色澤

鮮妍厚潤，色階過渡自然，燒製溫度掌握恰到好

處，如西洋畫般有暗影效果，配合其他以鬥彩繪

製而成的圖案及適當的留白，更顯整體紋飾和諧

平衡。青花線條幼細，彩料填色精準，細節猶一

絲不苟。

Last but not least, the superb and rare doucai ironred decorated ‘dragon’ vase (Lot 3803) is a very

rare masterpiece due to the difficulty and complexity

of the firing process. The blue decoration, seen on

the scrolling clouds on this vase, was painted in

underglaze cobalt blue first and then fired to a high

temperature. Following this, the leaping dragons in

iron-red and other colours over the glaze were refired for the second time at a lower temperature,

unavoidably increased the cost and risk of failure.

Lot3804 Lot3803

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Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

12

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

3801 A RARE CLAIR-DE-LUNE GLAZED HANDLED VASE

SEAL MARK AND PERIOD OF QIANLONG

清乾隆

天藍釉螭耳鹿頭尊

「大清乾隆年製」

PROVENANCE

1. Yamanaka & Co., New York

2. Sotheby's Hong Kong, 31 October 2004, lot 211

3. The Huaihaitang Collection, Hong Kong

EXHIBITED AND LITERATURE

1. Grand Exhibition of the World Ancient Art Relics Sale (Sekai kobijutsu

sokubai daitenkan), Yamanaka & Co., 1938, no. 1214 (Fig.1)

2. Ethereal Elegance: Porcelain Vases of the Imperial Qing The Huaihaitang

Collection, Art Museum, The Chinese University of Hong Kong, Hong Kong,

2007, no. 25 (Fig.2)

3. Jin Liyan, ed., Treasures from Japan. Masterpieces of Chinese Ceramics

from Yamanaka & Co., Ltd and other Japanese Collections, 2020, no. 94

H 36cm

HK$ 6,000,000 - 10,000,000

US$ 770,000 - 1,283,000

來源

1. 山中商會，紐約

2. 香港蘇富比，2004年10月31日，編號211

3. 懷海堂珍藏

展覽及出版

1.《世界古美術即賣大展觀》，山中商會，1938年，編號1214（圖二）

2.《機暇清賞：懷海堂藏清代御窯瓷缾》，香港中文大學文物舘，

香港，2007年， 編號25（圖一）

3. 《東瀛遺珠-山中商會舊藏名瓷》，金立言主編，2020年，編號94

圖一

Fig.1

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Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

本尊原為山中商會寶蓄，最初成對流傳，展覽並出版於1938

年山中商會在東京上野日本美術協會主辦的《世界古美術即賣

大展觀》、《支那朝鮮古美術展覽會》，並有昔日展覽舊照記

錄，極為難得。

山中商會曾是20世紀初期世界上最成功的亞洲藝術古董商之

一，鼎盛時期的商業版圖橫跨亞、美、歐三大洲。1894年，

山中定次郎在紐約開設了山中商會的第一家海外分店，直至

1944年結束營業，曾以1913年在紐約舉辦的恭親王府舊藏專

拍而聞名。

此器器形碩大，圓直口，垂腹如懸膽，脛部內斂，肩部置回首

螭龍雙耳，其形體優美，莊重別致，器內外滿施天藍釉，釉面

細膩凝潤，色澤沉然靜謐，觀之心曠神怡，氣韻清雅。足端露

胎，修磨規整，胎質細潤。底青花書「大清乾隆年製」六字篆

書款，款字承襲雍正朝篆體，可見本品為乾隆御窯早期之作。

本品器形源自早期青銅器，雍正朝已有，乾隆御瓷中雖有延

續，卻不多見，皆為乾隆早期作品，應當為雍正一朝遺留工

匠所為。此造型鹿頭尊早期作品承雍正一朝特點，雙耳為回首

螭龍，螭龍龍首花尾，異常靈動，存世並不多見，之後在此造

型的基礎上，改變雙耳造型，變為粗獷有力的上回首外翻螭龍

耳，靈動性不如早期。

圖二

Fig.2

山中商會 世界古美術大展覽會會場舊照

Images of Grand Exhibition of the World Ancient

Art Relics Sale (Sekai kobijutsu sokubai daitenkan),

Yamanaka & Co.

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Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

此造型鹿頭尊為乾隆帝所喜之器型，有青花、粉彩、及單色釉

如仿汝、仿官釉等，極有代表性。因其形似鹿頭或牛首，有稱

鹿頭尊或牛頭尊，粉彩器物上多見山水園囿十鹿或百鹿圖，因

此又稱百鹿尊或百祿尊，如乾隆三年曾交下各種瓷器做樣本讓

唐英在御窰廠燒造，其中「洋彩百祿雙耳尊一件，照樣燒造不

要耳子」。不過乾隆應該是後來認為此類尊其實有耳看起來更

為大方，改變了旨意，如今所見基本有耳。器形參考清乾隆青

花八仙賀壽螭耳尊，售於香港蘇富比，2016年10月5日，編號

3607。

北京故宮博物館藏二例器形相似者，見《故宮博物館藏清雍

正青花瓷器物》，故宮博物院，北京，2017年，編號152及

153，均為雍正年製，此兩件鹿頭尊皆為下回首內翻鹿頭尊，

與本體天藍釉鹿頭尊造型，尺寸一致，為同一批工匠燒造。惟

北京故宮博物院兩件青花鹿頭尊落「大清雍正年製」，本品落

「大清乾隆年製」篆書款。本器篆書款書寫別致，多見於雍正

御瓷中。台北故宮院藏清乾隆早期洋彩黃地西蕃蓮紋方瓶所落

「大清乾隆年製」篆書款與本品一致，為同一批工匠所書寫。

根據清宮檔案記載，此雍正款識風格僅在乾隆二年之前所書寫

的，此後瓷器落款皆為乾隆一朝風格。

天藍釉為宮廷名品，始燒於康熙一朝，燒造難度極大，最著

名的為康熙豇豆紅八大碼同款的天藍釉文房用品。天藍釉至

雍正、乾隆，早期至臻至美，均有續燒，惟隨著御窯督陶官唐

英於乾隆二十一年離世，天藍釉的燒製技術已經失傳，自始已

不復見天藍釉瓷器的身影。目前僅見一白釉售於香港蘇富比，

2005年5月2日，編號513，足見本品為不可多得的重要藏品。

©北京故宮博物院

清雍正 青花纏枝花卉紋螭耳尊

©Palace Museum, Beijing

A blue and white 'lotus' handled

vase, mark and period of Yongzheng

©台北故宮博物院

清乾隆早期 洋彩黃地西蕃蓮紋方瓶

© National Palace Museum

A yangcai yellow-ground 'lotus'

square vase, mark and period of

early Qianlong

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Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

The vase is sturdily potted in hu form with a bulbous body resting on a short

slightly splayed foot. The sloping shoulders are applied with a pair of archaistic

chilong handles. The exterior of the vessel finely is covered overall in a soft skyblue glaze, thinning to a paler hue at the mouth and foot. The base is inscribed

in underglaze blue with a six-character seal mark. The seal mark continues the

style of Yongzheng reign, suggesting the present work was made in the early

Qianlong period.

The shape of this vase is derived from early bronzes and already appeared

during the Yongzheng reign, but was even more frequently found in the

Qianlong period. Prized by the Qianlong Emperor, the form can be found in blue

and white, famille-rose and even monochrome vessels, including those with

Ru-type and guan-type glazes. This particular shape of the vase is sometimes

called a ‘deer’s head zun’. An example of the same shape but decorated with

eight Daoist immortals in blue and white was sold in Sotheby's Hong Kong, 5

October 2016, Lot 3607.

Clair-de-lune or 'moonlight' glaze is a variation of Guan-type ware produced

during the Qianlong period, along with other types of celadon-glazed wares,

for example, fenqing and tianqing. The imperial kilns strove to produce glaze

colours identical to Northern and Southern Song monochromes, including the

fabled Ru ware. See a related example of monochrome, sold in Sotheby’s Hong

Kong, 2 May 2005, Lot 513.

香港蘇富比，2016年10月5日，編號3607

清乾隆 青花八仙賀壽螭耳尊

An extremely fine and rare large blue and white

'eight immortals' vase, hu, mark and period of

Qianlong

Sotheby's Hong Kong, 5 October 2016, lot 3607

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Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

22

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

24

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

A FINE AND RARE MING-STYLE BLUE AND WHITE ARROW VASE

SEAL MARK AND PERIOD OF QIANLONG

清乾隆

青花纏枝蕃蓮紋貫耳扁瓶

「大清乾隆年製」

H 35cm

HK$ 10,000,000 - 15,000,000

US$ 1,283,000 - 1,924,000

PROVENANCE

1. Sotheby's Hong Kong, 31 October 1995, lot 457 (Fig.1)

2. The Huaihaitang Collection, Hong Kong

EXHIBITED AND LITERATURE

1. Ethereal Elegance: Porcelain Vases of the Imperial Qing The Huaihaitang

Collection, Art Museum, The Chinese University of Hong Kong, Hong Kong,

2007, no. 99 (Fig.2)

2. The 1st World Chinese Collection Exhibition, Capital Museum, China,

Beijing, 2010, no. 126 and 127 (one of which) (Fig.3)

來源

1. 香港蘇富比，1995年10月31日，編號457（圖一）

2. 懷海堂珍藏

展覽及出版

1. 《機暇清賞：懷海堂藏清代御窯瓷缾》，香港中文大學文物舘，香

港，2007年， 編號99（圖二）

2. 《首届世界華人典藏大展》，首都博物館，北京，2010年，編號126

及127（其中一件）（圖三）

3802

26

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

28

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

貫耳壺形源自上古青銅器，古樸典雅，端穩大氣。工藝複雜，風格華美

典雅，為不多見的乾隆青花宮廷陳設器。瓶口微撇，束頸，兩側置一對

貫辟，豐肩，下腹漸下而收，臥足。全器青花裝飾分明，共有五層紋

飾，器口沿、肩部各繪一道如意雲頭紋，脛部裝飾疊瓣紋，頸部和腹部

主題紋飾是纏枝西番蓮紋。貫耳上亦飾蔓草紋，形態小巧與頸部比例相

符，與整體器型協調。器底以青花書「大清乾隆年製」六字三行篆書

款。底款筆道精湛，端莊清晰。

全器釉質溫潤肥厚，畫工繁縟精美，筆觸輕鬆而富有彈性，青花發色鮮

艷明快，秀斂亦不蒙滯，筆法以點青法上色，系仿永宣蘇麻離青結晶斑

之效，故紋飾有深淺之別，濃淡相宜，層次宛然。其布局清雅，層次分

明，雖見枝蔓纏繞而毫無淩亂繁縟之感，筆意輕盈動人，所繪枝蔓舒展

自如，風姿不減，縱觀有清一代御瓷紋飾，纏枝蓮紋之運用最為廣泛，

然有此般靈動者實為罕見。西蕃蓮及蔓草形象蜿蜒轉折，帶有濃厚地歐

洲巴洛克式藝術趣味。青花一色蒼翠欲滴，重重點染刻意追求蒼健深沉

的宣青之美，彰顯著當時社會摹古之風對宣窯的推崇。其與溫潤瑩白的

釉面相映襯，更見本品麗質非凡，華貴之至。

本品造型是為乾隆御瓷之中獨特品類，除青花之外，僅見一對現存台北

故宮鬥彩扁瓶，存世甚罕。依據當今公私出版資料，目前所知對應之例

見中國國家博物館收藏，另一例以人民幣1265萬元售於北京保利，2021

年12月5日，編號5545，曾展於保利藝術研究院、保利藝術博物館，

「弘曆的世界II——郎世寧繪《純惠皇貴妃油畫像》暨18世紀盛清宮廷藝

術的西洋風」，北京，2021年10月15日至11月02日。

圖二

Fig.2

圖一

Fig.1

圖三

Fig.3

30

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

The vase is well modelled with a slightly flattened globular body tapering to an

oval foot, surmounted by a waisted neck flanked by a pair of tubular handles

decorated with floral scrolls. The body is overall painted in vivid tone of cobalt

blue with simulated 'heaping and piling', depicting large stylised lotuses and

smaller attendant blooms borne on an undulating foliate meander, between

pendent ruyi heads and upright lappets. The neck is painted with another

groups of lotuses below a band of ruyi heads. The underside is inscribed with a

six-character seal mark.

Elegantly decorated with early Ming-inspired motifs, the craftsman of this vase

has also imitated the mottled ‘heaping and piling’ effect of the celebrated 15th

century blue and white wares through a deliberate application of darker and

denser spots of cobalt on the design. Further reference to China's celebrated

past is seen in the intricately painted lotus scrolls which were inspired by the

blue and white porcelain of the early 15th century.

The shape of the present vase is particularly rare that it is so far only made in

blue and white design according to the published records. Only two examples

with identical form and design are available in the existing records. One of

them is now in the collection of National Museum of China, Beijing. Another

example was exhibited in Arcadia World of Emperor Qianlong II in the Poly Art

Museum, Beijing, from 15 October 2021 to 2 November 2021 and was further

sold in our saleroom in Beijing, 5 December 2021, lot 5545 for nearly RMB

12,650,000.

©中國國家博物館

清乾隆 青花纏枝蓮紋貫耳扁瓶

©Nation Museum of China

A blue and white 'lotus' arrow vase,

mark and period of Qianlong

北京保利，2021年12月5日，編號5545

清乾隆 青花纏枝蓮紋貫耳扁瓶

Poly Beijing, 5 December 2021, lot 5545

A blue and white 'lotus' arrow vase,

mark and period of Qianlong

©台北故宮博物院

清乾隆 鬥彩描紅雲龍紋貫耳扁壺一對

©National Palace Museum

A pair of doucai and iron red 'dragon' vases,

marks and period of Qianlong

32

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

34

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

A SUPERB AND RARE DOUCAI IRON-RED DECORATED ‘DRAGON’ VASE

SEAL MARK AND PERIOD OF QIANLONG

清乾隆

鬥彩加粉彩礬紅雲蝠「海水雲龍」紋雙螭耳瓶

「大清乾隆年製」

H 28.7cm

HK$ 8,000,000 -12,000,000

US$ 1,0260,000 - 1,539,000

PROVENANCE

1. A Japanese private collection

2. The Huaihaitang Collection, Hong Kong

3. Sotheby's Hong Kong, 5 October 2011, lot 1947

EXHIBITED AND LITERATURE

Ethereal Elegance: Porcelain Vases of the Imperial Qing The Huaihaitang

Collection, Art Museum, The Chinese University of Hong Kong, Hong Kong,

2007, no. 122 (Fig.1)

來源

1. 日本私人收藏

2. 懷海堂珍藏

3. 香港蘇富比，2011年10月5日，編號1947

展覽及出版

《機暇清賞：懷海堂藏清代御窯瓷缾》，香港中文大學文物舘，香港，

2007年， 編號122（圖一）

圖一

Fig.1

3803

3

6

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

©倫敦維多利

亞

與艾伯特博物館

館藏編號

C

.13

5

6

-1910

©Collection of

Victoria and

Albert Museum,

London

Accession number

C

.13

5

6

-1910

本拍品

the present lot

38

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

此瓶口微外侈，長直頸設螭耳一對，圓腹漸收成圈足，器形規整。口沿施金彩及

如意雲頭一周，頸部以礬紅繪五蝠，於彩雲間飛翔，寓意鴻福齊天。肩部凸起一

周，並兩行金彩裝飾，以鬥彩飾三角形仿古蟬紋，上下交錯，排列整齊，色彩艷

麗，裝飾風格獨特。瓶身白地上所繪之雲蝠紋尤為精美，青花勾線內，以紅、

紫、黃、綠彩渲染，間飾以紅彩蝙蝠紋，取吉祥瑞意「五色祥雲」、「鴻福齊

天」。

圓鼓腹以礬紅繪正龍紋，紅龍帶鹿角，長鬚曲卷，口滿利齒，身軀矯健，密披細

鱗，足具五爪，鋒利如刀。飛龍從驚濤駭浪中一躍而出，身姿扭動，水波滄浪之

上凌空盤桓，周邊密佈卷雲，龍身穿遊於彩雲間，宛延自如，顯騰雲駕霧之勢，

氣勢磅礡，盡顯帝王神威。底面施松石綠彩，中心以青花落「大清乾隆年製」六

字三行篆書款。

本品形制恢宏大氣，胎質堅致白皙，釉汁瑩潤如玉。瓶身繪雲龍紋，氣勢凌人，

躍然眼前。以礬紅裝飾龍紋，色澤鮮妍厚潤，色階過渡自然，騰龍矯健有神，氣

勢非凡。祥雲迤邐，浪濤卷卷。本品繪畫頗為講究，需要釉下與釉上紋飾彼此呼

應，畫師需在繪製鬥彩海水時，事先留出釉上龍紋的位置，因此畫師必須做到心

中有畫，筆自心中，留白過少，則龍紋無法繪製，留白過多，龍紋與祥雲之間空

隙過大，則影響美觀。審視本品所繪雲龍，二者連接處過渡自然，分毫不差，恰

到好處，融為一體，使人不得不贊嘆畫師技藝之精湛，彰顯乾隆時期宮廷藝術的

無比嚴謹和精緻。

此品形態和紋飾皆為臻作，立體的螭龍耳與腹身龍紋主題互相呼應，器身龍紋亦

充分顯現出莊嚴大度之皇室氣派。龍素來是中國皇權的象徵，歷代眾多君主中，

乾隆皇帝尤好龍，以之彰顯其威名顯赫的宏圖大業。清宮瓷匠為迎合乾隆皇帝之

奢華品味，額外加繪繁複的瑞雲和蝙蝠圖案，為作品增添吉祥瑞意。

©台北故宮博物院

清乾隆 鬥彩描紅雲龍紋貫耳扁壺一對

©National Palace Museum

A pair of doucai and iron red 'dragon' vases,

marks and period of Qianlong

40

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

乾隆一朝瓷品的畫工及用色水準超群絕倫，後世無可比擬。瓶身經二次

燒製，先燒製青花勾線，二次入窯燒製粉彩及礬紅彩，礬紅色澤鮮妍厚

潤，色階過渡自然，燒製溫度掌握恰到好處，具深淺變化 ，如同西洋

畫般有暗影效果，配合其他以鬥彩繪製而成的圖案及適當的留白，更顯

整體紋飾和諧平衡。至於鬥彩，乃是結合釉下彩與釉上彩的工藝，工匠

先以青花於瓷胎上勾勒圖案輪廓，再罩上透明釉，第一次入窯以高溫燒

製，然後再於輪廓線中填入一種或多種彩料，二次入窯低溫烘燒而成。

本品青花線條幼細，彩料填色精準，細節猶一絲不苟，闡證此瓶舉足輕

重之地位。

相類似作品甚罕，目前僅見一例藏於倫敦維多利亞與艾伯特博物館

(Victoria and Albert Museum)，此例紋飾與本品鏡相對稱，龍身往左蜷

曲，如鏡面折射，原應為一對。另見德累斯頓國家藝術收藏館藏一例清

乾隆鬥彩海水雲蝠九龍紋雙耳瓶，亦見一例售於倫敦蘇富比，2022年5

月11日，編號13，以185萬英鎊成交。風格相近的例子，尚見國立故宮

博物館藏一對清乾隆鬥彩描紅雲龍紋貫耳扁壺，同樣以五色祥雲為地，

主體紋飾以礬紅繪正面龍紋，並同樣以一對製作。亦可參考玫茵堂收

藏清雍正青花礬紅海水龍紋大盤，載於《玫茵堂藏瓷》，卷四，倫敦，

2010年，編號1723。瓶頸巧飾一雙螭耳，參考北京故宮博物院藏清乾隆

鬥彩描金勾蓮紋螭耳瓶，載於《故宮博物院藏文物珍品全集：五彩、鬥

彩》，香港，2000年，圖版255。

©北京故宮博物院

清乾隆 鬥彩描金勾蓮紋螭耳瓶

©Palace Museum, Beijing

A doucai gilt-decorated handled vase,

mark and period of Qianlong

©德累斯頓國家藝術收藏館

清乾隆 鬥彩海水雲蝠九龍紋雙耳瓶

©Staatliche Kunstsammlungen Dresden

A doucai 'dragon' handled vase, mark

and period of Qianlong

42

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

©玫茵堂

清雍正 青花礬紅海水龍紋大盤

©Meiyintang

An underglaze blue and iron-red 'dragon' dish,

mark and period of Yongzheng

This vase is potted with a bulbous body elaborately painted with

two dragons against swirling ruyi-head cloud scrolls enamelled

with underglaze blue, green, yellow, aubergine and iron-red, rising

from a slightly spreading foot encircled with crashing waves to a

tall flaring neck decorated with five bats one both sides. The neck

is further flanked by a pair of chi dragon handles which is painted

in iron-red, yellow, green and gilt and is outlined with underglaze

blue. The shoulder is decorated with a band of triangular pattern

and encircled in gilt imitating the cicada motif on the bronze

wares during the Shang and Zhou dynasties. The interior and

base are evenly covered with a turquoise enamel and the latter is

inscribed with a six-character reign mark in underglaze blue.

The present vase bears the quintessential imperial symbol of

two five-clawed dragons, each with a pair of horns extending

backwards. Brought alive by the confident brushstrokes, the

proud dragon is splendidly highlighted against the spiraling

clouds, precisely recalling the ethereal dragon as the supreme

symbol of imperial power.

The combination of iron-red, underglaze blue and enamels in

different colours on porcelains was rarely used, possibly due to

the difficulty of the firing process. The blue decoration, seen on

the scrolling clouds and the outlines of the patterns on this vase,

was drawn in underglaze cobalt blue first and then fired to a

high temperature. Following this, the potter applied the leaping

dragons in iron-red and filled with washes of multi-coloured

overglaze enamels, and re-fired the vessel for the second time

at a lower temperature. The second firing unavoidably increased

the cost and risk of failure, hence its rarity.

Since the Chenghua period in the Ming Dynasty, doucai

decoration gained popularity in the production of prestigious

porcelains in small size, including the highly esteemed chicken

cups. Later in the Qing dynasty, the doucai colour scheme

continued to be appreciated for its elegance, but only during

the Qianlong period vessels of the massive size and complex

decoration like the present vase were created.

Compare a vase in related designs also with archaistic dragon

handles, from the Qing Court Collection and illustrated in

The Complete Collection of Treasures of the Palace Museum.

Porcelains in Polychrome and Contrasting Colours, Hong Kong,

2000, pl. 255. See another doucai vase with chi dragon handles

decorated with nine dragons among rainbow clouds, sold in

Sotheby's London, 11 May 2022, Lot 13

44

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

46

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

48

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍 清乾隆 嫩綠地粉彩纏枝蓮紋 「如意萬壽」綬帶耳瓶一對 「大清乾隆年製」

PROVENANCE

1. Collection of Lord Loch of Drylaw (1827-1900)

2. Collection of Alfred Morrison (1821-1897), Fonthill House, Tisbury, Wiltshire, no.

432 (label)

3. The Rt. Hon The Lord Margadale of Islay, T.D.

4. Christie's London, 18 October 1971, lot 88 (Fig.1)

5. Collection of J. T. Tai, New York, no. A536 (label)

6. Sotheby’s Hong Kong, 21 May 1985, lot 34 (Fig.2)

7. Christie's Hong Kong, 20 March 1990, lot 679 (Fig.3)

8. Christie's Hong Kong, 3-4 November 1996, lot 813 (Fig. 4)

9. The Huaihaitang Collection, Hong Kong

10. Sotheby's Hong Kong, 5 October 2011, lot 1926

EXHIBITED AND LITERATURE

Ethereal Elegance: Porcelain Vases of the Imperial Qing The Huaihaitang Collection,

Art Museum, The Chinese University of Hong Kong, Hong Kong, 2007, no. 124 (Fig.5)

H 36.5cm

HK$ 20,000,000 - 26,000,000

US$ 2,565,000 - 3,334,000

來源

1. Loch 勳爵 （1827-1900）收藏

2. 英國威爾特郡放山居 Alfred Morrison（1821-1897）收藏，編號432（標貼）

3. Margadale 勳爵收藏

4. 倫敦佳士得，1971年10月18日，編號88（圖一）

5. 戴潤齋收藏，紐約，編號A536（標貼）

6. 香港蘇富比，1985年5月21日，編號34（圖二）

7. 香港佳士得，1990年3月20日，編號679（圖三）

8. 香港佳士得，1996年11月3-4日，編號813（圖四）

9. 懷海堂珍藏

10. 香港蘇富比，2011年10月5日，編號1926

展覽及出版

《機暇清賞：懷海堂藏清代御窯瓷缾》，香港中文大學文物舘，香港，2007

年， 編號124（圖五）

AN EXTREMELY IMPORTANT PAIR OF LIME-GREEN-GROUND

FAMILLE-ROSE AND GILT-DECORATED 'LOTUS' HANDLED VASES

SEAL MARKS AND PERIOD OF QIANLONG

〇3804

50

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

圖一

Fig.1

圖三

Fig.3

本品為乾隆官窯之中堪稱別緻的彩繪佳器，其形尊貴典

雅，裝飾雍容華麗，頸部雙如意耳精巧細緻，金彩如

意底下有一松石綠彩「卍」字吊飾，所繫的紅色綬帶

生動飄逸，寓意「如意萬壽」，為乾隆御窯瓷器的一大

特色。整器仿製掐絲琺瑯，以嫩綠彩作地，各處圖案以

粉彩、金彩、礬紅填飾而成。其口微外侈，口沿裝飾如

意雲頭紋，間飾圓形光點裝飾，頸部飾蕉葉紋，大小相

間，蕉葉輪廓像如意形般起伏，設計別出心裁。

肩腹相接之處微拱，於五色彩雲間以礬紅繪蝙蝠，寓意

「鴻福齊天」。圓鼓腹頂部施如意雲頭紋，腹中繪折枝

寶相花和各式洋花，花型碩大飽滿，藍彩花卉以瓔珞連

接紅蝠，綠葉翻卷自然，描繪細膩逼真，下腹近足處飾

一圈變形蓮瓣紋。足牆外侈，繪雲蝠紋一圈，足沿則以

礬紅作地，並以金彩繪卷草紋。底面施松石綠彩，中心

以礬紅落「大清乾隆年製」六字三行篆書款。整體圖案

佈局疏朗，比飾以纏枝花卉紋的器物更為清新脫俗，施

彩清薄妍美，設色淡雅雋永，繪工精細完美，為乾隆彩

瓷佳作。

乾隆時期瓷品質量達至頂峰，其製作不惜工本，色彩繽

紛，圖案豐富，令人嘆為觀止，本品亦同樣體現這些特

色，例如雙耳的裝飾細節匠心獨具，用色講究，刻意仿

金銅、仿綬帶絹布等材質，工藝繁縟，極具創意，貼塑

雙耳的手法雖非乾隆一朝所創，但能夠製作出如此精巧

的耳飾則是乾隆時期之創舉。參考一近例，同出自放山

居舊藏，清乾隆御製寶石藍地洋彩蓮花如意萬代尊，售

於北京保利2011年6月5日，編號7231。

圖二

Fig.2

圖四

Fig.4