3311

清雍正? 粉青釉淺浮雕雲(yún)龍紋折沿大盤

? ? ? 「大清雍正年製」

A LARGE CELADON-GLAZED 'DRAGON' CHARGER

MARK AND PERIOD OF YONGZHENG

來源

1. 紐約龐耐女士舊藏，1956年

2. 紐約蘇富比，1998年3月23-24日，編號657

3. Eskenazi Ltd，倫敦

4. 十面靈璧山居舊藏，購自Eskenazi，編號EK12

5. 香港保利，2019年4月2日，編號3515

HK$ 2,800,000 -3,500,000

US$ 357,000 - 446,000

PROVENANCE

1. Alice Boney, New York, 1956

2. Sotheby’s New York, 23-24 March 1998, lot 657

3. Eskenazi Ltd, London

4. The Ten-views Lingbi Rock Retreat Collection, no. EK12,

Purchased from Eskenazi

5. Poly Auction Hong Kong, 2 April 2019, lot 3515

D 46.8cm

The dish is potted with short tapering foot rising to the rounded

sides and everted rim. The exterior is moulded with overlapping

lotus petals and the interior moulded in relief with a dragon flying

amongst cloud and flame scrolls. The dish is covered in an even

pale celadon glaze, with the base marked with a six-character

Yongzheng seal mark.

款識

Mark

愛麗絲龐耐及安思遠、Masahiro

Alice Boney, Robert H. Ellsworth and Masahiro

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Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

本品造型規(guī)整，氣勢恢宏。外壁飾雙層蓮瓣紋，圈足露胎處

呈鐵褐色。最為特別之處在於盤心浮雕的螭龍騰雲(yún)圖，以淺

剔刻勾勒出螭龍和祥雲(yún)之外形，極具三維效果而無誇張之

感，螭龍神態(tài)生動，遒勁威武，一展叱詫風雲(yún)之態(tài)。通體施

以粉青釉，色調(diào)勻淨明潔，釉面瑩潤。

單色釉因?qū)ΩG火溫度控制要求嚴格，燒製難度高，而雍正一

朝所燒制單色釉可謂最佳。此件大盤釉色、紋飾及尺寸均受

宋代龍泉青瓷影響，反應雍正皇帝尊古、簡約、含蓄的審

美眼光。有關龍泉青瓷對景德鎮(zhèn)御窯廠之影響的討論，見J.

Ayers，《鮑爾收藏中國瓷器》，卷三，日內(nèi)瓦，1972年，編

號A360。

中國國家博物館藏有尺寸及紋飾類似一例，直徑48.6cm，

參見《中國國家博物館館藏文物研究叢書：瓷器卷（清

代）》，上海，2007年，編號63。另見Avery Brundage舊

藏一例，直徑49.8cm，現(xiàn)藏於美國舊金山亞洲藝術博物館

（博物館編號B60P1490）。美國華盛頓費利爾美術館藏一

件粉青大盤亦資參考，其尺寸與拍品相近（直徑47cm），見

M. Beurdeley及G. Raindre著，《Qing Porcelain》，倫敦，

1987年，頁167，圖231。

Similar examples to this dish include, a larger example from the

H. M. Knight and Jingguantang Collections, sold at Christie's Hong

Kong, 3 November 1996, lot 569; an example from the T. Y. Chao

Family Foundation, was exhibited at the Hong Kong Museum of

Art, Ming and Ch'ing Porcelain, 1978, and is illustrated in the

catalogue, no. 46; another from the Freer Gallery of Art, Washington

D. C., is illustrated by M. Beurdeley and G. Raindre, Qing Porcelain,

London, 1987, p. 167, fig. 231; one sold at Christie's Hong Kong,

26 April 1999, lot 672; and another at Christie's Hong Kong, 1

November 2004, lot 1140.

An element of archaistic interest is evident in the present dish in

that the glaze resembles pale celadon Longquan glazes of the 12th

and 13th Centuries. It is known that reproduction of Longquan

glazes was indeed on Tang Ying's 'List of Porcelains Supplied to the

Court' of 1729 in the Qing record.

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3312

明永樂? 翠青釉蓋罐

AN EXCEPTIONALLY RARE ‘WINTERGREEN’-GLAZED JAR AND COVER

YONGLE PERIOD, 1403-1424

罐直口，短頸，溜肩，漸下而豐，鼓腹，下收，淺圈足，直

口蓋合於罐口。器型圓潤規(guī)整，素雅端莊。本品蓋罐，瓷胎

潔白致密，罐身和罐蓋均滿施翠青釉，釉色勻淨清麗，淡雅

沁心，觀之令人心曠神怡。

翠青釉創(chuàng)燒於永樂時期，色澤青翠亮麗，釉面氣泡密集，具

有玻璃質(zhì)感。翠青釉瓷傳世品極罕，如此罐一般品質(zhì)者鳳毛

麟角，寥若星辰。已知相似器僅見五例，其中連蓋者僅兩例

爾，藏於兩岸故宮。

來源

1. 重要亞洲私人收藏

2. 香港蘇富比，2009年10月8日，編號1624

3. 香港蘇富比，2020年10月9日，編號19

HK$ 15,000,000 -20,000,000

US$ 1,911,000 - 2,548,000

PROVENANCE

1. An important Asian private collection

2. Sotheby's Hong Kong, 8 October 2009, lot 1624

3. Sotheby's Hong Kong, 9 October 2020, lot 19

H 8cm

This jar is finely potted with tapered sides extending to softly

rounded shoulders and rising to a short straight neck, veiled in an

exquisite silky jadeite-green glaze thinning at the rim and pooling

around the shoulders in a sea-green tone. The glaze is suffused

with a fine network of craquelure resembling silver threads across

the surface. The low flat cover is similarly glazed.

〇

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明永樂時期，御窯大膽創(chuàng)新，能工巧匠苦心鑽研，不斷探

索，新穎器型、各式釉色疊出不窮，燒制工藝精湛無兩，成

熟細緻，其中不乏被後世奉為經(jīng)典之品類。

御窯廠精於嘗試，探索不同種類之顏色釉，佳器琳瑯，永樂

朝甜白、鮮紅、祭藍釉等，均極負盛名，廣受推崇。明朝陶

匠借鑒經(jīng)典，尤尚宋瓷之青釉，多加試驗，燒制出各品類之

青釉瓷器，雖統(tǒng)稱青色，卻實存微妙差異，須詳加區(qū)分，嚴

謹燒造，細加品鑒。

永樂朝之青瓷者，其一為翠青，其二為冬青，其三為影青。

翠青釉色澤清亮明麗，光潤欲滴，頗具靈透飄渺之感；冬青

釉內(nèi)斂素雅，青郁蒼翠，襲承龍泉之韻；影青釉輕盈剔透，

美如青玉，仿效宋朝青白瓷燒造，多刻暗花紋飾。

故宮博物院藏有一器型相似之翠青釉罐，為清宮舊藏，然而

罐蓋缺失；另藏一連蓋翠青釉罐，罐肩附三個環(huán)形小系，

收錄於《明代洪武永樂御窯瓷器》，北京，2015年，圖版

122。臺北故宮亦藏有一例三系連蓋罐，展出於《適於心：

明代永樂皇帝的瓷器》，臺北，2017年，頁82-83。美國波

士頓美術館藏有一例無蓋者，亦附三系，錄於吳同，《Earth

Transformed: Chinese Ceramics in the Museum of Fine Arts,

Boston》，波士頓，1998年，頁112-3，並作為書封。紐約

佳士得於2010年9月16至17日售出一無蓋例，罐原有三系經(jīng)

截，編號1357。

With its superbly designed form and the softly rounded cover, the

present jar was probably designed to hold chess pieces. The glaze

is particularly attractive for its luminous, glassy, blue-green tinted

surface, presenting the exquisite quality that only available in the

Yongle period (1403-1424).

As evidenced by the excavations of the kilns' waste heaps, the

imperial porcelain workshops in Jingdezhen, Jiangxi province,

increased both the quantity and the quality of their production

incredibly quickly. Technological advancement was so significant

as new glaze colors, forms, and designs were developed. At

the imperial kilns during this time, a wide range of glaze colors

were tested. One of the rarest monochrome pieces successfully

produced at that time is the cuiqing, ‘jadeite green’, porcelain.

So far only five other pieces glazed in such color have been found

in the existing records. The pair to this jar, which is identical in

shape but lacks a cover, is in the collection of the Palace Museum

in Beijing.

The Qing court collection preserves two closely related jars with this

type of glaze. One is at the Palace Museum in Beijing, illustrated

in Mingdai Hongwu Yongle yuyao ciqi [Imperial Porcelains from the

Reigns of Hongwu and Yongle in the Ming Dynasty], Beijing, 2015,

pl. 122 and further in The Complete Collection of Treasures of the

Palace Museum: Monochrome Porcelain, Hong Kong, 1999, pl.

123. The other, now in the National Palace Museum, Taiwan, was

displayed in the exhibition catalogue, Shi yu xin: Mingdai Yongle

huangdi de ciqi [Pleasingly Pure and Lustrous: Porcelains from the

Yongle Reign (1403-1424) of the Ming Dynasty], Taipei, 2017, pp.

82-3.

明永樂 翠青釉三繫蓋罐

?故宮博物院藏

A wintergreen-glazed jar and cover with

three loop handles, Yongle period

?The Palace Museum

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Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

翠青釉乃永樂朝所獨有，珍罕至極。燒造翠青釉，所選料

彩、窯火溫度，均須嚴格控制，故永樂朝後數(shù)百年，未有燒

制翠青釉，直至雍正時期，仿照前朝模本復燒青釉器，此罐

或為原型之一。

此罐造型雅致風趣，釉色靈潤喜人，原應用於貯盛棋子，存

世極少，連蓋者則更為難得。其器型或借鑒前朝圍棋蓋罐之

形，加以改良。此罐原型之品類，可參見樂從堂珍藏宋代耀

州窯蓋罐，另有一耀州窯遺址出土之蓋罐，以及一元代青花

罐，收錄於《景德鎮(zhèn)出土元明官窯瓷器》展覽，炎黃藝術

館，北京，1999年，編號1。

同器型蓋罐亦不可多得。相似例見於甜白釉，飾以暗花，且

已知例均無蓋。上海博物館藏有一例甜白釉無蓋罐，收錄於

陸明華，《上海博物館藏品研究大系》，上海，2007年，圖

版4-12；另見一胡惠春家族舊藏， 1985年6月4日售於紐約蘇

富比，編號1；臺北故宮博物院亦藏一例，參見《明代初年瓷

器特展目錄》，臺北，1982年，編號55，配有一蓋。與翠青

釉蓋罐相似，甜白釉暗花罐亦分帶系及無系兩類；一無系蓋

罐，參見Bo Gyllensv?rd著《Chinese Ceramics in the Carl

Kempe Collection》，斯德哥爾摩，1964年，圖版664。

The Museum of Fine Arts in Boston now houses one jar that still

has the three lugs, as shown in in Wu Tung, Earth Transformed:

Chinese Ceramics in the Museum of Fine Arts, Boston, 1998, pp.

112-3; the other with the lugs ground down was sold at Christie's

New York, 16 September, 2010, lot 1357.

The elegant shape of the current jar is also similarly seen on

monochrome in 'sweet-white' glazed with incised decoration.

Compare one jar in the Shanghai Museum, published in Lu

Minghua, Shanghai Bowuguan zangpin yanjiu daxi:Mingdai

guanyao ciqi [Studies of the Shanghai Museum Collections: A

Series of Monographs. Ming imperial porcelain], Shanghai, 2007,

pl. 4-12; another, formerly from the J.M. Hu Family Collection,

was sold in Sotheby’s Hong Kong, 4 June 1985, lot 1; and a third

one in the National Palace Museum, Taiwan, was displayed in

the exhibition Mingdai chunian ciqi tezhan mulu/Catalogue of a

Special Exhibition of Early Ming Period Porcelain, Taipei, 1982, cat.

no. 55.

明永樂 翠青釉三繫罐

John Gardner Coolidge舊藏

?波士頓美術館藏

A wintergreen-glazed jar with three loop

handles, Yongle period

Formerly in the collection of John Gardner

Coolidge

?Museum of Fine Arts, Boston

明永樂 甜白釉暗花罐

?上海博物館藏

A sweet-white-glazed jar with incised

decoration, Yongle period

?Shanghai Museum

3313

清康熙? 釉裡紅螭龍紋長頸瓶

? ? ? ? 「大清康熙年製」

A COPPER-RED DECORATED 'CHI-DRAGON' MALLET VASE

MARK AND PERIOD OF KANGXI

PROVENANCE

1. Richard Bennett Collection, Thornby Hall, Northampton (b.

1849)

2. J. Insley Blair (1870-1939)

3. Christie's Hong Kong, 28 November 2012, lot 2116

LITERATURE

The J. Insley Blair Collection of Chinese Porcelain, Tuxedo Park,

New York, 1925, pl. 1, no. 104

H 20.7cm

The vase is finely potted with an ovoid body and a rounded

shoulder rising to a tall cylindrical neck encircled with a stylised

sinuous dragon in copper red. The eyes of the dragon with three

sharp claws were highlighted in underglaze-blue. The dragon's

body is covered with dark red speckles. The base is inscribed with a

six-character reign mark in regular script.

本瓶小口，細長頸，豐肩，腹下斂收，圈足。通體施白釉，

釉面潔淨潤澤，在頸至肩部飾釉裡紅螭龍，曲體上仰，龍身

纏繞頸肩處，龍眼以青花點睛。圈足內(nèi)青花書「大清康熙年

製」楷書款。此瓶器形古樸端莊，胎體堅致，紋飾簡潔但充

滿動力，具康熙時代的特色。

來源

1. 十九世紀著名英國收藏家Richard Bennett（生於1849年）

舊藏

2. 美國貝萊爾J.Insley Blair（1870-1939）舊藏

3. 香港佳士得，2012年11月28日，編號2116

出版

《The J. Insley Blair Collection of Chinese Porcelain》，

1925年，紐約，圖版I，編號104

HK$ 1,200,000 - 1,800,000

US$ 153,000 - 230,000

款識 貝萊爾 J.Insley Blair (1870-1939)

Mark

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頤華：宮廷藝術珍品選粹

出版於《The J. Insley Blair Collection of Chinese Porcelain》，

1925年，紐約，圖版I，編號103

Published in The J. Insley Blair Collection of Chinese

Porcelain, Tuxedo Park, New York, 1925, pl. 1, no. 103

釉裡紅始於元代，清康熙朝已掌握了銅紅的呈色技術，所燒

製之器無論大小均造型端莊古樸，釉色濃淡分明，紋飾描繪

精細。本品與豇豆紅釉堆塑綠彩盤龍尊器型相類，應屬同一

時期不同釉料技法燒造。有一例相類者為紐約蘇富比2018秋

季紐約亞洲藝術周，編號104，清康熙白釉貼釉裡紅螭龍紋長

頸瓶 (一對)錄於《Catalogue of the Collection of Old Chinese

Porcelains formed by George R. Davies, purchased by

Gorer and exhibited at Dreicer & Co., NY》，紐約，1913

年，編號124，《The Whitridge Collection of Chinese Pottery

and Porcelain》，巴爾的摩藝術博物館，巴爾的摩，1930

年，編號287。

此器源自十九世紀著名美國收藏家Richard Bennett（生於

1849年），後由美國貝萊爾收藏，並著錄於1925年紐約出

版《The J. Insley Blair Collection of Chinese Porcelain》

（貝萊爾藏中國瓷器），圖版I，編號104。貝萊爾屬於最早

一批鑑藏中國藝術的美國收藏家，同輩者包括沃爾特（W.T.

Walter）、洛克斐勒（William Rockefeller）及摩根（J.P.

Morgan）等重要藏家。

2 3 4 5

This vase appears to belong to a small group of Kangxi-marked

copper-red dragon wares. A high-shouldered vase with a similar

vigorous dragon and comparable size (H 22.2 cm) in the Percival

David Foundation of Chinese Art is illustrated by R. Scott ed.,

Chinese Copper Red Wares, London, 1992, pl. 16. Compare also

two examples of similar form and size but with an underglaze-blue

and copper-red design of a dragon above waves such as the vase

sold at Christie's London, 8 November 2011, lot 383.

Vases in related form were also produced with a similarly rendered

chilong moulded to the shoulder in copper red; see a pair illustrated

in Catalogue of the Collection of Old Chinese Porcelains formed

by George R. Davies, Purchased by Gorer and Exhibited at Dreicer

& Co., NY, New York, 1913, cat. no. 124; further published in The

Whitridge Collection of Chinese Pottery and Porcelain, Baltimore

Museum of Art, Baltimore, 1930, cat. no. 287, and eventually sold

in Sotheby’s New York, 12 September 2018, lot 104.

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Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

另外兩面 two other views

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Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

3314

清乾隆? 青花纏枝蓮托梵文高足杯（五隻）

? ? ? 「大清乾隆年製」

A SET OF FIVE BLUE AND WHITE STEM CUPS WITH 'LANCA' CHARACTERS

MARKS AND PERIOD OF QIANLONG

本組高足杯原為日本私人收藏，桐木盒中一組五件，撇口，

深斜腹，高圈足，足內(nèi)篆書「大清乾隆年製」六字青花款。

外壁通體以青花為飾，繪纏枝蓮紋托梵文紋飾，具有濃郁的

宗教色彩，為清乾隆朝瓷器中常見的裝飾紋樣。足部又繪如

意雲(yún)頭紋、纓絡紋等，極盡妍美。整器造型秀美，胎體潔

白，圖案線條自然流暢，青花色澤素麗，釉面光潤致密。器

型為清乾隆朝首創(chuàng)，脫胎於西藏地區(qū)寺廟供器酥油燈。該燈

是佛龕前常年供奉著的長明燈，用酥油作燃料。乾隆帝一生

十分虔誠信奉密宗，當時宮中許多器物都帶有濃重的藏傳佛

教的風格，此組高足杯即是其中之一，是乾隆時期青花之代

表作品。

北京及臺北故宮博物院均藏有近例，分別錄於《故宮博物

院藏古陶瓷資料選萃．卷二》，紫禁城出版社，2005年，

頁213，圖189，及《故宮藏瓷．清青花瓷》，卷2，香港，

1968年，圖版30。

來源

日本私人收藏

HK$ 950,000 - 1,200,000

US$ 122,000 - 153,000

款識

Marks

原木盒

Original wood box

PROVENANCE

A Japanese private collection

H 10.8cm

The current set of stemcups are vividly painted around the

steep flaring sides with eight lan?a characters enclosed within

undulating lotus stems issuing stylised blossoms and acanthus

leaves. The undersides are decorated with a frieze of tightly-bound

lotus lappets, all raised on a tall spreading stem decorated with

bands of half-flowerheads and floral sprays on a raised rib above

pendent interlinked tassels issuing from ruyi-heads. Each interior is

painted with a stylised peony medallion within a double-line border

repeated at the rim. Each interior of the foot is inscribed with the

six-character seal mark.

Compare with a similar blue and white stem cup, Qianlong seal

mark and period, of similar size, illustrated in Catalogue of Ch'ing

Dynasty Porcelain in the National Palace Museum, Tokyo, 1981,

pl.13.

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3315

清雍正? 青花纏枝蓮紋鋪首耳長頸蓮口瓶

? ? ? 「大清雍正年製」

AN EXCEEDINGLY FINE AND RARE BLUE AND WHITE LOTUS-MOUTH BOTTLE VASE

MARK AND PERIOD OF YONGZHENG

瓶蓮口，細長頸，溜肩，兩側附鋪首，腹部垂鼓下收，下承

短圈足，器身繪青花紋飾，色澤濃郁而富有層次?？谘叵路?/p>

貼塑一周仰蓮瓣紋，蓮瓣修長，含苞待放。下方為變形蓮瓣

紋和海水紋，中間以一道白色突起弦紋分隔。肩腹部繪纏枝

蓮紋，輔蓮瓣紋，肩部兩側貼印獸面銜環(huán)鋪首各一，足牆外

飾卷草紋。圈足露胎，底部施釉，中心青花雙圈內(nèi)書「大清

雍正年制」六字雙行楷書款。

此瓶器型優(yōu)雅，線條流暢，工藝精湛，畫藝斐然，巧奪天

工，珍罕至極。相似例已知僅有一件傳世，經(jīng)由香港蘇富比

三度售出，分別為1990年5月15日，編號135，1997年4月29

日，編號408，以及2011年4月8日，編號3117，並錄於《香

港蘇富比二十週年》，香港，1993年，圖版171，以及《香港

蘇富比三十週年》，香港，2003年，圖版265。

來源

1. 查爾斯．安德森．達納 (1819-1897年) 收藏

2. 紐約 The American Art Association，1898年2月24-26日，

編號252

3. Ward Thoron (1867-1937年)，此後家族傳承

4. 重要私人收藏

HK$ 15,000,000 - 25,000,000

US$ 1,911,000 - 3,185,000

PROVENANCE

1. Collection of Charles Anderson Dana (1819-1897)

2. The American Art Association, New York, 24-26 February 1898,

lot 252

3. Collection of Ward Thoron (1867-1937), thence by descent

within the family

4. An important private collection

H 34.4cm

The vase is nicely potted with the tall slender neck encircled by a

raised fillet below a lotus pod-form rim with moulded petals. The

shoulder is applied with two lion masks suspending mock rings

and surrounded by a superbly painted composite floral meander,

between a band of waves and a border of upright lappets. The base

is inscribed with a six-character reign mark within a double circle.

款識

Mark

查爾斯．安德森．達納

Charles Anderson Dana (1819-1897)

〇

62

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

此瓶亭亭玉立，盡態(tài)極妍，婀娜之姿令人聯(lián)想到前朝雅器之

風韻，是為仿古佳器。歷朝更迭，然君主慕古，故命御窯燒

造此類仿古之器，審美跨越古今，承襲經(jīng)典。此瓶口沿化蓮

苞之形，附獸面鋪首，二者均借鑒自高古銅壺，可參考一例

蒜頭口銅壺，收錄於蘇芳淑，《Eastern Zhou Ritual Bronzes

from the Arthur M. Sackler Collections》，紐約， 1995年，

編號52。《西清古鑑》中亦有收錄器型相似之銅器，可資比

對。

青花蓮口瓶在明代中期亦有燒造，耿寶昌著《明清瓷器鑑

定》中便收錄了一例明成化青花纏枝花蓮瓣口瓶，彩圖版

33，線描圖，頁89，圖151。此次拍品較之成化範例，造型頎

長挺拔，青花發(fā)色濃艷。

蓮在中國文化中擁有重要意義。在佛教中，蓮與佛之誕生息

息相關，象徵佛與佛法。宋周敦頤愛蓮成癡，所作《愛蓮

說》為後世奉為經(jīng)典，吟誦數(shù)百年，蓮因其「出淤泥而不

染」的品質(zhì)，成為高潔品德和清廉作風的代表。在民間，童

子手執(zhí)蓮花則有「連生貴子」之意。蓮紋美觀且寄託多種美

好寓意，因此常見於瓷器紋飾和器型上。

The current object is extremely rare. Only one companion vase

appears to have been documented and was sold three times in

Sotheby’s Hong Kong, 15 May 1990, lot 135, again on 29 April

1997, lot 408, and a third time, 8 April 2011, lot 3117, illustrated

in Sotheby's Hong Kong, Twenty Years, 1973-1993, Hong Kong,

1993, pl. 171, as well as Sotheby's. Thirty Years in Hong Kong,

Hong Kong, 2003, pl. 265.

This attractive vase, which has a bulbed mouth on top and two

animal mask handles on either side, resembles early bronze

wine vessels, hu, in shape. A line drawing of a related bronze

vase, attributed to the Han dynasty, is published in Xiqing gujian

[Catalogue of Chinese ritual bronzes in the collection of the

Qianlong Emperor], vol. 22, p. 16. However, it appears that mid15th century prototypes served as inspiration for the mouth that

was designed to resemble a blossoming lotus bud. See one Ming

dynasty example illustrated in Geng Baochang, Ming Qing ciqi

jianding [Appraisal of Ming and Qing porcelain], Hong Kong, 1993,

pl. 33, line drawing, p. 89, fig. 151(3), further sold in Sotheby’s

New York, 20 March 2018, lot 113.

清雍正 青花纏枝花卉紋蓮瓣口雙鋪獸首

長頸瓶

香港蘇富比，2011年4月8日，編號3117

成交價 HKD 23,060,000

A blue and white lotus-mouth bottle

vase, Yongzheng period

Sold at Sotheby’s Hong Kong, 8 April

2011, lot 3117 at HKD 23,060,000

清雍正 茶葉末釉鋪首耳長頸蓮口瓶

?英國倫敦維多利亞與艾伯特博物館藏

A teadust-glazed lotus-mouth bottle vase,

Yongzheng period

?Victoria and Albert Museum, London, UK

清雍正 爐鈞釉鋪首耳長頸蓮口瓶

?英國倫敦維多利亞與艾伯特博物館藏

A robin's-egg-glazed lotus-mouth bottle

vase, Yongzheng period

?Victoria and Albert Museum, London, UK

64

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

與此瓶相類者，僅止前文提到之一例，但雍正朝之單色釉蓮

口瓶，可供對比。故宮博物院藏一粉青釉浮雕仿古龍鳳蓮口

瓶，參見《故宮珍藏康雍乾瓷器圖錄》，香港，1989年，

頁270，圖版99，另有一爐鈞釉瓶，頁291，圖版120。東

京國立博物館曾展出一粉青釉例，參見《特別展：中國の陶

磁》，東京，1994年，編號331。鮑氏收藏藏有一粉青對瓶

及一茶葉末釉例，見約翰．艾爾斯著《The Baur Collection

Geneva, Chinese Ceramics》，卷III，日內(nèi)瓦，1972年，編

號A362-3及A391。另有一相關窰變釉瓶，藏於倫敦維多利亞

與艾伯特博物館，見約翰．艾爾斯著《Far Eastern Ceramics

in the Victoria and Albert Museum》，倫敦，1980年，彩圖

版65。

此瓶為查爾斯．安德森．達納先生舊藏。達納出生於美

國新罕布什爾州欣斯代爾，曾任新聞記者、作家和政府

高級官員。1847年，達納任《紐約論壇報，（New York

Tribune）》主編， 1862年離開論壇報，在那之後擔任了三年

戰(zhàn)爭部助理部長。1868年，達納出任《紐約太陽報》的編輯

及合夥人。

達納是一位熱忱的中國瓷器藏家，尤其熱愛康熙青花瓷、宋

代早期和明代瓷器，對日本和韓國藝術品亦有涉獵。1898年2

月，其藏品於紐約拍賣。

Porcelains like the current piece subtly assert the legitimacy of their

Manchurian patron's rule over an empire that was primarily made

up of Han Chinese, while also demonstrating the rulers' respect for

the past and emphasising historical continuity.

Charles Anderson Dana was born in Hinsdale, New Hampshire.

He was a senior government official, author, and journalist

from America. In 1847, he worked as the managing editor of

Horace Greeley's New York Tribune, but resigned in 1862 due to

disagreements with the publication. From 1863 to 1865, he held

the position of Assistant Secretary of War. He then joined the New

York Sun as editor and co-owner in 1868.

Dana was a voracious collector of early Song and Ming pieces as

well as blue and white porcelain from the Kangxi period of Qing

dynasty.

<漢溫壺二>，《西清古鑑》，卷22，頁16

A bronze vessel, hu, Xiqing Gujian [Catalogue of Chinese Ritual

Bronzes in the Collection of the Qianlong Emperor], vol. 22, p. 16

66

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

68

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

3316

明正德? 黃地青花梔子花紋盤

? ? ? 「大明正德年製」

AN EXTREMELY FINE AND RARE YELLOW GROUND AND UNDERGLAZED BLUE 'FLORAL' DISH

MARK AND PERIOD OF ZHENGDE

黃釉青花梔子花果紋盤，為明代宮廷獨具特色的品類，於宣

德時期所創(chuàng)燒，流行至正德一朝而止。其紋飾構圖前後相

近，惟見青花與黃釉色澤區(qū)別明顯，繪畫技法亦各具特點。

此件即為正德官窯佳作。

其造型周正規(guī)整，胎質(zhì)堅致厚重，盤心繪折枝梔子花，內(nèi)壁

繪葡萄、荷花、石榴、柿子四式祥花瑞果，外壁繪纏枝茶

花。畫法古拙典雅而不失艷麗，青花渲染細膩，黃釉豐腴厚

潤，上下二色映襯，更見素雅高貴。底心施釉，青花雙圈內(nèi)

書「大明正德年製」六字雙行楷書款。

來源

1. 梁義收藏

2. 1982年購自梁義

3. 天民樓舊藏

4. 香港蘇富比，2019年4月2日，編號12

展覽

《天民樓藏瓷》，香港藝術館，香港，1987年

出版

1.《天民樓藏瓷》，香港藝術館，香港，1987年，編號67

2.《春華秋榮：世茂海上絲綢之路博物館文物集萃 》，福建

省世茂海上絲綢之路博物館，上海，2020年，頁98-99

HK$ 4,200,000 - 4,800,000

US$ 536,000 - 612,000

PROVENANCE

1. Collection of Leung Yee

2. Acquired from Leung Yee, 1982

3. Collection of Tianminlou

4. Sotheby's Hong Kong, 2 April 2019, lot 12

EXHIBITION

Chinese Porcelain in the S.C. Ko Tianminlou Collection, Hong Kong

Museum of Art, Hong Kong, 1987

LITERATURE

1. Chinese Porcelain in the S.C. Ko Tianminlou Collection, Hong

Kong Museum of Art, Hong Kong, 1987, cat. no. 67

2. Spring Vibrancy and Spring Brilliancy: Selected Art Works in the

Shimao Maritime Silk Road Museum, Shimao Maritime Silk Road

Museum, Shanghai, 2020, pp.98-99

D 19.8cm

This dish is potted with shallow rounded sides supported on

a slightly tapered foot and is freely painted on the interior with

a central medallion enclosing a leafy branch bearing two fivepetalled gardenia blooms flanking a bud, encircled on the cavetto

by fruiting branches of pomegranates, grapes and peaches, as well

as a beribboned lotus bouquet, all within double-line borders. The

exterior is painted with a continuous floral scroll of six blooming

roses borne on a foliate stem between two double-line borders at

the rim and foot. The design is rendered in shaded tones of cobalt

against a yellow enamel ground. The white base is inscribed with a

six-character reign mark within a double circle.

款識

Mark

70

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

梔子花，芳香素雅，綠葉白花，格外清麗可愛，既可入藥，

亦甚適庭院居室之綴飾，一直深得眾人所喜。南朝梁·蕭綱

《詠梔子花》雲(yún)：「素華偏可喜，的的半臨池。疑為霜裹

葉，覆類雪封枝。日斜光隱見，風還影合離。」宋·朱淑真

《水梔子》：「一根曾寄小峰巒，苫葡香清水影寒。玉質(zhì)自

然無暑意，更宜移就月中看?！姑鞔越?，宮廷諸類工藝品

多見梔子花裝飾，就瓷器一項而言，御器廠竭力運用多種方

式裝飾，除此黃釉青花外，尚見藍地白花、褐釉白花等，明

代皇帝對其癡愛之深，由此可見一斑。

倫敦大英博物館藏兩例，紋飾與此類同，四與六字年款各

一，見霍吉淑，《Ming Ceramics in the British Museum》，

倫敦，2001年，圖版8:23及8:24。另一相似署六字款識之

盤，為上海博物館所藏，載於陸明華，《上海博物館藏品研

究大系：明代官窯瓷器》，上海，2007 年，圖版1-41。玫

茵堂舊藏也有一六字年款例，刊於康蕊君，《玫茵堂中國陶

瓷》，倫敦，1994-2010年，卷2，編號683，後在2012年10

月9日售於香港蘇富比，編號43。東京戶栗美術館舊藏且有

一例，圖見藤岡了一、長谷部樂爾，《世界陶磁全集》，卷

14，東京，1976年，彩圖171，兩度售於倫敦蘇富比，後再

在香港蘇富比拍出，2013年10月8日，編號213。

尚有四字落款作例可資比較，如故宮博物院藏盤，錄於《故

宮博物院藏文物珍品全集．青花釉裡紅（中）》，上海，

2000年，圖版233，並有成化及弘治雛本，見圖版230及

231。另有一四字款例，尺寸稍大，曾為 R.H.R. Palmer 及琵

金頓伉儷收藏，2017年4月5日售於香港蘇富比，編號4，與此

品比較，該盤上折枝蟠桃及石榴的位置恰好對調(diào)。

Two Zhengde dishes of this design with marks of four and six

characters in the British Museum are published in Jessica HarrisonHall, Ming Ceramics in the British Museum, London, 2001, pl. 8:23

and 24. A similar dish with a six-character mark in the Shanghai

Museum is illustrated in Lu Minghua, Shanghai Bowuguan cangpin

yanjiu daxi:Mingdai guanyao ciqi [Studies of the Shanghai Museum

Collections: A Series of Monographs. Ming imperial porcelain],

Shanghai, 2007, pl. 1-41. Another example with a six-character

reign mark from the Meiyintang collection is illustrated in Regina

Krahl, Chinese Ceramics from the Meiyintang Collection, London,

1994-2010, vol. 2, no. 683 and was later sold in Sotheby’s Hong

Kong, 9 October 2012, lot 43.

For dishes with four-character marks, see one in the Palace

Museum, Beijing, included in The Complete Collection of Treasures

of the Palace Museum. Blue and White Porcelain with Underglazed

Red, vol. 2, Shanghai, 2000, pl. 233, together with Chenghua and

Hongzhi prototypes, pl. 230 and 231. A slightly larger dish with

a four-character reign mark, formerly in the collections of Mr. and

Mrs. R.H.R. Palmer, Roger Pilkington and Maureen Pilkington, was

sold in Sotheby’s Hong Kong, 5 April 2017, lot 4.

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頤華：宮廷藝術珍品選粹

3317

明宣德? 青花纏枝牡丹紋大碗

? ? ? 「大明宣德年製」

A LARGE BLUE AND WHITE 'PEONY' BOWL

MARK AND PERIOD OF XUANDE

本品為敞口、寬口沿、深腹、圈足。以青花裝飾，碗外壁繪

纏枝牡丹花卉紋，線條流暢自如，形態(tài)妍美怡人；近圈足處

繪一周變形蓮瓣紋及梅花點紋，口沿下青花橫書「大明宣德

年制」六字楷書款，樸拙蒼健，古意盎然。其構圖疏朗，留

白得當，筆觸細膩，雖見工致卻不落於媚弱，在濃淡相抹中

獨顯宣青之豪邁氣概。胎釉溫潤，寶光內(nèi)藴，歷數(shù)百年而風

采依舊，與穠美蒼妍之青花相得益彰。前賢明人王士性《廣

志繹》卷之四中評曰：「本朝以宣、成二窯為佳，宣窯以青

花勝，成窯以五彩」，由此即可窺見一二。

此碗為宣德一朝新出樣式，造型端莊敦實，胎體厚重堅致，

口沿平切，稜角明顯，為宣德碗類最奇特者。其功用文獻失

載，後世眾說紛紜，至今未明，其中一種說法流傳甚廣，認

為其是宣德宮中擲骰子遊戲所用，蓋因其壁厚，不易破損，

故民間常稱其為「骰子碗」。其外壁裝飾構圖常見於纏枝四

季花卉、纏枝蓮花、纏枝靈芝、纏枝牡丹、纏枝蓮托八寶、

三友圖等紋樣，存世數(shù)量罕少，散見於世界各大收藏機構。

同類藏品兩岸故宮博物院均有收藏，參見《明代宣德官窯精

華特展圖錄》，頁150、151，圖48；《故宮博物院藏文物珍

品大系-青花釉里紅》上冊，頁153，圖145，亦見於英國倫敦

大維德藝術基金會藏品。

HK$ 1,300,000 - 1,800,000

US$ 166,000 - 230,000

D 28.9cm

The large bowl is sturdily potted with deep rounded sides resting on

a short foot. Its exterior is superbly painted in rich cobalt-blue tones

with peony blooms borne on a meandering leafy scroll issuing

further peony buds, above a band of upright lappets encircling the

lower body. The foot is skirted with evenly spaced floral buds. All

bands of patterns are set between two double-line bands bordering

the rim and foot. The bowl is inscribed with a horizontal sixcharacter reign mark below the rim.

With walls that are nearly 1 cm thick and balanced by tasteful

and graceful decorations, bowls in this group are notable for their

expert potting and sturdy construction. Bowls of this group, which

were only produced briefly during the Xuande period, come in a

wide range of designs. The original function of these bowls has not

yet been identified. Although they are frequently referred to as ‘dice

bowls’ and may have been used in that capacity, some scholars

suggest that they were used for cricket fights, as fruit bowls, or as

brush washers.

款識

Mark

74

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頤華：宮廷藝術珍品選粹

76

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

3318

清乾隆? 粉彩纏枝花卉「福壽長慶」紋燈籠瓶

? ? ? 「大清乾隆年製」

AN EXTREMELY RARE WHITE GROUND FAMILLE-ROSE LANTERN VASE

MARK AND PERIOD OF QIANLONG

此瓶圓口微撇，短頸，豐肩，筒腹，腹下漸收，圈足。瓶身

內(nèi)外均施白釉，底部以青花書「大清乾隆年製」六字三行篆

書款。

瓶口描金，外沿粉彩繪如意頭紋，瓶身飾華麗的纏枝蓮紋，

襯托主題紋樣「福壽長慶」，即蝙蝠、壽字、盤腸、磬。下

腹飾變形蕉葉紋，足外飾一周回紋。底書「大清乾隆年製」

六字三行篆書款。本件作品造型雋秀端莊，製作技術高超，

胎釉俱佳，精湛細膩，格調(diào)清新明麗，富麗華貴，為珍貴的

乾隆官窯上佳之作。

來源

1. 日本私人舊藏

2. 香港蘇富比，2008年10月8日，編號2602

展覽

首都博物館，《首屆世界華人典藏大展》，北京，2010年9月

28日至2011年1月9日

出版

首都博物館，《首屆世界華人典藏大展》，北京，2010年，

頁160-161

HK$ 3,800,000 -4,500,000

US$ 485,000 - 574,000

PROVENANCE

1. A Japanese private collection

2. Sotheby’s Hong Kong, 8 October 2008, lot 2602

EXHIBITION

Capital Museum, The 1st World Chinese Collection Exhibition,

Beijing, 28 September 2010 to 9 January 2011

LITERATURE

Capital Museum, The 1st World Chinese Collection Exhibition,

Beijing, 2010, p. 160-161

H 31.8cm

The vase is potted in cylindrical form, tapering to a waisted neck

and flaring at the mouth. The exterior is finely painted in particularly

vivid enamels with four formal lotus blooms, each either with a bat

hovering above a xi character or with a bat below a gilt wan symbol,

all amid further lotus blooms and buds borne on dense meandering

leafy stems, set between ruyi heads enclosing florets below the rim

and upright lappets at the base, with a keyfret around the foot. The

base is inscribed with the six-character seal mark in underglazeblue.

款識

Mark

出版於首都博物館，《首屆世界華人典藏大展》，北

京，2010年，頁160-161

Published in Capital Museum, The 1st World Chinese

Collection Exhibition, Beijing, 2010, p. 160-161

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Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

此式乾隆粉彩纏枝花卉燈籠瓶極罕，僅見一近例，售於香港

蘇富比，2007年10月9日，編號1504。比較一例飾以一樣的

白地纏枝蓮紋，惟器形不同，售於香港蘇富比，2003年4月27

日，編號36。

飾以類似的粉彩白地纏枝蓮紋樣器物，清宮舊藏二例，一件

為鋪首瓶，另一件為多穆壺，分別錄於《故宮博物院藏文物

珍品大系 － 琺瑯彩．粉彩》，商務印書館，香港，1999年，

卷39，圖版95及98。

清乾隆 粉彩八寶勾蓮紋多穆壺

?故宮博物院藏

A famille rose 'eight treasures' ewer, mark

and period of Qianlong

?The Palace Museum

清乾隆 粉彩夔鳳穿花紋獸耳啣環(huán)瓶

?故宮博物院藏

A famille rose 'phoenix' vase, mark and

period of Qianlong

?The Palace Museum

It is rare to find a Qianlong vase of this shape and delicate design

in the 'famille-rose' palette. Only one other vase appears to have

been recorded, sold in Sotheby’s Hong Kong, 9 October 2007, lot

1504.

Compare a vase of similar design but of bottle shape, sold in

Sotheby’s Hong Kong, 27 April 2003, lot 36. Certain elements of

the decoration are related to that found on a Qianlong mark and

period vase, illustrated in The Complete Collection of Treasures of

the Palace Museum: Porcelains with Cloisonne Enamel Decoration

and Famille Rose Decoration, Hong Kong, 1999, pl.95.

80

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

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Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

3319

清嘉慶? 黃地洋彩「八蠻獻寶」雙龍耳大瓶

? ? ? 「大清嘉慶年製」

A FINE AND EXTREMELY RARE LARGE 'FOREIGN TRIBUTE BEARERS' DRAGON-HANDLED VASE

MARK AND PERIOD OF JIAQING

此瓶高逾兩尺，體量碩大，氣勢恢宏。其造型端莊，考究俊

逸，撇口束頸，兩側飾夔龍耳施以松石綠釉，輔以金、紅二

彩點綴，甚是華美；折肩弧腹，線條平緩，使得腹面寬廣平

整，最宜瓷繪，下承圈足，圈足內(nèi)施松石綠釉，中心礬紅書

「大清嘉慶年製」六字三行篆書款。

頸部以黃釉為地，自上而下描繪紋飾，口沿描金彩，繪松石

綠如意雲(yún)頭紋一周，下繪胭脂紅彩蝙蝠，寓「洪福齊天」之

意，再下為一金彩繪製的紅纓長戟，兩側各以墨彩繪一肥

碩的鯰魚，長戟尾部掛一松石綠釉描繪的罄，「戟」諧音

「吉」，「魚」為「餘」，「罄」為「慶」，故以上紋飾組

合即為「吉慶有餘」；吉罄下繪一盛放的蓮花，花蕊呈葫蘆

形，上生有一朵彩色靈芝，甚是奇異，周圍枝葉舒展牽連，

「葫蘆」諧音「福祿」，靈芝為仙草，是長壽的象徵，故

這一組紋飾寓意「福壽連綿」。蓮花下對稱繪兩條籃彩小螭

龍，各元素紋飾間填補以大小蓮花，彩色祥雲(yún)，整體佈局繁

復，富麗輝煌。

來源

迪諾公爵 Alexandre Edmond de Talleyrand-Perigord (1813-

1894年)，此後家族傳承

HK$ 16,000,000 - 25,000,000

US$ 2,039,000 - 3,185,000

PROVENANCE

Alexandre Edmond de Talleyrand-Perigord, Duke of Dino (1813-

1894), thence by descent within the family

H 74cm

The vase is of baluster shape and has an elegantly tapering neck

that is applied with stylised archaistic dragon handles. The yellowground neck is decorated to each side with a large bat and chime

above a stylised lotus bloom flanked by serpentine chilong. The

ovoid body is finely enamelled with a continuous landscape scene

depicting a procession of foreigners bearing tributes, all between

bands of ruyi-heads above and below. The base is inscribed with a

six-character seal mark in iron-red on a turquoise ground.

款識

Mark

此瓶原為一對，曾陳設於迪諾公爵家族後人婚禮現(xiàn)場

The vase was originally one of a pair, which was displayed at the

wedding of one of the family descendants

〇

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腹部通景繪八蠻進寶圖，整個畫面置於臨水軒榭之中，遠山

蒼翠，江水潺潺，色彩濃淡相映，將虛實之景由遠及近的自

然過度。亭臺樓宇掩映於峻石花樹之間，花木俯仰生姿，假

山奇石立於園中，曲折闌乾，更兼奇松聳立，碧草如茵，進

寶的隊伍行於崎嶇的山路，所繪人物姿態(tài)各異，人物描繪謹

遵法度，生動而富於生趣，令人忍俊不禁。整器之裝飾佈局

採用中國畫式的散點透視手法構圖，以平面佈局，從不同的

角度和視點上進行正面描繪，注重線條結構。在周遭景物線

描當中沿用了中國工筆劃的技巧，運用線條的濃淡、剛柔、

虛實、粗細、輕重來表達客觀景物的情趣，遠山近水，巒石

蒼樹，以線寫形，以形寫神。近景遠景層次豐富，處處如在

畫中。但整體色彩的運用又不乏西方油畫那種明麗鮮艷，用

色大膽的效果，畫面給人以強烈、醒目的視覺觀感，一派祥

和喜慶之景。

迪諾公爵所珍藏一對的另外一件，後於婚禮現(xiàn)場打碎

售於法國Daguerre，2022年12月9日，編號91

The other vase from the original pair from the collection of Alexandre Edmond de Talleyrand-Perigord, which was broken at the wedding

Sold in Daguerre, France, 9 December 2022, lot 91

This magnificent vase combines a wealth of traditional auspicious

motifs with evidence of an imperial fascination with foreigners from

the West. In addition, the large size and exceptional quality of the

painting on the vase mark it out as particularly important vessel,

probably commissioned for a special occasion.

The vase shares a number of auspicious motifs, including upsidedown bats, lotuses and wan characters, as well as particularly

graceful vegetal scrolls. It is closely linked to imperial yellow-ground

altar garnitures such as the Jiajing censer, pair of gu vases and pair of

candle sticks preserved in the Nanjing Museum, illustrated by Nanjing

Museum in Treasures in the Royalty -The Official Kiln Porcelain of the

Chinese Qing Dynasty, Shanghai, 2003, pp. 374-5.

86

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

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Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹