清道光? 粉彩壽菊秋色圖折沿花盆 清代宮廷御用花盆于材質(zhì)式樣上皆為豐富多樣，翻閱清宮陳設(shè)檔和宮廷繪畫(huà)作品可知，不同材質(zhì)之 花盆使用功能各異，且存在明確的用途分工。瓷質(zhì)花盆乃為實(shí)用器皿，主要置放于京郊各處皇家園 林及后寢生活區(qū)域，本品即為一例清代道光御作雅器。 花盆體量敦厚沉穩(wěn)，造型優(yōu)美簡(jiǎn)雅，走線凝練利落，器呈圓桶狀，上寬下斂，唇口斜腹，內(nèi)外壁滿 施白釉，雪白光潔，胎釉精良，勻凈細(xì)膩。外壁通景粉彩繪壽菊秋色圖，菊花多彩，藍(lán)紫朱白，大 小各異，姿態(tài)萬(wàn)千，清新嬌麗，折枝交錯(cuò)，布局有致，綻放如錦，燦爛生輝，其下洞石靈秀，青苔 圍繞，畫(huà)法極具中國(guó)畫(huà)之筆墨意蘊(yùn)，枝葉花卉具有典型的清代宮廷繪畫(huà)特征。 天津博物館所藏清代宮廷畫(huà)家鄒一桂、惲蘭溪伉儷合作的《花卉圖》又稱《香界八仙圖冊(cè)》，其中 所繪菊花筆意工致細(xì)膩，設(shè)色艷而不俗，卓爾不群，風(fēng)雅俱現(xiàn)，與拍品紋飾中菊花樣貌相似。以畫(huà) 入瓷，實(shí)為不易，其以絢麗的色澤和生動(dòng)的情致，營(yíng)造出歡悅喜慶的氣氛和富貴長(zhǎng)壽之吉祥寓意， 花盆近足處之藍(lán)色菊花以琺瑯彩料繪就，施彩華美鮮麗，釉面厚重瑩潤(rùn)，更添富麗萬(wàn)千，反映了皇 家御瓷精湛雅致的藝術(shù)追求及審美旨趣，堪為道光官窯之上乘佳作，傳世甚罕，極為難得。 日本細(xì)川家族，自日本鐮倉(cāng)時(shí)代開(kāi)始延續(xù)至今近八百年，在日本社會(huì)政治、經(jīng)濟(jì)和文化領(lǐng)域極具影 響力。細(xì)川家族收藏聚寶萃珍，藏品涵蓋古今，尤以中國(guó)、日本文物珍品為最，極具文化和藝術(shù)品位， 是日本藝術(shù)品收藏界難以超越的傳奇大家族。 拍品即為細(xì)川家族第 16 代家督東京侯爵細(xì)川護(hù)立之舊藏，其孫子為第 79 任日本首相細(xì)川護(hù)熙。 1950 年細(xì)川護(hù)立在東京建立了永青文庫(kù)。這座建筑名為『文庫(kù)』，實(shí)則是一座外觀樸素但價(jià)值連城 的博物館。本件器物來(lái)源清晰，流傳有序，觀之本美外，還可細(xì)細(xì)品悟細(xì)川家族的收藏哲學(xué)，實(shí)為 可貴之機(jī)遇，難得一遇。

Daoguang Period, Qing Dynasty AN EXCEPTIONAL FAMILLE ROSE 'CHRYSANTHEMUM' FOLIATED FLOWER POT Imperial flowerpots in the Qing Dynasty were various in both of materials and shapes. Looking through the Qing palace furnishings and paintings, we can see that flowerpots made of different materials have different functions, and there is a clear division of uses. Porcelain flowerpots are practical utensils, which are mainly placed in royal gardens and sleeping areas in the suburbs of Beijing. This product is an elegant ware which made by the Daoguang emperor in the Qing Dynasty. The present flowerpot is sturdily potted with a circular shape, the tapering sides of the vessel and fully covered with white glaze, in soft and gentle tones.The exterior of the body is colorfully painted with chrysanthemum, the painting method has typical atmosphere of Chinese painting, and the branches, leaves and flowers have the classical characteristics of imperial painting of the Qing Dynasty. The Hosokawa family has lasted for nearly 800 years since the Kamakura era in Japan. It has great influence in the social, political, economic and cultural fields of Japan. The Hosokawa family collects artworks treasures, which from ancient to modern times, especially Chinese and Japanese cultural relics. The family has great cultural and artistic taste. It is a legendary family that is can not be surpassed in the field of Japanese art collection. The present vessel is the old collection protected by the 16th generation governor of the Hosokawa family, the Marquis of Tokyo, Hosokawa. His grandson is the 79th Japanese Prime Minister, Hosokawa Huxi. In 1950, Hosokawa established the Yongqing Library in Tokyo. The building, called 'library', is actually an extremely valuable Museum. This present vessel has a clear source and inherited in an orderly way. In addition to its beauty, it can also taste the collection philosophy of the Hosokawa family.

308 清道光? 粉彩壽菊秋色圖折沿花盆 款識(shí)：『大清道光年制』六字三行篆書(shū)款 高度：二十二·五? 厘米 來(lái)源：日本東京侯爵細(xì)川護(hù)立氏藏 出版：長(zhǎng)坂金雄，《陶器圖錄》第八卷·支那篇（下），東京雄山閣，1938 年，頁(yè) 101，圖 115 AN EXCEPTIONAL FAMILLE ROSE 'CHRYSANTHEMUM' FOLIATED FLOWER POT Qing Dynasty, Daoguang Six Character Seal Mark and of the Period 22.5 cm. high PROVENANCE: Moritatsu Hosokawa，Marquis of Tokyo, Japan PUBLICATION: Pottery Catalogue, Vol.VIII - Chian, part II, Japan, 1938, p.101, pl.115 RMB: 250,000-350,000 308［款識(shí)］ 308 出版： 308 參閱圖： 陶器圖錄第八卷，中國(guó)篇，明·清 101 第一一五圖，道光粉彩菊花紋花盆即本拍品 博物 藏， 清『 圖』

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清道光? 粉彩杏林春燕圖長(zhǎng)頸瓶 本品為道光皇帝御用瓷器，清雅脫俗。道光二十三年五月初二日九江關(guān)監(jiān)督蔣方正《進(jìn)單》中載：『［臣］ 蔣方正跪進(jìn)：……［安慎德堂東廊］五彩祥榴雙喜瓶成對(duì)……』，或?yàn)榕钠分沤P(guān)呈貢記錄。 瓶式近賞瓶，挺拔秀美，英姿綽約，撇口，長(zhǎng)束頸，圓鼓腹，下承圈足。胎體白凈，釉面潤(rùn)潔。外 壁器身以粉彩通景描繪杏林春燕圖，一棵杏樹(shù)蜿蜒參天，枝干遒勁，杏花或含苞待放，或怒放爭(zhēng)艷， 花色粉調(diào)清秀，濃淡相間，一色千里，花團(tuán)錦簇。其旁天竹、石榴婀娜多姿，湖石嶙峋，如奇峰險(xiǎn) 峻。上方侶燕雙飛，一俯一仰，追逐嬉戲，生機(jī)勃勃?？谘嘏c脛部各施金彩一周，平添富麗之氣。 足內(nèi)紅彩書(shū)『慎德堂制』四字雙行楷書(shū)款。檢索目前所見(jiàn)公私收藏，相同之例僅見(jiàn)香港懷海堂收藏 ［參見(jiàn)《機(jī)暇清賞——懷海堂藏清代御窯瓷瓶》，香港中文大學(xué)文物館，2007 年，頁(yè) 390-391，圖 141］，可參考對(duì)比。 慎德堂為圓明園內(nèi)九洲清晏的一組建筑，建于道光十年，是道光皇帝的行宮，其長(zhǎng)期于此居住并處 理朝政。署“慎德堂制”款的瓷器則是御窯廠專為道光皇帝燒制的御用堂名款瓷器。據(jù)道光十三年《清 檔》載：『八月十九日，……太監(jiān)沈魁交金魚(yú)苲草瓷渣斗樣一件……傳旨：瓷渣斗一件，著照此樣 要黃瓷白里燒造六十件，內(nèi)慎德堂制款三十件，湛靜齋制款三十件，俱要楷書(shū)字……欽此?！贿@是《清 檔》中對(duì)『慎德堂』款瓷器的第一次記錄，由此可知，『慎德堂』款瓷器至遲在道光十三年已有燒 制。另?yè)?jù)道光十四年《清檔》中述：『二月二十二日，……傳旨：十四年年貢起，九江呈進(jìn)瓷器款， 慎德堂制要紅字。欽此?！豢梢?jiàn)『慎德堂』款以紅彩書(shū)寫(xiě)也出自道光帝旨意。 道光皇帝于瓷藝方面雖無(wú)雍、乾二帝癡迷，但追慕雍正御瓷之清雅，悉心摹仿，并得其神髓。特別 是『慎德堂』款瓷器的制作，可謂精中求精，堪比雍正御瓷。這一特點(diǎn)在本件拍品上體現(xiàn)得尤為顯著。 此瓶彩繪妍美，無(wú)論是彩料，還是紋樣布局，皆摹雍正御瓷之風(fēng)，堪當(dāng)寶藏。 參閱： 《機(jī)暇清賞—懷海堂藏清代御窯瓷器》，香港中文大學(xué)，2007 年，頁(yè) 390-391，圖 141

Daoguang Period, Qing Dynasty AN EXQUISITE FAMILLE ROSE 'SWALLOW' LONG-NECKED VASE The present vase is exclusively for the emperor Daoguang. The record of paying tribute could be found. The vase is built with an elegant shape rising to a cylindrical neck and supported with a foot rim. The abdomen of the body is in a rounded shape.The exterior of the body is painted with famille rose scenery to depict swallows in the apricot forest. An apricot tree is winding and towering, its branches are strong, and apricot flowers are either in bud or in full bloom. The colors of the flowers and powders are beautiful, alternating with shades of light, plain color. The exterior of the body painted pomegranate, and the lake rocks are jagged, like strange peaks and steep. It also painted flying swallows on the upper body, which are full of vitality. Apply a band of gold color on the mouth edge. The recessed base of the foot inscribed with a four-character mark in red glaze. Searching for public and private collections, there is the unique example with the same pattern and shape in Huaihaitang Collections, Ethereal Elegance, Porcelain Vases of the Imperial Qing, The Huaihaitang Collection, Hong Kong, 2007, p.390-391, pl.141, which could be comparable. Shendetang is a group in the Summer Palace. It was built in the 10th year of Daoguang' reign. It is the travelling palace of the emperor Daoguang. It has lived here for a long time and handled the government affairs. The porcelains with 'made of shendetang' mark were exclusively produced for the emperor Daoguang. According to the archives of Qing palace, it can be seen that making the mark with red glaze was also ordered by the emperor himself. Although the emperor Daoguang was not as obsessed with the porcelains art as emperor Yongzheng and Emperor Qianlong, he pursued the elegant style of Yongzheng imperial porcelains, carefully imitated it, and obtained its divine essence. In particular, the production of porcelains with 'shendetang' mark can be described as seeking perfection in essence, which is comparable to Yongzheng imperial porcelain. This feature is particularly evident in this present vase. The vase is breath-taking in color painting. Both the color material and the pattern layout imitate the style of Yongzheng imperial porcelains. LITERATURE: Ethereal Elegance, Porcelain Vases of the Imperial Qing,The Huaihaitang Collection, Hong Kong, 2007, p.390-391, pl.141

◎本拍品目前處于保稅拍賣狀態(tài)，敬請(qǐng)留意《保稅拍品競(jìng)買(mǎi)須知》。 309 清道光? 粉彩杏林春燕圖長(zhǎng)頸瓶 款識(shí)：『慎德堂制』四字二行楷書(shū)款 瓶高：三十一? 厘米 來(lái)源：1. 英國(guó)得文郡私人珍藏，購(gòu)藏于 1948 年前后 ??? 2. 香港佳士得，2012 年 11 月 28 日，編號(hào) 2371 AN EXQUISITE FAMILLE ROSE 'SWALLOW' LONG-NECKED VASE Qing Dynasty, \"Made Of Shendetang\" Four Character Mark, Daoguang Period 31 cm. high PROVENANCE: 1. An English private collection, Devon, circa 1948 ??????? 2. Christie's Hong Kong, 28th November 2012, Lot.2371 RMB: 2,000,000-3,000,000 309［款識(shí)］ 309 參閱圖：道光二十三年五月初二日 九江關(guān)監(jiān)督蔣方正《進(jìn)單》中相關(guān)記錄 309 參閱圖： 香港懷海堂藏，清道光『粉彩杏林春燕圖瓶』

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清乾隆? 御制洋彩海晏河清圖碗 明清時(shí)期，將吉祥圖案裝飾在瓷器之上已經(jīng)非常流行，景德鎮(zhèn)御瓷中的紋樣裝飾必定樣樣如意，個(gè) 個(gè)吉祥，即『圖必有意，意必吉祥』。拍品這件秀雅精致的小碗，一面繪杏花朵朵、洞石蒼雅；一 面繪水波幽幽，蓮花高潔，似與杏花競(jìng)相爭(zhēng)春，各見(jiàn)綽致，空中兩只春燕嬉戲空中，御風(fēng)悠然，一 只展翅向前，一只回眸等候。這其中既有『杏林春燕』之雅趣，又見(jiàn)『海晏河清』之寓意，畫(huà)意與 紋樣完美結(jié)合，并糅合了宮廷畫(huà)師的丹青妙筆。每組紋樣細(xì)節(jié)精致，各具情態(tài)，恍若眼前徐徐展開(kāi) 一幅晴空春意圖，雙燕嬉戲飛舞間渲染出一片明媚春光。 著名才子唐寅曾寫(xiě)過(guò)『燕子歸來(lái)杏于花，紅橋低影綠池斜』的詩(shī)句，詩(shī)中所描繪場(chǎng)景與拍品所展現(xiàn) 的景象極為相似，燕過(guò)杏花間，碧水池中綠影斜斜，一派春意濃濃。而對(duì)『杏林春燕』還有另外一 種解釋，來(lái)自于科舉制度。因?yàn)榈钤囍阝晷踊ㄊ㈤_(kāi)，以杏花喻意殿試之期，天子會(huì)賜宴接見(jiàn)眾 學(xué)子，『燕』有諧音『宴』之意，『杏林』象征有幸上榜者，當(dāng)『杏』與『燕』同時(shí)出現(xiàn)，故有金 榜題名和出席御宴的寓意。而皇室御用瓷器上出現(xiàn)此圖，更有開(kāi)科取士、求賢若渴之意。另外『荷』 與『河』同諧音，『燕』與『晏』同諧音。唐薛逢《九日曲池游眺》中有云：『正當(dāng)海晏河清日， 便是修文偃武時(shí)』。海晏河清之象比喻天下太平，國(guó)泰民安。此件拍品將高宗皇帝『求賢若渴』及 『四海升平』之渴求與吉愿融于一器，真實(shí)且寫(xiě)意的反映出皇帝對(duì)大清永固的內(nèi)心祝禱與美好期許， 亦展現(xiàn)出清盛世之風(fēng)貌，極具匠心。

附圖 1：故宮博物院藏，清乾隆『粉彩花鳥(niǎo)圖碗』 拍品與故宮博物院藏清乾隆粉彩花鳥(niǎo)圖碗［附圖 1］于器型、 附圖 2：臺(tái)北故宮博物院藏，清雍正『琺瑯彩杏林春燕圖碗』 紋飾圖案及款識(shí)等近乎一致，如無(wú)意外應(yīng)屬一對(duì)。此外雍正 附圖 3：臺(tái)北故宮博物院藏，清雍正『琺瑯彩柳燕圖碗』 皇帝也對(duì)此類以燕子為題材的作品非常喜愛(ài)，臺(tái)北故宮博物 附圖 4：英國(guó)大維德基金會(huì)藏，清乾隆『琺瑯彩杏林春燕圖碗』 院藏有兩對(duì)清雍正時(shí)期同類琺瑯彩瓷碗［附圖 2、附圖 3］， 一對(duì)繪制『杏林春燕』圖，另一對(duì)繪制『柳燕圖』，兩對(duì)于 畫(huà) 面 中 皆 出 現(xiàn) 了 喜 燕 與 杏 花 紋 樣。 再 者， 英 國(guó) 大 維 德 基 金 會(huì)藏有一件清乾隆時(shí)期杏林春燕圖琺瑯彩碗［附圖 4］，與 2006 年香港佳士得秋拍編號(hào) 1309 拍品應(yīng)屬一對(duì)，后者于當(dāng)時(shí) 售出 151,320,000 港幣的佳績(jī)。相形之下，臺(tái)北故宮藏雍正時(shí) 期作品更具當(dāng)時(shí)的時(shí)代特征，更加符合雍正皇帝的藝術(shù)品位 及修養(yǎng)，成對(duì)紋飾者，雖題材相同，但繪畫(huà)略有不同或完全 不同。反觀乾隆時(shí)期作品，成對(duì)者紋飾大多相同。另外，本 件拍品與故宮博物院藏品中所繪杏花更為貼切，花瓣粉白過(guò) 渡自然，花蕊嬌黃，填色工整，盎然生機(jī)。 觀此小碗，所繪紋樣圖案為歷代宮廷趨之若鶩的花鳥(niǎo)手卷作 了最佳的詮釋，極富『黃家富貴』之院體風(fēng)格，可見(jiàn)畫(huà)師選 材精良。宋徽宗篤信道教，對(duì)大自然的觀察細(xì)致入微，他曾 命人將其藏畫(huà)輯錄為《宣和畫(huà)譜》，當(dāng)中收錄了 6396 幅三國(guó) 至宋代的作品，而花鳥(niǎo)畫(huà)便占有 2786 幅，可見(jiàn)徽宗對(duì)花鳥(niǎo)畫(huà) 的喜愛(ài)程度。 臺(tái)北故宮博物院藏南宋畫(huà)院侍詔馬遠(yuǎn)所繪《倚云仙杏圖》［附 圖 5］，清麗脫俗，與拍品描繪之杏花格調(diào)一致，宛若春色中 的一抹暖陽(yáng)，令人如癡如醉。美國(guó)克利夫蘭藝術(shù)博物館所藏 南宋畫(huà)家牧溪之《蓮燕圖》［附圖 6］，可見(jiàn)春燕荷塘之搭 配題材早已流行，飛燕、荷花及荷葉之形態(tài)走勢(shì)都與本器紋 飾相似，栩栩如生，靈動(dòng)非凡。清代著名宮廷畫(huà)家郎世寧所 繪《弘歷觀荷撫琴圖》［附圖 7］中荷花、荷葉設(shè)色淡雅工致， 著色方式與筆觸與本拍品上的荷花、荷葉有異曲同工之妙。 可見(jiàn)本器繪工之高超絕妙，絕為能工巧匠之作也。 此碗的紋飾描繪，以突破傳統(tǒng)的粉彩與琺瑯彩相結(jié)合的方式 繪就，杏花旁的嶙峋洞石由藍(lán)料彩加以墨彩描繪，觀之極富 『青綠山水』之繪畫(huà)藝術(shù)風(fēng)格，且所繪洞石皆呈一高一低之勢(shì)， 高矮錯(cuò)落，如有長(zhǎng)幼尊卑之意。拍品枝干以赭墨彩繪就，杏 花花瓣皆采用胭脂紅料，為表現(xiàn)出杏花粉白之效，在其彩中 加入玻璃白，由此可呈現(xiàn)出其色階漸變質(zhì)感，觀之更為柔和 曼妙，更加符合乾隆皇帝對(duì)于唯美的美學(xué)高度。臺(tái)北故宮博 物院藏清乾隆磁胎洋彩詩(shī)意杏花紋牙簽筒［附圖 8］，其紋樣、 設(shè)色與拍品如出一轍，系一脈相通之作。 綜上所述，拍品這件琺瑯彩加粉彩杏林雙燕荷清碗應(yīng)為乾隆 時(shí)期景德鎮(zhèn)御制瓷器之精彩作品，畫(huà)風(fēng)題材可上溯至宋徽宗， 而清高宗在文藝方面有許多建樹(shù)和抱負(fù)均與徽宗一脈相承。 此碗紋飾蘊(yùn)含中國(guó)文人畫(huà)之意韻精髓，圖案皆寓意吉祥。制 作工藝上將粉彩琺瑯彩交錯(cuò)而施，藝術(shù)效果發(fā)揮至極致，工 筆重彩，得當(dāng)相宜。拍品有別于乾隆器物所追求得繁縟富麗 之感，而是繼承延續(xù)了雍正器之清雅舒朗遺風(fēng)，傳世少見(jiàn)， 彌足珍貴。

Qianlong Period, Qing Dynasty 附圖 5：臺(tái)北故宮博物院藏，南宋馬遠(yuǎn)繪《倚云仙杏圖》 AN EXTREMELY AND SUPERBLY ENAMELLED 附圖 6： 附圖 7： 'LOTUS AND SWALLOW' BOWL 美國(guó)克利夫蘭藝術(shù)博物館藏， 清宮廷畫(huà)家郎世寧繪 南宋牧溪繪《蓮燕圖》 《弘歷觀荷撫琴圖》［局部圖］ During the Ming and Qing Dynasties, it was very popular to decorate auspicious patterns on porcelain. The decoration in Jingdezhen Royal Porcelain must be satisfactory and auspicious. The bowl delicately potted with a flared rim and rising from a short, straight foot, and decorated on the exterior with brilliant transparent enamels, and painted with flowers and garden stones. The painting idea and the pattern are perfectly combined, it would be a perfect expression for the artists' skills. The details of the design are exquisite has its own modality. It seems that a picture of spring in the clear sky is slowly unfolded in front of us, and the two swallows play and dance, rendering in a bright spring. There is another Qianlong bowl (pl.1) in the Palace Museum, Beijing, which has the same shape, decoration, mark, should be a pair with the present one. Besides, the emperor Yongzheng also loves the porcelains decoration with swallows, two pairs enamelled swallow bowls of Yongzheng period holds by the Taipei Palace Museum. Moreover, a Qianlong enamelled swallow bowl (pl.4) is one of the collections of Percival David Foundation of Chinese Art, which should be a pair with other bowl which sold at HKD.151,320,000 in the Sotheby’s fall sales, lot 1309. In comparison, The bowls of Yongzheng period collected by the Taipei Palace Museum have more characteristics of the times and are more in line with the artistic taste and cultivation of the Yongzheng emperor. Although the painting subjects are the same, the paintings are slightly or completely different. In contrast, most of the pieces of the Qianlong period have the same patterns and designs. In addition, this present bowl is more relevant to the apricot flowers painted in the collection of the Palace Museum, Beijing. Looking at this exquisite artwork, the patterns painted are the best interpretation of the flower and bird hand scrolls that have attracted the attention of the courts in previous dynasties. It can be seen that the painters have excellent taste on material selection. The emperor Huizong of Song Dynasty believed in Taoism and observed nature in detail. He once ordered people to compile his paintings into Xuanhe painting manual, which included 6396 works from the Three Kingdoms to the Song Dynasty, and 2786 flower and bird paintings. It can be seen that Huizong loved flower and bird paintings. The painting of 'apricots and leaning on clouds' (attached Fig. 5), painted by Ma Yuan, a painter of the Southern Song Dynasty painting royal academy, collected by the National Palace Museum in Taipei, is beautiful and refined. It is consistent with the style of apricot flowers depicted with the painting on this bowl. There is a painting of lotus swallows by Mu Xi, created by a painter of the Southern Song Dynasty, collected in the Cleveland Art Museum of the United States (Fig. 6), shows that the matching theme of spring swallows and lotus ponds which has long been popular, and the shape and trend of flying swallows, lotus flowers and lotus leaves are similar to the patterns of this instrument, lifelike and flexible. The lotus flowers and lotus leaves in the painting of lotus playing in Hongli view (attached Fig. 7), painted by Lang shining, a famous court painter in the Qing Dynasty, are light and elegant, and the coloring

附圖 8：臺(tái)北故宮博物院藏， method and stroke are the same as this present bowl. It can be seen that 清乾隆『磁胎洋彩詩(shī)意杏花紋牙簽筒』 the painting of this bowl is superb and excellent, and it is the perfect expression of a skilled craftsman. The decoration on this bowl is painted by unprecedented techniques, which would be a perfect combination of famille rose and enamells. The example of this type in Taipei Palace Museum, which is a Qianlong enamelled apricots tooth picks pot (attached Fig. 8), which designed with the same painting and colors. This imerial enamelled and famille rose apricot bowl should be a wonderful Jingdezhen imperial porcelain during the Qianlong period. The theme of the painting style can be traced back to the emperor Huizong of the Song Dynasty, and Gaozong of the Qing Dynasty has many achievements and aspirations in literature and art. The decoration of this bowl contains the essence of Chinese literati painting, and the patterns imply auspiciousness. In the production process, the famille rose and enamel colors are staggered. The bowl is different from the sense of other artifacts in Qianlong period, but inherits the legacy of Yongzheng artifacts. It is rare and precious.

310 清乾隆? 御制洋彩海晏河清圖碗 款識(shí)：『大清乾隆年制』六字三行篆書(shū)款 口徑：十四·九? 厘米 AN EXTREMELY AND SUPERBLY ENAMELLED 'LOTUS AND SWALLOW' BOWL Qing Dynasty, Qianlong Six Character Mark and of the Period 14.9 cm. diam. RMB: 1,200,000-1,500,000 310［款識(shí)］

310［圖樣展開(kāi)圖］ 310

清乾隆? 洋彩加金荷塘鷺鷥圖小尊 拍品體量頗為精巧，可愛(ài)雋秀，十分罕見(jiàn)。小尊喇叭狀口，鼓腹?jié)u斂，下承小圈足，足內(nèi)施松石綠釉， 中央留白，署礬紅彩『大清乾隆年制』六字三行篆書(shū)雙框款，款識(shí)形式新穎少見(jiàn)。器內(nèi)壁滿施松石綠釉。 腹壁瑩潔的白釉地上以粉彩描繪通景的荷塘白鷺圖。池水中，嫩綠的葉柄、花梗從水中升起，托起 碩大的荷葉、鮮艷欲滴的荷花與飽滿多子的蓮蓬，搖曳生姿。其間點(diǎn)綴四只形態(tài)各異的白鷺，羽翼 豐滿而潔白，姿態(tài)悠然自得，輕逸出塵。整幅畫(huà)面，呈現(xiàn)出一派自然恬靜的夏日荷塘美景。主題紋 飾外，自上而下輔以如意云頭紋、折枝蓮紋、纏枝蓮紋、變形夔紋、蓮瓣紋等，施彩豐富而不繁縟， 色澤豐富嬌艷而不媚俗?？谘?、頸肩部加飾三道金彩，熠熠生輝。 本品釉彩精妍，美輪美奐，紋飾表現(xiàn)手法與彩料的運(yùn)用技法上都凸顯出洋彩之特征，如繪畫(huà)技法摹 仿西洋，荷花、白鷺極具寫(xiě)實(shí)；邊飾紋樣中使用洋彩特有的圓狀光點(diǎn)裝飾；局部彩料為琺瑯料，如 折枝蓮紋兩側(cè)的枝葉等。 洋彩是十八世紀(jì)清宮與西洋文化交流互動(dòng)而產(chǎn)生的藝術(shù)珍品，它是雍乾時(shí)期清宮對(duì)運(yùn)用西洋繪畫(huà)技 法描繪的彩瓷的正式名稱。乾隆朝《活計(jì)檔》、《陳設(shè)檔》多作『磁胎洋彩』，原配木匣上也皆刻上『洋 彩』品名?！貉蟛省幻Q最早出現(xiàn)于雍正十三年［1735］唐英所撰之《陶務(wù)述略碑記》：『洋彩器皿， 本朝新仿西洋法瑯畫(huà)法，人物、山水、花卉、翎毛，無(wú)不精細(xì)入微?！谎蟛实睦L畫(huà)設(shè)色妍麗繁縟， 有別于傳統(tǒng)技法，更需要畫(huà)工高超的繪畫(huà)功底與豐富的經(jīng)驗(yàn)。唐英在乾隆八年奉諭編撰完成的《陶 冶圖冊(cè)》第十七編『圓琢洋采』中曾作如此評(píng)述：『圓琢白器，五采繪畫(huà)，摹仿西洋，故曰洋采。 須素習(xí)繪事高手，將各種顏料研細(xì)調(diào)和，以白瓷片繪染燒試，必熟諳顏料、火候之性，始可由粗及 細(xì)，熟中生巧，總以眼明、心細(xì)、手準(zhǔn)為佳。所用顏料與法瑯色同，其調(diào)色之法有三：一用蕓香油， 一用膠水，一用清水。蓋油色便于渲染，膠水所調(diào)便于拓抹，而清水之色則便于堆填也?！晃闹忻? 確指出洋彩的最重要特點(diǎn)——與瓷胎畫(huà)琺瑯使用相同的顏料。 拍品稀珍可貴，傳世品甚為少見(jiàn)。香港佳士得 2011 年春拍編號(hào) 3652，清乾隆青花礬紅彩夔鳳紋尊 一對(duì)與拍品器形相似，但外壁以夔鳳紋為主題紋樣，當(dāng)時(shí)成交價(jià)為 1522 萬(wàn)港幣，可參照比對(duì)。

Qianlong Period, Qing Dynasty A SUPERB AND WELL GILTED ENAMELLED 'LOTUS AND BIRDS' VASE The present vase is quite exquisite, lovely and beautiful, which is very rare. Rised on a slightly tapered foot, the interior of the foot covered with turquiose glaze, inscribed with a iron red glazed six-character seal reign mark within double blocks. The mark is rare. The interior of the body fully covered with turquoise glaze. The exterior of the abdomen is painted with lotus and four cormorant in famille rose. The body also decorated with ruyi, lotus, and clouds, which is full of variety. The technique of enamelled wares is a great achievement of the history of porcelains, which requires excellent painting skills and rich experience. The records clearly points out the most important feature of enamelled porcelains is the same pigment as porcelain body painting enamel. The present vase is rare and precious, for another Qianlong vase of this shape but decorated with kui-phoenix patterns, sold at Christie's Hong Kong, Lot.3652, at HKD.15,220,000, which could be comparable.

◎本拍品目前處于保稅拍賣狀態(tài)，敬請(qǐng)留意《保稅拍品競(jìng)買(mǎi)須知》。 311 清乾隆? 洋彩加金荷塘鷺鷥圖小尊 款識(shí)：『大清乾隆年制』六字三行篆書(shū)款 高度：十三·三? 厘米 A SUPERB AND WELL GILTED ENAMELLED 'LOTUS AND BIRDS' VASE Qing Dynasty, Qianlong Six Character Seal Mark and of the Period 13.3 cm. high RMB: 1,200,000-1,500,000 311［款識(shí)］

311

清乾隆? 粉彩開(kāi)光菊花紋雙耳壁瓶 壁瓶懸于墻壁，為半器造型，始見(jiàn)于宣德時(shí)期，直到萬(wàn)歷開(kāi)始流行，乾隆朝達(dá)到制器巔峰，此時(shí)壁 瓶造型規(guī)整且多種多樣，品種有青花，粉彩和斗彩等，深受高宗皇帝的鐘愛(ài)，曾將十四式壁瓶掛飾 在養(yǎng)心殿三希堂的東板墻上，《清高宗御制詩(shī)文全集》有七首詠『掛瓶』的詩(shī)，反復(fù)吟詠，可見(jiàn)其 珍愛(ài)程度。 最早在《清檔》中見(jiàn)到燒造壁瓶的記錄為乾隆七年九月?！憾?，司庫(kù)白世秀副催縂逹子來(lái)説， 太監(jiān)高玉交：御製詩(shī)一首，傳?：將此詩(shī)交與唐英燒造再轎瓶上，用其字併寳爾酌量收小，其安詩(shī) 地方並花樣亦酌量燒造，欽此?！磺∷氖迥臧嗽率呷站沤P(guān)監(jiān)督額爾登布于《貢檔進(jìn)單》中 記載：『（奴才）額爾登布跪進(jìn)：……（交熱河）白地洋彩花卉轎瓶成對(duì)，……』。或?yàn)榕钠吠? 器之九江關(guān)御瓷進(jìn)貢記錄。 拍品制作考究，頗見(jiàn)匠心。一側(cè)平面，撇口束頸，頸部?jī)蓚?cè)以粉彩雙夔龍耳飾之，肩部作臺(tái)階狀， 腹部近底稍斂，下承外撇圈足，線條婉轉(zhuǎn)，胎釉精良。瓶身兩面以白釉為地，口部至肩部自上而下 分飾卷草紋、如意云紋、纏枝西番蓮紋、纏枝花卉紋。腹部開(kāi)光內(nèi)飾數(shù)朵菊花爭(zhēng)艷，周圍以描金邊 框裝飾，開(kāi)光外繪纏枝蓮紋。脛部及圈足描繪蕉葉紋及卷草紋。全器設(shè)色妍麗雅致，口沿、足底邊 及各部位轉(zhuǎn)折處均描金邊，極盡精致華麗。值得一提的是，上下兩處卷草紋所用藍(lán)料以玻璃白打底， 其中藍(lán)料非常罕見(jiàn)，或?yàn)檫M(jìn)口琺瑯料?？趦?nèi)及圈足內(nèi)施松石綠釉，底書(shū)礬紅彩『乾隆年制』四字篆 書(shū)單行款。背面點(diǎn)綴紅彩梅花朵朵，以掩飾支釘痕跡。拍品造型優(yōu)美，畫(huà)面筆觸纖細(xì)工整，紋飾優(yōu) 美華貴，意境典雅而不流俗，繁花盛開(kāi)的娟秀與雍容濃郁的宮廷氣息相結(jié)合，令人愛(ài)不釋手。

Qianlong Period, Qing Dynasty A VERY RARE AND EXCEPTIONAL FAMILLE ROSE 'CHRYSANTHEMUM' HANDLED HANGING VASE The majority of hanging vases are built with a half vessel shape, which was first seen in the Xuande period, Ming dynasty. During the Wanli period of Ming Dynasty, it became popular and reached the peak in the Qianlong period. At this time, the shape of the hanging vases is regular and diverse, whcih decorated in blue and white glaze, famille rose and doucai, etc. It is deeply loved by the Emperor Gaozong. He has decorated fourteen kinds of hanging vases on the east wall of Sanxi Hall of Yangxin Palace. There are seven poems of hanging vases which wrote by the Emperor Gaozong, which shows how the emperor treasured them. The earliest record of firing wall bottles in the Qing Dynasty was in September of the 7th year of Emperor Qianlong. The vase was exquisitely built with great ingenuity. One side is flat, the mouth is tied to the neck, and the two sides of the neck are decorated with Kui-dragons ashaped handles. The shoulder is stepped, the abdomen is slightly restrained near the bottom. The lower part is supported by the outer foot, shape of the vase is gentle, and the glaze is excellent. The body is dressed in white glaze on both sides, and the mouth to the shoulder are decorated with curly grass and ruyi shaped cloud, tangled passion fruit and flower pattern from top to bottom. The interior of the abdomen is decorated with chrysanthemums painting. The frames are gilted, and wrapped with lotus patterns on the outside. The color of the whole device is beautiful and elegant. Gold edges are painted on the mouth edge, sole edge and turning points of various parts, which is extremely exquisite and gorgeous. It is worth mentioning that the blue materials used for rolling grass patterns at the upper and lower parts are made of glass white, of which blue materials are very rare or imported enamel materials The inside of the mouth and the ring foot are painted with turquoise green glaze, and the bottom is painted with alum red. The four character qianlong seal mark with an iron red glaze within the footrim. The back is decorated with red plum blossoms to hide the trace of nails. The vase was built in beautiful shape, with luxurious, elegant patterns. It would be a perfect combination of beautiful blooming flowers and elegant court atmosphere.

◎本拍品目前處于保稅拍賣狀態(tài)，敬請(qǐng)留意《保稅拍品競(jìng)買(mǎi)須知》。 312 清乾隆? 粉彩開(kāi)光菊花紋雙耳壁瓶 款識(shí)：『乾隆年制』四字單行篆書(shū)款 瓶高：十八·三? 厘米 記錄：香港佳士得，2015 年 6 月 3 日，編號(hào) 3149 A VERY RARE AND EXCEPTIONAL FAMILLE ROSE 'CHRYSANTHEMUM' HANDLED HANGING VASE Qing Dynasty, Qianlong Four Character Seal Mark and of the Period 18.3 cm. high PROVENANCE: Christie's Hong Kong, 3rd June 2015, Lot 3149 RMB: 2,000,000-3,000,000 312［款識(shí)］ 312 參照?qǐng)D： 乾隆四十五年八月十七日 九江關(guān)監(jiān)督額爾登布《貢檔進(jìn)單》中相關(guān)內(nèi)容 312［背面圖］

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清乾隆? 粉彩描金蓮蓬座雙魚(yú)八吉祥供器 拍品為清代宮廷佛前供器八吉祥中的『雙魚(yú)』，故宮博物院梵宗樓一樓供奉文殊菩薩，其坐像前的 佛壇上供有一套粉彩八吉祥供具，其中雙魚(yú)造型與拍品基本相同，惟其底座為藍(lán)地，參見(jiàn)《清宮藏 傳佛教文物》，頁(yè) 241，圖 125。 佛教自西漢末年傳入中原以來(lái)，對(duì)我國(guó)文化產(chǎn)生了深遠(yuǎn)影響，清王朝建立后，滿族統(tǒng)治者崇尚黃教， 佛教在中國(guó)又迎來(lái)了一個(gè)新的大發(fā)展時(shí)期。故宮博物院藏有一副名為《玄燁像》的油畫(huà)［參見(jiàn)《故 宮博物院藏—清代宮廷繪畫(huà)》頁(yè) 52，圖 14］，畫(huà)中描繪康熙帝老年的模樣，端座于炕上，手持佛珠， 座前炕幾上整齊地排列了八吉祥供器。由此可見(jiàn)拍品此類佛前供器對(duì)清代歷朝皇帝來(lái)說(shuō)，意義重大。 乾隆帝對(duì)藏傳佛教最為癡迷，以致不惜工本，利用大量人力、物力，命內(nèi)府造辦處及景德鎮(zhèn)御廠制 造佛教用品及供器，由用途，紋飾設(shè)計(jì)無(wú)不親力親為，造就了一批極具時(shí)代及漢藏特色的藝術(shù)精品。 如乾隆二十三年十一月日立《佛堂收供玻璃磁琺瑯各樣供器賬》：『乾隆二十五年十一月初九日收 造辦處：……洋磁八吉祥一分［乾隆二十六年七月二十六日熱河衆(zhòng)香樓供］……』。 乾隆二十五年八月《各作成做活計(jì)清檔》中載：『初八日，郎中白世秀員外郎金輝來(lái)説，太監(jiān)胡世 傑傳?：著傳與尤拔世，嗣後燒造七珍、八寶、八吉祥、八供、五供養(yǎng)等俱各刻欵，欽此?！? 乾隆三十八年八月《各作成做活計(jì)清檔》中載：『初九日，庫(kù)掌四德照熱河衆(zhòng)香樓現(xiàn)供磁七珍、八寶、 八供飬、五供飬樣各畵得紙樣一分，並輪塔、寶瓶、奔巴瓶紙樣各一張，持進(jìn)交太監(jiān)胡世傑呈覧，奉?： 俱交江西照樣焼造，欽此』。 光緒二年《梵宗樓陳設(shè)檔》中錄：『……梵宗樓下中間安供：銅胎文殊菩薩一尊……前供花梨條案 一張上……左右供……洋磁八吉祥一分（破壞不全）……』，內(nèi)容恰與上文中所示梵宗樓現(xiàn)有陳設(shè) 一致，會(huì)逢其適，可供方家圖文對(duì)比參考，更顯其珍。 拍品分為臺(tái)座和雙魚(yú)插件兩部分。通體粉彩繪飾，頂部玉環(huán)形供圈飾以纏枝蓮紋。其內(nèi)鏤空瓷塑雙魚(yú)， 立身相依，口吐火蓮，礬紅描金，富麗堂皇。周圍綬帶環(huán)繞，生機(jī)盎然，自由自在。供圈下承以蓮臺(tái)， 蓮蓬之面挖雕蓮子，蓮花主體瓣瓣飽滿，脈絡(luò)清晰，精致非凡，蓮?fù)邪藢?，氣?shì)莊嚴(yán)。下連柱桿， 枝蔓環(huán)繞，卷葉鏤空，下承臺(tái)階式覆蓮器座，座頸及底部分飾如意云紋及回紋一周，座面亦繪纏枝 蓮紋，與供圈裝飾上下相映成趣，別富意趣。松石綠釉底中央礬紅落『大清乾隆年制』六字篆書(shū)款。 金魚(yú)象征著佛法游刃自如，以大神力度化眾生達(dá)到彼岸，有堅(jiān)固活潑，解脫壞劫之意。全器工藝繁 復(fù)精湛，吉祥滿溢，華美珍罕，為重要的乾隆御用禮佛瓷質(zhì)供器精品，極富皇家氣派，傳世不可多得。 參閱： 《清宮藏傳佛教文物》，香港，1992 年，頁(yè) 241，圖 125 《故宮博物院藏—清代宮廷繪畫(huà)》，文物出版社，1992 年，頁(yè) 52，圖 14

Qianlong Period, Qing Dynasty AN EXTREMELY RARE FAMILLE ROSE AND GILTED LOTUS-SHAPED CERAMIC PISCES This unusual ceramic Pisces is among the eight auspicious offerings in front of the Buddha in the court of the Qing Dynasty. Manjusri Bodhisattva is enshrined on the first floor of the fanzong building in the Palace Museum. A set of famille rose eight auspicious offerings are provided on the Buddha altar in front of the seated statue. The shape of Pisces is basically the same as the present one, but its fully covered with blue glaze, illustrated in Cultural Relics of Tibetan Buddhism Collected in the Qing Palace, Hong Kong, 1992, p.241, pl.125. Since Buddhism was preached into the Central Plains in the late Western Han Dynasty, it has had rapidly effected Chinese culture. After the establishment of the Qing Dynasty, Manchu rulers advocated yellow religion, and Buddhism ushered in a new period of great development in China. There is a oil painting of the portrait of the emperor Kangxi, published in Court Paintings of the Qing Dynasty in the Collection of the Palace Museum, Beijing, 1992, p.52, pl.14, which depicts the old Emperor Kangxi, sitting on the bed with Buddha beads in one hand. Eight auspicious offerings are neatly arranged on the bed in front of the seat. It can be seen that the Pisces of this kind is of great significance to the emperors of the Qing Dynasty. Emperor Qianlong was so obsessed with Tibetan Buddhism. He used a lot of labour and material resources to order the manufacturing office of neifu and Jingdezhen imperial kilns to manufacture Buddhist supplies and utensils. By using their own purposes and decorative design, he created a number of artistic masterpieces with great characteristics of the times. LITERATURE: Cultural Relics of Tibetan Buddhism Collected in the Qing Palace, Hong Kong, 1992, p.241, pl.125 Court Paintings of the Qing Dynasty in the Collection of the Palace Museum, Beijing, 1992, p.52, pl.14

313 清乾隆? 粉彩描金蓮蓬座雙魚(yú)八吉祥供器 款識(shí)：『大清乾隆年制』六字三行篆書(shū)款 高度：二十九? 厘米 AN EXTREMELY RARE FAMILLE ROSE AND GILTED LOTUS-SHAPED CERAMIC PISCES Qing Dynasty, Qianlong Six Character Seal Mark and of the Period 29 cm. high RMB: 200,000-300,000 313［款識(shí)］ 313 參照?qǐng)D：乾隆二十三年十一月日立《佛堂收供玻璃磁琺瑯各樣供器賬》中相關(guān)記錄 光緒二年《梵宗樓陳設(shè)檔》中相關(guān)記錄 313 參照?qǐng)D：故宮博物院梵宗樓供奉 『文殊菩薩前供奉粉彩八吉祥供具』 313 參照?qǐng)D： 故宮博物院藏油畫(huà)《玄燁像》

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清乾隆? 粉彩七月葵花圖蓋碗 清代宮庭之中茗茶風(fēng)尚由來(lái)已久，尤以雍乾二朝大盛。乾隆皇帝不僅鐘情茗茶，亦雅好文人品茶， 在其宮廷生活中可見(jiàn)有各式材質(zhì)的品茗用器，其中又以瓷質(zhì)器物為大宗，制作工藝富貴華麗，前所 未有。 拍品為乾隆朝粉彩茶器之珍貴雋品，精巧別致，碗敞口，深弧腹，拱形蓋頂設(shè)圓鈕，扣合于茶盅之 內(nèi)。瓷胎細(xì)密，白釉瑩潤(rùn)通透，碗身及蓋面皆以粉彩繪七月葵花洞石圖，黃蜀葵嬌艷盛開(kāi)，圃簇似 錦，大花黃粉相間，小朵粉麗柔嫩，含苞欲放，競(jìng)相爭(zhēng)艷，搖曳生姿。洞石旁紅葉依附，點(diǎn)睛奪目， 一派春光明媚之景。 整器描繪方式頗具中國(guó)畫(huà)之氣韻，筆觸精純細(xì)膩，彩料暈染自然，毫無(wú)堆砌之感，墨彩勾勒輪廓， 深淺濃淡，皴擦自然，恰到好處的表現(xiàn)出枝椏、花朵的陰陽(yáng)相背，達(dá)到工筆畫(huà)之寫(xiě)實(shí)效果，當(dāng)是御 窯廠能工巧匠匠依照工樣將畫(huà)稿臨摹勾勒于白瓷胎上，務(wù)必毫厘不差，同時(shí)又要顧及到瓷質(zhì)器表不 同于紙面的不均衡特性，稍有差池，便會(huì)前功盡棄，極其考驗(yàn)工匠的制瓷技巧。此器畫(huà)樣于構(gòu)圖間 尤為注重花卉的生態(tài)與意境營(yíng)造，其上秋葵繪制由來(lái)從故宮博物院藏清早期宮廷畫(huà)家蔣廷錫繪《花 卉圖冊(cè)》之秋葵圖中可見(jiàn)一二，秋葵花卉勾勒渲染上極具院體畫(huà)派風(fēng)格，形態(tài)畫(huà)意皆有所影響傳承。 臺(tái)北故宮博物院所藏清康熙宜興胎畫(huà)琺瑯?biāo)募净ɑ芊綁兀蹍⒁?jiàn)《也可以清心——茶器·茶事·茶畫(huà)》， 臺(tái)北故宮博物院，頁(yè) 105，圖 84］中所繪秋葵與拍品畫(huà)法極盡相同，而本器粉彩裝飾更為舒展順暢， 色彩過(guò)渡間更顯自然精致，存世少見(jiàn)，不可多得。 七月葵花特指秋葵，也稱黃蜀葵、野芙蓉等。清人陳淏之《花鏡》一書(shū)中稱其『秋月開(kāi)花，色淡黃如蜜， 心深紫，六瓣側(cè)開(kāi)，淡雅堪觀』。 因花開(kāi)淡雅，黃蜀葵與道教文化頗有淵源。道家崇尚清淡平和， 故詩(shī)詞典故中往往以葵花、道人互喻。唐代詩(shī)人李涉《黃葵花》贊曰：『此花莫遣俗人看，新染鵝 黃色未干。好逐秋風(fēng)天上去，紫陽(yáng)宮女要頭冠』。 參閱： 《也可以清心——茶器·茶事·茶畫(huà)》，臺(tái)北故宮博物院，2002 年，頁(yè) 105，圖 84

Qianlong Period, Qing Dynasty A FINE AND RARE FAMILLE ROSE 'SUNFLOWER' COVERED BOWL It has a long tradition of drinking teas in the Qing Court, which become extremely popular in the Yongzheng and Qianlong dynasties. The emperor Qianlong was sincerely into drinking tea. In his court life, there were tea utensils of various materials, majority of which were porcelain utensils. The manufacturing process was gorgeous and unprecedented. The pattern of this bowl is extremely rare and exquisite, finely potted with rounded abdomen, raising on a straight foot, inscribed with four character mark. The exterior of the bowl fully covered with white glaze in bright tone, and painted with sunflowers in famille rose and variety of flowers. The painting pattern was focus on the atmosphere of the flowers, which also can be seen in the imperial artist's works in the Qing Palace, and highly inherited by many following generations. The techniques of the painting is a great challenges for the craftsmen. There an other examples which collected by the Taipei Palace Museum, a Yixing-style enamelled square ewer, which illustrated in Empty Vessels, Replenished Minds: The Culture, Practice, and Art of Tea, Taipei, 2002, p.105, pl.84. The painting methods was quite similar with the painting of the present bowl. LITERATURE: Empty Vessels, Replenished Minds:The Culture, Practice, and Art of Tea,Taipei, 2002, p.105, pl.84

314 清乾隆? 粉彩七月葵花圖蓋碗 款識(shí)：『敬畏堂制』四字二行楷書(shū)款［盅底］ 『七月葵花』四字二行楷書(shū)款［蓋底］ 口徑：十一? 厘米 A FINE AND RARE FAMILLE ROSE 'SUNFLOWER' COVERED BOWL Qing Dynasty, ‘Made of Jingweitang‘ Four Character Mark, ‘Sunflower of July‘ Four Character Mark 11cm. diam. RMB: 200,000-300,000 314［蓋款］ 314［款識(shí)］ 314 參照?qǐng)D： 314 參照?qǐng)D： 故宮博物院藏， 臺(tái)北故宮博物院所藏， 蔣廷錫畫(huà)《花卉圖冊(cè)》之秋葵圖 清康熙『宜興胎畫(huà)琺瑯?biāo)募净ɑ芊綁亍?/p>

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清乾隆? 霽藍(lán)描金纏枝蓮?fù)邪思榧y茶蓋碗 霽藍(lán)描金是清代歷朝高檔御瓷的經(jīng)典裝飾手法，于《清檔》中記載為『霽青描金』或『天青描金』， 在九江關(guān)御貢瓷器中不乏其例。據(jù)乾隆二十七年十一月二十一日九江関監(jiān)督舒善《貢檔進(jìn)單》中述： 『內(nèi)務(wù)府外郎兼佐領(lǐng)管理九江關(guān)稅兼管窯務(wù)［奴才］舒善恭進(jìn)：……［交圓明園］霽青描金福壽茶 蓋碗拾副，……』；乾隆五十三年八月初二日九江関監(jiān)督海紹《貢檔進(jìn)單》記載：『［奴才］海紹 跪進(jìn)：……霽青描金福壽葢盌十副，……』；及乾隆五十七年八月二十日九江関監(jiān)督福英《貢檔進(jìn)單》 記載：『［奴才］福英跪進(jìn)：……霽青描金蓋盅十副，……』?；?yàn)榕钠吠惼髦沤P(guān)進(jìn)貢記錄。 拍品與臺(tái)北故宮博物院藏品相同［參見(jiàn)臺(tái)北故宮官網(wǎng)，館藏編號(hào)：中瓷 -000153］。蓋碗器形飽滿， 線條流暢，高雅精巧。外壁及蓋面紋飾相同，施霽藍(lán)釉為地，色澤亮麗，上以金彩繪纏枝蓮?fù)邪思? 祥紋樣。蓋鈕及圈足亦以金彩勾邊，碗內(nèi)及足內(nèi)施松石綠釉，釉色純正。上下均有青花書(shū)『大清乾 隆年制』六字篆書(shū)款。全器整體紋飾華麗，藍(lán)釉深沉名貴，金彩輝煌奪目，交相映襯，更顯奢華之氣。 弘歷鐘愛(ài)茗茶，亦好繁縟華麗之品，此茶蓋碗兼屬兩者之臻，誠(chéng)為珍器。 參閱： 臺(tái)北故宮博物館藏品，館藏編號(hào)：中瓷 -000153 《宮廷珍藏—清代官窯瓷器》，上海文化出版社，2003 年，頁(yè) 264

Qianlong Period, Qing Dynasty AN EXQUISITE AND SUPERB DARK BLUE GLAZED AND GILTED 'LOTUS AND EIGHT EMBLEMS' COVERED BOWL Gilted dark blue glazed painting is a classic decorative technique of imperial porcelain in the Qing Dynasty. It is recorded as 'navy gilted painting' or 'sky-blue gilted painting' in the Qing Archives. Many similar examples can be found in the record of imperial tribute porcelais. The present bowl is the same ware as the collection of the Taipei Palace Museum (see the official website of the Taipei Palace Museum, No.: 中瓷 -000153). The bowl is is finely built in rounded shape, which is elegant and exquisite. The exterior is decorated with the same patterns with the cover. Dark blue glaze is applied as the ground. The color is bright, and the eight auspicious patterns are painted in gold color on the cover. The lid button and foot are also covered with golden glaze, the interior of the foot and wall is covered with turquoise glaze. The base inscribed with a six-character reign mark of the qianlong period. The overall decoration of the whole ware is gorgeous, the blue glaze is deep and precious, and the gold color is brilliant and exquisite. It is more luxurious. The emperor hongli loves tea and is also devoted to the porcelains with complicated and exquisite decorations. LITERATURE: National Palace Museum,Taibei, NO. 中瓷 -000153 Treasures in the Royalty, the Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.264

315 清乾隆? 霽藍(lán)描金纏枝蓮?fù)邪思榧y茶蓋碗 款識(shí)：『大清乾隆年制』六字三行篆書(shū)款 口徑：十一? 厘米 AN EXQUISITE AND SUPERB DARK BLUE GLAZED AND GILTED 'LOTUS AND EIGHT EMBLEMS' COVERED BOWL Qing Dynasty, Qianlong Six Character Seal Mark and of the Period. 11cm. diam. RMB: 150,000-200,000 315［蓋款］ 315［款識(shí)］ 315 參照?qǐng)D： 乾隆二十七年十一月二十一日 九江關(guān)監(jiān)督舒善《貢檔進(jìn)單》中相關(guān)內(nèi)容 315 參照?qǐng)D： 臺(tái)北故宮博物館藏品，編號(hào)：中瓷 -000153

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時(shí)令佳器 —— 大羿 2021 秋拍：磁胎洋彩各色地軋道『節(jié)令膳碗』 ?? 色地開(kāi)光節(jié)令膳碗，因乾隆皇帝的風(fēng)雅所好而創(chuàng)燒，主要用于御茶膳房，為名副其實(shí)的宮廷御 用瓷器。自乾隆八年下旨創(chuàng)燒，在乾隆九年至嘉慶十一年間，作為傳辦瓷器不定期奉旨燒造；嘉慶 十二、十三年，作為大運(yùn)瓷器燒造，隨后停燒；道光元年后納入大運(yùn)瓷器每年例行燒造，直至道光 二十八年后全部停燒。歷經(jīng)乾隆、嘉慶、道光三朝，為清宮御用瓷器中非常難得的成組成套燒造的 瓷器品種。因其絕大部分燒造及清宮貯藏有明確的檔案記錄，故此類型碗在清代御窯瓷器史研究中 具有重要的學(xué)術(shù)價(jià)值。 ?? 清宮碗器在《陳設(shè)檔案》或《活計(jì)檔案》上計(jì)有：茶鐘、茶碗、湯碗、膳碗、飯碗等類，口徑 尺寸大小各有不同，依檔案記錄中品名對(duì)照兩岸故宮博物院藏品實(shí)物，不難發(fā)現(xiàn)各類碗器的原來(lái)名 稱與尺寸的對(duì)應(yīng)關(guān)系，如茶鐘口徑在 10 公分左右、茶碗約 11 公分，湯碗約 13.5 公分，膳碗約 15 公分， 高度則無(wú)明顯差別。而節(jié)令膳碗與宮中其他膳碗的不同之處在于，其外壁裝飾紋樣具有濃郁的節(jié)令 特征，且基本只在每年相應(yīng)的節(jié)令之日才會(huì)使用，故更顯珍貴。 ?? 『錦上添花』技法，民國(guó)早期《說(shuō)瓷》、《飲流齋說(shuō)瓷》等瓷書(shū)上則稱之為『錦灰堆』、『錦地花』 或『規(guī)矩花』，當(dāng)代陶瓷學(xué)者又稱此工藝為『軋道』。故宮博物院專家葉佩蘭就曾指出 ：『乾隆「唐窯」 琺瑯彩瓷器的彩色「地」上，出現(xiàn)細(xì)如毫芒的鳳尾紋（俗稱「軋道」），也是前所未有的創(chuàng)新之舉?！? 錦上添花技法及畫(huà)樣為乾隆朝畫(huà)琺瑯的獨(dú)有風(fēng)格，此一技法似不見(jiàn)于雍正朝，或?yàn)樘朴⑺鞣嚼L 畫(huà)技法的應(yīng)用，是其《陶務(wù)敘略碑記》中提到的所謂『新仿西洋琺瑯畫(huà)法』之一。這類錦上添花及 錐花器物，大多于檔案中記載為『磁胎洋彩』。 ?? 臺(tái)北故宮博物院藏有一對(duì)磁胎洋彩黃地團(tuán)花山水膳碗（附圖 1），與拍品編號(hào) 317 相同，大約 制作于乾隆六年 (1741) 至八年 (1743) 之間，《清檔》名稱為『洋彩四團(tuán)錦上添花膳盌』，有紅、藍(lán)、 黃等三色地。此品種碗開(kāi)光內(nèi)所繪山水圖均以宮廷畫(huà)家稿樣成畫(huà)，因此描繪細(xì)膩，風(fēng)格精致，主題 紋樣相似卻無(wú)一相同者，可見(jiàn)乾隆皇帝對(duì)此類碗的重視，乾隆之后，再難見(jiàn)到如此畫(huà)工精致之器。 同類器另見(jiàn)故宮博物院藏品。 附圖 1：臺(tái)北故宮博物院藏，『磁胎洋彩黃地團(tuán)花山水膳碗』