◎本拍品目前處于保稅狀態(tài)，敬請留意《保稅拍品競買須知》。 607 清乾隆? 青花螭龍捧壽紋葫蘆形雙耳扁瓶一對 款識：『大清乾隆年製』六字三行篆書款 高度：十七·七厘米 記錄：香港蘇富比，1994 年 11 月 2 日，編號 150 參閱：1《. 故宮博物院藏文物珍品大系—顏色釉》，上?？茖W技術出版社、商務印書館［香港］有限公司，1999 年， 頁 183，圖 166；頁 237，圖 215 2.《蘇州博物館藏瓷器》，文物出版社，2009 年，頁 174 3.《宮廷珍藏—清代官窯瓷器》，上海文化出版社，2003 年，頁 277 A PAIR OF EXQUISITE AND MAGNIFICENT BLUE AND WHITE ‘CHI-DRAGON‘ DOUBLE-GOURD SHAPED HANDLED VASES Qing Dynasty, Qianlong Six Character Seal Mark and of the Period. High: 17.7 cm. RMB: 2,000,000-3,000,000 607［款識］ 607［附圖：嘉慶十年十月二十四日相關《奏折》中內(nèi)容記錄］ 607［附圖：南京博物院藏? 清乾隆? 青花夔龍捧壽紋綬 607［附圖：故宮博物院古陶瓷資料研究中心藏? 清乾隆? 607［附圖：蘇州博物館藏? 清乾隆? 青花如意耳葫蘆瓶］ 帶葫蘆瓶］ 青花夔龍捧壽紋綬帶葫蘆瓶］

607

查閱公私典藏可知此類葫蘆瓶極為罕有，是為乾隆朝御瓷的創(chuàng)新 式樣，拍品與故宮博物院古陶瓷資料研究中心藏清乾隆青花夔龍 捧壽紋綬帶葫蘆瓶［參見《故宮博物院藏古陶瓷資料選萃·卷二》 頁 207，圖 183］于器型、裝飾上皆為相同。蘇州博物館及南京博 物院亦有同類型器收藏，均可參照比較。 耿寶昌先生于《明清瓷器鑒定》中提及此式綬帶葫蘆瓶器有圓扁 之分，又稱為『福壽瓶』，乾隆器端莊，規(guī)整雅麗，后于嘉慶、 道光之器則相形見絀，拍品即為乾隆時期一例佳作，工藝細膩， 精美絕倫。 據(jù)相關清宮檔案記載，乾隆十四年賞賜暹羅國王的瓷器中就有此 器物，屬大運用瓷器皿，年年都有所燒造，一直至道光二十四年。 嘉慶十年十月二十四日一份《奏折》中稱：『……擬留交造辦處：…… 仿成窯青花夔龍福壽葫蘆瓶三件……』。亦可知拍品此類型器之 清宮貯藏記錄，然傳世少見，當知可貴。 本品莊重典雅，設計精巧，小器大樣，呈扁圓葫蘆式造型，肩頸 處置對稱綬帶如意雙耳，圈足外撇。通體盡施白釉，外壁青花隨 形滿繪紋飾，口垂蕉葉紋，上腹團蝠卷草紋，主腹雙龍捧壽主題 紋飾，龍首位于瓶的下腹部，龍尾上擺至肩部，中央捧起團壽紋， 氣勢威嚴，對稱而為，相映成趣，圈足回紋一周。外底青花書『大 清乾隆年製』六字三行篆書款?！渡袝氛撐甯?，以『壽』居首。 本器取葫蘆造型，諧音『福祿』，有多子多孫、江山永固的吉祥 寓意，更兼雙為飾，故此件雙龍捧壽紋葫蘆瓶既以龍紋體現(xiàn)皇權， 又以造型和圖案寓意納福延壽、如意美好，成對而存，實屬難得， 是為清乾隆御造之宮廷節(jié)慶陳設佳器。 Searching from private and public collections, it can be known that the double-groud shaped vase in this design is extremely rare, which is newly created of the imperial ceramics of Qianlong period. A qianlong blue and white ‘kui-dragon‘ double-groud shaped vase in the Beijing Palace Museum, which in the same design, illustrated in Selected Porcelain from The Palace Museum, vol.2, Beijing, 2005, p.207, pl.183. Vases in the similar design are also collected Suzhou Museum and Nanjing Museum, which could be comparable. Geng Baochang has mentioned that may designed in both round and flat shapes, also named as ‘vase of happiness and longevity‘. The porcelains in elegant and regular shapeds, the present vase is a superior product of Qianlong period. The present vase in finely potted in elegant shape, fully covered with white glaze, fully decorated with vines in blue glaze, a dragon head decorated with the lower body of the vase, the tail is extended to the shoulders, the both sides decorated with ‘shou‘ character, the base inscribed with six-character reign mark in blue glaze. The present vase is in ‘hulu‘ shape, means ‘happiness and longevity‘. The decoration of dragon mebodies power of the emperor, and quite rare to kept in pair. PROVENANCE： Sotheby's Hong Kong, 4th Nov. 1994, Lot 150 LITERATURE： Selected Porcelain from The Palace Museum, vol.2, Beijing, 2005, p.207, pl.183 Porcelain Collected by SuZhou Museum, Beijing, 2009, p.174 Treasures in the Royalty, the Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.277

608 清乾隆? 松石綠地洋彩填金福運齊天御制『古稀說』瓷板 高度：五十八·五厘米；寬度：二十五厘米 來源：1. 1940 年代上?！熬壅潺S”張仲英舊藏 ??? 2.1942 年 -1972 年香港吳昆生舊藏 ??? 3.1974 年至 21 世紀初張仲英之子收藏 記錄：倫敦蘇富比，1974 年 11 月 4 日，編號 167 參閱：1.《故宮經(jīng)典—故宮玉器圖典》，故宮出版社，2013 年，頁 190-191，圖 152 ??? 2.《故宮經(jīng)典—故宮屏風圖典》，故宮出版社，2015 年，頁 76-77，圖 27 AN IMPERIAL EXQUISITE AND SUPERB ENAMELLED TURQUIOSE GLAZED AND GILTED CERAMIC SCREEN Qing Dynasty, Qianlong Period 58.5×25 cm×6 RMB: 3,500,000-5,500,000 608［附圖：故宮博物院藏：清乾隆 青玉『古稀天子之寶』璽、『八徵耄念』璽］ 608［附圖：故宮博物院藏：清乾隆 紫檀木邊座嵌玉填金字屏風］ 608［附圖：故宮博物院藏：清乾隆 碧玉古稀 說冊］

608

The present ceramic screen is composed with six panels, 【歷史背景】 each is 25 centimeters wide, nearly 2 feet high, total length of 3 meters, which is built in magnificent size. The screen fully 乾隆四十五年 (1780)，高宗皇帝七十正壽之慶，當時的工部尚書 covered with turquoise green glaze for the ground, the glaze 彭元瑞上呈一篇《古稀之九頌》的頌詞，采唐朝詩人杜甫《曲江》 is thick and elegant, decorated with gilted cloud patterns all “人生七十古來稀”之句，贊頌乾隆皇帝為“古稀天子”。高宗 over the whole body, like the emperor's imperial notepaper, 認為這句話“用意新而遣辭雅”，十分欣賞，為此他特意撰寫《古 which is magnificent. The body carved \"imperial Ancient said\" 稀說》，把自己看成是千古之中唯一年登古稀的英明君主。 poetry, and fill with gold color, steady brushwork. The whole decoration is gorgeous and elegant, the poem pattern gilted 此文中，弘歷為自己歌功頌德，充滿了洋洋得意的情緒，同時也 in the turquoise green glaze in elegant style and embobies 相對客觀的評定了自己一生的政績。高宗一生，先后平定準噶爾， atmosphere of royal family, which shows noble palace 定回部，掃金川，靖臺灣，降緬甸、安南，受廓爾喀降，平內(nèi)地 furnishings of qianlong period. 三叛等，享有十全老人之美譽。他歷數(shù)三代以下帝王年逾七十者， 只有漢武帝、梁高祖、唐明皇、宋高宗、元世祖和明太祖六人， The full text has 653 characters, and this set of porcelain screen 其中前四帝不值一提，元世祖和明太祖為一代梟雄，然“禮、樂、政、 has 339 characters. According to the content of its poetic 刑，有未遑焉”?！爸荡斯畔≌摺保┮娮约?。而他“五世同堂” patterns, it can be seen that this set of porcelain plates used to 的盛況，更是“自古所未有”。得意之情，不能自掩。 have 12 screens, and the existing six screens are the first, fourth, fifth, sixth, ninth and tenth screens. 【拍品描述】 It is worth to mention that the text which engraved on this 瓷板一組六屏，每屏寬 25 厘米，高近 2 尺，總長達 3 米，尺幅恢 screens is consistent with the imperial seal, which fully shows 弘壯觀。施以吉翠松石綠釉為地，勻凈厚潤，色澤雅致，其上以 the hierarchical concept and sincere respect of the Qing palace 金彩描繪迤邐祥云，遍布全體，猶如皇帝御用箋紙一般，富麗堂 for heaven and ancestors. The production method of the 皇。祥云之上陰刻《御制古稀說》詩文，并填以金彩，筆法穩(wěn)健， work shall be similar to that recorded in the archive of Qing 古拙沉雄，流露出凝練蒼樸的金石趣味。全器裝飾華麗而不失文 Court which mentioned above. According to the rules of the 雅，金彩詩紋在松石綠釉的襯托下愈顯璀璨輝煌，色彩搭配精致， interior government, the manufacturing office of the interior 文字布局規(guī)整，體例考究，皇家氣息濃厚，是一件尊貴的乾隆時 government shall issue the patterns and designs and then hand 期宮廷陳設大器。 them over to the imperial kiln factory for production. 《御制古稀說》全文共 653 字，此套瓷板共 339 字，依其文中內(nèi) This masterpiece of Qianlong's later years is exquisitely 容可知，此套瓷板原為十二屏，現(xiàn)存的六屏，分別為第一、四、五、 combined with this porcelain plate. The proportion of the 六、九、十屏。 porcelain plate is coordinated, the scale is magnificent, the pine stone green glaze is properly matched with the gold color, and 以現(xiàn)存六屏的布局體例可知，制作者非常講究“頂格”，例如： there is a sense of gorgeous. The Imperial text is gilted, making 第三屏以“天”字、“祖”字頂格。第四屏以“上天”二字，第 the whole instrument full of Royal characteristics. The ceramic 二行“天”字，第四行“天”字，第五行“祖”字頂格等等。 screen is a rare piece of Qing palace furnishings. Although only half of this imperial treasure of the Qianlong Dynasty remains, 《古稀說》全文收錄于《清高宗御制文二集》卷之六《說》目中（附 it is still precious, because it is the only porcelain product in the 圖 1），此書在文淵閣《四庫全書》中亦有收錄。 Qing palace about the theory of imperial antiquity. Its source is clear and reliable, and its circulation is orderly. He first appeared in Shanghai in the spring of 1942, and then joined the hands of Zhang Zhongying, a big antique dealer. In the same year, Zhang transferred it to Wu Kunsheng, the then textile king. In 1949, he took him to Hong Kong to settle down and treasure it for life. It was bought by Zhang Zhongying's son and has been kept so far. PROVENANCE： Zhang Zhongying's Collection, 1940', Shanghai Wu Kunsheng's Collection, 1942-1972, Hong Kong Zhang Zhongying's Son Collection, 1974-21st Century Sotheby's London, 4th Nov. 1974, Lot 167 LITERATURE： Classics of the Forbidden City, Jade in the Collection of the Palace Museum, Beijing, 2013, p.190-191, pl.152 Classics of the Forbidden City, Screens in the Palace Museum Collection, Beijing, 2015, p.76-77, pl.27 608［附圖：乾隆五十年七月二十九日九江關監(jiān)督穆克登《進單》中相關記錄］

【檔案資料及其他相關御制器物】 才阿肅跪進：……御制古稀說刻玉版一冊……。” 及乾隆四十六年七月十三日江蘇巡撫閔鶚元《進 為志七十壽辰，乾隆皇帝又下諭旨選青玉制“古 單》：“恭進：……（交熱河）制古稀說紫檀鑲 稀天子之寶”玉璽（附圖 2），印面四周鐫刻填 嵌炕挿屏成座……”。 金《古稀說》詩文，與“八征耄念之寶”璽共貯 一紫檀木寶匣內(nèi)，印匣外壁亦填金刻有《古稀說》 另外，乾隆五十年七月二十九日九江關監(jiān)督穆克 和《八征耄念之寶記》，現(xiàn)藏于故宮博物院。乾 登《進單》中記述：“（奴才）穆克登跪進：……（交 隆四十五年十二月《各作成做活計清檔》中記載： 熱河）御制古稀說嵌瓷九屏風成座……”，為目 “ 初九日，員外郎五德催長大達色來說，太監(jiān)鄂 前可查乾隆時期唯一一則瓷質《古稀說》清檔記 魯里交：碧玉古稀天子之寳一方（上貼本文五張） 錄（附圖 5）。另據(jù)黃清華先生考證：“此套瓷 傳?：著照干清宮現(xiàn)設敬天勤民之寳匣一樣配匣 板尺幅頗為恢弘，如此之物，文氣甚濃，其放置 盛裝，先呈樣，欽此?！庇谒氖甓率? 之所必為高宗皇帝頤養(yǎng)天年之地。紫禁城的后廷 將碧玉寳一方配得紫檀木罩蓋匣盛裝，匣蓋上懋 宮殿內(nèi)房間面積一般不大，而擺設卻不少，尤其 勤殿貼得御制詩本文，持進交太監(jiān)鄂魯里呈覧， 墻體各類裝飾繁多，而且諸類擺設暗含吉祥寓意， 奉?交懋勤殿照本文刻，欽此?！? 歷朝更換甚少，若增換大型平面裝飾，影響太大， 而類似圓明園和熱河行宮等處為皇帝修養(yǎng)怡情之 值得注意的是，此件寶璽四周陰刻《古稀說》的 地，室內(nèi)擺設較皇宮自由、寬松?！眳⒖即饲熬? 行文格式與拍品體例一致，充分展現(xiàn)出清宮敬天 江關進貢檔內(nèi)容中稱“嵌瓷屏風交熱河”，可推斷， 法祖的等級觀念和敬謹尊崇之心。拍品制作方式 此條檔案或為拍品同類器之九江關進貢記錄。 應與上述《清檔》中記錄相似，依據(jù)內(nèi)府之規(guī)章， 由內(nèi)務府造辦處出具圖樣，后交由御窯廠燒造而 乾隆晚年這篇杰作，與此件瓷板巧妙的結合在一 成。 起，使得二者相得益彰。瓷板比例協(xié)調(diào)，尺幅恢弘， 松石綠釉與金彩搭配得當，莊嚴肅穆亦有華麗之 《御制古稀說》不僅鐫刻在印章之上，于玉冊、 感，金色的御制文似躍然而出，光燦奪目，使整 銅器、書畫、織繡、家具亦有出現(xiàn)。故宮博物院 器飽具皇家特色。拍品是一件極難得的清宮陳設 現(xiàn)藏有戶部左侍郎金簡于乾隆七十大壽所進獻的 佳器，具有極高的收藏價值。 嵌玉戧金古稀說桌屏（附圖 3）及清乾隆御制古 稀說碧玉冊（附圖 4）等足可見高宗皇帝對于此 這件乾隆朝御物珍品，至今雖僅存一半，然不失 類古稀說作品之重視程度。朝廷上下倍亦加推崇， 其珍，因其為當今之孤品，是清宮里關于《御制 內(nèi)府為之刊刻成書，流布社會，廣為人知。乾隆 古稀說》的唯一瓷制品。它來源清晰可靠，流傳 皇帝更視之為重要禮物，賞賜臣下與藩屬，例如 有序。最初于 1942 年春現(xiàn)身上海，遂入大古玩 《清高宗實錄》有載：“乾隆四十九年，恩賞安 商張仲英之手，同年由張氏轉讓給當時紡織大王 南國王緞各一、紙筆墨硯各一。特賜國王《古稀 吳昆生。1949 年吳氏攜之赴港定居，珍藏終身。 說》，并御書“南交屏翰”四字”。 后為張仲英之子購得，秘藏至今。 這些內(nèi)容于《清檔》中亦有記載，如乾隆四十五 年十二月二十三日禮部右侍郎阿肅《進單》：“奴 608［附圖：《御制古稀說》］

蓋『 ‘’ 予予 宿以 ‘’ 志今 有年 年登 ，七 至袠 八， 旬因 有用 六杜 即甫 歸句 政刻 而 頤古 志稀 于天 寧子 壽之 宮寶 ， 其， 』其 。次 ［章 為而 原即 第繼 一之 屏曰 ］猶 日 孜 孜 ，

何『 肯為 如得 是半 夫而 ？失 由半 斯， 不然 自使 滿予 歉觀 然 其 ， 頌 若 ， 有 洋 所 洋 不 自 足 滿 之 遂 意 以 充 為 之 誠 ， ， 以 若 是 此 為 則 敬 不 』 但 。 失 ［ 半 為 又 原 且 第 失 四 全 屏 ， ］ 予

民『 庶天 無之 始本 終， 之必 變益 耳凜 ，旦 以明 是毋 典敢 學或 為渝 實也 學。 ，以 以是 』為 。法 ［祖 為之 原規(guī) 第， 五必 屏 思 ］ 繼 前烈 而慎 聰聽 也。 以是 勤

思『 永是 之奮 樞武 機非 乎黷 ？武 如， 是以 而是 觀籌 ，邊 元非 瑞鑒 之空 九， 頌以 方是 且制 益作 深非 。虛 予飾 臨。 深若 履夫 薄用 之人 戒行 ，政 則， 其旰 』 食 。 宵 ［ 衣 為 ， 原 孰 第 不 六 以 屏 是 ］ 為 慎修

為『 法佛 ，者 而。 其即 時所 其謂 政得 亦古 豈稀 有之 若六 今帝 日， 者元 哉明 ？二 是祖 誠為 古創(chuàng) 稀業(yè) 而 之 已 君 矣 ， ， 禮 夫 樂 值 政 此 刑 古 有 稀 未 者 遑 ， 焉 非 ， 』 其 。 余 ［ 四 為 帝 原 予 第 所 九 不 屏 足 ］

法『 祖上 、天 勤所 政賜 愛乎 民！ ，天 古賜 云古 ：稀 適于 百 予 里 ， 者 而 半 予 九 設 』 弗 。 以 ［ 敬 為 承 原 之 第 ， 十 弗 屏 勵 ］ 慎 終如 始之 志， 以竭 力敬 天

609（空號） 610 清乾隆? 仿官釉蒜頭瓶 款識：『大清乾隆年製』六字三行篆書款 高度：二十七厘米 參閱：《故宮博物院藏文物珍品大系—顏色釉》，上?？茖W技術出版社、商務印書館［香港］有限公司，1999 年， 頁 183，圖 166；頁 237，圖 215 A FINE AND GUAN-TYPE GLAZED GARLIC-SHAPED HEAD VASE Qing Dynasty, Qianlong Six Character Seal Mark and of The Period. High: 27 cm. RMB: 1,200,000-1,800,000 610［款識］ 610［附圖：北京故宮博物院清宮舊藏? 清乾隆? 仿汝釉弦紋蒜頭瓶］

610

蒜頭瓶，因口若蒜頭而得名，為清代官窯重要的 The present vase is elegantly potted with a 陳設佳器，許之衡著《飲流齋說瓷》中 < 說瓶罐 > globular body rising to a flat neck and a small 一章中載：『蒜頭者，口似蒜頭，而體段則近油 bulbous mouth. 錘，宋製已有之，后此尤火。純色、青花多有之?！? 拍品即為其中所載之純色者。 A smaller garlic-shaped head vase is in the Palace Museum, Beijing, with similar glaze color and 故宮博物院清宮舊藏一件清乾隆仿汝釉蒜頭瓶 mark, illustrated in The Complete Collection of ［參見《故宮博物院藏文物珍品大系—顏色釉》， Treasures of the Palace Museum, Monochrome 頁 237，圖 215］，釉色及款識寫法與拍品相似， Porcelain, Shanghai & Hong Kong, 1999, p.183, 惟尺寸較小。同書中另外刊載一件清宮舊藏乾隆 pl.166; p.237, pl.215. There is an other Qianlong 時期茄皮紫釉蒜頭瓶，于形製、尺寸皆與拍品相 aubergine glazed garlic-shaped head vase in the 近，亦可對比參考。相形之下，拍品頸部無弦紋 Palace Museum Beijing, which built in the similar 裝飾，更具宋瓷極簡風貌。形製上更為圓潤秀美， size and design, could be comparable. 仿官釉色清幽古樸，彰顯宋瓷素雅之美，乾隆皇 帝對宋器摹製講究『仿舊須宗雅則』，取之精華， The present vase is fully covered with guan-type 重其氣韻，亦有所創(chuàng)，推陳出新。 glaze, the foot rim painted with brown glaze, which shows the feature of porcelains in Song 器形秀麗，線條柔美，瓶口隆起如同蒜頭，長頸 dynasty, the base inscribed with six-character 溜肩，垂鼓腹，圈足外撇，盡見迤邐之姿。通體 reign-mark. 盡施仿官釉，釉色勻凈恬淡，靜穆古雅，風韻內(nèi)斂。 圈足底部一周呈醬釉鐵色，是為仿宋官窯器之『紫 LITERATURE： 口鐵足』特征，可見其用心精良，底落青花『大 清乾隆年製』篆書款。本器樸素無飾，以色取勝， The Complete Collection of Treasures of the 取法宋器，兼以化裁，工藝精湛，御窯之韻盡顯 Palace Museum, Monochrome Porcelain, 其中，此類乾隆仿官釉之器傳世不多，實為珍罕 Shanghai & Hong Kong, 1999, p.183, pl.166; 難得。 p.237, pl.215

611 清雍正? 青花折枝瑞果紋抱月瓶 款識：『大清雍正年製』六字三行篆書款 高度：三十三厘米 記錄：紐約蘇富比，1992 年 12 月 1-2 日，編號 340 參閱：1.《宮廷珍藏——中國清代官窯瓷器》，上海文化出版社，2003 年，頁 220 ??? 2.《故宮博物院藏文物珍品大系——青花釉里紅［下］》，上?？茖W技術出版社，頁 162，圖 148 AN EXQUISITE AND RARE BLUE AND WHITE ‘FRUITS‘ MOONFLASK VASE Qing Dynasty, Yongzheng Six Character Seal Mark and of the Period . High: 33 cm. RMB: 3,500,000-5,500,000 611［款識］ 611［附圖：北京故宮博物院藏 清雍正 青花釉里紅三果紋靈芝耳扁壺］ 611［附圖：國家博物館藏 清雍正 青花三果紋靈芝耳扁壺］

611

抱月瓶，亦稱『寶月瓶』。小口直頸、頸側雙耳， The compressed spherical body convex on the front and 因瓶腹似圓月，故名。外形最早源自宋元時期流 back sides, resting on a very low oval foot, rising to a slender 行于西夏的陶製馬掛瓶，左右雙系，用以掛于馬 bulbous neck, flanked on the sides with strap handles with 鞍之側，極具名族特色。明代永樂，宣德景德鎮(zhèn) raised central ribs and a leaf-shaped terminal enclosing 窯常見器物之一，后發(fā)展為清宮御瓷之經(jīng)典品類， peony and camellia sprays, painted to the main sides with 始見于乾隆，止燒于道光，屬于清宮每年必備的 a formal lotus spray with four blooms, the narrow sides left 大運琢器之一。 plain, the neck collared by bands of ‘classic‘ scroll, chevrons and key-fret. The design is highly effected by the Yongle 乾隆三十三年五月初三日一份《奏折》中稱：『…… and Xuande periods in whole. The base is inscribed with 查得藍冊內(nèi)琺瑯圓琢器：……乾隆年欵琢器內(nèi)選 six-character reign mark with blue glaze. The whole design 出一千一百六十件，其中：……青花福壽杏元雙 is exquisite and unique. It is classical of Qianlong official 帶馬掛瓶十五件……』?；驗榕钠分鍖m貯藏記 kiln. According the imperial of Qing court, the official kiln 錄。另據(jù)其他檔案資料得知，乾隆朝每年燒造數(shù) produced moonflask vases less than 5 pairs, which made 量不過五對，存世不多，珍罕可見。 such vases rarer and more valuable. 拍品與臺北故宮博物院藏清乾隆青花杏元福壽紋 There is a Qianlong blue and white moonflask with the same 馬掛瓶［館藏編號：中瓷 -003549］相同。同類 design (No. 中 瓷 -003549) in the Palace Museum Taipei, 器另見南京博物院藏品［參見《宮廷珍藏——中 other Jiaqing blue and white moonflask vase in the Palace 國清代官窯瓷器》，2003 年，頁 220］。故宮博 Museum Beijing, illustrated in The Complete Collection of 物院藏有一件清嘉慶青花桃蝠紋如意耳扁壺［參 Treasures of the Palace Museum, Blue and White Porcelain 見《故宮博物院藏文物珍品大系——青花釉里紅 with Underglazed Red, Vol.III, Shanghai & Hong Kong, ［下］》，頁 162，圖 148］，可見不同時代此 2000, p.162, pl.148, from which shows the evolution and 類器之演變傳承。 inheritance of this kind of vase in different ages. 本品器型尊貴高雅，端莊俊秀，唇口外撇，短直 PROVENANCE: 頸，扁圓腹，頸肩兩側設如意綬帶雙耳，方足外 撇。整器白釉瑩潤亮澤，其上以青花繪飾，瓶口 Sotheby's New York, 1st-2nd Dec. 1992, Lot 340 自上而下分繪枝纏枝靈芝紋、如意云頭、纏枝番 蓮蓮紋樣。腹外壁中央微凸起桃形開光，內(nèi)繪福 LITERATURE： 壽圖作主題紋飾，有壽上加壽之吉意。折枝壽桃 碩果細葉，間有祥蝠相伴，雍榮華貴，福壽齊天， Treasures in the Royalty, the Official Kiln Porcelain of the 構圖疏朗，更為凸顯。開光外滿飾纏枝番蓮花， Chinese Qing Dynasty, Shanghai, 2003, p.220 足墻飾卷草紋一周，腹側繪纏枝靈芝紋條帶狀飾。 The Complete Collection of Treasures of the Palace 青花發(fā)色鮮明，蒼翠欲滴，鈷藍釉料凝滯成塊， Museum, Blue and White Porcelain with Underglazed Red, 并刻意點藍斑，營造鐵銹斑的樣貌，這種效果應 Vol.III, Shanghai & Hong Kong, 2000, p.162, pl.148 是追仿明永樂、宣德時期青花釉料之特色，別具 新意。底足露胎一圈，足內(nèi)中央青花書『大清乾 隆年製』三行六字篆款，結構規(guī)整，筆力遒勁。 全器工藝精湛細膩，獨具綽約之姿，是為乾隆官 窯之標準佳器也。 611［附圖：乾隆三十三年五月初三日一份《奏折》中相關內(nèi)容］

612 清乾隆? 青花纏枝四季花卉海浪紋雙龍耳尊 款識：『大清乾隆年製』六字三行篆書款 高度：五十二厘米 記錄：北京拍賣行，2014 年 11 月 21 日，編號 1193 參閱：1.《天津市藝術博物館藏瓷》，文物出版社，1993 年，圖 165 ??? 2. 香港蘇富比，2006 年 10 月 8 日，編號 1058 A FINE AND RARE BLUE AND WHITE ‘FLOWER‘ HANLDED VASE Qing Dynasty, Qianlong Six Character Seal Mark and of the Period. High: 52 cm. RMB: 2,800,000-3,800,000 612［款識］ 612［附圖：天津藝術博物館藏? 清乾隆? 青花纏枝花卉紋雙耳尊］ 612［附圖：香港蘇富比 1998 年 4 月 28 日編號 789 封面拍品］

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仿古之風始于宋代，當時的文人熱衷于通過古器 The style of the present vase is started in the Song Dynasty, 物考證古代的典章製度，且以好古來增添文房清 the scholars are loved to valued the political systems of 趣，這種好古之風到乾隆時期更是盛極一時。乾 ancient times. The emperor Qianlong accepted Han 隆皇帝自幼接受漢族傳統(tǒng)文化教育，以儒家思想 education from his childhood, and devoted to the ancient 治理天下并真心熱愛古代文化，具有濃厚的慕古 culture. At that time, the nation was strong and unbreakable, 之情。當時國力強盛，文化事業(yè)特別是金石學的 and cultural undertakings, especially the study of gold and 研究蓬勃發(fā)展，安定的社會環(huán)境給手工業(yè)生產(chǎn)水 stone, flourished. The stable social environment provided 平的進步提供了基本保障，所有這些都為乾隆朝 basic guarantee for the progress of handicraft production 仿古之風盛行創(chuàng)造了條件。乾隆朝的仿古范圍十 level, all of which created conditions for the prevalence of 分寬泛，最為核心的則是對商周青銅禮器的仿製， archaize in the Qianlong Dynasty. The scope of archaize of 有如本品。 Qianlong dynasty is very broad, the most core is imitation of bronze ritual vessels of Shang and Zhou, like this article. 拍品體型較大，胎體堅實，古樸大方，乃仿自商 周時期青銅壺式之造型。翻閱海內(nèi)外公私著錄， The present vase is finely built in larger size, and with strong 與拍品相同者僅見天津市藝術博物館藏清乾隆青 body, the design is effected by the west Zhou dynasty bronze 花纏枝花卉紋雙耳尊［參見《天津市藝術博物館 vase. Searching through private and public literature, there 藏瓷》，圖 165］。另外香港蘇富比 1998 年春拍 is an unique vase in the same design, which illustrated 封面作品，造型與拍品相同，上下邊緣紋飾及布 Porcelains from the Tianjin Municipal Museum, Beijing, 局略有出入，亦可對比參考，此件后于香港蘇富 1995, pl.165. The other one was sold in Sotheby‘s Hong Kong 比 2006 年秋季再次拍賣，當時成交價為 684 萬港 in the autumn, 1998, which in the same design and similar 幣，可見此類器之珍貴。 patterns, could be comparable, and then sold in Sotheby‘s Hong Kong in the autumn, 2006, at HKD. 6,840,000, which 此壺莊重古雅，沉穩(wěn)敦實，胎體厚重堅縝，釉面 shows how valuable and rare the vase is. 瑩潔光潤，敞口，短粗頸，肩部兩側附雙龍耳， 對稱而為，巧思可見，扁圓腹下垂，橢圓形圈足 This vase is solemn and ancient, composed and solid, the 外撇。通體白釉上以青花繪飾，自上而下繁密鋪陳， body of the abdomen is heavy and firm, the glaze is bright 呈帶狀分布，依次飾以蕉葉紋、折枝花飾帶、纏 and clean, along with an open, short and thick neck, double 枝花卉和海浪紋，腹部以纏枝四季花卉紋為主題 dragon handles are attached on both sides of the shoulder, 紋飾，足墻飾仰蓮瓣紋、折枝花及如意勾云瓔珞 symmetric, qiaosi can be seen, flat round abdomen ptosis. 紋。繪工精細純熟，用筆一絲不茍，青花發(fā)色明翠， The body is decorated with painting in blue and white glaze, 呈仿永宣青花之式，采用點染之法，可見燒造工 which is densely spread from top to bottom in a ribbon-like 藝之絕妙高超，器底中央青花落『大清乾隆年製』 distribution. It is decorated with banana leaf pattern, folded 篆書款。本品風雅雋永，古意盎然，置于殿堂書 branch flower belt, wrapped branch flower and wave pattern. 房之間，可解思古之幽情，可悟審美之清趣，實 The abdomen is decorated with four seasons flower pattern, 為清乾隆御造仿古之青花上品，從中可見清代宮 and the foot wall is decorated with lotus petal pattern, folded 廷陳設大器之典型樣貌，殊為難得，傳世不可多見。 branch flower and ruyi cloud wreaths. The painting work is fine and skillful, the pen is meticulous, the blue and white hair color is bright and green, showing the blue and white type of imitation from Yongle and Xuande periods, using the method of spot dyeing, which can be seen that the firing technology is quite mature, the base inscribed with six- character reign mark in blue glaze. This article is elegant and meaningful, full of ancient meaning, placed between the palace study, can understand the ancient feelings, can understand the aesthetic of the Qing dynasty, it is the qing Qianlong royal made antique blue and white top grade, from which can be seen the typical style of the furnishings in Qing palace. PROVENANCE: Beijing Auction Co., 21st Nov. 2014, Lot 1193 LITERATURE： Porcelains from the Tianjin Municipal Museum, Beijing, 1995, pl.165 Sotheby‘s Hong Kong, 8th October 2006, Lot.1058

清代工匠善于觀物取義，仿明技藝鬼斧神工，此于雍正仿製中 Craftsmen in the Qing Dynasty were expert at observing things and taking 體現(xiàn)淋漓。雍正青花選料精細，工藝嚴格，『參古今之式，匯 righteousness, and imitated the craftsmanship of the Ming Dynasty, which was 以新意，備儲巧妙』，有『明看成化、清看雍正之說』。永宣 vividly reflected in the imitation of Yongzheng. The blue and white porcelain 青花『蒼妍雄渾』之品格最得雍正青睞。據(jù)《清檔》記載，雍 of Yongzheng period are fine and the making process is strict. Blue and white 正帝曾不止一次遣送清宮所藏瓷珍至景德鎮(zhèn)以資效仿，為了達 cangyan vigorous character is most favored by the emperor Yongzheng. 到與永樂本朝一致，通常無款。本器即為其中之佳作，造型源 According to the records in the Qing Archives, The emperor Yongzheng sent 自阿拉伯銅器。 porcelain treasures stored in the Qing palace to Jingdezhen several times to reproduce. In order to be consistent with the Yongle Dynasty, the porcelains 臺北故宮博物院及英國大維德中國藝術館均藏有明初青花花 usually without marks. its shape effected from Arabic bronze. 鳥紋寶月瓶，尺寸較大，但與拍品于形製、風格及裝飾紋樣 上似有異曲同工之妙，從中可見此式清宮御作對永宣器之效 There are blue and white ‘birds‘ moonflask vases holds in Taipei Palace 仿及創(chuàng)新，佳作難得。兩例分別著錄于《故宮藏瓷—明青花 Museum and Percival David Foundation of Chinese Art, with the same design 瓷［一］·洪武永樂》圖版 9、9a；及蘇玫瑰編著《Imperial but in larger size, which shows the imitation and creation for Yongle and Taste - Chinese Ceramics from the Percival David Foundation》， Xuande porcelains by Qing courts. One of them illustrated in Porcelain of 倫敦，1989 年，頁 59，編號 30。更耐人尋味的是，赫拉特 the National Palace Museum, Blue - and - White Ware of the Ming Dynasty 現(xiàn)存一幅公元 1488 年的畫作中也有一例相同的瓷瓶，圖見 Book I, Hong Kong, 1963, pl.9, 9a; an other published in Imperial Taste, Sultan-Alial-Katib 于公元 1488 年 6 月以薩迪《果園》詩集為 Chinese Ceramics from the Percival David Foundation, London, 1989, p.59, 題材創(chuàng)作的《蘇丹侯賽因宮廷宴客圖》。由此可見，這類作品 no.30. What is more interesting is that there is also a same vase in an existing 在近東宮廷亦大受歡迎，而畫中瓷瓶很可能是永樂年間流入赫 painting of Herat in 1488. See Sultan alias katib's picture of Sultan Hussein's 拉特［當時為帖木兒商業(yè)重鎮(zhèn)，現(xiàn)位于阿富汗境內(nèi)］的外交禮 Palace Banquet with the theme of sadi's orchard poems in June 1488. It can 物。 be seen that such works are also very popular in the Near East courts, and the porcelain vase in the painting is likely to be a diplomatic gift flowing into herat 本品造型優(yōu)雅雋秀，圓潤飽滿，直口短頸，頸側附飾雙云耳， (an important commercial town of Timur at that time and now located in 扁圓腹，橢圓形圈足。外壁滿以青花繪飾，頸飾竹葉紋，肩及 Afghanistan) during the reign of Yongle. 足脛處皆飾如意蕉葉紋，遙相呼應，層次清晰，腹部一面畫一 對鵲鴝登梅樹相互對唱；另一面繪一對白頭鳥棲息于杏花樹 The compressed spherical body convex on the front and back sides, resting 上，一鳥回首仰望其同伴。兩面畫面有別，各自枝頭皆登雙鳥， on a very low oval foot, rising to a slender bulbous neck, flanked on the sides 對視顧盼，登枝報喜，別富佳趣。全器形製規(guī)整，小器大樣， with strap handles with raised central ribs and a leaf-shaped terminal enclosing 玲瓏別致，構圖舒朗清逸，畫工嚴謹沉穩(wěn)，青花明快凝練，透 peony and camellia sprays, painted to the main sides with a formal lotus spray 出皇家獨有的尊貴典雅氣派。 with four blooms, the narrow sides left plain, the neck collared by bands of ‘classic‘ scroll, chevrons and key-fret. 拍品所繪紋飾構圖格局清朗舒逸，從中可見院體繪畫之風貌， 花鳥畫向來為歷代皇室宮廷所推崇，是中國繪畫的重要藝術題 There is an other Yongzheng blue and white moonflask vase of Qing dynasty 材之一，《宣和畫譜》中所收錄宮廷藏畫中闡述花鳥畫題材及 in Beijing Palace Museum, illustrated in The Palace Museum's Collection of 其重要性的篇幅便有五卷之多，崔白等眾多畫家皆留有花鳥名 Blue and White Porcelains from Yongzheng Period of Qing Dynasty, Beijing, 作著稱于世，長于細筆勾勒，作品生動傳神，這不僅進一步完 2017, p.205, pl.123, and other Yongzheng period blue and white ‘flower and 善了寫生技法，亦使絹本和紙本花鳥畫的發(fā)展攀上了新的高 birds‘ moonflask vase was sold Chirstie‘s Hong Kong, 3rd June 2015, Lot.3126 峰。精于畫藝的北宋徽宗即對花鳥題材頗為鐘愛，用筆細膩， at HKD. 17,440,00. 畫境生動，紐約大都會藝術博物館藏《竹禽圖》，畫中小鳥立 于枝葉掩映的翠竹枝頭 , 畫意與拍品相近，且都采用了雙鳥對 The decoration on two sides of the body is improved to two birds. This 望的方式，與拍品所飾不謀而合。本品所繪將中國花鳥畫流行 composition inherited from the painting of the Northern Song Dynasty, and 題材及經(jīng)典構圖集于一體，可謂用心，精雅非凡。 the aforementioned flower and bird album of the emperor Huizong is the best proof of it. From a comprehensive view, the pattern of this vase is more 與拍品尺寸相若者，參見故宮博物院清宮舊藏清雍正青花花鳥 complex than that of the version in the early 15th century, but its painting is 紋寶月瓶［錄于《故宮博物院藏清雍正青花瓷器》，故宮博物 more delicate. 院，編號 123］；及原屬樂山堂舊藏一件清雍正青花花鳥圖雙 耳抱月瓶，后售于 2015 年香港佳士得春拍，編號 3126，當時 PROVENANCE: 成交價為 17,440,000 港幣。 Xu Zhantang's Collection 值得注意的是，拍品此件前后瓶腹的紋飾題材增至雙鳥，非常 Christie's Hong Kong, 27th May 2008, Lot 1828 見之單鳥而立，此構圖方式與北宋繪畫一脈相承，前述徽宗的 花鳥冊頁便是最佳證明。綜而觀之，本拍品的紋飾格局要比 PUBLICATION: 十五世紀初的版本復雜，但其畫工卻愈加細膩。與此同時，疏 影橫斜的虬枝與嬌美的梅花對比鮮明，而葉繁枝柔的杏樹也與 The Tsui Museum of Art, Hong Kong, 1995, No.62 飽滿嫵媚的杏花相映成趣，筆法意趣均深得丹青之妙。 LITERATURE： Porcelain of the National Palace Museum, Blue - and - White Ware of the Ming Dynasty Book I, Hong Kong, 1963, pl.9, 9a Imperial Taste, Chinese Ceramics from the Percival David Foundation, London, 1989, p.59, no.30 The Palace Museum's Collection of Blue and White Porcelains from Yongzheng Period of Qing Dynasty, Beijing, 2017, p.205, pl.123 Chirstie‘s Hong Kong, 3rd June 2015, Lot.3126

613 清雍正? 青花『喜上眉梢』圖抱月瓶 高度：十八·五厘米 來源：徐展堂收藏 記錄：香港佳士得，2008 年 5 月 27 日，編號 1828 出版：《徐氏藝術館陶瓷 IV 清代》，香港，1995 年，編號 62 參閱：1.《故宮藏瓷—明青花瓷［一］·洪武永樂》，香港開發(fā)股份有限公司，1963 年，圖版 9、9a 2.《Imperial Taste - Chinese Ceramics from the Percival David Foundation》，倫敦，1989 年，頁 59，編號 30 3.《故宮博物院藏清雍正青花瓷器》，故宮出版社，2017 年，頁 205，圖 123 4. 香港佳士得，2015 年 6 月 3 日，編號 3126 AN EXQUISITE AND RARE BLUE AND WHITE ‘BIRDS‘ MOONFLASK VASE Qing Dynasty, Yongzheng Period. High: 18.5 cm. RMB: 1,500,000-2,000,000 613［附圖：埃及書籍組織藏品］ 613［附圖：紐約大都會藝術博物館藏? 北宋 趙佶 竹禽圖［局部］］ 613［附圖：故宮博物院清宮舊藏? 清雍正? 青花花鳥紋如意耳扁瓶］ 613［附圖：英國大維德中國藝術館藏? 明永樂? 青花鳥立花枝紋 雙耳扁壺］

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614 明末清初? 銅沖耳爐 款識：器寧而靜，質堅而文，鳥叚云上，吐納煙云，靜觀主人 高度：二十·五厘米；重量：8620 克 A FINE GILT-SPLASHED BRONZE CIRCULAR CENSER Late Ming/Early Qing Dynasty. High: 20.5 cm.? Weight: 8620g RMB: 1,200,000-1,500,000 沖耳爐形製源出宋代瓷爐，宣德皇帝以其置于 The shape of censer inherited from Sony 政務殿閣，蓋因取其『敬天法相』之意也。因 dynasty, which is displayed in the Zhengwu 其線條優(yōu)雅流暢，故而被后世廣泛應用于宮廷， palace. Because of its elegant and smooth shape, 文房，祭祀等諸多重大場所。 it is widely used in many important places such as court, study, sacrifice and so on. 整器銅質縝密，造型渾圓，寬闊厚重，氣質莊 重沉穩(wěn)，磅礴大氣。唇口外侈，短頸微微內(nèi)凹， The whole censer is made of meticulous copper, 斜下出扁鼓腹，緩收出器底，三乳足承托器身， rounded shape, wide and thick, solemn, calm 健碩有力?？谘貎啥讼蛏掀痣p沖耳，線條過渡 and majestic. The mouth rim are extravagant 平緩自然，張弛有度，勢內(nèi)收，處理極為精妙。 outside the mouth, the short neck is slightly 內(nèi)膛平整，燒結老道。銅質細膩勻凈，包漿淳 concave, the flat drum abdomen is inclined 厚溫潤，色澤為藏經(jīng)紙色，深沉高古，因色近 downward, the bottom is retracted, and the 佛家經(jīng)典，故乃銅爐中首色，為藏家所重。爐 three feet support the body, which is strong and 底開框規(guī)整見方，內(nèi)鑄二十字篆書款，『器寧 powerful. The mouth rising handles, the line is 而靜，質堅而文，鳥波人上，吐納煙云，靜觀 gentle and natural, the relaxation is moderate, 主人』，布局規(guī)製，結體方正，筆劃鋒芒畢露， the potential is retracted, and the treatment is 頗有意趣。 very exquisite. The interior of the body is flat. The bottom inscribed with 20-character seal 此爐胎體厚重，銅質精粹，觀之沉穩(wěn)古雅，寶 mark are cast inside, the layout is regulated, the 氣內(nèi)蘊。叩之聲妙，其聲亮麗清正，回顫有韻， structure is square, and the strokes are sharp and 清越綿長，可見其材質之精，熔鑄之精。拍品 revealing. 造型、鑄工等特征，處處彰顯著由明入清的時 代所屬，既有晚明私款爐遺風，又有入清后的 This censer has a heavy carcass and the essence 規(guī)製秀雅，款識罕見，十分難得，是為書房陳 of copper. It is calm, ancient and elegant, with 設之雅器。 treasure gas inside. The sound of knocking is wonderful. Its sound is bright and clear, with rhyme in the back. It is clear and long. We can see the essence of its material and casting. The characteristics of the present censer, such as the shape and foundry shows features of Ming and Qing Dynasties. It embodies the legacy of private furnace in the late Ming Dynasty, and also the elegant regulation after entering the Qing Dynasty. The style is rare, which represents elegant style.

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