清代與吉慶裝飾題材的運用已臻化境，講究「圖必有意，意

必吉祥」，此瓶不論主題抑或輔助紋飾，均採用了兆寓福壽

如意的吉祥圖案，令人觀之即可領悟其中寄予的美好祝願。

整器色彩艷麗明快，繪製工麗精細，寓意吉祥，頗具乾隆一

朝制瓷之風。嘉慶一朝的製瓷工藝完全承襲了乾隆時期的

藝術風格，尤以早期最為突出。乾隆丙辰歸政後，改元為

嘉慶元年，但在清宮內務府的檔案中，仍有乾隆六十一年和

六十二年的時憲書，宮中檔案仍延用乾隆年號。可見雖已歸

正禪位，但乾隆身為太上皇的晚年生活仍然是整個國家權利

的最高主宰，其于歸政前夕所作御題詩《除夕》中有「此日

乾隆夕，明朝嘉慶年。古今難得者，天地錫恩然。父母敢言

謝，心神增益虔。近成老人說，雲十幸能全。」而身為「千

古第一全人」的乾隆皇帝，他希冀自己能夠擁有如宋高宗那

般父慈子孝的晚年太上皇生活，就如他自撰在樂壽堂門前的

對聯所書「樂在人和，肯寄高閒規宋殿。」而嘉慶帝也不負

所托，自即位始，日侍慈顏，稟受至教，凡事皆附和太上

皇，可謂事事周到。實乃名副其實的「總以孝奉為務」。故

而此一時期之御瓷也表現出迎合太上皇喜好，一派四海升

平，喜慶安樂的太平盛世。

佚名，清《萬國來朝圖》軸（局部），絹本設色

©故宮博物院藏

Anonymous, Qing Dynasty, The Tribute Visit of Ten Thousand Nations (detail), hanging scroll, colour on silk

©The Palace Museum

On either side of the necks of these vases are upside-down bats.

The bats symbolize happiness, while the word for upside-down

in Chinese is a homophone for 'arrive'. The motif, therefore,

symbolises the arrival of happiness. In their mouths the bats each

hold the tip of a halberd. Further, a chiming stone is suspended

from the halberd, and in such combination the halberd provides a

rebus for auspicious happiness.

On either side of the large blossoms on the shoulders of the vases

are confronted archaistic blue kui dragons. They have flower stems

in their mouths and their heads turned back. The pair of handles

are also moulded in the form of archaistic kui dragons. This use of

archaistic dragon handles as well as the general form of the vases

is a continuation of forms popular amongst imperial porcelains of

the Qianlong reign.

清嘉慶 松石綠地粉彩吉慶有餘進寶圖雙螭耳大瓶

北京保利，2011年12月6日，編號5162

成交價 RMB 21,275,000

A green-ground famille rose 'tribute visit' vase

with chi-dragon handles, Jiaqing period

Sold at Poly Beijing, 6 December 2011, lot 5162

at RMB 21,275,000

據《嘉慶三年各作成做活計清檔》載，嘉慶三年發往江西燒

造的官窯瓷器，猶要求要「一半乾隆款，一半嘉慶款」。故

嘉慶初年乾隆在世時燒造的嘉慶御窯瓷器製作水準與乾隆盛

世無二，確有「乾嘉不分」的感覺，而其中粉彩琢器之精

者，甚至超過了乾隆晚期的一般作品。晚年的乾隆皇帝，把

持著朝政大權的同時，亦有「設誠六十年，八旬有五足。允

宜歸大政，余日享清福。」的想法。正因如此，嘉慶皇帝

面面俱到的孝思令太上皇聖意甚悅，父子關係日益融洽，對

嘉慶帝隆恩日濃，其於嘉慶三年元旦曾賦詩：「元之三更六

之三，嘉慶乾隆父子覃。訓政心仍書宵篤，承歡膝下凊溫

諳。」並於次年二月薨逝，是年為西曆1799。乾隆大帝九九

歸一，一生十全，晚年也如宋高宗一般父慈子孝，謚號亦為

「高宗」，可謂圓滿至極。然而其身後的江山已如江河日

下，頹勢難輓，曾經光輝的歲月即將謝幕，唯有此器仍存留

著彼時的繁盛余暉。

此瓶最初成對流傳，迪諾公爵 Alexandre Edmond de

Talleyrand-Perigord所珍藏，此後在家族傳承。此對瓶曾運

至迪諾公爵後人的婚禮現場，其中一只於婚禮現場打碎。本

品在2022年9月18日於法國Daguerre拍賣上釋出。然而此對

瓶的另外一件不幸受損毀，其碎片於同年12月拍出，雖是殘

片，仍以12萬歐元的高價成交。

The decoration of figures in landscape that encircles the main

body of the current vase is particularly remarkable. The figures

on the vase can be identified as western foreigners by their curly

red hair and clothing, although some of the clothing includes

Chinese elements. They are all tribute bearers, bringing precious

and auspicious gifts to the emperor. Western servants are shown

transporting a range of gifts either in two-wheeled carts or on

yokes carried across their shoulders. Their masters either ride in

two-wheeled carts or ride on a variety of extraordinary animals.

One rides a horse, but the others ride creatures such as a white

elephant, a tiger, a blue Buddhist lion, and a range of colourful

mythological animals including a qilin and a bixie.

Other foreign tribute bearers on the vases carry musical

instruments in silk cases, elaborate caskets, which probably

contain precious jewels, trays of peaches which symbolize

longevity. While the large and impressive vase would itself have

been valuable gift, its decoration additionally contains a range of

auspicious wishes and subtle compliments to the emperor.

The present vase was originally kept as a pair in the collection

of Alexandre Edmond de Talleyrand-Perigord, Duke of Dino, and

later passed down within the family. The present vase was sold

in Daguerre, France in 2022. The other twin of this vase was

unfortunately broken into shards. However, the shards remnants

still achieved an outstanding 120,000EUR at the same auction.

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頤華：宮廷藝術珍品選粹

3320

清乾隆  唐英製仿石紋釉題詩筆筒

      「雋公」「翰墨」

AN INSCRIBED FAUX-MARBLE 'TANG YING' BRUSHPOT

QIANLONG PERIOD, 1736-1795

詩文：「一塌清風書葉舞，半窗明月墨花香」。

印文：「雋公」「翰墨」

此件筆筒圓體、直壁、平口。胎體堅實，形製規正。器內、

外壁作仿石紋裝飾，色彩深淡相宜，紋路舒展相間，繪圖如

天然木紋狀自然有序，又似行雲流水般暢酣。壁體一側留詩

文「一塌清風書葉舞，半窗明月墨花香」。 尾落礬紅「雋

公」「翰墨」篆書陰文、陽文印。

來源

1. 香港蘇富比，2004年4月25日，編號58

2. 嘉木堂舊藏

HK$ 1,600,000 - 2,500,000

US$ 204,000 - 319,000

PROVENANCE

1. Sotheby's Hong Kong, 25 April 2004, lot 58

2. Collection of Grace Wu

H 11.1cm

This brushpot is in cylindrical form with a recessed base. The

exterior is inscribed in black with a fourteen-character inscription in

the style of Tang Ying followed by two iron-red seals \"Jun Gong\" and

\"Han Mo\". The whole brushpot including the interior and base is

meticulously painted with swirls of sepia and grisaille in imitation of

marble.

The poem reads,

On the couch a fresh breeze, the leaves of the book are

dancing.

In the half open window a clear moon, flowers drawn in ink are

emitting their scent.

款識

Marks

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Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

本品外壁繪圖如石紋狀自然有序，又似行雲流水般暢酣。紋

理空隙間見木紋流水之效果，宛若天成。縱觀今日公私收

藏，一致公認的唐窯自治筆筒，數量稀少，能流通者更甚，

而且品相多有瑕疵。自雍正六年始，唐英以內務府員外郎身

份駐節景德鎮，負責協助常駐淮安的督陶官年希堯處理窯

務，傳旨燒造的瓷器，均由年希堯家人持樣交景德鎮御廠燒

造辦理。御廠總理年希堯住淮安關署，每歲只春秋兩次去景

德鎮巡視窯廠；駐廠協理唐英親自辦理製造細事。此後，唐

英便與清代官窯督造事業結下伴隨終生的不解之緣。雍正六

年至乾隆二十年，在唐英長達二十八年的榷陶生涯當中，不

但為清宮燒造過許多精彩絕倫的曠世佳器，同時亦為自己之

需用而燒製出各類瓷器，後者簡稱為「唐窯私物」。

與唐英其他私物相比較，本品擁有它們不常有的特點，便是

其落款。唐英擅長使用閒章裝飾自治瓷器，以達點睛之妙，

而且前後使用數量豐富，多達數十種，但沒有專門規律，似

是信手拈來，其中「片月」與「翰墨」使用次數較多，「片

月」往往作為引首章，與「翰墨」印前後呼應。余例常見

為「陶鑄」、「陶榷」、「雋公」、「蝸寄居士」、「古柏

堂」等為主，偶見用「陶成居士」、「沐齋居士」，但例如

本品所用「雋公」搭配「翰墨」篆書陰文、陽文印例極為罕

見，可見一例，為上海博物館藏「唐英親製洋彩米芾賜硯圖

詩文筆筒」，主題紋樣是米芾、蘇東坡磨墨試硯的典故，空

白處題寫行書《東坡詩話》詩文「玉硯瑩然出尚方，九重親

賜米元章。不因啖吐珠璣力，安得瑤池到玉堂。」後署「瀋

陽唐英」四字與「翰墨」紅章，底書礬紅彩「乾隆年製」四

字款，載於《中國陶瓷全集》，卷15，上海，2000年，圖版

22，亦見於《文物》，1989年，卷7，頁83-84。

清乾隆 唐英製「陶鑄」款粉彩美石紋墨書觀音瓶

©中國文物總店藏

An inscribed faux-marble vase, by Tang Ying,

Qianlong period

©Chinese Antique & Curio Store

底部 Base

94

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

3321

清乾隆  唐英墨彩題詩筆筒

AN INSCRIBED GRISAILLE-DECORATED 'TANGYING' BRUSHPOT

QIANLONG PERIOD, 1736-1795

PROVENANCE

Poly Auction Hong Kong, 7 April 2013, lot 785

H 12cm

The brush pot is delicately potted in cylindrical form with the

exterior painted in grisaille enamels, inscribed with a poem in

clerical and running scripts. The seal marks are painted in coral

red.

For a cylindrical brushpot with similar style decoration in the

collection of the Chinese University of Hong Kong Art Museum,

see Peter Lam, Tang Ying (1682-1756): The Imperial Factory

Superintendent at Jingdezhen, Transactions of the Oriental

Ceramic Society, vol.63, 1998-1999, fig.5.

印文：「半山」「陶」「鑄」「景」「朱」

山不在高，有仙則名；水不在深，有龍則靈。斯是陋室，惟

吾德馨。苔痕上階綠，草色入簾青；談笑有鴻儒，往來無白

丁。可以調素琴，閱金經；無絲竹之亂耳，無案牘之勞形。

南陽諸葛廬，西蜀子雲亭。孔子云：「何陋之有？」

來源

保利香港，2013年4月7日，編號785

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

US$ 128,000 - 230,000

鈐印

Seal marks

96

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

本件墨彩題詩筆筒呈直筒形，圈足，通體青白釉，施釉平

滑，釉質清透滋潤，筆筒外壁以墨彩行書題寫詩文《陋室

銘》等文言雅句，極富文人情懷。詩文書法流暢，筆法老

到，相得益彰。筆筒雖小，卻是古代文人案頭必備之物。自

晚明以後，瓷質文房用品逐漸進入文人視野，它與紙、筆、

墨、硯等一起成為他們珍賞的文房雅具。唐英在督陶之時，

曾親自設計製作了一批瓷質文房用具以自用，這批瓷質文房

兼備了唐英的文人巧思和高超製瓷技藝，成為了極具品位的

藝術珍品。唐英本人能文善書，行書尤其突出，上承魏晉、

漢、唐、宋之名家，行筆中自然巧妙地融入前人章法，從而

創造出自己的體勢，形成自己的風格。唐英親製墨彩詩文瓷

的文人氣質與傳世的稀少，傳世作品亦不過百件，分別收藏

於故宮博物院、上海博物館、國家博物館、首都博物館、天

津博物館等處。

清康熙 墨彩竹枝圖筆筒

《故宮經典─文房清供》，北京，紫禁城

出版社，2009年，圖23

A grisaille-decorated 'bamboo' brushpot,

Kangxi Period

©Classics of the Forbidden City: Scholar's

Paraphernalia, Forbidden City Publishing

House, Beijing, 2009, fig. 23

唐英《臨乙瑛碑》隸書立軸

Tang Ying, Copy of calligraphy from the Yiying

Stele, hanging scroll

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Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

3322

清乾隆  唐英製粉彩山水詩文雙耳杯

      「水心雲影閒相照，林下泉聲靜自來」「片月」「陶」「鑄」

AN INSCRIBED FAMILLE ROSE ‘LANDSCAPE' CUP

QIANLONG PERIOD, 1736-1795

本品為四方倭角雙耳式，為唐英私物當中僅見之造型，雙耳

玲瓏別致，礬紅描金為飾，與白地杯身形成鮮明的對比，杯

身三面展繪粉彩山居圖，圖中遠峰重疊，近處屋舍數間隱於

秋樹綠山之間，江岸處草亭佇立，下見波光粼粼，留空的一

面為水天相接之景，蒼茫一片，遂見意境幽遠，萬物超然之

感。其上題寫行書「水心雲影閒相照，林下泉聲靜自來」詩

句，引首章為「片月」， 後鈐紅彩「陶」、「鑄」篆體聯珠

印。

來源

香蘇蘇富比，2003年4月27日，編號177

HK$ 1,000,000 -1,500,000

US$ 128,000 - 192,000

PROVENANCE

Sotheby's Hong Kong, 27 April 2003, lot 177

W 11cm H 5cm

The cup is finely enamelled in delicate shades of pink, green,

grisaille, white and coral red with a verdant mountainous riverscape

encircling pagodas and pavilions, wutong and various trees, a

waterfall and a bridge, depicting a figure fishing on the river bank

accompanied by his attendant. It is inscribed on the reverse with a

fourteen-character couplet and three iron-red seals. The octagonal

vessel is potted with a short foot and a flaring rim, flanked by a pair

of iron-red stylised handles highlighted in gilt with archaistic motifs.

鈐印

Seal marks

100

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

文氣濃厚為唐英私物的最大特點，本品以詩寫景，詩景相

映，得文人畫之妙韻。其詩句出自宋代大儒程顥《遊月

陂》，全詩為：「月陂堤上四徘徊，北有中天百尺台。萬物

已隨秋氣改，一樽聊為晚涼開。水心雲影閒相照，林下泉聲

靜自來。世事無端何足計，但逢佳節約重陪。」本品所引

二句為傳世經典佳句，尤其「水心雲影閒相照」所寫秋水清

寒，澄澈如鑒，閒雲倒影映照其間，輕靈曼妙，令人悠然遐

思，以境寫心，恬淡空靈，觀之讓人心情超然。所展示之意

境為歷代文人所稱頌，唐英引之為裝飾並配以山居圖，以畫

闡意，彰顯出一份濃郁的文人氣息。

本品所具詩文書法，神采奕奕，行筆遒勁灑脫，與原中國文

物總店藏陶鑄款墨彩雲龍紋題句天球瓶，著錄於《中國古代

陶瓷藝術——明清彩瓷與顏色釉》，頁178，圖76，一致，為

唐窯最具個性的行書。

後鈐紅彩「陶」、「鑄」篆體聯珠印，為唐英標志性的信

物。「陶鑄」是唐英在瓷器上最常用的印章，屬於唐氏獨有

的字號，至於其產生之緣由未見唐英交代，唐英自稱「陶

人」，「鑄」字本義冶煉，於此延伸為燒造，故推知其義應

是陶人所造之意，是判別唐窯的基本依據之一，其「陶」

字寫法通常較固定，但「鑄」字時有變化，繁簡不一，若如

本品者，則屬於繁體。另外，唐英擅長使用閒章裝飾自治瓷

器，以達點睛之妙，而且前後使用數量豐富，多達數十種，

但沒有專門規律，似是信手拈來，其中「片月」與「翰墨」

使用次數較多，「片月」往往作為引首章，與「翰墨」印

前後呼應，但是它們只屬於裝飾性的閒章，不獨唐英一人使

用，同時期唐窯以外的瓷器亦見，「片月」更是在明末清初

之際屢屢出現於文人寫意類瓷器上，故不可憑此妄斷歸屬。

亦因為唐窯此番造器風格深得士人所喜愛，當時應不乏效仿

之例，並署寫相同之閒章，但不會使用唐窯之專用款名，故

流傳至今仍可見存在類似之作，今只能稱之為唐窯風格器

物。

The cup is inscribed on the reverse with a poem composed by the

celebrated superintendent of the imperial kilns in Jingdezhen, Tang

Ying (1682-1756). The inscription is written in xingshu or cursive

script and may be translated as follows:

In the depth of the water,

shadows of the clouds reflect each other.

The sound of the stream,

can be heard coming from beyond the village.

The cup belongs to a very small group of imperial porcelain which

is associated with Tang Ying, the influential superintendent of the

imperial kilns between 1726-1756, serving both the Yongzheng

and Qianlong Emperors. Considered to be the most innovative

and talented figure in China's porcelain industry during the Qing

dynasty, Tang Ying was also regarded as a competent potter,

painter, calligrapher and art connoisseur. His experience and

insight into the challenges of porcelain production allowed him to

make essential changes in the structure of the factory and brought

technical improvement and artistic innovation to the production,

made to highly exacting standards.

The seal reading pianyue or 'crescent moon' on the upper right

corner, followed by the poem, and the two iron-red seals reading

tao zhu at the end of the poem were pseudonyms used by

Tang Ying to sign his poetic inscriptions on porcelain; see Geng

Baochang, 'Tan Tang Ying kuan de ciqi ji qita (A discussion on Tang

Ying marked porcelain)', Jingdezhen taoci, Jingdezhen, 1982, no.2;

and a further discussion by P.Y.K.Lam, 'Tang Ying (1682-1756): The

Imperial Factory Superintendent at Jingdezhen', Transactions of

the Oriental Ceramic Society, vol.63, 1998-1999, p.65.

102

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

3323

清雍正至乾隆  涅白料畫琺瑯蟠螭紋水丞

A FINE IMPERIAL ENAMELLED GLASS 'CHILONG' WATERPOT

YONGZHENG TO QIANLONG PERIOD

本水丞扁圓形，溜肩鼓腹平底，涅白料胎上繪琺瑯彩。玻璃

胎光滑亮潔，溫潤如玉，繪畫筆法細膩傳神。丞身除口底

外，遍施赭黃地，中間畫琺瑯彩蟠螭龍紋，龍紋上有嬌黃色

捲雲紋花邊，下出如意雲頭文，首尾呼應，圓潤可愛。

此螭龍造型獨特，不同於一般蟠螭紋的細瘦勁長，而是肥潤

飽滿，色彩誇張艷麗，紅、藍、黃各色螭龍首尾交接纏繞，

後一龍抱前一龍之尾，互相交融，圓轉綿延。螭龍皆頭部碩

大，眼若銅鈴，鼻如山巒，闊口大張，威風凜凜。有引頸俯

瞰者，有昂首仰望者，姿態各異，氣韻交疊，層次豐富，顏

色耀目奪人，為典型的雍乾時期琺瑯料色彩，給審視者以氣

勢磅礡，英氣逼人之感。

來源

香港佳士得，2012年05月30日，編號4017

展覽

1. 《乾隆皇帝的 「古」與「洋」》，保利文化北美，溫哥

華，2016年11月30日至2017年2月28日

2. 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-11月02日

出版

1. 《乾隆皇帝的 「古」與「洋」》，保利文化北美，溫哥

華，2016年，頁139

2. 保利藝術研究院編，《保利拍賣十五週年精品集．古董珍

玩卷（下）》，北京，文物出版社，2020年，編號1112

HK$ 3,000,000 - 3,500,000

US$ 383,000 - 446,000

PROVENANCE

Christie's Hong Kong, 30 May 2012, lot 4017

EXHIBITION

1. The Antiques of the Qianlong Period: A Mirror Reflecting a

Chinese Emperor's Attitudes to the Past and the West, Poly Culture

North America, Vancouver, 30 November 2016 to 28 February

2017

2. Poly Art Research Institute, Poly Art Museum, ‘The World of

Hongli II – Attributed to Giuseppe Castiglione “An Imperial Portrait

of Consort Chunhui and Noble Concubine” and the Western Style of

Palace Art in the 18th Century’, Beijing, 15 October to 2 November

2021

LITERATURE

1. Poly Art Museum, The Antiques of the Qianlong Period: A Mirror

Reflecting a Chinese Emperor's Attitudes to the Past and the West,

p.139, 2016

2. Poly Art Research Institute, Baoli paimai shiwu zhounian jingpinji

gudongzhenwan [Poly Auction Fifteenth Anniversary Anthology

of Antiques], vol. 2, Beijing, Wen Wu Chu Ban She, 2020, cat. no.

1112

W 5.5cm H 4cm

The waterpot is modelled with a slightly compressed body with

an incurving mouth rim. The exterior is finely painted with six

interlocking chilong dragons in green, aubergine, red and yellow

enamels between C-shaped and ruyi head borders, with a narrow

concave base.

底部 Base

104

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

106

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

康、雍二帝都喜歡玻璃，康熙帝命日耳曼傳教士紀里安神父

指導創建蠶池口玻璃廠，該玻璃廠如其他御用作坊一樣，由

內務府造辦處管轄，負責製作、維修、保管皇家器物。內務

府為清代最大的政府機構，轄下造辦處的主要作坊最初設於

養心殿，1691年大部份遷到慈寧宮後，仍沿用舊稱「養心殿

造辦處」。雍正帝將蠶池口玻璃廠遷至圓明園六所，然而蠶

池口的玻璃廠並沒有停產，直至乾隆朝的1758年以後。乾

隆帝對玻璃器的雅興絕不減於康、雍二帝，他在圓明園玻璃

廠的原有基礎上新建窯爐，生產仿歐式玻璃番花和中國玻璃

器物。乾隆朝玻璃廠的生產從未間斷，每年生產週期穩定，

產品品種規範化，即使在乾隆帝駕崩後，歷經嘉、道、咸、

同、光、宣六帝，玻璃廠的生產從未停頓，直至清帝遜位方

告終結，這與養心殿造辦處其他各作生產時斷時續的情況完

全不同。可見玻璃工藝在皇家美術中的地位是不可忽視的。

乾隆朝玻璃的藝術風格與雍正朝接近，以精細為其特色，與

康熙朝玻璃之「渾樸簡古」風格已有很大不同。 學者推測乾

隆檔案記載的玻璃廠應為原來蠶池口的工廠，在那裡先完成

燒造及吹制玻璃的工序，到圓明園作坊再進行彩繪。圓明園

作坊是製作最精美玻璃器之所，亦受皇帝親自監督。

玻璃料胎畫琺瑯是由銅胎畫琺瑯發展而來，但比銅胎或瓷胎

琺瑯來說，技術要求極高，是宮廷作坊獨有的技術，而產品

非皇家不能擁有。宮廷畫家和設計師做好設計圖案後先要呈

交皇上批閱，待皇帝首肯後方能交內府琺瑯廠燒制。玻璃熔

點比琺瑯低，要將琺瑯裝飾熔貼在玻璃器表需要極豐富的經

驗和技巧。溫度太低，琺瑯紋飾無法熔貼，溫度過高，不但

玻璃熱熔，顏色也會燒焦，琺瑯還會有氣泡。要使得料胎琺

瑯器紋飾極盡精美，圖案精細，顏色自然淡雅，是無數經驗

累積的成果。

內廷玻璃廠自康熙朝成立至雍正末年的50年間是興盛期；乾

隆前期20餘年是極盛期。本品玻璃胎潤白如玉，器上的琺瑯

彩展現了清代發展出來的豐富顏色系列，圖案構圖巧妙，畫

功純熟，筆觸細膩精確，正是清代宮廷玻璃製作顛峰時期的

體現。

清雍正 涅白料畫琺瑯繩紋開光夔龍紋小水丞

香港保利拍賣，2021年04月21日，編號3302，

成交價：HKD 3,120,000

A fine imperial enamelled glass 'archaic' water

pot, Yongzheng period

Sold in Poly Hong Kong, 21 April 2021, lot 3302

at HKD 3,120,000

清雍正 仿翠鈕涅白料金地琺瑯彩福壽紋桃形鼻煙壺

香港保利拍賣，2021年04月21日，編號3301

成交價：HKD 2,400,000

A fine Imperial enamelled gilt-decorated peachformed glass snuff bottle, Yongzheng period

Sold in Poly Hong Kong, 21 April 2021, lot 3301 at

HKD 2,400,000

The present lot is unique in its form and decoration among the very

few enamelled glass wares produced in the Beijing workshops of

the Qianlong period. Compare a related example of the same size

with a lipped mouth rim, decorated with plum blossom branches

and bears a Guyuexuan mark, believed to be produced by a Beijing

private workshop dating to the 1750s-1850s, illustrated by Hugh

Moss, By Imperial Command, Introduction to Ch'ing Imperial

Painted Enamels, Hong Kong, 1976, pl. 42.

It appears that very few enamelled glasses were commissioned

and of these only 20 pieces remain in the Beijing Palace Museum

Collection. See Zhang Rong, 'Qing in the Imperial Workshops of

the Qing Court', Luster of Autumn Water Glass of Qing Imperial

Workshop, Beijing, 2005, pp. 19-20.

The portrayal of the chi dragons is closely related in design to

imperial carved glass water pots, such as the Qianlong-marked

example with a green overlay on blue ground in the Qing Court

Collection, illustrated by Zhang Rong, op. cit., p. 244, pl. 79. A

related Qianlong period example of this type of small water pot,

produced of carved crystal, was included in the Oriental Ceramic

Society of Hong Kong exhibition, Arts from the Scholar's Studio,

Fung Ping Shan Museum, University of Hong Kong, 1986, and

illustrated in the catalogue, no. 93.

3324

清早期  陳鳴遠製紫砂仿生灑紅桃形洗

      「陸羽飲茶青蓮載酒曼倩見之竊□上壽」

      「陳」、「鳴遠」

AN INSCRIBED 'CHEN MINGYUAN' YIXING PEACH-FORMED WASHER

EARLY QING DYNASTY, 17TH CENTURY

本品為大、小兩個桃子相依，取雙吉之意。胎質細膩，寬

口，鼓腹，大桃中間刨開，腹壁有紅色桃核，紋路清晰自

然，外壁貼塑桃枝紋飾，構思奇特精細，桃身顏色泛黃，桃

外壁尖處飾有紅色斑點，大小不一，更平添桃子的生機。整

體端樸素雅，情趣盎然，造型源於自然，生動活潑，惟妙惟

肖，富於美感。

從形制設計上看，陳鳴遠跳出當時紫砂制器的局限，以桃的

造型為主要語言，其造型源於自然，加以取捨並適當誇張，

作品生動活潑，惟妙惟肖，富於美感。陳鳴遠這件賞心悅目

之作展現了一個熱愛生活的藝術家對生活的再創造，開創後

代花貨先河，這也是陳鳴遠的作品被視為珍寶、精心收藏的

原因所在。從文化上觀看，小小的桃形洗就能把桃的自然生

態表現得淋灕盡致、惟妙惟肖，再配以契合肌理的泥色，給

人以鮮活的審美感受，令人拍案叫絕。它蘊涵了世人對生活

的美好願望。從這件器物中能看到陳鳴遠獨特的匠心和技

巧，而且流暢自然渾若天成的器形，使整件作品不顯耀工

巧，實乃大音希聲，大道無形。與本品相近者，可參考紐約

佳士得，2012年3月22日，編號1253。此外，可參考北京保

利2014年12月3日拍賣清早期陳鳴遠製紫砂灑紅桃形洗，編號

5613，成交價287.5萬人民幣。

HK$ 400,000 - 500,000

US$ 51,000 - 64,000

D 9.8cm

This washer is modelled from buff-color clay in the shape of a

peach petal incised with veins on the exterior and borne on a

curved stem that also bears a pod at the rim and rests atop a

section of rhizome. The peaches are subtly speckled with red slip

while the stems are covered in greyish-brown slip. One side of the

peach is stamped in relief with seal script marks, Chen Mingyuan,

and incised with a poem in running script.

Chen Mingyuan was active during the Kangxi and Yongzheng

reigns (mid-17th to early 18th century) and is generally regarded

as one of the finest of all the Yixing potters. A Yixing water pot of

similar color and of double-peach form was sold at Christie’s New

York, 22 March 2012, lot 1253.

另一面 Another view

鈐印

Seal marks

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Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

清乾隆 玉仿古出戟方觚

©故宮博物院藏

A carved jade 'archaic' vessel, Qianlong period

©The Palace Museum

3325

清乾隆  仿古白玉饕餮紋方觚

AN ARCHAISTIC WHITE JADE 'TAOTIE' FANGGU-FORM VASE

QIANLONG PERIOD, 1736-1795

PROVENANCE

Tokyo-chuo, 5 September 2012, lot 126

H 21.8cm

The faceted vase is carved in the center of each side and on the

corners with notched flanges that center finely carved, elegant

stylized leaves on the neck and tall foot, and center and separate

taotie masks on the mid-section. The stone is of even color and has

a luminous semi-translucency.

The present vase follows the archaic bronze prototype, fanggu,

a type of wine vessel used in the rituals of the Shang and Zhou

dynasties. By the Qing period, archaic forms and motifs found

great popularity at court and a number of jade vessels, such as

the present example, were produced to reflect the fashion of the

period. This vase is further distinguished by its exceptional white

and even material, which is on a par with the finest examples

preserved in the Palace Museum, Beijing, illustrated in The

Complete Collection of Treasures of the Palace Museum: Jadeware,

III, Hong Kong, 1995, nos. 130-134.

此白玉花觚，玉質潔白細膩，溫潤古樸。其上敞寬口，呈四

方式，由上至下凸起八道出戟，掏膛既深且勻，雕琢可謂鬼

斧神工。高浮雕紋飾將器物分為三個部份，中間凸起飾饕餮

紋。商周時期的觚是一種酒器，更是一種禮器，莊重而嚴

肅。此觚則將青銅器原有的莊重嚴肅變得溫和典雅，別有一

番風味。

乾隆盛仿古。他扶植了創新之舉，又提倡對經典的考據、器

物的仿古，乾隆朝仿古玉器便是在這種情況下發展起來的。

玉器主要仿制的是古代的青銅器，作品有鼎、豆、尊、簋、

英雄杯等多種多樣，其中一些作品還按照青銅器作品仿制了

銘文。青銅器收錄於宮廷著錄的《西清古鑒》等圖錄中。帶

有「仿古」款的作品，一般具有用料精良，加工細緻，設計

上追求造型與圖案的完美性的特點，仿古卻不同於古。此白

玉饕餮花紋觚，玉用料極為奢侈，寬口之大，屬獨一無二，

為宮廷之物。

來源

東京中央，2012年9月5日，編號126

HK$ 1,800,000 - 2,500,000

US$ 230,000 - 319,000

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Peak of Grandeur: A Fine Selection of Imperial Treasures

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3326

清乾隆  竹根雕錦地獸面紋雙螭龍耳三獸足爐

A CARVED BAMBOO ROOT 'ANIMAL MASK' CHILONG HANDLED TRIPOD CENSER AND COVER

QIANLONG PERIOD, 1736-1795

此爐為鼎式，仿西周早期青銅鼎之形式，圓口、螭龍立耳、

短頸、鼓腹、下承三獸首立足，腹部及蓋頂以回紋為地，仿

青銅器之樣式浮雕夔龍紋，刀工簡練，佈局舒朗，凝重端

莊，頗有古風。此件螭龍耳爐爐頂為金絲楠木圓雕成蘆葦鳧

鳥，形式少見。曾見有北京東正拍賣2013年11月16日，編號

136，清初竹雕錦地蟠螭獸面紋雙龍耳三足爐與本品相似，僅

爐頂材質不同，前者為白玉雕製，本器為金絲楠木為材。

來源

日本私人收藏

HK$ 600,000 - 800,000

US$ 77,000 - 102,000

PROVENANCE

A Japanese private collection

H 29cm

The censor is raised on three beast legs with sharp claws issuing

from the mouths of lions. The compressed globular body is flanked

by a pair of chi-dragon handles with a long lizard-like body and tail

as well as curved horn and combed mane. The waisted neck is

decorated with archaistic thunder pattern and the centre of body is

decorated with a band of taotie, animal mask pattern, embedded

with stylized dragons on the keyfret ground which repeatedly

appears on the cover. The cover is surmounted by a finial in the

shape of a mandarin duck holding a reed in its mouth.

清早期 竹雕錦地蟠螭獸面紋雙龍耳三足爐

北京東正拍賣，2013年11月16日，編號136

A carved bamboo 'animal-mask' tripod censer

with chi-dragon handles, early Qing dynasty

Dong Zheng Auction, 16 November 2013, lot 136

114

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

竹根雕是竹刻家族中的一個支脈，始於明末，盛於乾

隆，它以生長在泥底下的竹根為原料雕刻加工而成的

手工藝術品，具有獨特自然的製作工藝，質樸高雅的

審美特徵。此件竹根雕鼎式爐體格較大，浮雕技法高

超，尤其雙螭耳的造型有力，筋骨強勁，神態刻畫寫

實，是一件不可多得的宮廷藝術珍品。

乾隆皇帝認為，古典器物樸素、精純、高雅、有意

涵，他的這種古典主義情懷，是繼承了宋、明以來，

文人好古的傳統思想。這種好古的觀念，也就帶動了

模仿古器物的趨勢。兩岸故宮皆藏有大量以《宣和博

古圖》、《西清古鑒》、《寧壽鑒古》、《考古圖》

等圖譜為藍本的仿古器物。鼎式爐堪為其中典型，但

所用材質以玉器，掐絲琺瑯居多，竹雕製品極為少

見。

One censor in very similar form has been sold in

Dongzheng Auction in Beijing, 16 November 2013, lot 136

whose finial is made with white jade carving.

This vessel has been inspired by the archaic bronze vessel

and follows in the 16-17th century bronze renaissance

style of reinterpreting archaic forms, as seen in its legs,

taller form and variation of the taotie motif. The dark

brown tone of the bamboo with its darker striations is a

particularly suitable material for bronze simulations, as

it resembles the patina that naturally develops on the

surface of bronze vessels.

116

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

3327

清乾隆  剔紅海水雲龍紋圓插屏

A CIRCULAR CINNABAR LACQUER 'DRAGON' TABLE SCREEN

QIANLONG PERIOD, 1736-1795

此件屏風圓形，外圍一圈纏枝花卉，中心朱紅色澤鮮艷明

亮，雕琢出層層海水雲龍紋圖案，正中雕刻正面五爪盤龍，

其身盤曲，其闊口張牙、雙目圓睜，威風凜凜的神情被表現

得惟妙惟肖。正龍四周剔刻八條飛龍均騰動飛躍，穿行於雲

霞之間，神采洋溢，體態輕盈。整體髹漆厚重，造型雍容華

貴，典雅不凡，工藝細膩，刀法快利，鋒稜顯露，巧奪天

工，為乾隆時期皇室雕漆精品。

乾隆皇帝酷愛雕漆，專設造辦處承辦皇家御用雕漆，此品精

美絕倫，為清宮御用之物。海水龍紋是一種典型的龍紋，以

龍與海水組成，故而得名，瓷器上多見。本品汲取了前代及

同時期紋飾雕刻的精華，利用剔紅技術將海水龍的威猛矯健

立體地表現出來，鱗片爭張，雲水翻騰，形神兼備，實在是

精品，難得之物。九龍為尊，戲珠游於滾滾海浪之上，靈動

而威武，彰顯皇家氣派；以其華美莊重，工藝之精，非宮廷

造辦處不可為。

此件作品應該陳設於內廷之中，是皇權的象徵。本品剔刻的

精緻程度體現了乾隆皇帝非凡的地位和品位。整器造型規

矩，端莊大方，穩重典雅，雕工嫻熟，刀工細膩，運刀如

筆，創造了清代雕漆都有的藝術風格。相似風格作品可參考

本司2019年4月2日，編號3419，清乾隆御製剔紅九龍圖御製

詩坐屏。

此件剔紅雕漆九龍屏中的「水波九龍」圖可能受到皇室吉服

上龍紋圖案所啓發。清朝皇室成員在許多重要場合，例如壽

誕，都會穿著有此類圖案的吉服，香港蘇富比2006年4月10日

「寶騰隆盛」專場拍賣中就曾有一乾隆御製鑲珠黃緞「十二

章紋」吉服，編號1540。

來源

意大利私人收藏

HK$ 200,000 -400,000

US$ 26,000 - 51,000

PROVENANCE

An Italian private collection

D 54cm

The circular screen is carved in the centre with a five-clawed Frontalfacing dragon on a dense ground of swirling waves, encircled

around by eight dragons in different postures. The elevated border

is decorated with a band of stylized dragons amidst leafy scrolls.

The nine five-clawed dragons incorporated into the design on

this screen suggest that it was made for use or display in one of

the halls in the palace. Similar nine-dragon designs also appear

on a group of deeply carved cinnabar lacquer boxes and covers

which project a three-dimensional effect and a sense of movement

through precise knifework and expert execution; see a related

circular box in Sotheby's Hong Kong, 8 April 2011, lot 3151, and

another box in Sotheby’s Hong Kong, 3 November 2021, lot 152.

Compare another square box and cover which similarly decorated

with dragons amidst waves, illustrated in The Complete Collection

of Treasures of the Palace Museum: Lacquer Wares of the Qing

Dynasty, Hong Kong, 2006, pls.9 and 15.

清乾隆 御製剔紅九龍圖御制詩坐屏

保利香港， 2019年4月2日，編號3419

A carved cinnabar lacquer 'nine-dragon' screen with

an imperial poem, Qianlong period

Poly Hong Kong, 2 April 2019, lot 3419

118

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

120

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

「有五色漆胎，刻法深淺，隨妝露

色。如紅花、綠葉、黃心、黑石之

類，奪目可觀，傳世甚少」 

—《尊生八箋》

漆器在我國已有8000年歷史1

，最新考古發掘表

明，浙江余姚井頭山遺址出土的兩件木器上的黑

色塗層為天然大漆，這是迄今為止發現的中國最

早的漆器，距今7800-8300年。它與傳統手工藝

中的陶器、瓷器、玉器等皆是中國人的發明與創

造。

我國第一部見於著錄的專門漆書是五代時期朱尊

度撰寫的《漆經》，可惜已失傳。《髹飾錄》是

目前保存最完整的古代漆器專著，作者黃成，號

大成，又名黃平沙，明代隆慶（1567-1572）前

後的一位著名漆工。明天啓五年（1625）《髹

飾錄》又經浙江嘉興斜塘的著名漆工楊明逐條加

註，並撰寫了序言。黃成的《髹飾錄》比較全面

地記述了有關漆器工藝的方方面面。《髹飾錄》

共分乾、坤兩集，十八章，一百八十六條。《髹

飾錄》是今人瞭解中國古代漆器的發展歷史、製

作技藝、漆器品種的一部重要的歷史文獻。特別

值得一提的是，當代大家王世襄先生用畢生精力

為其作注，終成《髹飾錄解說》，變原書隱晦難

懂為通俗易懂，並引用231件文物來說明問題，

並將自己多年的研究成果和《髹飾錄》的內容結

合起來加以分析研究，不僅提高了《髹飾錄》原

有的史料價值，而且使《髹飾錄解說》成為一部

重要的漆工藝研究著作。《髹飾錄》中記載唐代

已有雕漆：「剔紅，即雕紅漆也。髹層之厚薄，

朱色之明暗，雕鏤之粗精，亦甚有巧拙。唐制多

印板刻平錦朱色，雕法古拙可賞；復有陷地黃錦

者。2

」

雕漆是在木胎上或金屬胎上層層髹漆，待達到一

定厚度時，再按所需圖案雕刻出花紋。雕漆器具

有層次分明，主題突出的浮雕效果。因所雕漆色

的不同，雕漆又分為剔紅、剔黃、剔彩、剔綠、

The history of lacquerware in China can be traced back 8,000 years ago.1

The

latest archaeological excavations have shown that the black coating on two

wooden vessels unearthed at the Jingtoushan site in Yuyao, Zhejiang Province is

natural lacquer. These vessels produced 7,800-8,300 years ago are the earliest

lacquerware in China found so far. Along with traditional crafts such as pottery,

porcelain and jade, lacquerware is also a creation of the Chinese.

The first book dedicated to lacquerware in China was Qi Jing [The Book of

Lacquer] written by Zhu Zundu in the Five Dynasties but it has unfortunately

been lost. Xiushi Lu [A Treatise on Lacquer Art] is the best-preserved ancient

monograph on lacquerware, written by Huang Cheng, also known as Dacheng as

well as Huang Pingsha, a famous lacquer craftsman active during the Longqing

period (1567-1572) of the Ming dynasty. Later the book was annotated line by

line Yang Ming, a famous lacquer craftsman from Xietang, Jiaxing, in the fifth

year of Tianqi period (1625) of the Ming dynasty, who also wrote the preface.

Huang Cheng's Xiushi Lu is a comprehensive manual for lacquer manufacture.

It is divided into two volumes, named Qian and Kun, with eighteen chapters and

one hundred and eighty-six articles.

This book is a crucial piece of literature for contemporary readers to understand

the development, production techniques and varieties of lacquerware in

premodern China. It is particularly worth mentioning that Mr. Wang Shixiang,

a respected modern master, has spent his life's effort in annotating this book

as well and finally published Xiushi Lu Jieshuo [An Explanation to A Treatise on

Lacquer Art], explaining the obscure and challenging lines of the original texts

in layman's terms and citing 231 pieces of artifacts to illustrate the issues.

He also analyzed the contents of Xiushi Lu by combining his findings after his

many years of research. This not only demonstrates the historical value of the

original texts, but also made Xiushi Lu Jieshuo an important publication on

lacquer craftsmanship in the contemporary times. Xiushi Lu records that there

was already carved lacquer in the Tang Dynasty, stating that ‘carved cinnabar

means carving on the red lacquer. The levels of skill and clumsiness could be

determined by the thickness of the lacquer layers, the brightness of the red

colour, and the fineness and intricacy of details of the carving. The artworks in

The Peerless Charm

An Extremely Rare and Important Carved

Polychrome Lacquer 'Dragon' Dish of the

Song Dynasty

The Palace Museum, Zhang Rong

絕品——宋代剔彩靈芝雲龍紋折沿盤

故宮博物院 張榮

122

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

宋 剔彩靈芝螭龍雲紋盤

保利香港是次拍賣作品

A carved polychrome lacquer 'dragon' dish,

Song dynasty

The current lot

圖1 宋 剔紅雙螭靈芝紋圓盤

©上海博物館藏

Fig. 1 A carved cinnabar lacquer 'dragon and

lingzhi' dish, Song dynasty

©Shanghai Museum

剔黑、剔犀等若干品種。雕漆成為唐代以降漆器

的主要品種，明清時期發展到了頂峰。考古發掘

尚未有唐代雕漆出土，上海博物館收藏的剔犀雲

紋小盒從漆質、造型、紋樣皆早於唐代，值得關

注與研究3

，這件剔犀小盒是李經澤先生捐獻的。

出土與傳世的宋代漆器有單色素漆、描金漆、戧

金漆和雕漆。雕漆只見剔紅、剔黑和剔犀三個品

種。浙江溫州博物館收藏有出土的剔紅殘片，花

卉紋樣雕刻的十分精美，彌補了國內出土宋代剔

紅漆器的空白4

。上海博物館近年公佈了一件非常

重要的南宋剔紅雙螭靈芝紋圓盤5

（圖1）。宋代

剔黑漆器過去一直認為主要收藏在日本，著名的

有嬰戲圖盤和醉翁亭圖盤等6

。十幾年前浙江省博

物館公佈了一件北宋剔黑牡丹紋帶柄銅鏡盒，彌

補了國內無剔黑漆器的空白7

。南宋剔犀漆器國內

出土了十幾件，主要出土地點是福州閩清、茶園

山，山西大同，四川彭山，江蘇武進、張家港、

江陰、金壇等8

。南宋剔彩漆器2012年在香港佳

士得拍賣中亮相，即李氏家族漆器拍賣的第三場

封面作品9

。此件宋代剔彩螭龍雲紋盤圓形，直

徑17.9釐米，折沿，平底，矮圈足。髹紅、黑、

綠、黃四色漆。漆匠充分利用各色彩漆，雕成一

條黑色螭龍，回首，雙眼圓瞪，毛髮飛揚，肢體

捲曲，手握靈芝騰躍於雲海之中，靈芝花葉隨雲

紋飄蕩。龍身靈動自然翻轉，朱黑二色隨身影顯

色，層次分明，渾然天成。螭龍游弋在波濤洶湧

的雲海之中，隨剔刻顯現朱、黑、綠三色，畫面

氣韻生動。剔彩最下一層以黃色為底色，在剔刻

時遇黃色層則止，黃色既是裝飾色也是提示色。

盤外壁雕菊花、茶花、荷花、牡丹等四季花卉。

底髹黑漆，有牛毛斷紋。此盤2004年曾於日本東

京根津美術館展出10。

the Tang dynasty were usually stamped from moulding plate and carved with

red diaper ground. Such carving technique is slightly crude but still admirable,

artwork decorated with yellow diaper ground is also available.’2

Carved lacquer is made by first covering layers of lacquer on wood or metal core

and then carving out the desired pattern through the thickly built-up layers of

lacquer to convey a sense of three-dimensionality and highlight the theme on a

relief. Carved lacquer is divided into several varieties such as carved cinnabar

lacquer, carved yellow lacquer, carved black lacquer, carved green lacquer, etc.

depending on the colour applied to the lacquer. Such technique has become the

main varieties of lacquerware since the Tang dynasty and the craft has developed

to reach its peak in the Ming and Qing dynasties. It is worth noting that while the

current archaeological excavations have not yet found any carved lacquer from

the Tang dynasty, the texture of lacquer, form and motif of a small carved tixi

lacquer box decorated with cloud pattern donated by Mr. Lee Jingze, now in the

Shanghai Museum collection, shows features that correspond to a time prior to

the Tang dynasty.3

Unearthed and heirloom Song lacquerware include monochrome lacquer, giltdecorated lacquer, qiangjin lacquer and carved lacquer. Only carved cinnabar

lacquer, carved black lacquer and carved tixi lacquer are the three types of

carved lacquer to be known. An excavated fragment of carved cinnabar lacquer

from the collection of Wenzhou Museum in Zhejiang Province decorated with

fine floral pattern provides crucial information about the carved cinnabar lacquer

of the Song dynasty.4

Furthermore, Shanghai Museum also published a very

important carved cinnabar lacquer ‘double-chi-dragon lingzhi’ circular tray in the

Southern Song dynasty a year ago (fig.1).5

It was long believed that the carved

black lacquerwares of the Song dynasty are almost only found in Japan. For

example, the famous carved black lacquer ‘boys’ circular dish and carved black

‘hut of the drunken old Man’ circular dish.6

However, a Northern Song carved

black lacquer ‘peony’ mirror box found in China and later showcased by the

Zhejiang Provincial Museum 10 years ago proved otherwise.7

There were more

than a dozen of carved tixi lacquerware of the Southern Song dynasty unearthed

in different archaeological sites in China. These sites include Minqing and

Chayuan Mountain in Fuzhou, Shanxi Datong, Sichuan Pengshan, Zhangjiagang

124

Peak of Grandeur: A Fine Selection of Imperial Treasures

頤華：宮廷藝術珍品選粹

圖3 北宋 定窯白釉內刻花螭荷蓮紋折腰洗

©故宮博物院藏

Fig. 3 A Ding-ware white glazed and

incised 'chi-dragon and lotus' washer,

Northern Song dynasty

©The Palace Museum

剔彩是雕漆中的一個品種。明黃成《髹飾錄》曰

「剔彩，一名雕彩漆。有重色雕漆，有堆色雕

漆，如紅花、綠葉、紫枝、彩雲、黑石、輕重雷

文之類。絢艷悅目。」《尊生八箋》：「有五色

漆胎，刻法深淺，隨妝露色。如紅花、綠葉、黃

心、黑石之類，奪目可觀，傳世甚少」。剔彩漆

器就是在器物上用不同顏色的漆，分層漆上去，

每層若干道，使各色都有一個相當的厚度，然後

用刀雕刻，剔彩的漆色一般有紅、黃、綠、紫、

黑等色，需要某種顏色時，便剔去在它以上的漆

層，露出需要的色漆，並在上面雕刻花紋，一器

之上具備各個漆層的顏色，達到五色燦爛的效

果。所謂紅花、綠葉、紫枝、黃果、彩雲、黑石

就是用這種方法雕刻出來的。剔彩漆器何時出

現，各種文獻均無記載。在這件剔彩螭龍紋盤出

現之前，最早的剔彩漆器是故宮博物院收藏的宣

德款剔彩林檎雙鸝大捧盒（圖2）。筆者多年前

曾撰文說「從這件作品的完美程度看，剔彩漆器

很可能在宣德之前已出現，只是目前尚無足夠的

材料和實物證明，有可能在以後的考古發掘中會

有早於宣德時期的剔彩作品出現。」李氏家族遞

藏的宋剔彩靈芝螭龍雲紋盤雖不是考古發掘品，

但也證明了筆者早年的判斷。

歷代文人、工匠對宋代雕漆無不極盡贊美之詞，

明張應文《清秘藏》：「宋人雕紅漆器，多以

金銀為胎，妙在雕法圓熟，藏鋒不露，用朱極

鮮，漆堅厚而無敲裂痕。所刻山水樓閣人物鳥

獸，儼然若圖畫，為絕佳耳。」明黃成《髹飾

錄》：「宋元之制，藏鋒清楚，陷起圓滑，纖細

精緻。」謝堃《金玉瑣碎》：「宋人有雕漆盤盒

等物，刀入三層，書畫極工，競有黃金為胎者，

蓋大內物也。」明人陳繼儒《泥古錄》中記載了

宋代剔紅桂花香盒。

圖2 明宣德款剔彩林檎雙鸝大捧盒

©故宮博物院藏

Fig. 2 A carved polychrome lacquer 'bird and

flower' box and cover, Xuande mark and of

the period

©The Palace Museum

Wujin, Jiangyin, Jintan in Jiangsu, and multiple other sites.8

The current Southern

Song carved polychrome appeared as the cover lot of the Important Chinese

Lacquer from the Lee Family Collection, Part III, in Christie’s Hong Kong in 2012.9

The present lot, a dish that measures 17.9cm in diameter, is exquisitely carved

to the yellow ground through polychromatic layers of black, red, yellow, and

green lacquer depicting a writhing three-clawed chilong dragon holding a lingzhi

sprig in one hand amidst swirling waves. The powerful arch of the creature's

back is highlighted by the red lacquer revealed on either side of the spine and

belly through the meticulous polish, while the angular head is brought to visual

prominence in the same manner. The lacquer artist has fully utilised all the

colours to create a vibrant design where the black writhing dragon is contrasted

against a yellow ground. The yellow ground not only captivates whoever views the

dish, but also serves a pragmatic aid for the craftsman. The yellow lacquer draws

the lacquer artist’s attention and prevents preventing him from carving deeper

into the desired lacquer layer. The reverse side is elaborately decorated with

composite floral blossoms including chrysanthemum, camellia, lotus, peony, and

other seasonal flowers. The base is applied with black lacquer which has since

deteriorated only very slightly to form natural cracks. The dish was once exhibited

in the Nezu Institute of Fine Arts in Tokyo in 2004.10

Carved polychrome lacquer is a variety of carved lacquer. As mentioned in Ming

Huang Cheng's Xiushi Lu, ‘carved polychrome lacquer means carving through

multi-coloured lacquer. The colours of lacquer could be arranged in multiple

layers or patches in order to depict flowers in red, leaves in green, branches

in brown, clouds in multicolor, rocks in black, different forms of leiwen pattern,

etc.’ Further in Ming scholar Gao Lian’s (1573-1620) Zunsheng Bajian (Eight

Discourses on the Art of Living), the author mentioned that ‘by carving through

multi-coloured lacquer into different levels, the designated colour could be

revealed to depict red flowers, green leaves, yellow core, black stones, etc.

Objects made using these techniques are extremely appealing and little has

survived.’ Even with the amount of literature that records carved lacquer, it is still

difficult to exact the date the first piece of carved polychrome lacquer was made.

Before the current dragon dish was unveiled to the public, the earliest example

of carved polychrome lacquer was the large ‘birds’ box and cover with Xuande

mark in the Palace Museum, Beijing (fig.2). Many years ago, I stated in an article

圖4 北宋 剔黑螭龍紋盒

©美國舊金山亞洲藝術博物館藏

Fig. 4 A carved black lacquer 'chi-dragon' box

and cover, Northern Song dynasty

©The Asian Art Museum of San Francisco

圖5 宋 剔黑雙螭龍雲紋盒

©日本岡山市林原美術館藏

Fig. 5 A carved black and cinnabar

lacquer 'chi-dragons amongst clouds'

box and cover, Northern Song dynasty

©Hayashibara Museum of Art, Okayama,

Japan

圖6 宋 剔黑雙螭龍銜靈芝紋盒

©美國大都會博物館藏

Fig. 6 A carved black lacquer 'chidragon and lingzhi' box and cover,

Song dynasty

©The Metropolitan Museum of Art,

USA

1 浙江省文物考古研究所將考古研究結果發表在國際期

刊《Archaeometry》。

2 張榮，《中國古代雕漆的發展》,《文物天地》

2009年第3期。

3 上海博物館，《千文萬華——中國歷代漆器藝術》

圖44，頁82。上海書畫出版社，2018年11月。

4 感謝溫州博物館吳顯軍老師提供幫助。

5 上海博物館，《千文萬華——中國歷代漆器藝術》

圖62，頁104。上海書畫出版社，2018年11月。

此件宋代剔彩螭龍雲紋盤，雖為一例孤品，但從

器形看，宋代定窯、鈞窯皆有相同造型的盤；從

紋樣看，螭龍雲紋與故宮博物院收藏定窯盤（圖

3）、上海博物館收藏的剔紅螭龍紋盤（見圖1）

有異曲同工之妙。還有三件海外博物館收藏的

定為宋代剔黑漆盒的紋樣與該件剔彩漆盤的螭龍

紋、雲紋具有相同的時代風格。第一件是美國舊

金山亞洲藝術博物館藏北宋剔黑螭龍紋盒（圖

4），兩條靈動的螭龍在雲海中遨遊，螭龍形象

與宋代玉器紋樣也相同11。第二件是日本岡山市

林原美術館藏宋剔黑雙螭龍雲紋盒（圖5），此

盒通體施黑朱二色漆，黑漆雕成花紋，紋飾間露

朱漆素地。蓋面雙螭龍皆口銜靈芝，盒壁雕飾雲

紋一周12。第三件為歐文伉儷捐贈，紐約大都會

博物館珍藏13，盒上所雕雙龍亦銜靈芝，周圍祥

雲繚繞，深色朱漆為地，而盒身立面與蓋同樣飾

以祥雲（圖6）。三件黑漆盒的造型皆相同，特

別是蓋的紋樣，都是蓋面及蓋壁紋樣為一體設

計，李經澤先生稱為「蓋連肩式」。是次保利香

港拍賣的宋代剔彩靈芝螭龍雲紋盤，器型雅致，

紋樣設計精妙，螭龍靈動飄逸，歷經千年，仍品

相完美，堪稱宋代雕漆巔峰之作。

張榮

2023年9月8日

that, since the Xuande box was so perfectly crafted, it is very possible that carved

polychrome lacquer could have existed before the Xuande period. Though the

current dragon dish from the Lee family is not unearthed from an archeological

site, it is still a crucial piece of evidence to support my previous claim.

Song carved lacquer is adored by scholars and craftsmen in the past. As

mentioned in Ming scholar Zhang Yingwen’s Qing Micang ‘Song carved cinnabar

lacquer is usually made with gold or silver core. The finely carved and polished

object is usually applied with bright cinnabar, and the lacquer layer is thick and

strong. The relief depicting landscapes, figures, birds, and animals is almost like

a painting on paper. Again, in Xiushi Lu, the author mentioned that ’the products

of Song and Yuan dynasties are well polished to present round and smooth

edges.’ In Qing scholar Xie Kun’s Jinyu Suosui, ‘Song people made carved lacquer

dish, box, and other objects by carving through three levels of lacquer layers to

depict the scene like a painting. Surprisingly there are lacquerwares made with

gold core which should be imperial.’ A carved cinnabar lacquer ‘osmanthus’ box

and cover of the Song dynasty was recorded in Ming scholar Chen Jiru’s Nigu Lu.

The current dish is no doubt a unique piece, but its shape also appears on Ding

and Jun wares of the same period. Some of the finest Song ceramics where

the chi dragon is often depicted is produced in the Ding kilns. A Ding chilong

dish (fig.3) in the Palace Museum, Beijing, is highly comparable to the carved

cinnabar chilong dish in the Shanghai Museum collection (fig.1). Three carved

black lacquer boxes from overseas museum collections similarly decorated with

chilong have been published, but the colours on these boxes are somewhat

more muted. One of these examples is in the Asian Art Museum of San Francisco

(fig.4). Two dragons depicted on the cover are shown amongst scrolling clouds,

and one of the dragons holds a three-headed lingzhi fungus in its mouth. The

manner in which these dragons are portrayed in is very similar to that of the chi

dragons on jade carving of the Song dynasty.11 Another box is in the Hayashibara

Art Museum in Okayama.12 This example is of a slightly different style to the

others in the group and is executed in black and red lacquer with the design

appearing in black against a red ground. Both dragons on the cover of this box

carry lingzhi fungi in their mouths. The sides of this box are decorated with a

band of clouds. A third box is in the collection of the Metropolitan Museum of Art,

New York, originally from the Florence and Herbert Irving Collection.13 Again, both

dragons carry lingzhi in their mouths and appear amongst scrolling clouds on a

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頤華：宮廷藝術珍品選粹

dark red ground. Clouds also adorn the sides of both the box and the cover. The

pattern on these three boxes is decorated continuously across the top and the

sides, without being separated by any medallion or side pattern. This feature was

articulated by Mr. Lee Jingze. These features commended them as ideal motifs

for the decorative arts, and, as can be seen on the current dish.

Zhang Rong

8 September 2023

Note:

(1) Related archaeological research is published by the Zhejiang Institute of Cultural Relics

and Archaeology in Archaeometry.

(2) Zhang Rong. ‘Zhongguo Gudai Diaoqi De Fazhan (The Development of the Ancient

Chinese Carved Lacquer).’ Cultural Relics World. Beijing. 2008. Vol.3.

(3) Shanghai Museum. In a Myriad of Forms: The Ancient Chinese Lacquers. Shanghai:

Shanghai Museum. 2018. P.82, pl.44.

(4) I would like to show my gratitude to the assistance provided by Mr. Wu Xianjun of

Wenzhou Museum.

(5) Shanghai Museum. In a Myriad of Forms: The Ancient Chinese Lacquers. Shanghai:

Shanghai Museum. 2018. P.104, pl.62.

(6) Tokyo National Museum. Oriental Lacquer Arts. Tokyo: Tokyo National Museum. 1977.

Pl.441, 444.

(7) Shi Chao. ‘Zhejiangsheng Bowuguan Cang Diaoqiqi (Carved lacquer in the Zhejiang

Provincial Museum).’ In The Collector. 2011. Vol.9. Pp.19-24. The object was found in a

tomb of the Song dynasty at a brick and tile factory.

(8) Chen Jing. Zhongguo Qiqi Quanji: 4 (Complete Works of Chinese Lacquerware: 4). Fujian:

Fujian meishu chubanshe. 1998.

(9) Christie's Hong Kong, 28 November 2012, Important Chinese Lacquer From The Lee

Family Collection, Part III, lot 2082.

(10) The Nezu Institute of Fine Arts. The Colors and Forms of Song and Yuan China.

Exhibition catalogue. Tokyo: Nezu Institute of Fine Arts. 2004. Cat. No. 114.

(11) Lee Jingze. Qiyuan Huiguan Lu: Tihei pian (Lacquer Fate: An Assemblage of

Observations: Chapter of Carved Black Lacquer). P.20, pl.10. (To be published)

(12) ) The Nezu Institute of Fine Arts. The Colors and Forms of Song and Yuan China.

Exhibition catalogue. Tokyo: Nezu Institute of Fine Arts. 2004. Cat. No. 85.

(13) Lee Jingze. Qiyuan Huiguan Lu: Tihei pian (Lacquer Fate: An Assemblage of

Observations: Chapter of Carved Black Lacquer). P.22, pl.11. (To be published)

側面

side view

6 東京國立博物館，《東洋的漆工藝》，圖441和圖

444，東京美術，1977年。

7 石超，《浙江省博物館藏雕漆器》，《收藏家》

2011年第9期，頁19-24。據說是紹興磚瓦廠宋墓發

現。

8 陳晶，《中國漆器全集-4》，福建美術出版社，

1998年。

9 香港佳士得 2012年11月28日， 「千文萬華－李氏

家族重要漆器珍藏 (III)」，lot2082

10 《宋元の美—伝來 の漆器を中心に》，展覽目錄

114號。

11 高樹經澤：《漆緣匯觀錄——剔黑篇》，圖10，

頁20。未正式出版。

12 《The Colours and Forms of Song and Yuan

China》，編號 85，2004 年東京出版。

13 高樹經澤：《漆緣匯觀錄——剔黑篇》，圖11，

頁22。未正式出版。

3328

宋  剔彩靈芝雲龍紋折沿盤

AN EXTREMELY RARE AND IMPORTANT CARVED POLYCHROME LACQUER 'DRAGON' DISH

SONG DYNASTY, 960-1279

此件宋代剔彩雲龍靈芝紋折沿盤平底，折沿，矮圈足。以

紅、黑、綠、黃四色剔刻。盤心黑面雕回首螭龍紋，雙眼圓

瞪，毛髮飛揚，肢體捲曲，手握靈芝騰躍於雲海之中，靈芝

花葉隨雲紋飄蕩。盤外壁雕菊花、茶花、荷花、牡丹等四季

花卉。底髹黑漆，有牛毛斷紋。此器曾於2004年展覽於日本

東京根津美術館《宋元の美—伝來 の漆器を中心に》，展覽

目錄114號。

此宋代剔彩螭龍紋折沿盤當為一例孤品，品相絕佳，應是宋

代剔彩工藝的巔峰之作。漆匠充份利用各色彩漆，雕成一條

黑色螭龍，龍身靈動，自然翻轉，朱黑二色隨身影顯色，層

次分明，渾然天成。螭龍遊戲在波濤洶湧雲海之中，隨剔刻

顯現朱黑綠三色，畫面氣韻生動。剔彩最下一層以黃色為底

色，在剔刻時遇黃色層則止，黃色既是裝飾色也是提示色，

這是宋代漆器特有的表現形式。

來源

1. 李汝寬家族遞藏，日本

2. 香港佳士得，2012年11月28日，「千文萬華—李氏家族

重要漆器珍藏 (III)」，封面作品，編號2082

展覽及出版

《宋元の美—伝來 の漆器を中心に》，日本東京根津美術

館，東京，2004年，編號114

估價待詢

Estimate upon request

PROVENANCE

1. Family collection of Lee Yu-kuan (1902-2011)

2. Christie's Hong Kong, 28 November 2012, lot 2082

EXHIBITED AND LITERATURE

The Colors and Forms of Song and Yuan China, Catalogue, The

Nezu Institute of Fine Arts, Tokyo, 2004, no. 114

D 17.9cm

The dish is exquisitely carved to the yellow ground through

polychrome layers of black, red, yellow and green lacquer to depict

a writhing three-clawed chilong dragon holding a lingzhi sprig in

one hand amidst swirling waves. The reverse side is elaborately

decorated with composite floral blooms with associated leaves. The

base is applied with black lacquer.

展覽於《宋元の美—伝來 の漆器を中心に》，日本東京根津

美術館，東京，2004年，編號114

Exhibited in The Colors and Forms of Song and Yuan

China, Catalogue, The Nezu Institute of Fine Arts, Tokyo,

2004, no. 114

來源於香港佳士得，2012年11月28日，「千文萬華－李氏家族

重要漆器珍藏 (III)」，封面作品，編號2082

Sold at Christie's Hong Kong, Important Chinese Lacquer

from the Lee Family Collection, Part III, 28 November 2012,

front cover, lot 2082

〇

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此盤造型在宋代定窯、鈞窯中常見，是宋代器物中規格較

高，器型雅致的代表。盤心紋飾在宋代定窯中也有相似者。

台北故宮博物院曾出版有《定州花瓷》，封面作品金定窯印

花螭舞石榴碟，所繪紋飾及佈局與本器相似。

而以剔彩裝飾雲龍紋在宋代漆器中也有見到數例，多以香盒

為主，其中一例為舊金山亞洲美術館藏（見1987年台北故宮

博物院出版《海外遺珍：漆器圖集》，28頁），盒壁的螭龍

盤繞縈迴，蓋面的螭龍則在雲海中翻騰游弋，其中一龍口銜

三頭靈芝一朵。

另一例為岡山市林原美術館珍藏，見2004年東京出版《The

Colours and Forms of Song and Yuan China》，編號85，書

中斷代為南宋。此盒的裝飾風格與另外二例略有不同，通體

施黑朱二色漆料，黑漆雕成花紋，紋飾間露朱漆素地。蓋面

雙龍皆口銜靈芝，盒壁雕飾雲紋一道。 第三例源自艾爾凡伉

儷舊藏（Florence and Herbert Irving Collection），見1991

年紐約出版James C.Y. Watt、Barbara Brennan Ford合著

《East Asian Lacquer》，62-63頁，編號16，現為紐約大都

會博物館珍藏。盒上所雕雙龍亦銜靈芝，身旁祥雲繚繞，深

色朱漆為地，而盒身立面與蓋同樣以祥雲為飾。

謝堃《金玉瑣碎》：「宋人有雕漆盤盒等物，刀入三層，書

畫極工，競有黃金為胎者，蓋大內物也。」，介於此誤傳，

後人多將宋漆毀之以尋其金胎，導致中國傳世漆器少見，內

地公私博物館亦不多見，僅見有出玉器。目前傳世宋漆多出

現於日本，是早年交流或贈送的結果。此件折沿盤原為日本

李汝寬家族收藏，後作為封面作品出現於李氏家族重要漆器

珍藏 (III)專拍。此折沿盤造型較香盒尺寸較大，紋飾佈局更

為精妙，紋飾剔刻精湛，可視為高浮雕，更加生動。傳世至

今，歷經數百年，品相依然完美，令人愛不釋手。

Chi dragons have long been regarded as auspicious creatures.

They often carry a spray of lingzhi either in their mouths or in their

claws which links them with a wish for long life.

Three boxes of this type have been published but they are usually

decorated in less colourful tone. The tops of all three boxes

are decorated with two chi dragons, one ascending and one

descending. One of these boxes is in the Asian Art Museum of

San Francisco, illustrated in Chinese Art in Overseas Collections:

Lacquerware, Taipei, 1987, p. 28.

Another box is in the Hayashibara Art Museum in Okayama,

illustrated in The Colours and Forms of Song and Yuan China,

Tokyo, 2004, no. 85, where it is dated to the Southern Song

dynasty. This example is of a slightly different style to the others

in the group and is executed with the design appearing in black

against a red ground. Both dragons on the lid of this box carry

lingzhi fungi in their mouths.

A third box is in the collection of the Metropolitan Museum of Art,

New York. This box from the Florence and Herbert Irving Collection,

is illustrated by James C.Y. Watt and Barbara Brennan Ford in East

Asian Lacquer, New York, 1991, pp. 62-3, no. 16.

宋 剔黑夔龍戲雲圖褐漆蓋盒

©美國舊金山亞洲藝術博物館藏

A black and brown lacquer 'kui-dragon

amongst clouds' box and cover, Song

dynasty

©The Asian Art Museum of San Francisco

北宋 鈞窯天藍釉紫紅斑折沿盤

©故宮博物院藏

A Junyao blue-glazed purplesplashed dish, Northern Song dynasty

©The Palace Museum

宋 定窯印花螭舞石榴碟

©台北故宮博物院藏

A Dingyao moulded 'chi-dragon and

pomegranate' dish, Song dynasty

©The Palace Museum, Taipei

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「凡工人之所作器物，猶天地之造化。

千文萬華，終然不可勝識。」 

—《髹飾錄》

3329

元末明初  剔紅高士對弈圖圓盤

A CARVED CINNABAR LACQUER 'SCHOLARS' DISH

LATE YUAN TO EARLY MING DYNASTY, 13TH-14TH CENTURY

圓盤敞口，圈足，足底髹黑漆。內壁飾梔子、桃花、茶花、

菊花等各式纏枝花卉八朵，盤底又作八出菱花式開光，畫面

中波光粼粼，蒼松挺勁，山石嶙峋，但見水岸右側平台上二

高士憑石幾對弈，旁側還有一人觀棋不語，右側又雕一童子

手捧茶盤自山崖下半掩之門扉步出，畫面左側正有一老者

自橋上冊杖來訪，整個畫面構圖層次分明，人物刻劃神態生

動，內容逸趣橫生。盤外壁作卷草紋，線條流暢婉轉。整件

作品漆色純正，磨工圓潤，雕工精細奇巧，正可謂「藏鋒清

楚，隱起圓滑，纖細精緻」，為元代雕漆佳作。

來源

A. J. Speelman舊藏，倫敦

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

US$ 153,000 - 230,000

PROVENANCE

Collection of A. J. Speelman, London

D 27cm

The tray is made with shallow sides, deeply and boldly carved

in the centre with a group of scholars playing chess in a fenced

garden ornamented with rockwork, accompanied by another

scholar crossing the bridge and an attendant walking from the cave

to serve tea. The scene is surrounded by a border of leafy flower

sprays depicting peony, gardenia, chrysanthemum and peach

blooms on the interior. The exterior is decorated with a band of ruyi

scrolls with the base lacquered brown.

元 剔紅樓閣人物圖盤

©故宮博物院藏

A carved cinnabar lacquer 'figures and

pavilions' dish, Yuan dynasty

©The Palace Museum

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3330

清乾隆  銅鎏金嵌料如意

      「乾隆年製」

A RARE EMBELLISHED JADE-INLAID GILT BRONZE RUYI SCEPTRE

QIANLONG PERIOD, 1736-1795

如意為銅鎏金質，上面嵌有透明彩色料器貼片，精美地仿效

珍貴寶石，並在紅寶石的「裂冰」地面上裝飾著六瓣梅花。

如意端部的鉸鏈圓盤原本容納一個歐洲手錶，現已遺失，蓋

面鑲嵌有白玉螭龍佩裝飾。如意背面鎏金雕刻有八吉祥紋和

「乾隆年製」四字楷書款。此件銅鎏金嵌料如意做工奢華，

賦予吉祥寓意同時盡顯皇家雍容富貴氣度，值得鑒藏家珍

視。

同類者可參考北京保利，2011年6月7日，編號9552；以及香

港佳士得2007年11月27日，編號1672。

如意是吉祥、喜慶之物，盛行於清代。每年帝後萬壽、千秋

節，均有大臣進貢。「如意」一詞出於梵語「阿娜律」，本

作為一種象徵祥瑞器物，寓意吉祥吉利、稱心如意。其發展

至明清，作為一種藝術陳設品，普遍為人們所接受並予以供

賞。此種現象尤以清代為盛，當時如意成為皇宮里皇上、后

妃之玩物，於寶座旁、寢殿中均擺有如意，以示吉祥、順心

之意。清朝帝王常命作坊製成各式造型優雅的如意，用作賀

壽饋贈之禮。雍乾二帝尤喜如意飾件，故兩者均曾手執如意

出現在清代宮廷繪畫中：其一為《雍正觀花行樂圖》（請見

《故宮博物院藏文物珍品全集：清代宮廷繪畫》第124頁編號

19，香港，1996年）；其二為乾隆即位前以皇子弘暦的身份

入畫的《採芝圖》（前述著作第146頁編號25）。

來源

法國私人珍藏

HK$ 400,000 - 600,000

US$ 51,000 - 77,000

PROVENANCE

A French private collection

L 46cm

One side of this ruyi scepture is entirely covered with glass insets

depicting clear blossoms on ruby-red ground, with a border of

emerald-green stones along the edge. The large lobed head was

originally set with a clock at the center which was lost and is now

covered with a white jade chi-dragon carving. The gilt-bronze

underside is cast with the four-character Qianlong mark and with

incised decorations of auspicious flowers and the Eight Buddhist

emblems, bajixiang, amidst scrolling foliage.

The present scepter is a dazzling testament to the skill of the

Chinese craftsmen during the Qianlong period. Two very similar

scepters have been sold in our rooms in Beijing, 7 July 2011, lot

9552 and another in Christie’s Hong Kong, 27 November 2007,

lot 1672.

One translation of the Chinese term ruyi is \"as you wish\", and

scepters in this shape were often given as gifts because of the

good wishes they implied. Although they may have had certain

ritual functions in some ceremonies, scepters frequently appeared

in displays, either placed on stands or in vases and brush pots

alongside other functional and exotic goods in the palace.

款識

Mark

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3331

清中期  金菩薩立像

A GOLD STANDING FIGURE OF A BODHISATTVA

MID-QING DYNASTY, 18TH CENTURY

此尊菩薩立像由純金打造，寶相莊嚴，面容沈靜。菩薩上梳

肉髻，頭戴寶冠，頸部淺刻三無礙頸紋，彎曲柳葉眉， 眉

間飾白毫，雙目半睜，直鼻，方面大耳，面龐圓潤飽滿，神

態祥和。菩薩赤足站立於飽滿的雙層蓮花座之上，上半身袒

露，臂輓披帛，飄逸流暢，衣裙下垂至蓮座兩側，其上鐫刻

繁復細密的花卉紋。菩薩右手自然垂落至身側，左手置於胸

前，應原執蓮花，現已迭失。

來源

法國私人收藏

HK$ 50,000 - 80,000

US$ 7,000 - 11,000

PROVENANCE

A French private collection

H 21cm 1347g

This standing figure is cast together with on a double-lotus base.

Her hands should have held a lotus with long stem which is lost

and her body is dressed in a long layered robe. Her face is painted

with blue, white and red mineral pigments to depict a serene

expression with her hair tied in a chignon and crowned.

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頤華：宮廷藝術珍品選粹