3409 A BLUE AND WHITE 'DRAGON AND PHOENIX' DOUBLE-VASE 清乾隆  青花夔龍夔鳳紋雙聯瓶 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 H 23.2cm HK$ 600,000 - 800,000 US$ 77,000 - 103,000 瓶為盤口，短頸豐肩，腹下漸收，寬足外撇，形制古樸 Potted on a slightly splayed foot, rising to a narrow waist and 規整，又如彼肩的雙生佳人，端莊雅緻。周身以青花裝 a rounded shoulder, then to a short neck, followed by a raised 飾，瓶口飾圈點紋，頸部描繪變形蕉葉紋，下承一周如 mouth rim. The double-vase takes the shape of two vases 意紋。腹部所繪圖案為左夔龍、右夔鳳，寓意龍鳳呈 joined as one in the middle. A dragon and a phoenix are 祥，龍鳳軀體蟠曲，做飛翔狀，亦可謂龍飛鳳舞，而雙 depicted in underglaze blue, stylistically resembling similar 連瓶蘊含成雙成對，圓滿之意，搭配龍鳳，相得益彰。 images on ancient jades and bronzes. A band of leaves is 脛部及圈足飾蕉葉紋及火珠蓮瓣紋，底落「大清乾隆年 depicted at the foot, and the image is mirrored at the neck. 製」六字單行篆書款。 Whether horizontally or vertically, the ornamentations and the form of this vase is meticulouly arranged to mirror its other half. The base is inscribed with a six-character Qianlong reign mark. Mark Palatial Splendour: Imperial Ceramics and Works of Art 38  御貢凝輝：宮廷御製珍品

清乾隆 琺瑯彩夔龍夔鳳紋雙聯瓶 © 上海博物館藏 雙聯瓶因其造型為兩瓶相連而得名，又稱合歡瓶，雖早 Conjoined forms, incorporating sections of two or more 見於唐代三彩器之上，但此後甚為少見，直至乾隆御窯 shapes to create a single vessel, were a visual innovation 創燒，是其中一種窮工極巧的創新品種，造型見於《明 widely propagated among a number of monochrome ceramic 清瓷器鑑定》乾隆器形示意圖。據《清檔》中記載，此 shapes of Yongzheng period (1723-1735). Compare the 造型瓶見有不同材質，記錄有「磁胎畫琺瑯合歡罐」、 Guan-type quadruple vase from the Alsdorf and Robert Chang 「洋彩紅翠地錦上添花合歡罐」、「洋彩三陽開泰合歡 Collections, sold at Christie's Hong Kong, 2 November 1999, 罐」等琺瑯彩器，均稱上品。乾隆六年《各作成做活計 lot 524; and the celadon-glazed double-bottle vase in the 清檔》中錄：「七月十七日，司庫劉山久白世秀來說， Bernat and Robert Chang Collections, sold at Christie's Hong 太監高玉交：……嘉窯青夔龍合歡罐一對……，傳旨： Kong, 31 October 2000, lot 825; and a Ru-type double- 著俱各配座，欽此」，此或為本品青花器之記錄。 vase offered in our current sale, lot 3412. The production of conjoined vessels continued into the subsequent Qianlong 類似藏品見於台北故宮博物院，刊於《清康雍乾名 reign. 瓷》，故宮博物院，1986年，頁100，圖70；上海博物 館，錄於《中國陶瓷全集15清（下）》，上海人民美術 The phoenix is highly regarded in Chinese mythology. As the 出版社，2000年，頁36，圖4。本場尚包括一件仿汝釉 king of birds, legend has it that this creature appears only 雙聯瓶（拍品3412）。 at the time of peace and prosperity. Thus, the combination of the phoenix and dragon was widely adopted on imperial porcelains. Palatial Splendour: Imperial Ceramics and Works of Art 40  御貢凝輝：宮廷御製珍品

Palatial Splendour: Imperial Ceramics and Works of Art 42  御貢凝輝：宮廷御製珍品

3410 A GREEN-GROUND IRON-RED-GLAZED GILT- DECORATED 'DRAGONS' GOURD-SHAPED VASE 清乾隆  蘋果綠地礬紅描金「五龍祥雲」 葫蘆瓶 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 PROVENANCE Collection of Nicholas Branch, England, acquired in the 60s 來源 in Belgium 英國Nicholas Branch收藏，六十年代購於比利時 H 33.8cm HK$ 2,800,000 - 3,800,000 US$ 358,000 - 486,000 本品呈葫蘆式樣，以蘋果綠釉為地，礬紅勾勒，再施以 Of globular lower body, pear-shaped upper half and a 描金五龍穿梭祥雲，翻騰江海之上，雙目炯炯，五爪分 waisted midsection, flaring rim with a border of ruyi lappets, 張，威武雄健，恰應乾隆禦宇天下，國力隆盛之氣象。 the exterior painted in green-glaze and iron-red-glaze, the 本葫蘆瓶淡淡的嫩翠色，予人無限嬌美之感。龍紋華 five-clawed dragons striding amidst the seas is further 麗，塑型精准，既見藝匠造詣，亦現當朝盛世。紋飾佈 embellished with gilt. The base is inscribed with six-character 局精妙，構圖虛實運用流暢，更顯整體紋飾和諧勻稱。 seal mark in gilt. 底施松石綠釉，描金「大清乾隆年製」六字篆書款。自 清朝立國以來，代代皇帝皆重視景德鎮官窯生產，推動 瓷器工藝發展，是以精品佳器屢出，技藝時有創新改 良，本品即為一例。 葫蘆在我國栽培歷史源遠流長，《詩經．邶風》云： 「匏有苦葉，濟有涉深」；《幽風》云：「七月食瓜， 八月斷壺」；《小雅》云：「南有木，甘瓠累之」。其 中的「匏」、「壺」、「甘瓠」均指葫蘆。葫蘆，因型 似「吉」字，讀音似「福祿」，又多籽，故自古以來便 承載起人們希望吉祥如意、福祿雙全、多子多孫的美好 心願。乾隆時期國力空前強盛，經濟高度繁榮，祈禱吉 祥富足也因此成了當時社會藝術的主流，以葫蘆為題材 的各式宮廷陳設亦應運而生，即為這一時期下的產物。 乾隆帝一直以「盛德聖王」自居，除在內府所藏古瓷上 鏨刻「比德」、「德充符」等印記外，更將燒造精美 高超的瓷器作為彰顯聖德的標準之一。如在其《古陶 缶歌》中既有:「腹橢口翕德能畜，……陶於河濱此其 躅」，其中「陶於河濱」典出《史記．五帝本紀》，載 舜「陶河濱，河濱器皆不苦窳。」這個典故闡明因為舜 帝秉承了至高的德行，所以燒製的陶器皆無「髻墾薜 暴」之態。乾隆皇帝自注「髻墾薜暴」謂之:「髻墾謂其 器之不正，薜暴謂其釉之不純。」由此燒造器型規矩， 釉色純美、紋飾精美的御瓷，被乾隆認為是體現帝王 「盛德」的象徵。 Mark Palatial Splendour: Imperial Ceramics and Works of Art 44  御貢凝輝：宮廷御製珍品

葫蘆器形象徵多產多福，繁葉枝藤及帶斑葫蘆圖紋，更 The double gourd, hulu, was widely viewed in the Ming and 強調其吉祥寓意。葫蘆之圓潤體態，子核豐富，使其自 Qing dynasties as auspicious. Its large number of seeds 然成為多產多子之象徵。細長瓜藤更代表子嗣綿延無 represents fertility and the wish for numerous sons. It was 盡，代表子孫萬代。葫蘆乃八仙之一李鐵拐之法寶，是 also an important symbol of Daoism, particularly associated 以葫蘆亦與道教密不可分。本瓶裝飾海水雲龍紋，寄予 with Li Tieguai, one of the Eight Immortals, who is often 無限福壽，天子萬年，是一件乾隆宮廷的藝術珍品。 depicted with a double gourd at his waist containing the elixir of immortality. In addition, the Chinese word for double gourd 乾隆在康熙、雍正兩朝製瓷工藝取得高度成就的基礎 forms a rebus with the phrase fulu, meaning happiness and 上，彩瓷和單色釉瓷無論在數量或品質上都達到了極高 prosperity through government positions. 的水準，種類繁多，器形豐富。 Vases applied with apple green glaze are rare and precious. 色地描金是明清官窯瓷器經典的裝飾技法，多見於各式 Compare an apple-green enameled vase decorated with 低溫色釉和高溫霽藍釉之上，若如本作品般於淡綠釉上 dragon, sold in Christie’s Hong Kong, 27 November 2013, Lot 描金，則是乾隆朝御瓷之首創，運用此裝飾技法者例子 3207. The dragons on the current vase are further highlighted 亦不多。故宮博物院藏清乾隆綠地礬紅彩雲蝠紋葫蘆 with gilt. Another pair of vases decorated with gilt against an 瓶，其裝飾技法和器物造型與拍品相近，見《故宮博物 apple-green ground was sold in Christie’s Hong Kong, 30 May 院藏文物珍品大系—雜釉彩．素三彩》，上海科學技術 2018, lot 2753. 出版社，2009年，頁72，73，圖61。 香港趙從衍（1912-1999年）原收藏有一件清乾隆釉裡紅 雲龍鴻福葫蘆瓶，造型、紋飾與拍品相近，出版於《趙 從衍基金會藏明清陶瓷》，香港藝術館，香港，1978 年，編號78。清宮舊藏一件清乾隆釉裡紅雲龍紋葫蘆 瓶，造型與本品相類，現存北京紫禁城養心殿隨安室， 實景圖載於《清代宮廷生活》，香港，1985年，圖版 177。 本瓶創意自乾隆一朝，常見者為飾正面及側面龍紋之釉 裡紅葫蘆瓶，流行於嘉慶一朝，參見倫敦蘇富比，2018 年11月7日，編號70，清嘉慶青花雲龍戲珠紋葫蘆瓶，兩 者器型、紋飾佈局相似，可見對嘉慶一朝的影響。 清嘉慶 青花雲龍戲珠紋葫蘆瓶 清乾隆 蘋果綠釉凸雕蒼龍教 清乾隆 釉裡紅雲龍鴻福葫蘆瓶 倫敦蘇富比，2018年11月7日， 子燈籠尊 © 《趙從衍基金會藏明清陶瓷》， 編號70 香港佳士得，2013年11月27 日，編號3207 1978年，編號78 Palatial Splendour: Imperial Ceramics and Works of Art 46  御貢凝輝：宮廷御製珍品

3411 A PAIR OF SMALL LEMON YELLOW-GLAZED DISHES 清乾隆  檸檬黃釉束腰小盤一對 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 D 11.4cm HK$ 500,000 - 800,000 US$ 64,000 - 103,000 本品為一對，皆敞口束腰，圈足。胎體細膩輕薄，形制 This pair of dishes each rises from a short foot to a waisted 秀巧。內壁素白，外壁施檸檬黃釉，色澤鮮豔嬌嫩，顏 middle. A brilliant lemon-yellow enamel is applied to the 色均勻而滋潤。底落「大清乾隆年製」青花六字三行篆 exterior, while the interior is left white. The white base comes 書款。 with a six-character reign mark written in underglaze blue. Monochrome wares of this form demand absolute precision 檸檬黃釉因色澤近似蛋黃色，故又稱「蛋黃釉」或「淡 in potting, glazing and firing. Any inconsistency would disrupt 黃釉」，為乾隆時期受西方影響而燒造的瓷器品種之 the harmony of the entire piece. 一，極為名貴。此釉出現於清康熙年間，因色如雞蛋黃 而得名。康熙時釉黃微重，釉層透明。到乾隆時，因釉 Amongst all the different monochrome glazes, yellow is the 中摻有玻璃白，使釉汁混而不透，呈色嫩淡。多用於單 only colour that has direct imperial association. Such yellow 色釉器。 enamel was a Yongzheng innovation achieved when the antimoniate of iron was combined with tin oxide resulting in 明、清黃釉以鐵為著色劑的鐵黃，用氧化焰低溫燒成， an opaque yellow glaze of vibrant hue. See another pair of 色黃潤光滑，釉面晶瑩透澈。此黃釉器製作方法是燒成 Qianlong lemon-yellow dishes of this size and form, sold in 的白瓷釉面上塗以含鐵色料，再低溫燒成。 此對檸檬黃 Sotheby’s Hong Kong, 3rd April 2019, lot 3661. 釉折沿小盤，外壁施黃釉，釉面肥厚，發色淡雅嬌嫩， 光亮滋潤，乃乾隆官窯中至珍精品，式樣優雅。此折腰 樣式盤甚是少見，成對保存，甚為難得。 Marks Palatial Splendour: Imperial Ceramics and Works of Art 48  御貢凝輝：宮廷御製珍品

3412 A RU-TYPE DOUBLE-VASE 清乾隆  仿汝釉雙聯瓶 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 PROVENANCE 1. Collection of Ian Thomas LVO (1929-1993) 來源 2. An English Private Collection 1. Ian Thomas LVO (1929-1993) 收藏 2. 英國私人收藏 H 18.3cm HK$ 1,000,000 - 1,500,000 US$ 128,000 - 192,000 瓶為盤口，短頸豐肩，腹下漸收，寬足外撇，形制古樸 Finely potted on a foot that rises to a narrow waist, and 規整，又如彼肩的雙生佳人，端莊雅緻。通體滿施仿汝 immediately broadening towards the rounded shoulder. The 釉，光素無紋，釉色肥潤，古樸淡雅。底以青花書「大 rim of the mouth is raised, and the silhouette of the neck 清乾隆年製」六字單行篆書款。 resembles the curvatures near the foot. This vessel takes the shape of a pair of intertwined vases that are joined in the 本場尚包括一件乾隆青花龍鳳紋雙聯瓶（拍品3408）。 middle. A thin layer of glaze that is reminiscent of Ru wares 雙聯瓶因其造型為兩瓶相連而得名，又稱合歡瓶，雖早 is applied on top, and the stylish natural distribution of the 見於唐代三彩器之上，但此後甚為少見，直至乾隆御窯 glaze is translucent. At the bottom is a six-character mark of 創燒，是其中一種窮工極巧的創新品種，造型見於《明 Qianlong inscribed in underglaze blue. Overall, a very pleasant 清瓷器鑑定》乾隆器形示意圖。據《清檔》中記載，此 piece with a gentle hue. 造型瓶見有不同材質，記錄有「磁胎畫琺瑯合歡罐」、 「洋彩紅翠地錦上添花合歡罐」、「洋彩三陽開泰合歡 Making conjoined vases by incorporating sections of two or 罐」等琺瑯彩器，均稱上品。乾隆六年《各作成做活計 more shapes to create a single vessel was one of the most 清檔》中錄：「七月十七日，司庫劉山久白世秀來說， challenging tasks of the imperial kilns during the Qianlong 太監高玉交：……嘉窯青夔龍合歡罐一對……，傳旨： period. The double-vase form is commonly decorated with 著俱各配座，欽此」。 enamels. Only one other Qianlong mark and period conjoined vase with a monochrome glaze is known, similarly applied 類似藏品見於台北故宮博物院，刊於《清康雍乾名 with Ru-type glaze, acquired by the Metropolitan Museum of 瓷》，國立故宮博物院，1986年，頁100，圖70；上海 Art, New York, in 1879 (acc.no. 79.2.952). See also a double- 博物館，錄於《中國陶瓷全集15清（下）》，上海人民 vase sold in this sale (lot 3408). 美術出版社，2000年，頁36，圖4。美國大都會博物館 亦藏一例仿汝釉雙聯瓶，藏品編號79.2.952。 Mark 清乾隆 仿汝釉雙連瓶 Palatial Splendour: Imperial Ceramics and Works of Art © 美國大都會博物館 50  御貢凝輝：宮廷御製珍品

Palatial Splendour: Imperial Ceramics and Works of Art 52  御貢凝輝：宮廷御製珍品

3413 A RU-TYPE GOURD-SHAPED MOONFLASK 清乾隆  仿汝釉綬帶耳蒜頭抱月瓶 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 PROVENANCE 1. A British private collection 來源 2. Collection of Alice Boney, acquired in the United States in 1. 英國私人收藏 the 1940s 2. Alice Boney（愛麗絲．鮑尼）舊藏，1940年代購於美國 H 51cm HK$ 1,000,000 - 1,800,000 US$ 128,000 - 230,000 乾隆帝崇古之情尤甚，故乾隆一朝御窯，多有對歷代名 Of compressed double-gourd-shaped body rising from a short 瓷的臨摹與仿製，本品之抱月瓶即為遵照欽定瓷器之樣 foot to a narrow waisted neck set with a pair of ruyi-shaped 式，仿永宣之形制，結合時人之巧思化裁而成，相較於 strap handles, garlic head-shaped mouth, and painted in 明代抱月瓶，本品之蒜頭狀瓶口更為秀雅圓潤，瓶口至 thick elusive blue glaze of Ru wares. The minimalist design 腹部收束的短頸，彰顯腹部之渾圓，口部至肩部左右對 approach accentuates the Ru-imitation glaze as the major 稱飾如意耳，線條流暢婉轉，使整體造型趨於秀美穩 feature of this moon flask. 定。此抱月瓶莊重典雅，仿汝釉色澤純正清麗，釉質凝 潤，不輸粉青釉。撫之細膩柔潤，圓碩而扁平的瓶體與 優美靈動的雙耳搭配，使得器形穩重而不失秀麗，令人 感觸其工藝之精妙。 Mark Palatial Splendour: Imperial Ceramics and Works of Art 54  御貢凝輝：宮廷御製珍品

整器體格碩大，造型嚴整而不失流暢之致，修坯精細， 清乾隆 青花纏枝花卉抱月瓶 幾乎看不出接痕，底足亦處理的十分考究。整器造型宏 © 故宮博物院 偉，華麗典雅，令人贊嘆。清新的釉色與秀美的造型， 具清代御製瓷器之神逸。可對比北京保利2019年12月6 清乾隆 青花青釉唐革紋雙耳扁壺 日，編號5711，清乾隆粉青暗刻青花團壽大抱月瓶，日 © 靜嘉堂 本靜嘉堂也藏有一例，三者造型尺寸相同，可作參考。 摹古與寓意是雍乾二朝宮廷藝術的重要理念，胤禛父子 二人以個人的美學修養與審美喜好有意識地倡導一種理 想的工藝審美格調，於瓷器一項，無不以宋名器、永宣 御窯為典範，致力摹古求真，同時卻不拘於純粹的摹 仿，注重在傳統構成因素中創新，借鑒原來的工藝造型 和紋飾進行抽繹，組合出具有時代特色的新樣式，寄予 新的美好吉祥寓意，從而確立新的古典主義審美品格。 此番精神在高級的御瓷之中體現尤為明顯，本品即為一 佳例。新穎明快的釉色與仿古出新的造型完美結合，傳 世罕見。 The elegant form of the current vase was greatly influenced by early Ming blue and white moonflasks such as the two examples in the collection of the National Palace Musuem, Taipei, illustrated in Blue-and-White Ware of the Ming Dynasty, Hong Kong, 1963, Book II, Part 1, pp. 38-41, pls. 9-10c. The current vase stands out as an exceptional example of the Qianlong adaptation of the Song dynasty Ru glaze. A very similar Ru-type glazed vase of this shape but slightly larger in size (57 cm) was sold at Sotheby's London, 12 July 2006, lot 131. A related Yongzheng Guan-type moonflask with incurved garlic mouth (52.7 cm high), was included in the exhibition Etheral Elegance: Porcelain Vases of the Imperial Qing, The Huaihaitang Collection, Chinese University of Hong Kong, 2007, pl. 31. Palatial Splendour: Imperial Ceramics and Works of Art 56  御貢凝輝：宮廷御製珍品

Palatial Splendour: Imperial Ceramics and Works of Art 58  御貢凝輝：宮廷御製珍品

3414 A RARE TEA-DUST GLAZED 'BRONZE IMITATION' MOONFLASK 清乾隆  茶葉末釉點古銅彩鋪首抱月瓶 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 PROVENANCE 來源 1. Collection of M. O. du Sartel, before 1881 1. M. O. du Sartel收藏，1881年前 2. Hotel Drouot, 3-5 April 1882, lot 130 2. 巴黎Hotel Drouot，1882年4月3-5日，編號130 LITERATURE 出版 O. du Sartel, La porcelain de Chine / [O. du Sartel], Paris, O. du Sartel，《La porcelain de Chine》/ [O. du 1881, no.157, p. 209-210,308, pl. XXXII Sartel收藏中國磁]，巴黎，1881年，編號157，頁209- 210,308，圖版XXXII H43cm H46.8cm with stand HK$ 5,800,000 - 6,500,000 US$ 741,000 - 831,000 本品長頸，扁圓腹，形仿先秦青銅扁壺，肩對飾獸耳銜 An exquisite moonflask supported on a short and splayed 環。通體施仿古銅釉，器形設計搭配獨特，疑為孤品。 foot, with a flat spherical body adorned with two animal mask 腹部主體飾夔龍捧壽，兩兩雙對。仿古青銅瓷器多施紫 handles on the sides, rising to a rather cylindrical neck and 金或茶葉抹釉，飾以描金，或加綠彩摹銅鏽，紋樣懷 a neat mouth rim. The flamboyant adornments are a clear 古，追殷摹周，為大雅之器。 indication of a Qianlong dating. A 'shou' medallion is encircled by an outer frame and archaic symbols of auspicious beasts, all painted in tea-dust glaze against a carved a ground with rectangular spirals. Occasional splatters of turquoise glaze in the center and on slightly concaved parts of the vessel are an artistic attempt to recreate the appearance of corroded ancient bronzes. The base of this moonflask is inscribed with a six-character Qianlong reign mark. Mark 巴黎Hotel Drouot，1882年4月3-5日，編號130 Palatial Splendour: Imperial Ceramics and Works of Art 60  御貢凝輝：宮廷御製珍品

乾隆在康熙、雍正兩朝製瓷工藝取得高度成就的基礎 With the technical advances and virtuosity of porcelain 上，彩瓷和單色釉瓷無論在數量或質量上都達到了極高 production during the Qianlong period, potters from the 的水平。種類繁多，器形豐富。尤其高水平的仿真象生 official kilns were able to experiment with different methods 瓷為最，以瓷器仿製的各類金、銀、竹、石、木器等工 and techniques to satisfy the emperor’s penchant for the 藝品令人叫絕。朱琰在《陶說》中評述說 ：「戧金、 curious and archaic. Porcelain was frequently used to 鏤銀、琢石、髹漆、螺鈿、竹木、匏蠡諸作，無不以陶 simulate works of art made from other media, including 為之，仿效而肖。」青銅器、漆器、木器、竹器和玉石 hardstones, cloisonné enamels, wood, lacquer, and in this 的仿製都十分逼真。所有仿製的品種不僅形態、色澤十 instance, bronze. 分接近木材的本色，紋理和木料的質感也能精確地反映 出來。本品之創燒，即唐窯之於仿生青銅的一大重要突 Although the idea of porcelain imitating other materials was 破。 pioneered by the potters of the late Kangxi and Yongzheng periods, it was during the Qianlong reign that this technique 陳瀏於《陶雅》中曾如此評述：「古銅彩獨推乾隆朝， reached its zenith, and the present vase is no exception. The 花紋皆凸雕，或以金寫之。」古銅彩為以燒製出青銅器 present vase is the more unusual as it incorporates the colour 鏽跡斑駁的效果，或用金彩摹繪璀璨的錯金銀紋飾，其 of archaic bronze and those bluish green bronze patinas on 質感色彩均於青銅真品相若。典型器如故宮博物院藏古 the surface. 銅彩犧耳尊，古樸典雅，造型逼真，可謂精絕。古銅彩 的燒製一直延續到清末、民國，但其製作工藝和色彩運 A censer which is similarly enamelled in turquoise and gilt- 用遠不及乾隆時期。 russet in imitation of gilt-bronze, but with a different pattern featuring dragons reserved in cartouches, is in the National 見有故宮博物院藏仿古尊，通體施茶葉末釉，上飾爐鈞 Palace Museum, Taipei, included in A Special Exhibition of 釉帶狀細邊，可資比對，詳見《故宮珍藏康雍乾瓷器圖 Incense Burners and Perfumers Throughout the Dynasties, 錄》，北京1989年，頁412，圖版93；同書另載仿青銅 1994, illustrated in the catalogue, no. 83. 觚及鐘（出處同上，頁414f.，圖版95及96）。署乾隆年 款三足香爐，仿黑銅鎏金，就圖片所見，沒施綠釉，開 A porcelain censer in the form of a fangding, also combining 光貼飾變形夔龍，與本品紋樣相近，見耿寶昌著《明清 turquoise and russet, was formerly in the E.T. Chow Collection, 瓷器鑒定》，香港1993年，頁282，圖486。上海博物館 sold at Sotheby's Hong Kong, 16 December 1980, lot 528, 藏無署款瓷觚，上施松石綠釉，與器形相近的商代青銅 and a gu-shaped vase from the J.M. Hu Collection was sold at 觚，並展於《Treasures from Shanghai.Ancient Chinese Christie’s Hong Kong, 30 May 2005, lot 1239. Bronzes and Jades》，大英博物館，倫敦，2009年， 編號56a及b）。 翻閱清宮檔案可見，仿青銅效果之瓷器多見督陶官以個 人名義進貢的瓷器，每款最多不過製作兩對，如清宮檔 案 載 ： 乾 隆 十 六 年 ， 「 唐 英 恭 進 …… 仿 青 綠 瓷 花 尊 二 對」；乾隆十九年，「唐英進文王鼎、瓶、盒一份」； 乾隆三十六年，「伊齡阿跪進……（交養心殿內）仿青 綠古銅獸面雙環罍成對……」；乾隆三十七年，「伊齡 阿跪進……（交淳化軒）仿青綠地漢紋獸面尊成對…… （交佛堂）仿青綠地拱花花觚成對，（交佛堂）仿青綠 地夔鳳花插成對……」。進貢之時，唐英、伊齡阿皆任 九江關監督，兼御窯督陶官。相比大運瓷器，督陶官為 博皇帝聖心，以個人名義進貢皇帝之瓷器，在製作過程 中當更為用心，甚至可能不因陳式，精益求精，而使此 類器物更勝於大運和傳辦瓷。且貢瓷數量較少，更顯此 類之珍稀貴重。 Palatial Splendour: Imperial Ceramics and Works of Art 62  御貢凝輝：宮廷御製珍品

3415 A PAIR OF IMPERIAL INSCRIBED FAMILLE-ROSE 'GARDEN LANDSCAPE' WALL VASES 清乾隆  粉彩錦上添花開光山水亭廊圖御 題詩壁瓶一對 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 PROVENANCE 1. An American private collection 題詩：「官汝稱名品，新瓶製更嘉。隨行供嘯咏，沿路 2. Sotheby's New York, 21 March 2018, lot 545 擷芳華。挂處輕車稱，簪來野卉斜。紅塵安得近，香籟 度帷紗。乾隆御題」「乾」「隆」 H 20.1cm H 20.3cm 來源 1. 美國藏家收藏 2. 紐約蘇富比，2018年3月21日，編號545 HK$ 3,800,000 - 4,800,000 US$ 486,000 - 614,000 拍品以礬紅卷草為地，腹部開光繪山水詩文，邊飾以洋 Each with a slightly raised rectangular rim, supported on a 彩繪製纏枝西番蓮紋，紋飾明顯受到了西洋洛可哥式裝 slender neck and a quatrefoil-shaped body, all rising from 飾風格的影響，佈局緊湊飽滿，彩料亮麗耀眼，繪製筆 a tromp l'oeil base. In the centre of one vase is a landscape 法細膩精緻，氣息雍容華貴。其中一隻腹部開光墨書御 scene with growing willows by a pond, while the other vase is 制五言詩：「官汝稱名品，新瓶製更嘉。隨行供嘯咏， inscribed with a poem by Qianlong. The base of the two vases 沿路擷芳華。挂處輕車稱，簪來野卉斜。紅塵安得近， are inscribed with a six-character Qianlong reign mark each. 香籟度帷紗。」此詩即收錄於《清高宗御制詩文全集》 之「詠掛瓶」。下有紅彩「乾」、「隆」二方一朱一白 These two wall vases are conceived as a pair with one vase 文印。底書「大清乾隆年製」六字描金篆書款。形制規 illustrating a scene that complements the poem on its mate. 整，色彩豔麗，極富皇家氣息。 Surviving vessels of this type are exceedingly rare. They are reminiscent of rich albums and handscrolls depicting idealized landscapes and accompanied by calligraphic inscriptions and seals of the artist or collector, which were bordered in sumptuous textile. As such, vessels of this type would have appealed to the emperor both for their craftsmanship and association with other scholarly pursuits. While porcelain wall vases were produced from the late Ming period, the present examples embody the technical advances Marks 《御製詩初集》卷十一 <咏掛瓶> Palatial Splendour: Imperial Ceramics and Works of Art 64  御貢凝輝：宮廷御製珍品

乾隆皇帝酷愛以壁瓶裝飾宮廷，珍藏稀世法帖的養心殿 in porcelain production during the early 18th century and 三希堂的東板牆上即掛有壁瓶十四隻，他還把轎瓶作為 combine several decorative techniques which were developed 其御輦的掛飾，供途中欣賞。《清高宗御製詩文全集》 at the imperial kilns. The Qianlong emperor’s predilection 有七首詠「掛瓶」的詩，反復吟咏，可見其珍愛。 for porcelain vessels that contained elements simulating objects in other materials resulted in remarkable examples 壁瓶，因懸掛於牆壁面而名，亦稱轎瓶、掛瓶。壁瓶 of trompe l’oeil. The stands on which the vases rest resemble 創燒於明代，但直至乾隆朝才因皇帝的喜愛而流行起 gilt-decorated lacquer stands. Together with the rich web of 來。清檔中亦有大量燒造和陳設壁瓶的記載，例如： iron-red scrolls and a reinterpretation of a classic 'confronting 「（乾隆十一年）六月十四日，四庫白世秀來說太監胡 phoenix' motif in the newly developed pastel palette, a lavish 世傑交轎瓶一件……傳旨：照此轎瓶款樣……做掛瓶六 design has been created in accordance with the emperor’s 件：菱荷香箭柱上掛四件、屋內簷柱上掛兩件，要錦上 taste. 添蓮花，留空堂寫詩，……俱先畫樣呈覽，準時交江西 燒造。欽此……六月十八日，司庫白世秀將畫得錦上添 The poem on the present vase is found on several Qianlong 蓮花轎瓶紙樣大小二張持進，交太監胡士傑呈覽。奉 mark and period wall vases. See one painted in yangcai 旨：准交江西照樣燒造大轎瓶二件、小轎瓶四件……欽 enamels on a yellow ground, in the National Palace Museum, 此……十一月二十六日，七品首領薩木哈將江西燒造得 Taipei, included in the Museum’s exhibition Stunning 有洋彩紅地錦上添蓮花掛瓶大小二對、洋彩黃地錦上添 Decorative Porcelains from the Ch’ien-lung Reign, Taipei, 蓮花小掛瓶一對……持進，交太監胡士傑呈覽。奉旨： 2008, cat. no. 20; a blue-ground pair, in the Nanjing Museum, 將……掛瓶……交圓明園園內總管收貯，挨房得時著造 Nanjing, included in the exhibition Qing Imperial Porcelain of 辦處人拴掛安設。欽此。」 the Kangxi, Yongzheng and Qianlong Reigns, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1995, cat. no. 97; another from the collection of Sir Percival David, now in the British Museum, illustrated in Rosemary E. Scott, Qing Porcelain for the Imperial Court, London, 1998, pl. 3; and a fourth example, the inscription enameled in gilt, included in the exhibition Chinese Porcelain. The S.C. Ko Tianminlou Collection, vol. 1, Hong Kong Museum of Art, Hong Kong, 1987, pl. 116. Palatial Splendour: Imperial Ceramics and Works of Art 66  御貢凝輝：宮廷御製珍品

3416 A RARE FAMILLE-ROSE ROSE-PINK GROUND 'BAJIXIANG' ALTAR VASE 清乾隆  粉紅地粉彩纏枝蓮托八吉祥紋賁 巴瓶 QIANLONG PERIOD, 1736-1795           「大清乾隆年製」 PROVENANCE Christie's Hong Kong, 30 May 2006, lot 1297 來源 香港佳士得，2006年5月30日，編號1297 H 26cm HK$ 1,500,000 - 2,500,000 US$ 192,000 - 320,000 瓶呈台形口，束頸而高，鼓腹，外撇式高圈足。台形口 Of a globular body supported on a wide splayed foot. The 沿外側以粉紅為底，粉彩細描纏枝花卉，頸部主體以 vessel has a dramatic silhouette, with a rotund belly, a 各色蓮瓣紋裝飾，腹部以粉紅為底，飾以蓮托八吉祥 bulbous neck, and a cap-shaped mouth. In the center of 紋，八吉祥是瓷器裝飾中典型的宗教紋樣，由法螺、法 the vessel are the ‘bajixiang’ symbols and several rosettes 輪、寶傘、白蓋、蓮花、寶瓶、金魚、盤長八種吉祥物 painted in famille-rose against a velvety pink ground. The neck 組成。八吉祥初始時排列無一定規則，明永樂起按輪、 is a band of fourfold lappets, meticulously painted to show a 螺、幢、傘、花、魚、瓶、結排列，從明萬曆至清代則 gradual decolorization towards the shoulder. A band of foliate 以輪、螺、幢、傘、花、瓶、魚、結為序。脛部靠腹部 scroll is applied on the linkage between the mouth and the 處施色調較淡的粉紅，脛部近圈足處以松石綠及鵝黃兩 neck. Floral motifs depicted to a smaller scale are echoed on 種蓮瓣紋相間裝飾。底心以松石綠為地，中心紅彩篆書 the mouth which has an elegant gilt finish to the edges. The 「大清乾隆年製」六字三行篆書款。 base is inscribed in red glaze with a six-character reign mark. Mark Palatial Splendour: Imperial Ceramics and Works of Art 68  御貢凝輝：宮廷御製珍品

賁巴瓶作為藏傳佛教器具具有諸多功能。第一，作為藏 The form of the present lot is derived from Tibetan altar vases, 傳佛教灌頂及盛聖水之用，「賁巴」為藏語音譯，在藏 and is probably based on a jewel-encrusted silver original 語中即「瓶」的意思，也稱「奔巴壺」。據《佛學大辭 known as a Bumpa, the Tibetan word for 'vase'. Vessels of this 典》介紹：「天竺國王即位時，以奔巴壺盛四大海之水 type were made for use in Buddhist chapels, situated within 灌於頂而表祝願，密教效此世法，於其人加行成就。嗣 the Palace grounds, which were constructed throughout the 阿犁位時，設壇而行灌頂之式。」在藏傳佛教密宗修行 Qianlong period as they are believed to have the power to 儀式中，賁巴壺被專用以宗教儀式，除用於念經誦咒或 cleanse the heart of practitioners from evil. For an illustration 灌頂儀式外，還為神像和信徒淋浴時盛聖水之用。《中 of a silver Bumpa, see Cultural Relics of Tibetan Buddhism 國古陶瓷圖典》定義為：「壺式之一，流行於清代，由 Collected in the Qing Palace, pl. 146; where the author 藏族金屬製品演變而來。器形為洗口，束頸，球形腹， mentioned Bumpa vessels were originally used in Tibet for 高足外撇，腹部有龍首形流彎曲向上，無柄，是一種祭 displaying sprays of herbs and placed in front of images of 祀用品。」第二，作為活佛轉世靈童掣簽金瓶而用，賁 Buddha. 巴壺有流嘴，若去掉流嘴，便為賁巴瓶。賁巴瓶也稱 「賁巴寶瓶」，是為活佛轉世靈童金瓶掣簽而用的。乾 In both form and design, these ritual vases are steeped in 隆五十七年（1792年），清朝廷為杜絕達賴、班禪轉 Tibetan Buddhist practice and teachings yet also represent 世中的弊端，頒布《欽定二十九條章程》：「茲予製一 the opulent Sino-Tibetan aesthetic developed to suit the 金瓶，送往西藏，於凡轉世之呼必勒罕，眾所舉數人， Qianlong emperor’s eclectic taste. A devout follower and 各書其名置瓶中，掣簽以定」，「各蒙古之大呼必勒罕 patron of Tibetan Buddhism, Qianlong commissioned the 轉世，令於雍和宮之金瓶內掣簽」。現在西藏博物館藏 building of numerous halls and shrines dedicated to the 有「清乾隆 金質賁巴瓶」就是賁巴瓶作為活佛轉世靈 recitation of Buddhist scriptures, including the Baoxiang lou 童掣簽瓶的實物證據。第三，作為佛前清供的禮佛用 (Tower of Precious Forms), which was built around 1771 for 具，《乾隆三十四年各作成做活計清檔．行文》中記： his mother, Empress Xiaosheng. These were lavishly furnished 「十月初三日，庫掌四德、五德將九江關監督伊齡阿 with Buddhist sculptures and altar wares which were made to 送到配蓋……奔巴瓶一件持進，交太監胡適傑呈覽。奉 the highest standards, such as the present vase. 旨：……奔巴瓶一件著在熱河獅子園文供佛前供。其現 交配蓋奔巴瓶得時，不必在此安供。」 Three pairs of similar famille rose vases, each pair decorated with different coloured-ground, from the Fonthill Heirlooms 此瓶形制仿照一類西藏嵌寶銀瓶，稱作「賁巴」，為佛 were sold in Christie’s London, 18 October 1971, lot 71, of 前供器。乾隆期間，景德鎮御窯廠燒製了大量的賁巴瓶 rose-pink ground; lot 72, Ruby-red ground; lot 73, yellow- 及賁巴壺，應與乾隆皇帝好佛有關。放山居珍藏裡有三 ground. A turquoise-ground example in the Shanghai Museum 對不同色地的賁巴瓶，紋飾及器形與本器相似，一對為 is illustrated in Chugoku Toji Zenshu [The Complete Book of 粉紅地、一對為胭脂紅地、一對為黃地，1971年10月18 Chinese Ceramics], vol. 12, pl. 130, as well as in Qingdai Ciqi 日於倫敦佳士得拍賣，拍品71、72、73號。另可參考一 Shangjian [Appreciating Qing dynasty porcelains], Hong Kong, 件松石綠地例子，為上海博物館藏品，著錄於1994年香 1994, pp. 119-120. 港出版《清代瓷器賞鑒》，頁119-120。瓷質彩繪賁巴瓶 為乾隆朝之首創，作為佛心天子，弘歷的一份獻禮而載 入瓷史，除了供自身修持佛法之外，還作為高級御禮賞 賜西藏、青海等地宗教領袖，是當時清皇室與密宗上層 思想感情交流的見證，寄託雙方的共同信仰。 Palatial Splendour: Imperial Ceramics and Works of Art 70  御貢凝輝：宮廷御製珍品

3417 A GORYEO CELADON 'DRAGON' VASE, MEIPING 十二世紀  高麗翠青釉雲龍紋梅瓶 12TH CENTURY 來源 日本私人收藏 PROVENANCE A Japanese private collection HK$ 1,800,000 - 2,500,000 US$ 230,000 - 320,000 H37.4cm 瓶微盤口，薄口沿，短頸，豐肩，肩部以下漸收至脛 Of broad rounded shoulders with a band of ruyi lappets on the 部微向外撇，圈足，通體施一層薄青釉，隱約可見瓷 top surmounted by a short waisted neck and lipped rim, the 胎。此造型與同時期宋代湖田窯影青梅瓶相似，可以看 exterior covered overall in sage-green glaze decorated with a 出兩者傳承。瓶頸與肩部連接處飾一周如意葉紋近足處 scaly four-clawed dragon with protruding eyes striding amidst 飾一周回紋，器身飾立龍紋，龍大口，銅鈴眼，細頸， clouds. 四爪，龍鱗凹凸有致，伴有行雲和火焰形寶珠，鱗爪飛 揚，氣勢恢弘。本件梅瓶胎質細膩，滿施青釉，釉質堅 Goryeo potters were introduced to the aesthetics of Song 實肥膩，以釉色及線條勝人，同時也可以看出中原藝術 dynasty ceramics. They then reinvented the distinctive Goryeo 對高麗瓷的影響。 style, making the tenth century a new era of technical and stylistic sophistication in the production of celadon wares in 高麗青瓷向為高麗上層人士所鍾愛，高麗詩人李奎報賦 Korea. 詩讚賞高麗青瓷：「影影綽綽如青玉，玲瓏剔透如水 晶」，「致密的玉如嫩膚，觸手猶如撫玉膚」。青瓷的 完美塑造，展示了高麗製瓷工匠的聰明才智。從現存的 實物看，器物的造型多姿多彩，所體現的藝術內涵豐富 多變，反映出人們對藝術和精神生活的追求。這些都需 要工匠們自身的素質、修養、審美等深厚的功底，還需 要對每件作品進行精心地設計。高麗青瓷作為貴重的官 方禮品贈與宋庭與權貴。 北宋太平老人曾在《袖中錦》評價當時眾多天下第一， 曾語：「監書、內酒、端硯、洛陽花、建州茶、蜀錦、 定磁、……高麗秘色……京師婦人，皆為天下第一，他 處雖效之，終不及。」可見有宋一朝，當時世人把建 盞、定瓷和高麗瓷並稱天下第一。也反映高麗青瓷在當 時的認知度之高。從文獻和杭州宋皇宮遺址出土都可看 到高麗青瓷進奉南宋宮廷的佐證。 十二世紀 高麗青瓷荷塘游鴨紋梅瓶 清乾隆 粉青釉浮雕雲龍紋梅瓶 © 費城藝術館 © 靜觀堂 Palatial Splendour: Imperial Ceramics and Works of Art 72  御貢凝輝：宮廷御製珍品

高麗青釉梅瓶，承傳龍泉窯、汝窯、越窯及耀州窯等工 The excavations from several kiln sites located in the Middle 藝特色。青釉材質珍貴，只供貴族使用。瓷胎多呈土灰 Western part of the Korean peninsula strongly attest to the 色，施薄釉，燒造以後，青釉透底可見瓷胎，釉料中所 possible transmission of firing technology from the Chinese 含雜質一般較多，因此發色呈灰，釉色優雅柔和。本品 Yue kilns located in Yuezhou county, present-day Zhejiang 以龍紋為主題，先於瓷胎上雕刻，再施青釉，此工藝不 province, where had manufactured celadons of the best 亞於耀州窯青釉器。與此種裝飾異曲同工者在景德鎮御 quality since the Tang dynasty. 窯瓷中偶有見到，最為接近可作參考者，可見靜觀堂舊 藏清乾隆粉青釉淺浮雕雲龍紋梅瓶。兩者相較，有一種 Goryeo celadon stands out as the epitome of ceramic 跨越時空的相似。 production of the era. Over the centuries, the integration of foreign and domestic designs and technologies are featured 高麗青釉瓷，以至朝鮮粉青瓷、白瓷等朝鮮半島所產陶 in the Korean Goryeo period celadons. Even after the Goryeo 瓷器，紋飾偏向素淡雅。高麗瓷早期紋飾較為疏朗，紋 dynasty collapsed, the technology and aesthetic value of 樣精細，晚期花紋佈局均衡，更顯主題，以典雅清秀取 Goryeo celadon endured. 勝。本品瓷胎略灰，釉色青翠，造型公整，綫條柔美， 該品應出自技能熟練陶匠之手，為高麗瓷器中之極尚佳 Compare another celadon meiping vase engraved with lotus 品。 論高麗青釉器的主題紋飾，鶴紋比龍紋較常見。有 flowers and branches, exhibited in the Museum of Oriental 學者推斷本品所刻畫之龍紋源於中原地區遼代金銀器， Ceramics in Osaka from 5 September to 23 November 2013. 飛龍蜿蜒，仰首朝天，與遼代陳國公主墓出土一件金帶 扣上鏨龍紋形態幾乎相同。 The Boston Museum of Fine Arts and the Gwangju National Museum each houses a 'dragon' celadon meiping vase. See 現存高麗青釉瓷寥寥可數，刻劃龍紋而且青釉發色呈翠 also a Goryeo 'lotus' celadon vase sold in Sotheby's New York, 綠的更是不可多得，高麗青釉瓷多以鑲嵌顏色泥土裝 11 September 2019, lot 0527. Also, a 12 century Goryeo 飾，此品匯合中原、契丹及高麗美術工藝，確是難能 'ducks' celadon meiping vase in the Philadelphia Museum of 可貴。美國波士頓美術館及韓國光州博物館分別有藏兩 Art. The Tokyo National Museum and the Museum of Oriental 件高麗龍紋青釉器，兩件館藏青瓷均是梅花瓶，而且龍 Ceramics in Osaka each holds several Goryeo celadons with 紋佈局與本品類近。紐約蘇富比2019年9月11日，編號 floral decorations, but none with a design as grandiose as the 527，高麗王朝青釉暗花纏枝蓮紋梅瓶；亦可參考費城博 present lot. 物館收藏的十二世紀高麗青瓷荷塘游鴨紋梅瓶。東京國 立博物館和大阪東洋陶瓷博物館都有同類型高麗青瓷的 作品收藏，但多是素紋、梅花、纏枝蓮等簡單紋飾，未 見如此高級者。 Palatial Splendour: Imperial Ceramics and Works of Art 74  御貢凝輝：宮廷御製珍品

3418 AN 'AUSPICIOUS SIGNS' INLAID ZITAN HANGING 清中期  紫檀嵌百寶太平有象掛屏 SCREEN 來源 MID QING DYNASTY, 18TH CENTURY 歐洲私人收藏 PROVENANCE HK$ 800,000 - 1,200,000 A European private collection US$ 103,000 - 154,000 H 129cm W 68.5cm 此件掛屏呈長方形，鑲紫檀木為框，背髹黑漆，屏心髹 The creen is of rectangular shape with a zitan frame, a 赭黃色漆為地，頂部作雙色剔彩漆雕掛簽，各式精美花 lacquer back, and hangs from a gilt-bronze ruyi handle. At 紋拱衛中心描金「壽」字，主題鮮明而突出，為仿清宮 the top are three alternative red and black lacquer screens 春節宮內所貼掛簽，匠心獨運。 meticulously carved in relief. The center of the screen is inlaid with jade, agate, cloisonne enamel, and other hardstones 掛屏以紫檀木為框，鑲嵌百寶圖案，背髹黑漆，頂部作 to depict an ensemblle of precious objects. Including a large 雙色剔彩工藝，各式精美吉祥花紋拱衛中心團花紋。屏 dish with fruits made of amber, an underglaze blue vase 心髹赭黃色漆為地，百寶嵌裝飾，選用材質豐富，以 before a ruyi scepter, an elephant inlaid with soapstone with 玉、壽山石、角、瑪瑙、掐絲琺瑯以及青花壁瓶鑲嵌。 a cloisonne enamel pot on the saddle, and a few scrolls at the 掛屏的中心位置鑲嵌著一件清中期青花洋菊壁瓶，瓶中 bottom right, all against a lacquer ground. 插兩束花果，以雞翅木為枝，以骨為枝葉，分別用蜜 蠟、琥珀和骨裝飾花果，壁瓶腳下放置一把剔紅嵌青玉 如意。掛屏左側放置一盤以掐絲琺瑯碗盛滿的壽果。掛 屏下方鑲嵌著一尊壽山石大象，其上馱掐絲琺瑯瓶，三 個小童在大象身側戲耍，意寓太平有象。掛屏最下則為 骨雕一組書卷。掛屏上的四組紋飾各有吉祥寓意，工藝 精湛，極為寫實，若置庭室，熠熠生輝，裝飾性極強。 運用多種百寶嵌工藝於一身，尤其罕見的青花壁瓶鑲 嵌，觀之大體氣勢十足，窺細處妙趣橫生，可視為清代 宮廷工藝集大成之傑作。 Palatial Splendour: Imperial Ceramics and Works of Art 76  御貢凝輝：宮廷御製珍品

掛屏使用淡赭黃色漆作為底色，推光極細，如瓷似玉， This magnificent panel has been executed with meticulous 如同在老宣紙上作畫，視覺效果頗佳。紋飾圖案吉祥， detail and great skill in reverse trompe l’oeil, whereby the 相同搭配還可見於故宮博物院翠雲館所藏另一幅乾隆百 objects depicted are reproduced in miniature in their original 寶御製詩文掛屏，同樣以黃色漆為底色，只是缺少所嵌 material and placed against a flat surface. The manufacturing 掛簽，參見《故宮博物院藏文物珍品大系—明清家具》 of the various objects required the cooperation of various 下，商務印書館、上海科學技術出版社，2007年，頁 Palace Workshops, where skilled craftsmen paid particular 309，圖262。 attention faithfully to recreating miniature copies of treasured objects from the Imperial collection. Panels in reverse trompe 清宮中百寶嵌，除「造辦處」製造外，許多作品由蘇 l’oeil are an innovation of the Qianlong period and reflect the 州、揚州、廣州等地方官吏進貢，部分作品由宮廷中畫 emperor’s fondness for technically challenging and innovative 樣，交由地方承做。而此件掛屏為乾隆至嘉慶時期百寶 designs. 嵌工藝的巔峰之作，佈局之綿密，構圖之巧思，工藝之 精絕，堪稱清宮造辦處最高水準之代表，遍閱眾多百寶 Wall-panels of this type are rare although three related 掛屏，罕有出其右者。 examples are known: the first, inscribed with a poem with a cyclical date corresponding to 1779, was sold in Sotheby’s Hong Kong, 29th April 1997, lot 770, the second dated 1773, was sold at Christie’s Hong Kong, 29th May 2009, lot 1816; and the third is sold in Sothebys’ Hong Kong, 6th October 2015, lot 3001. The objects adorning these panels not only represent the scholar’s studio, but are also steeped in auspicious symbolism, such as the wish for longevity, good fortune and wealth represented by cloisonné enamel bowl filled with grapes which expresses the wish for abundance of children and furthermore, pomegranate with exposed seeds which similarly symbolises fertility and abundance. 清乾隆 紫檀框漆地百寶嵌花鳥圖掛屏 © 故宮博物院 雲翠館藏 Palatial Splendour: Imperial Ceramics and Works of Art 78  御貢凝輝：宮廷御製珍品

Palatial Splendour: Imperial Ceramics and Works of Art 80  御貢凝輝：宮廷御製珍品

3419 A PAIR OF INLAID CHAMPLEVÉ ENAMEL MYTHICAL 清乾隆  銅鏨胎填琺瑯嵌松石珊瑚青金石 BEASTS, LUDUAN 甪端熏爐一對 QIANLONG PERIOD, 1736-1795 來源 英國法蘭西絲·布奇·卡德收藏 (即戴安娜王妃之母） PROVENANCE Collection of Frances Shand Kydd (previously Lady Spencer) HK$ 2,500,000 - 4,500,000 US$ 320,000 - 575,000 H25cm 甪端是古代傳說中一種神異的瑞獸，傳說中獨角獸，古 A pair of gilt bronze censers cast as luduan, a mythical beast 代稱角端。 《元史》卷一四六〈耶律楚材傳〉記載： with rotund body decorated with flowers and red corals made 「甲申，帝至東印度，駐鐵門關，有一角獸，形如鹿 of champlevé enamels, standing on four legs with four-clawed 而馬尾，其色綠，作人言，謂侍衛者曰：『汝主宜早 paws clutching against hexagonal ground. Each of the beasts, 還。』帝以問楚材，對曰：『此瑞獸也其名‘甪端’， centered with a bell on top of a vertical band of scales made 能言四方語，好生惡殺，此天降符以告陛下。陛下天 of pink enamel extending from neck to chest. The jaw is 之元子，天下之人，皆陛下之子，願承天心，以全民 opened, revealing sharp fangs broad nose with flaring nostrils, 命。』帝即日班師。」《宋書 ·符瑞志下》載：「甪 protruding eyes inset with cabouchon stones, upright ears, 端日行萬八千里，又曉四夷之語，聖主在位，明達方外 and single horn as finial. Waisted mid-section of hexagonal 幽遠，則奉書而至。耶律楚材謂為旌星之精，靈異如鬼 ground, embellished with a band of lazurite in between two 神」。以甪端護衛在側，顯示皇帝為有道明君，身在寶 rows of turquoise, chased with scrolling peonies above the 座而曉天下事，做到八方歸順，四海來朝。故甪端崇拜 legs. 在明清兩代均為皇家所重視，內府專置有司負責製造事 宜，以供內廷之用。現故宮博物院的保和殿、中和殿保 存了類似的藏品。 其中掐絲琺瑯甪端的製造始於明萬曆年間，故宮博物院 典藏「明萬曆款 掐絲琺瑯甪端」是目前所見帶年號款的 掐絲琺瑯甪端最早的例證，為明宮御用監所造。掐絲琺 瑯甪端在紫禁城宮殿中皇帝的寶座前多有陳設，使殿堂 中的氣氛更加肅穆威嚴。 戴安娜王妃及其母親，法蘭西絲·布 奇·卡德 Palatial Splendour: Imperial Ceramics and Works of Art 82  御貢凝輝：宮廷御製珍品

明萬曆 銅胎掐絲琺瑯甪端熏爐 © 故宮博物院 清承明制，尤其乾隆一朝，摹古思潮尤甚，掐絲琺瑯甪 Mythical beasts of this form are known as luduan, legendary 端的製作步入空前高峰，式樣豐富，色彩華麗。而鏨胎 creatures capable of distinguishing between good and evil. 塡琺瑯在其基礎之上更加豐富多樣，本品即為此番好古 Due to these qualities incense burners of this form were 情懷的見證。本器器表鎏金，厚實凝重，光潤絢麗，體 placed beside or in front of the imperial throne to symbolise 態豐滿結實，犀角、獅身，四肢宛若龍爪，粗茁有力。 that the emperor, protected by these animals, was a virtuous 昂首向上，雙目有神，氣勢威嚴。甪端前胸配以鎏金纓 and intelligent ruler. In this function a pair of cloisonné 絡鈴鐺。甪端腹部中空，張口嘶吼狀，作為煙道，因此 enamel incense burners of this form can be seen in situ in a 可作香熏使用。通體鏨胎打底，作毛髮及火焰，其間塡 photograph of the throne in the Hall of Supreme Harmony 松石綠琺瑯釉為地，火焰塡紅色琺瑯料，鬍鬚塡藍色琺 illustrated in Palaces of the Forbidden City, Hong Kong, 1986, 瑯料。獸身鏨胎裝飾花卉紋，非塡琺瑯技法，而是鑲嵌 pp. 66-67. 青金石，花卉中間的花蕊鑲嵌珊瑚，極為華麗罕見。甪 端端立於六方束腰須彌座上，寶座裝飾仰俯蓮瓣一周， Compare also with a larger luduan-form censer in the 蓮瓣飽滿，鏨胎鑲嵌綠松石，工藝複雜。 Shenyang Museum, modelled with a very similar expression and pierced upward facing ears, illustrated in The Prime 本對甪端代表了清宮琺瑯作的最高技藝，華麗精湛，呈 Cultural Relics Collected by Shenyang Imperial Palace 現了甪端莊嚴威武的形象。甪端一大一小，神態自若中 Museum: The Enamel Volume, Shenyang, 2007, p. 93, no. 5. 似有交流，一起陳設畢然蓬蓽生輝。縱觀乾隆一朝，掐 絲琺瑯器皿不乏佳器，融合了掐絲琺瑯、鏨胎琺瑯以及 鑲嵌工藝者屈指可數，由此可知，本品級別高貴，非同 凡響，為乾隆盛世內府瑰寶，雖歷近三百年風霜依然寶 光照人，今日出現，是為幸事。此對甪端將掐絲琺瑯、 鏨胎琺瑯以及鑲嵌工藝完美結合，造型生動，鎏金璨 然，釉色搭配和諧，應為乾隆朝養心殿造辦處琺瑯器之 典型佳作。 Palatial Splendour: Imperial Ceramics and Works of Art 84  御貢凝輝：宮廷御製珍品

Palatial Splendour: Imperial Ceramics and Works of Art 86  御貢凝輝：宮廷御製珍品