The Duchange Family Collection of Important Chinese Art II 38  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

3318 A VERY RARE HUANGHUALI-VENEER CABINET WITH SIX FAMILLE-ROSE DECORATED PANELS QING DYNASTY, QIANLONG PERIOD 清貼 乾黃 The cabinet is designed with two large doors set with porcelain plaques depicting a landscape scene with dragon boats. 隆花 It is raised on curved bronze-mounted feet. The porcelain panels are also framed with cast bronze mount. 梨 The famille rose plaques of the middle section are decorated with a bustling scene of children playing among dragon 鑲 boats in the bright green water amid emerging mountain peaks. On the two ends of each dragon boat, there is a child 西 leading and another cheering, striving to win the race. Figures on the bridge are cheering children, each holding a large 洋 lantern in their hand. Further on the side way, a group of children dressed in long robes are playing with toy horses. 銅 飾 The upper section is painted on each panel with two iron-red bats and one pink bat suspending a chime among the leafy 嵌 scrolls, with blue enamel floral border. The lower section is similarly decorated, with the bats and chimes replaced by 粉 phoenixes and shou-character. It is exceptionally rare that the cabinet is well-preserved with the original key. 彩 湖 Scenes of children at play were a popular theme in Ming and Qing porcelains because they embody the wishes for 水 prosperity and abundance. Compare several vases that depict scenes of children at play, one with a light green ground, 綠 sold in Christie’s South Kensington, 17 May 2013, lot 1504, another with a turquoise-green ground sold in Bonhams 嬰 Hong Kong, 27 November 2014, lot 184, and another turquoise-ground vase sold in Sotheby’s New York, 13 September 戲 2017, lot 32. 圖 瓷 H 165cm W 42cm L 91.5cm 板 立 HK$ 1,200,000 - 2,000,000 櫃 US$ 154,000 - 256,000 PROVENANCE 1. Collection of Mr. Bazin, Paris, France, 1978 2. Duchange family collection, Paris, France 來源 1. Bazin先生收藏，法國巴黎，1978年 2. 杜尚家族收藏，法國巴黎 The Duchange Family Collection of Important Chinese Art II 40  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

兩扇櫃門作正面對開，內置兩層板，下方設兩抽屜，櫃門及兩抽屜可分 別上鎖，附鑰匙。門板攢框嵌瓷板，三面環飾精雕細琢的銅鎏金點綴， 四足包銅飾件。門板可分為三部份，上下部份為兩組粉彩纏枝花卉瓷 板，正中主體部份為粉彩湖水綠嬰戲龍舟圖一對，瓷板外均鑲銅鎏金綬 帶紋圖案，恰如畫框。此櫃工藝精細，富裝飾性。 此櫃應為歐洲私人定製款式。法王路易十四對中國文化尤其喜愛，收藏 了大量中國漆器、瓷器、家具等，在他的影響下，此後歷任國王對中國 文化均情有獨鍾。十七至十八世紀是中式古典家具發展的鼎盛時期， 當時奢侈品經銷商帶領潮流品味，清宮奢華的裝飾風格備受追捧。奢侈 品經銷商為歐洲貴族或皇室與工匠之間進行磋商，構思出罕見的物料組 合，設計出中西合璧的工藝精品。中國瓷器為當時名貴的材料，此家具 鑲嵌的瓷板尺寸甚大，細膩精緻，具有典型乾隆風格，可見家具主人身 份非凡，應為貴族。 瓷板具有典型乾隆風格，乾隆時期的粉彩瓷器一改雍正時期靈秀典雅的 風格，而傾向追求製作工藝精細，紋飾華麗繁縟。門板上層部份瓷板以 金彩四倭角式開光，外飾藍料花葉紋，內白地上飾粉彩纏枝花卉紋，繪 蝙蝠、壽桃、玉磬，玉磬上繫有一戟，諧音「吉慶」，寓意福壽吉慶。 下層部份瓷板同樣以金彩四倭角式開光，外飾藍料花葉紋，內白地飾上 繪粉彩纏枝西番蓮花卉紋，繪一對夔鳳及「壽」字，鳳為百鳥之長、羽 蟲之尊，是祥瑞的象徵，寓意祥瑞長壽。兩組瓷板繪畫精湛，圖案佈局 嚴謹，分佈平均，不鬆不緊，視覺上平衡勻稱，設色大膽明豔，令人讚 嘆。 置中部份為一對粉彩湖水綠嬰戲龍舟圖瓷板，兩面瓷板遠方層巒疊嶂， 隄岸樓閣掩映於峻石花樹之間。右邊百子水中龍舟競技，龍舟頭尾各站 立一童子，眾多童子於龍舟內奮力划槳，場面熱烈緊張。左邊岸上孩童 作騎馬打扮，頭戴髮冠，神情得意；另一面繪童子舞龍燈，燃放爆竹， 童子體態生動，栩栩如生。 百子嬉戲，乃明清兩朝流行之紋飾，寄托百子千孫之願。周朝周文王 「則百斯男」，收養一子，故成「文王百子」之說。時至明代，富裕人 家讀書風氣漸盛，故此，意寓多子之紋飾亦開始流行於為文士而製之珍 貴工藝品。如此紋飾，刻劃孩童模仿長輩從事文人雅事、或繪畫帶吉祥 寓意之事物，反映當時身份顯赫之文人富戶望子成龍、光大門戶之殷切 期盼。 始於乾隆一朝，見有類似百子圖紋樣工藝品，多見於瓶、盤器物之上， 比較一燈籠瓶例，飾綠地八吉祥紋飾，圖見《清瓷萃珍：清代康雍乾 官窰瓷器》，南京，1995年，編號87。故宮博物院亦藏一紫地例，錄 於《故宮博物院藏文物珍品大系──琺瑯彩．粉彩》，故宮博物院，北 京，2012年，編號194。 The Duchange Family Collection of Important Chinese Art II 42  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

3319 A COPPER-RED VASE, YUHUCHUNPING SEAL MARK AND PERIOD OF QIANLONG 清 霽 「 乾 紅 大 The vase is potted with the rounded sides rising from a spreading foot to a waisted neck and everted rim. It is overall 隆 釉 清 richly applied on the exterior with a deep copper-red glaze. The interior and the base are left white and the latter is 玉 乾 inscribed with a seal mark in underglaze blue. 壺 隆 春 年 This vase is notable for its vibrant copper-red glaze, the even tone which accentuates the graceful curves of its profile. 瓶 製 Copper was notoriously difficult to fire, as the slightest irregularity in any stage of the production would result in 」 undesirable colour and hence the rejection of the piece. Copper-red vases of this type are held in important museums and private collections worldwide; see one in the Tokyo National Museum, Tokyo, included in the Museum’s exhibition Chinese Arts of the Ming and Ch’ing Periods, 1963, cat. no. 440; one in the Nanjing Museum, Nanjing, illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, pl. 346. Also see a similar one from the Songzhutang collection, sold twice in Sotheby’s New York, the latest one was in 15 September 2015, lot 85. H 30.3cm HK$ 60,000 - 100,000 US$ 8,000 - 13,000 PROVENANCE 1. Collection of Mr. Bazin, Paris, France, 1978 2. Duchange family collection, Paris, France 瓶敞口，束頸，圓鼓腹下垂，高圈足外撇，造型秀美典雅。器口、內壁 及外底滿施白釉，釉汁潔白潤澤，外壁盡施霽紅釉，釉質堅致，細膩勻 淨。器底以青花書「大清乾隆年製」六字三行篆書款。整器燒造精良， 素肌玉骨，渾然天成，為清代祭紅釉玉壺春瓶之難得精品。 霽紅釉玉壺春瓶為清代宮廷經典陳設器，其器形源於宋代酒器，因詩句 中「玉壺先春」而得名。霽紅釉為明清兩代燒造工藝難度較大的高溫顏 色釉品種，清時有「官古窯成重霽紅，最難全美費良工。霜天晴書精心 合，一樣摶燒百不同」之說，由此可見，燒成一件顏色靚麗鮮豔之霽紅 釉器並非易事。如拍品者形制周正，胎釉俱佳者，較為難得。 此類霽紅釉玉壺春瓶可見於重要博物館及私人收藏，東京國立博物館收 藏一例，展覽並著錄於《中國明清美術展目錄》，東京國立博物館，東 京，1963年，編號440。清宮舊藏一例，現存南京博物院的清乾隆霽紅釉 玉壺春瓶，錄於《宮廷珍藏——中國清代官窯瓷器》，2003年，南京博 物院，頁346。松竹堂收藏一例，二度售於紐約蘇富比，最近一次為2015 年9月15日，編號85。 來源 1. Bazin先生收藏，法國巴黎，1978年 2. 杜尚家族收藏，法國巴黎 The Duchange Family Collection of Important Chinese Art II 44  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

3320 A PEACHBLOOM-GLAZED 'BEEHIVE' WATERPOT MARK AND PERIOD OF KANGXI 清 豇 「 康 豆 大 The waterpot is potted with slightly tapering sides rising to a rounded shoulder and short waisted neck below a lipped 熙 紅 清 mouthrim. The exterior is subtly incised with three stylised archaistic dragon medallions beneath an attractive pink 釉 康 glaze characteristically suffused with greenish-beige spots imitating the skin of a ripening peach. The recessed base and 暗 熙 interior are left white. The base is inscribed in underglaze blue with a six-character reign mark in three vertical lines. 刻 年 團 製 Notoriously difficult to achieve due to the temperamental nature of the copper pigment, the attractive 'peachbloom' 螭 」 glaze is only found on a small group of vessels for the scholar's table in eight different shapes, one of the most iconic groups of porcelain created under the Kangxi Emperor. 龍 D 12.6cm 紋 HK$ 400,000 - 600,000 太 US$ 52,000 - 77,000 白 尊 PROVENANCE 1. A private collection, Bordeaux, France, 1983 2. Duchange family collection, Paris, France 此尊侈口小巧，短頸溜肩，鼓腹，淺圈足，外壁施豇豆紅釉，暗刻夔龍 紋，器身可見綠苔點。器內施白釉，圈足內施白釉，六字青花書「大清 康熙年製」楷書款。本品胎質潤白堅致，釉色濃厚雋永，釉質肥潤，苔 點均勻有致，有如錦上添花。 太白尊為康熙一朝之文房名品，因其造型酷似李白飲酒之尊而得名，傳 世品見有豇豆紅釉、白釉品種，其中以豇豆紅釉最為著名。豇豆紅為康 熙紅釉中最名貴的品種，由於所施銅紅釉敏感易變，燒成難度很大，故 只由官窯少量生產，僅供宮廷使用，且無大件器物，其呈色半由天成， 經常隱現深淺不同的斑點，正所謂「滿身苔點，泛於桃花春浪間」、 「瑩潤無比，居若鮮若黯之間，妙在難以形容也」，拍品釉面微泛點點 紅斑，特徵明顯。豇豆紅釉器流傳至今者甚少，其中大部分又在早年流 散國外，收藏於各國著名的博物館中，無論古今中外，皆為傳世名品， 更顯本品之珍。 此件豇豆紅釉太白尊與故宮博物院和南京博物院藏品品種相同，參見 《故宮博物院藏清代御窯瓷器》卷一上冊，頁292、293，圖106；《宮 廷珍藏—中國清代官窯瓷器》，頁83；另見大英博物館的多本藏瓷著作 均以紅綠相間之豇豆紅太白尊團螭龍紋為封面，足見重視。兩岸故宮博 物院、南京博物院及上海博物館亦有同類珍藏。 來源 1. 法國波爾多私人收藏，1983年 2. 杜尚家族收藏，法國巴黎 The Duchange Family Collection of Important Chinese Art II 46  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

3321 A GILT-DECORATED WUCAI CYLINDRICAL CENSER WITH ARABIC INSCRIPTIONS QING DYNASTY, KANGXI PERIOD 清五 康彩 Of cylindrical shape supported on three raised feet. This censer is finely potted and resembles the form of a brush pot, 熙描 bitong. On the body of the censer are medallions with Arabic scripts glazed in wucai. Two bands of brocade circles the exterior rim and embellishes the foot. 金 阿 Porcelains with Arabic inscriptions appeared in China as early as the Yuan dynasty when Mongol expedition in the 拉 West brought in Central and West Asian craftsmen. There are a few censers of an akin silhouette from the Kangxi reign. 伯 Prototypes from the Kangxi period are seen mostly decorated with underglaze blue and wucai with an identical design 文 that features a medallion encircling Arabic inscriptions on the surface. 筒 式 The present lot reminisces Zhengde style censers of the same form. One of which is part of the Palace Museum 爐 collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (II), Hong Kong, 2009, p.60, pl.55. H 8.8cm D 10.9cm HK$ 200,000 - 300,000 US$ 26,000 - 39,000 PROVENANCE 1. Gallery Langweil, Paris, no.9008 (according to label) 2. Collection of Mr. Jean-Louis Vergne, painter, Châtres, France, 1984 3. Duchange family collection, Paris, France 爐作筒式，直口，爐身微向內收，下承三足。內外施白釉，白地上繪五 A blue and white 'ding mao year 彩，外壁口沿及近足處各飾一周錦地紋，爐身四處開光繪阿拉伯文。香 爐保存完整，造型端莊，素樸恬靜，高雅中不落俗氣。 (丁卯)' inscribed censor, Zhengde 飾有阿拉伯文的瓷器早於蒙元時期出現，明代正德皇帝信奉伊斯蘭教， period corresponding to 1687 統治者對宗教的認可使伊斯蘭文化得以於中原地區蓬勃發展。康熙一朝 © The Palace Museum, Beijing 的阿拉伯文香爐，形制多與本品相似，皆是筒形爐，以白地襯托青花或 五彩者為多，外壁開光處描阿拉伯紋。此香爐造型獨特，有別於鼓腹帶 明正德 青花丁卯字爐 耳的香爐，本品仿明正德筒式爐而製，可見故宮博物院藏一例，著錄於 © 故宮博物院 《故宮博物院文物珍品全集．青花釉裡紅（中）》，香港，2009年，頁 60，圖版55。 根據器底標籤，本品應出自朗威爾夫人（1861年-1958年）舊藏。朗威爾 夫人於法國巴黎以其名字開設中國文物古董店，是十九世紀末至二十世 紀初期極為少數以經營中國藝術品為主的古董商。 來源 Lady Langweil (1861-1958) 1. 朗威爾畫廊，法國巴黎，編號9008（根據標籤） 朗威爾夫人 （1861-1958） 2. 畫家 Jean-Louis Vergne先生收藏，法國沙特爾，1984年 3. 杜尚家族收藏，法國巴黎 The Duchange Family Collection of Important Chinese Art II 48  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

3322 AN UNUSUAL UNDERGLAZE-BLUE AND IRON-RED 'FLOWER BASKET' DISH MARK AND PERIOD OF WANLI 明 青 「 萬 花 大 The dish is of shallow form with rounded sides. The centre of the dish is boldly painted in vibrant tones of underglaze 曆 加 明 blue with a basket containing bunches of flowers. The well is decorated with leafy branches and foliate sprigs 礬 萬 interspersed with scattered fans, treasures and shells. It is rare that some parts of the centre are gently highlighted with 紅 曆 iron-red dots. The underside is decorated with flowering peony sprays. The base is inscribed with a six-character Wanli 籃 年 reign mark within a double-circle. 花 製 紋 」 The flower basket motif was popular during the Wanli period, a similar example is illustrated in Toji Taikei, vol. 42, Tokyo, 1975, pl. 90. For a Tianqi-marked example see the large dish (33 cm.) in the Nezu Art Museum, Tokyo, illustrated in 盤 Sekai Toji Zenshu, vol. 14, Tokyo, 1976, p. 114, no. 115; another Tianqi-marked dish similar to the Nezu Art Museum dish, in the Idemitsu Museum of Arts, is illustrated in the exhibition catalogue, In Pursuit of the Dragon , Seattle Art Museum, 1988, p. 147, no. 80. The dish is exceptionally rare for its iron-red dots highlight. See a similar blue and white dish decorated with yellow and iron-red enamel from Cape Alfred Walter Francis Fuller, now in the collection of the British Museum, illustrated in Catalogue of Late Yuan and Ming Ceramics in the British Museum, London, 2001, pl. 11:137. D 25.7cm HK$ 100,000 - 150,000 US$ 13,000 - 20,000 PROVENANCE 1. Collection of Mr. Fernandez, Lisbon, Portugal, 1979 2. Duchange family collection, Paris, France 盤敞口，淺腹，圈足。通體施白釉，釉色勻淨瑩潤。盤主要紋飾以青花 裝飾，青花發色沉穩，內壁飾折枝竹葉，間飾以扇子、貝殼等雜寶紋。 盤中青花雙圈內繪提籃花卉，籃中滿飾花卉枝葉。工匠特意於盤心以礬 紅彩點飾，極盡巧思。盤外壁繪三組纏枝牡丹紋，呈環狀分佈於器壁， 綴以蝴蝶紋。此器造型規整，裝飾紋樣佈局疏密有致，繁而不亂，筆法 工整精細。底青花雙圈內書「大明萬曆年製」六字雙行楷書款。 花籃紋常見於萬曆一朝器物之上，蘇州博物館藏一青花之例，口徑較小 （徑14.2公分）；我司亦曾售一青花加五彩盆花果紋例（徑18公分）， 來自日本家族收藏，售於2019年10月7日，編號3402；尚可比較一例， 圖載於藤岡了一，《陶磁大系：元の染付》，卷42，東京，1975年，圖 版90。 本盤最特別之處，在於其礬紅點彩，甚為罕見。參考大英博物館收藏一 盤，來自Capt Alfred Walter Francis Fuller，與本器尺寸相同，青花花籃 紋盤上以紅、黃彩點飾，與本品同出一轍，刊於霍吉淑著《Catalogue of Late Yuan and Ming Ceramics in the British Museum》，倫敦，2001 年，圖11:137。 來源 1. Fernandez先生收藏，葡萄牙里斯本，1979年 2. 杜尚家族收藏，法國巴黎 An underglaze-blue iron-red and yellow enamel dish, mark and period of Wanli © The British Museum, London 明萬曆 青花加紅黃彩花籃紋盤 © 倫敦大英博物館 The Duchange Family Collection of Important Chinese Art II 50  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

3323 A LARGE BLUE AND WHITE GARLIC-MOUTH VASE MARK AND PERIOD OF WANLI 明 青 「 萬 花 大 The rim gently folds towards the center with a mouth which takes the form of a garlic. An elongated neck supports the 曆 海 明 somewhat globular structure on top, and extends to reach a heavier and more rounded body. The surface of the vase is 藻 萬 richly adorned with literati and archaic motifs painted in cobalt blue glaze. At the rim of the mouth is a six-character reign 魚 曆 mark of Wanli. 蝦 年 蟹 製 Images of crabs, fish and algae in a lotus pond are present in the lower half of the vessel. Fish in a pond is a culturally 紋 」 auspicious theme that is seen in earlier porcelain prototypes, such as the Yuan dynasty blue and white jar also offered in this auction, Lot 3324 The Chinese word for fish, yu, is a homonym for abundance. Whereas lian, which is the lotus, 蒜 is a homonym for a year and succession. The pictorial representation of the fish in a lotus pond is then suggestive of the Chinese idiom, lian nian you yu, a wish for affluence, year after year. 頭 This is a vase with a beautiful and dynamic contrast between classic literati motifs and vernacular imageries of 瓶 auspiciousness. There are a few examples of garlic-mouth vases from the Wanli period, but none that shows this level of intricacy in a simple pictorial dialogue. A wucai garlic-mouth vase from the Wanli reign is currently part of the Palace Museum collection in Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, p.29, pl.26. A common alternative motif seen on similar vessels are mandarin ducks, two are in the collection of the Palace Museum, illustrated on pp.28 and 30, pl. 25 and 27. H 56.3cm HK$ 2,800,000 - 3,500,000 US$ 358,000 - 447,000 PROVENANCE 1. A private collection, Nice, France, 1992 2. Sotheby's Hong Kong, 4 October 2016, lot 113 3. Duchange family collection, Paris, France 來源 1. 法國尼斯私人收藏，1992年 2. 香港蘇富比，2016年10月4日，編號113 3. 杜尚家族收藏，法國巴黎 The Duchange Family Collection of Important Chinese Art II 52  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

瓶蒜頭口，長頸，垂腹，圈足。通體以青花裝飾，口沿繪卷草紋，瓶口 下方繪百花紋，頸飾倒垂枝梅花、梧桐，肩處又飾一圈百花紋，腹部微 鼓，青花飾波浪紋，繪魚、蝦、蟹紋，再加以海藻、荷葉點綴，近足 飾一周菱格花紋，圈足外壁一圈卷草紋。口沿以青花橫書「大明萬曆年 製」六字楷書款。 游魚是中國民間的吉祥題材，多以其諧音取寓意，「魚」與「餘」同 音，配合各圖案，取「富貴有餘、連年有餘」之意。除游魚外，本品亦 飾有螃蟹。螃蟹厚殼護身，有如披甲，取「甲」古代科舉有三甲之制， 三甲之中以一甲最尊貴難得，一甲一名喻狀元及第，故此，蟹被視爲取 「一甲」的象徵。此品所繪畫的螃蟹兩鉗舉過頭頂，八爪四張，圓睛凸 起，神態生動傳神。 此拍品造型優雅雋秀，器形規整，頸部疏淡的花紋與腹部繁密的花紋構 成鮮明對比，瓶頸所繪花枝佈局疏朗，且清雅脫俗，腹部蓮池游魚畫工 細密精緻，互相襯托，相映成趣，全瓶裝飾花紋在總體上又達到了和 諧統一，別具匠心。鈷料發色濃豔，凝潤細緻，青花色澤濃豔，奔放明 麗，極具萬曆風骨。 此類蒜頭瓶，亦見有五彩之例，見故宮博物院藏，著錄於《故宮博物院 文物珍品全集．五彩．鬥彩》，香港，1999年，頁29，圖版26，故宮藏 品頸部繪折枝梅花紋，腹部為魚藻紋。鴛鴦蓮花紋也常見於萬曆五彩蒜 頭瓶，故宮博物院藏兩例，見上述圖錄，頁28及30，圖版25、27。此瓶 器型端莊沉穩，構圖層次分明，紋飾細膩，本拍品代表了明代萬曆青花 瓷器高超的工藝和藝術水準。 A blue and white garlic-mouth A wucai garlic-mouth vase, mark vase, mark and period of Wanli and period of Wanli © The Palace Museum, Beijing © The Palace Museum, Beijing 明萬曆 青花海藻魚蝦蟹紋蒜頭瓶 明萬曆 五彩蒜頭瓶 © 故宮博物院 © 故宮博物院 The Duchange Family Collection of Important Chinese Art II 54  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

The Duchange Family Collection of Important Chinese Art II 56  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

3324 AN IMPORTANT BLUE AND WHITE 'FISH' JAR YUAN DYNASTY 元青 花 This remarkable blue and white jar with fish motifs demonstrates the peak of porcelain production in the Yuan dynasty. 魚 The jar has a smooth rounded silhouette, a wide mouth that opens at the top, slanting shoulders and a belly that 藻 narrows towards the foot ring. The surface of the jar is decorated with floral and marine motifs. Along the exterior wall of 紋 the mouth is a band of flowers and leaves, followed by a thicker band of spiraling lotus flowers. In the middle of the jar 大 are a school of four fish, and algae that vertically divides the jar into four sections. Near the foot is a band of lotus petals 罐 and the bottom is left bare and unglazed. The motif of fish and algae have long found themselves on ceramic surfaces, but it was in the Yuan dynasty when the craft became even more refined. Four common types of fish in similar motifs include the mackerel, cutler, koi and the “Chinese perch”. The four Chinese characters form a homonym which is interpreted as integrity and courteousness. Design of Yuan porcelains largely drew inspiration from Central Asian artefacts, including porcelain tiles, metal wares, as well as carpets. This piece exemplifies the innovations brought upon by cultural exchange with the west. Fine lines that clearly divide decorative motifs and major thematic elements are an example of such influence. Export porcelains to the West made in the Yuan dynasty also demonstrate a favor in a layered organization of decorations. The theme of the fish in a pond could be found on other Yuan dynasty porcelain vessels, such as a jar in the Palace Museum with waves painted on the exterior of the mouth rim, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red (I), Hong Kong, 2000, pl.5. A few pieces with a similar motif have also appeared in the market, but none that is from the Yuan dynasty and of such superb quality. H 26cm HK$ 1,000,000 - 1,500,000 US$ 128,000 - 192,000 PROVENANCE 1. Collection of the Dukes of Arenberg, Beaulieu, France (by repute) 2. Collection of Mr. Sapjo, Monte-Carlo, 1982 3. Duchange family collection, Paris, France 來源 1. 阿倫貝格公爵舊藏，陳列於法國南部博利厄莊園（傳） 2. Sapjo先生收藏，摩納哥蒙地卡羅，1982年 3. 杜尚家族收藏，法國巴黎 The Duchange Family Collection of Important Chinese Art II 58  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

罐直口，短頸，寬肩，鼓腹，腹部以下漸收，淺圈足，足微向外撇，胎 體厚重。通體青花裝飾，頸部繪纏枝花紋，肩飾纏枝牡丹紋，腹部為主 題紋飾，繪有魚藻紋，近足處飾一周蓮瓣紋，青花發色呈深藍帶暈散， 深淺濃淡有致，實屬元代青花佳作。 此品形制渾厚飽滿，紋飾佈局疏朗有緻。腹部飾魚藻紋，魚藻紋在元代 瓷器上表現得較寫實，而宋瓷上的魚紋多以勾勒爲主，較抽象。常見的 魚紋有鯖、鮊、鯉、鱖等四種魚，取諧音「清白禮貴」之意，且多襯以 蓮蓬、蓮葉、水藻等輔助紋飾，意境大勝。罐中魚藻神態各異，水藻呈 水波逐流狀，隨波搖曳，水中四魚動態寫實，惟妙惟肖，遍查海內公私 收藏同類者少見。 元代青花裝飾層次多而佈局分明，不少多達八、九層，甚至有十二層的 例子，紋飾覆蓋全器外壁，安排有序，主題及輔助紋飾分明。蒙元分支 於西元十三至十四世紀西征，從中東及西亞地區引入瓷器工匠，元代瓷 器的造型及裝飾紋樣因而受所述地區的生活文化影響，紋樣新穎有趣， 富多元化色彩。 以此拍品為例，罐表面的主題及輔助紋飾部分以綫條清楚劃分，此裝飾 佈局亦見於波斯地區的日常生活製品，中原地區出口到中東及西亞的青 花瓷器也因此別具此類特色。此形制的元代青花多選用進口青料，相比 於呈灰藍色的國產青料，發色深藍，燒製後呈寶石藍，略帶深色鐵質斑 點，淡雅純樸，卻不失華貴。 故宮博物院有藏一例，其口沿繪波濤紋，腹部飾蓮池魚藻紋，可參考 《故宮博物院藏文物珍品全集．青花釉裡紅（上）》，香港，2000年， 圖版5。亦可參考大阪市立博物館安宅氏所藏元青花魚藻紋大罐，兩者有 異曲同工之妙。 A blue and white 'fish and A blue and white 'fish and waterweed' lobed dish © Winter Palace, St. Petersburg waterweed' jar 元 青花魚藻紋菱口盤 © The Palace Museum, Beijing © 俄羅斯冬宮博物館 元 青花魚藻紋罐 The Duchange Family Collection of Important Chinese Art II © 故宮博物院 60  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

The Duchange Family Collection of Important Chinese Art II 62  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

3325 A RARE AND IMPORTANT BLUE AND WHITE 'GRAPES AND BANANA LEAVES' LOBED CHARGER YUAN DYNASTY 元青 花 This large charger is sturdily potted with shallow rounded sides rising from a short foot to a wide everted bracket-lobed 蕉 rim. The interior is centred with a slightly sunken medallion boldly decorated in inky tones of cobalt blue with banana 葉 plant framed by a variety of fruiting and flowering branches, including grapes with curling leaves and globular melons 瓜 borne on undulating stems. The medallion is surrounded by a cavetto painted with blooming lotus blossoms. The barbed 果 rim is decorated with a band of diamond grids. The exterior is bordered with lotus lappets and the unglazed base reveals 葡 a creamy white body. 萄 紋 Another dish with a similar central garden motif is in the British Museum, London, from the collection of Robert C. Bruce, 葵 with the banana plant off-centre, surrounded by rocks, melon vines and a relief-moulded white lotus scroll on a blue 口 ground in the well, and waves on the rim, illustrated in Jessica Harrison-Hall, Catalogue of Late Yuan and Ming Ceramics 大 in the British Museum, London, 2001, cat. no. 1: 39. 盤 D 40.1cm HK$ 3,000,000 - 4,000,000 US$ 384,000 - 511,000 PROVENANCE 1. Old collection of the Dukes of Arenberg, presented in their villa in Beaulieu, France 2. Collection of Mr. Sapjo, Monte-Carlo, 1983 3. Duchange family collection, Paris, France 來源 1. 阿倫貝格公爵舊藏，陳列於法國南部博利厄莊園 2. Sapjo先生收藏，摩納哥蒙地卡羅，1983年 3. 杜尚家族收藏，法國巴黎 A blue and white 'grapes and banana leaves' dish, Yuan dynasty © The Meiyintang Collection 元 青花蕉葉葡萄紋盤 © 玫茵堂 The Duchange Family Collection of Important Chinese Art II 64  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

此盤器型宏碩端莊，胎體厚重，頗見氣勢。盤內外以青花繪飾，釉汁厚 潤泛青，青花蒼妍青翠。盤菱口，折沿，淺弧壁，圈足。盤心以濃艷青 花飾以瑞果圖，繪葡萄、瓜果紋，碩果纍纍，莖葉繁盛延綿，靈動而 生。碩大芭蕉葉自秀石而出，蕉葉片片，搖曳多姿，生趣盎然。內壁繪 纏枝蓮花紋飾，以六朵盛開蓮花點綴，折沿之上繪以格菱形。 外壁繪一 周仰蓮紋，圈足，沙底。 元朝於十三世紀建立，雖短暫只有百年，但揭開了中西交流重要一頁， 在中國陶瓷史上有著極大的貢獻。隨著元世祖忽必烈多次征服歐亞民 族，使其統治範圍橫跨歐亞兩洲，促成了中西亞文化交流融合。引進了 進口青料「蘇麻離青」，解決了國產青料的不穩定性，從而使得元青花 在中國陶瓷史上創下極大成就。 藝匠以進口青料蘇麻離青繪瑞果圖，圖案經典。葡萄早在漢代流傳入中 原，由於有著吉祥的寓意，此後葡萄紋見於不同器物上作為裝飾，長長 的葡萄藤寓意久盛不衰、興旺發達；成串的葡萄更象徵豐衣足食、美滿 富足、碩果纍纍等美好的祝福。 見數例類似瓜果蕉葉紋大盤，風格、尺寸相同者，於不同重要收藏機 構，惟眾例均圓口，不及本盤菱花式難得。瑞士玫茵堂藏一器，見康蕊 君著《玫茵堂中國陶瓷》，倫敦，1994-2010年，卷2，編號636；阿德 比爾寺亦有一例，現存德黑蘭伊朗國家博物館，刊錄於 John Alexander Pope，《Chinese Porcelains from the Ardebil Shrine》，華盛頓，1956 年，圖版12。 尚可參考一例現存伊斯坦堡托普卡比宮博物館，錄於康蕊君《Ceramics in the Topkapi Saray Museum, Istanbul》，John Ayers編，倫敦，1986 年，第2冊，編號561；上海博物館一例，載於《幽藍神采：元代青花瓷 器特集》，上海博物館，上海，2012年，圖錄編號27。 The Duchange Family Collection of Important Chinese Art II 66  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

The Duchange Family Collection of Important Chinese Art II 68  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

3326 A RARE GILT-LACQUER BRONZE FIGURE OF CONFUCIUS, KONGZI MID MING DYNASTY 明銅 中漆 The figure is cast with benevolent expression in a seated position with his beard hanging down his chest and hands 期金 clasped together at the front, wearing a voluminous robe that falls to the top of his ruyi-toed shoes and is secured with a belt. The hair is also tied with a ribbon and hung with cords that trail behind the ears. 孔 子 This figure is notable for its impressive size which together with the traces of gilt-lacquer, hint at its original splendour. 像 Relatively small number of bronze figures is known to have survived of this large size and impressive weight. Compare a large bronze figure of Mingzhen dadi, Ming dynasty, currently in the Ancient Bronze Shrine on the Wudang Mountains, illustrated by Zhang Jiyu, The Great Series of Daoist Immortal Statues, Beijing, 2012, p.361; compare another similarly attired gilt-bronze figure of Tianguan, 16th century, which was sold at Christie's New York, 20 March 2014, lot 1627; and a large gilt-lacquered bronze figure of a Daoist immortal, 17th century, which was sold at Sotheby's Hong Kong, 30 November 2017, lot 442. H 47.5cm HK$ 2,800,000 - 3,500,000 US$ 358,000 - 447,000 PROVENANCE 1. Collection of Mr. Luigi Anton Laura, Brdighera dei Fiori, Italy, 1978 2. Duchange family collection, Paris, France 來源 1. Luigi Anton Laura 先生收藏，意大利博爾迪蓋拉，1978年 2. 杜尚家族收藏，法國巴黎 Kongzi Yanju xiang, ink and colour on silk © Confucius Museum 《孔子燕居像》絹本設色 © 孔子博物館 The Duchange Family Collection of Important Chinese Art II 70  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

孔子像以黃銅所鑄，體量巨大，飾以漆金。頭綁冠飾，髮帶輕垂於兩肩 Rubbing from a stele depicting a 之上，為中國古代文人雅仕中常見。金面美髯，臥蠶眉，丹鳳眼扁長輕 閉，寬鼻豐唇，耳珠長垂，美髯細長柔軟且呈五綹。豐面方頤，神態沉 standing figure of Confucius, Tang 靜而專注，慈愛中亦透露著威嚴，為孔夫子藝術形象的經典表現樣式。 孔子罩衣光素無紋，衣飾簡潔素雅，以衣帶結於腹前，雖罩長袍，仿其 Dynasty, attributed to Wu Dao zi/ Xian 端正坐姿，兩手掌上下交疊置於腹前，僅露出右手纖長拇指，動作舒泰 自然。腰部圍一腰帶，垂至下裙中央。尊像造型深具美感，技巧精湛， shi Kongzi xing jiao xiang (zhuan 剛柔並濟，工匠呈現出不同位置袈裟的形態，雙肩袈裟光滑簡潔，手肘 下垂衣紋暢順，膝前袈裟垂落，背部條硬朗筆直，雖為坐姿，卻仍氣宇 Tang, Wu Daozi bi) 軒昂，難擋仁學之宗，顯現出孔子的聖人形象，為世人所景仰。 © Temple of Confucius, Qufu 孔子（公元前551 - 479），子姓，名丘，字仲尼。生於魯國陬邑，為東 傳唐 吳道子筆《先師孔子行教像》拓片 周春秋末期魯國的重要教育家和哲學家。孔子為儒家學說創始人，為人 © 山東曲阜孔廟 類歷史上最偉大的人物之一，其思想學說對歷史影響巨大。秦以後的王 朝，無不尊奉孔子，以其學說為修身治國的準則。而孔子的畫像亦成為 士人熏沐禮拜的對象，這位原「望之儼然，即之也溫」的老師，成為無 數人的精神寄託和信仰對象。而通過對其形象的解讀，則為人們勾摹出 每一個時代裡不同的「聖人形象」。 過去不少文獻意指孔子長相特殊，異於常人。《荀子》中提到「仲尼之 狀，面如蒙倛」，蒙倛是古人避魔驅邪的神像，意指孔子長相猙獰，令 人生畏；《孝經．鉤命訣》記載：「仲尼斗唇，舌理七重，龜脊、輔 喉、駢齒、面如蒙倛。」大嘴、大舌頭、齙牙、駝背；《史記》中也曾 提到其樣貌，雖未明顯說出長相，但寫下「生而首上圩頂，故因名曰 『丘』雲」，頭頂凹陷，意指孔子長相特殊，異於常人。孔子為萬世師 表，後人為之景仰，在製作其畫像時，對於其形象均略為美化，但仍然 保留齙牙這個最重要特徵以作識別，本造像即為一例。 縱觀各大重要收藏機構，可見不少孔夫子畫像、石畫及拓本，造像之例 極為罕見。其中最廣為人知的一張孔子畫像，現存曲阜孔廟，傳為唐人 吳道子的《先師孔子行教像》的清代刻石，其中的孔子形象雍穆端嚴， 身形偉岸，佩劍而立，其上有讚詞云：「德侔天地，道冠古今，刪述六 經，垂憲萬世。」其刻劃與本造像形神俱似，此畫像亦為世人摹繪之範 本。 明代中期中原地區造像盛極一時，釋道兩家造像存世較多，儒家造像相 對較少，此時期造像人物面部刻劃極為寫實，人物服飾流暢，與同時期 所遺存水陸畫相對照，都是研究當時時代特徵的重要依據，極具收藏價 值。 明代佚名《孔子燕居像》現藏曲阜孔子博物館，為國家一級文物，絹本 設色，表現孔子退朝而處時的神態，畫中孔子形像似借鑒自傳為吳道子 的《先師孔子行教像》，但神情刻畫更為鮮活生動。《論語．述而》中 說：「子之燕居，申申如也，夭夭如也。」即孔子閒居在家裡的時候， 衣冠楚楚，儀態溫和舒暢，悠閒自在。由此所見本尊孔子立像，從表現 手法和人物形像上都與《先師孔子行教像》及《孔子燕居像》有相通之 處，孔子神情深沉肅穆，目光下視，寬袍大袖，雙手交合在胸前，露出 左手拇指，為明代孔子畫像中極有聖賢氣象者，尤為生動。此外，亦可 參考北美十面靈璧山居收藏《孔子行教像》設色紙本，售於北京保利 2020年10月18日，編號3919。 The Duchange Family Collection of Important Chinese Art II 72  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

3327 A CARVED SEATED BAMBOO FIGURE OF DONGFANG SHUO MING DYNASTY 明竹 根 The figure is superbly carved with full naturalistic detail in the form of the elderly depicted seated in relaxed poise on 雕 rockwork with both legs pendant, adorned in loose flowing robes. His joyful expression is framed by a long beard and his 東 hair is neatly wrapped in a bunch. He holds a leafy stem issuing peaches, the fruit of longevity, in his left hand. 方 朔 For a similar carved bamboo seated figure of Dongfang Shuo holding a peach, preserved in the Shanghai Museum, see 坐 Literati Spirit. Art of Chinese Bamboo Carving, Shanghai, 2012, p.115, no.51. 像 H 14.5cm HK$ 200,000 - 280,000 US$ 26,000 - 36,000 PROVENANCE 1. Collection of Mr. Van Houtte, Brussels, Belgium, 1992 2. Duchange family collection, Paris, France 此擺件以竹根為材，立體圓雕而成，皮殼紅潤，包漿自然。東方朔額頭 飽滿，長髯及胸，面容滑稽可喜。一手輕捻長鬚，一手提壽桃於兩膝之 間，身著寬袖大衫，衣紋飄逸自然，坐於山石之上，一足微曲。 此擺件運用寫實手法，重點體現人物神態，東方朔笑容可掬，臉相生 動，神情得意，流露出偷桃得手後的心理狀態，其憨厚滑稽精準到位。 細節寫實逼真，如人物袍袖衣紋、縷縷長須，均刻畫精細，惟妙惟肖。 雕工嫻熟，線條精確，主題寓意吉祥、智慧與長壽，不可多得，為竹雕 之精品，適於案頭清供。 參考上海博物館所藏東方朔坐像一例，錄於 《竹鏤文心：竹刻珍品特集》，上海，2012年，頁115，圖版51。 東方朔（西元前154-前93年），西漢辭賦家。北宋司馬光主編《資治通 鑑》（第017卷）中記載東方朔性格詼諧，滑稽多智，常在武帝面前談笑 風聲，被司馬遷在《史記》中稱為「滑稽之雄」。東方朔博學多才，善 於察言觀色，時直言切諫，受武帝重視。相傳漢武帝壽辰之日，西王母 攜七枚仙桃前來祝壽，東方朔暗留下兩枚，如此一連三次並得以長壽。 此後東方朔與壽桃則常被用作傳統繪畫及文房用品的裝飾元素。 來源 1. Van Houtte先生收藏，比利時布魯塞爾，1992年 2. 杜尚家族收藏，法國巴黎 The Duchange Family Collection of Important Chinese Art II 74  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

3328 A CARVED BAMBOO FIGURE OF LIU HAI LATE MING DYNASTY 明竹 晚根 The bamboo is finely carved in the form of a playful Liu Hai astride a large three-legged toad. It masterfully depicted Liu 期雕 Hai dressed in loose robes cascading in voluminous folds. The stippled surface is patinated to a warm reddish-brown colour. 劉 海 Liu Hai is the immortal associated with commercial success. He is nearly always portrayed with his three-legged toad 戲 and cash, and conveys a wish for prosperity. There are many versions of the story of Liu Hai and his toad companion, but 金 the essential elements remain that as a reward for his friendship, the toad revealed the secret to eternal life. Holding the 蟾 toad also allowed Liu Hai to travel anywhere in the world instantaneously. H 8.2cm HK$ 120,000 - 180,000 US$ 16,000 - 23,000 PROVENANCE 1. Collection of Mr. Van Houtte, Brussels, Belgium, 1992 2. Duchange family collection, Paris, France 此擺件巧用竹根圓雕而成，整體色泛紅褐，刻劃了劉海騎躍於金蟾之 上。金蟾體態豐滿圓潤，三足蹲臥。劉海身坡半肩禪衣，衣帶當風，雙 手俯扣金蟾，神態歡喜憨樸。此器雖小，但形態生動，形神頗富感染 力，對內心的刻畫、神情的攝取，充分體現了藝匠的不凡功力。 「劉海戲金蟾」寓意財源興旺，典故出於道教的《通俗編》，燕國宰相 劉元英，號海蟾子。一日遇見一道人，將十隻雞蛋放在錢幣上，險象環 生，道人見劉大驚，便道身處榮樂之場，比這更為危險。於是劉大悟， 便拋下一切世俗融化，與道長隱去。金蟾能吐金錢，傳說劉海收伏了千 年的金蟾，民間有「劉海戲金蟾，一步一吐錢」之說。 來源 1. Van Houtte先生收藏，比利時布魯塞爾，1992年 2. 杜尚家族收藏，法國巴黎 The Duchange Family Collection of Important Chinese Art II 76  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

  3329 A RARE PAINTING OF THE NITYODYUKTA BODHISATTVA, INSCRIPTION BY LU HUANCHENG EARLY QING DYNASTY, INK AND COLOUR ON SILK, FRAMED AND UNDER GLASS 清呂設 早煥色 This fine and detailed painting depicts a Bodhisattva with his left hand holding a flywhisk in his lap and right hand in 期成絹 front of his chest, seated on a lotus petal base supported on a tall red hexagonal throne. This throne with an hour-glass structure represents Mount Sumeru, the mountain at the center of the universe in Buddhist cosmology. 敬本 寫 In this elaborate painting, he wears long flowing green robes and fine purple scarves delicately detailed with gold-painted 「裝 roundels. He also wears various adornments on his arms and bejeweled necklace across his bare chest, with serene 常框 expression below the crown fronted by several layers of ruyi. The right lower corner is inscribed with the artist's mark, Lu 精 Huancheng, who was one of the artists of Wu school and was active in 17th century. 進 菩 L 97cm W 75cm 薩 」 HK$ 2,200,000 - 3,000,000 像 US$ 281,000 - 384,000 PROVENANCE 1. Collection of Mr. Whon, Paris, France, 1978 2. Duchange family collection, Paris, France 款識 「常精進菩薩　信士何三秀喜捨」 「呂煥成敬寫」 「江南呂煥成字吉文書畫印記」 「信士ＯＯＯＯＯ捨」 來源 1. Whon先生收藏，法國巴黎，1978年 2. 杜尚家族收藏，法國巴黎 The Duchange Family Collection of Important Chinese Art II 78  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

菩薩頭戴菩薩冠，身後頭光，五彩祥雲。盤腿而坐，一手持拂塵，拇指 和中指扣圈，其餘各指自然伸展。菩薩盤腿坐於寶座之上，蓮花座六角 形，下部一個須彌座，頂部一層大蓮瓣座。 常精進菩薩，以修行精進波羅蜜為最勝。「常」，意指不退棄，「精 進」謂身及心精進，「常精進菩薩」之名號有二義，據《阿彌陀經疏 鈔》所載，一，為「見法性常住、行無作正勤故」；二則為，「隨逐不 捨眾猶不受化，曾無一念棄捨之心，乃精進之至極也。」常精進菩薩憐 憫眾生常有諸苦，發願濟拔一切眾生，代表行門，勤行。佛畫左上方朱 砂地描金「常精進菩薩　信士何三秀喜捨」，左下角朱砂地描金「信士 ＯＯＯＯＯ捨」，右下角鈐印一方「江南呂煥成字吉文書畫印記」。 呂煥成 （1630-1705） 為清代初年「吳門畫派」的代表人物之一，字吉 文，號祉園山人，浙江余姚人。 呂煥成擅長畫人物、山水，兼畫花卉。早年好作斧劈皴，風格奇古，與 他的傳世作品《春山聽阮圖》（現藏旅順博物館）、《西溪圖》（上海 博物館）的畫法相類似，勾皴挺拔秀勁，人物生動細勁，意境幽深，既 有「北宗」畫法的崇高峻美，也有「南宗」畫法的秀潤筆致。 擅長除了畫人物，佛畫則為呂煥成另一個創作範疇，目前有據可查者僅 此一件，本件「常精進菩薩」畫像，佈局、造型及設色皆符合清初中原 佛畫特點。菩薩手握佛塵，較為少見，明顯吸收了道家造像特點。 The Duchange Family Collection of Important Chinese Art II 80  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

The Duchange Family Collection of Important Chinese Art II 82  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

3330 A RARE BLACK AND WHITE JADE 'CHILONG' WASHER SEAL MARK AND PERIOD OF JIAQING 清 黑 「 嘉 白 大 The oval vessel is boldly carved in high relief with three writhing chilong to its sides, ingeniously utilising the light grey 慶 玉 清 inclusions. The head and front paws of chilong rest on the rim and their bodies cling to the side of the washer, further 螭 嘉 carved with low-relief ruyi-clouds incorporated into the natural veining of the stone. The stone is naturally formed with 龍 慶 black, grey and white patches throughout. The base is finely inscribed with a six-character Jiaqing mark. No other 洗 年 brushwasher of this type with a Jiaqing reign mark appears to have been published, although several related pieces 製 have been sold at auction; see two slightly larger examples carved from celadon jade, sold in Sotheby’s London,18 June 1968, lot 172, and the other, 12-13 October 1971, lot 105. 」 H 9.8cm W 20cm HK$ 700,000 - 900,000 US$ 90,000 - 115,000 PROVENANCE 1. Collection of Mr. Pezzoli, Paris, France, 1986 2. Sotheby's Hong Kong, 7 October 2010, lot 2167 3. Duchange family collection, Paris, France 黑玉玉料厚實，玉質溫潤，黑白紋理自然相間，器形均勻厚重。口部內 斂，圓肩，微鼓腹，腹部以下漸收，無圈足，底陰刻「大清嘉慶年製」 六字篆書款。三條魑龍曲攀壁，以高浮雕手法雕刻螭龍紋，三條螭龍騰 雲駕霧，四周淺雕朵雲紋，螭龍如穿梭水雲之間。 黑白玉多用以「俏色」，意指以玉料天然而成之色澤、石紋、或瑕疵為 成品之主題及特點。本品整體黑白紋理相間，而非以黑白紋理分辨器身 主體及裝飾，三條螭龍攀附於筆洗邊沿，與玉洗融為一體，造型典雅別 致。 螭龍早已見於早期文化出土玉器，清宮也有藏不少雙螭龍洗，以三條螭 龍為裝飾的玉洗較為罕見，此玉洗更以珍貴黑白玉料為材，神韻天成， 實為難得。參考兩青玉例售於倫敦蘇富比，1968年6月18日，編號172； 1971年10月12-13日，編號105。 來源 1. Pezzoli先生收藏，法國巴黎，1986年 2. 香港蘇富比，2010年10月7日，編號2167 3. 杜尚家族收藏，法國巴黎 The Duchange Family Collection of Important Chinese Art II 84  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）

3331 A SET OF THREE CLOISONNÉ ENAMEL 'FOUR SEASONS' PANELS, MARKED YUMINZHONG QING DYNASTY, QIANLONG PERIOD 清于 乾敏 Each panel is exquisitely enamelled in vibrant tones of blue, red, pink, white 隆中 and green with an abundance of flowers. One of them depicts blossoming flowers of peonies and peach tree with four swallows vigorously in flight and 款 perched on the branches. The second panel is decorated with two blue magpie 銅 birds facing each other on prunus branches over the orchids on the ground. 胎 The last panel depicts two paradise flycatchers amidst the magnolia branches 掐 above the begonia. All of them are reserved on a bright turquoise ground with 絲 an intricate keyfret pattern. The upper parts of these panels are all inscribed 琺 with a poem marked by Yu Minzhong. 瑯 四 The abundance of flowers depicted on the present lot has embodied the 季 panels with auspicious meanings, with each floral species representing 花 diverse wishes, as blessings to the owner. Peony symbolises wealth and 鳥 opulence; Magpie resembles the character Xi, or happiness, and is believed 詩 to herald good fortune. The depiction of magpie perched on prunus branches 文 resemble the metaphor known as 'happiness up to the tips of one's eyebrows', 掛 celebrating the advent of spring, signified by the blossoming of prunus flowers. 屏 For a related twelve-leaf screen from the mid-Qing dynasty, see Compendium of 三 Collections in the Palace Museum: Enamels 4, Cloisonné in the Qing Dynasty 扇 (1644-1911), Beijing, 2011, pp.202-203, pl.147. H 140cm W 55cm HK$ 2,000,000 - 3,000,000 US$ 256,000 - 384,000 PROVENANCE 1. Collection of Mr. Tollemans, Brussels, Belgium, 1992 2. Duchange family collection, Paris, France 款識 「甘隱深山得所修，煙霞痼疾喜清幽，凌霜細葉無塵俗， 帶露柔叢肴放收，花吐香痕顏亦正，簪抽玉紫艷常畱， 海棠春日應酣睡，騷客詩歌豈外求，時清和上瀚，書於 南廂下，于敏中」 「十分春色詠桃夭，一種天香韻更嬌，乍雨乍晴如笑語， 半開半萼亦嬈髫，丹唇映日芳姿露，紅面凝煙體態饒， 芍藥恰同侳子會，綺羅叢裏漫輕佻，峕丙午夏初，旬作 竝書，于敏中」 「位梔掩映邁群芳，碧玉枝頭簇簇藏，露著幾經如降馥， 風吹一段惹生香，葉含隱約㽞清籟，月影婆娑憶睡鄉， 誰使無香花作伴，海棠斯味即秋涼，公退之餘書，於養 心室，于敏中」 來源 1. Tollemans先生收藏，比利時布魯塞爾，1992年 2. 杜尚家族收藏，法國巴黎 The Duchange Family Collection of Important Chinese Art II 86  懷藏日月：法國杜尚家族藏重要中國藝術珍品（二）