清道光  粉彩寿菊秋色图折沿花盆 清代宫廷御用花盆于材质式样上皆为丰富多样，翻阅清宫陈设档和宫廷绘画作品可知，不同材质之 花盆使用功能各异，且存在明确的用途分工。瓷质花盆乃为实用器皿，主要置放于京郊各处皇家园 林及后寝生活区域，本品即为一例清代道光御作雅器。 花盆体量敦厚沉稳，造型优美简雅，走线凝练利落，器呈圆桶状，上宽下敛，唇口斜腹，内外壁满 施白釉，雪白光洁，胎釉精良，匀净细腻。外壁通景粉彩绘寿菊秋色图，菊花多彩，蓝紫朱白，大 小各异，姿态万千，清新娇丽，折枝交错，布局有致，绽放如锦，灿烂生辉，其下洞石灵秀，青苔 围绕，画法极具中国画之笔墨意蕴，枝叶花卉具有典型的清代宫廷绘画特征。 天津博物馆所藏清代宫廷画家邹一桂、恽兰溪伉俪合作的《花卉图》又称《香界八仙图册》，其中 所绘菊花笔意工致细腻，设色艳而不俗，卓尔不群，风雅俱现，与拍品纹饰中菊花样貌相似。以画 入瓷，实为不易，其以绚丽的色泽和生动的情致，营造出欢悦喜庆的气氛和富贵长寿之吉祥寓意， 花盆近足处之蓝色菊花以珐琅彩料绘就，施彩华美鲜丽，釉面厚重莹润，更添富丽万千，反映了皇 家御瓷精湛雅致的艺术追求及审美旨趣，堪为道光官窑之上乘佳作，传世甚罕，极为难得。 日本细川家族，自日本镰仓时代开始延续至今近八百年，在日本社会政治、经济和文化领域极具影 响力。细川家族收藏聚宝萃珍，藏品涵盖古今，尤以中国、日本文物珍品为最，极具文化和艺术品位， 是日本艺术品收藏界难以超越的传奇大家族。 拍品即为细川家族第 16 代家督东京侯爵细川护立之旧藏，其孙子为第 79 任日本首相细川护熙。 1950 年细川护立在东京建立了永青文库。这座建筑名为『文库』，实则是一座外观朴素但价值连城 的博物馆。本件器物来源清晰，流传有序，观之本美外，还可细细品悟细川家族的收藏哲学，实为 可贵之机遇，难得一遇。

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

308 清道光  粉彩寿菊秋色图折沿花盆 款识：『大清道光年制』六字三行篆书款 高度：二十二·五  厘米 来源：日本东京侯爵细川护立氏藏 出版：长坂金雄，《陶器图录》第八卷·支那篇（下），东京雄山阁，1938 年，页 101，图 115 AN EXCEPTIONAL FAMILLE ROSE 'CHRYSANTHEMUM' FOLIATED FLOWER POT Qing Dynasty, Daoguang Six Character Seal Mark and of the Period 22.5 cm. high PROVENANCE: Moritatsu Hosokawa，Marquis of Tokyo, Japan PUBLICATION: Pottery Catalogue, Vol.VIII - Chian, part II, Japan, 1938, p.101, pl.115 RMB: 250,000-350,000 308［款识］ 308 出版： 308 参阅图： 陶器图录第八卷，中国篇，明·清 101 第一一五图，道光粉彩菊花纹花盆即本拍品 博物 藏， 清『 图』

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清道光  粉彩杏林春燕图长颈瓶 本品为道光皇帝御用瓷器，清雅脱俗。道光二十三年五月初二日九江关监督蔣方正《进单》中载：『［臣］ 蔣方正跪進：……［安慎德堂東廊］五彩祥榴雙喜瓶成對……』，或为拍品之九江关呈贡记录。 瓶式近赏瓶，挺拔秀美，英姿绰约，撇口，长束颈，圆鼓腹，下承圈足。胎体白净，釉面润洁。外 壁器身以粉彩通景描绘杏林春燕图，一棵杏树蜿蜒参天，枝干遒劲，杏花或含苞待放，或怒放争艳， 花色粉调清秀，浓淡相间，一色千里，花团锦簇。其旁天竹、石榴婀娜多姿，湖石嶙峋，如奇峰险 峻。上方侣燕双飞，一俯一仰，追逐嬉戏，生机勃勃。口沿与胫部各施金彩一周，平添富丽之气。 足内红彩书『慎德堂制』四字双行楷书款。检索目前所见公私收藏，相同之例仅见香港怀海堂收藏 ［参见《机暇清赏——怀海堂藏清代御窑瓷瓶》，香港中文大学文物馆，2007 年，页 390-391，图 141］，可参考对比。 慎德堂为圆明园内九洲清晏的一组建筑，建于道光十年，是道光皇帝的行宫，其长期于此居住并处 理朝政。署“慎德堂制”款的瓷器则是御窑厂专为道光皇帝烧制的御用堂名款瓷器。据道光十三年《清 档》载：『八月十九日，……太监沈魁交金鱼苲草瓷渣斗样一件……传旨：瓷渣斗一件，着照此样 要黄瓷白里烧造六十件，内慎德堂制款三十件，湛静斋制款三十件，俱要楷书字……钦此。』这是《清 档》中对『慎德堂』款瓷器的第一次记录，由此可知，『慎德堂』款瓷器至迟在道光十三年已有烧 制。另据道光十四年《清档》中述：『二月二十二日，……传旨：十四年年贡起，九江呈进瓷器款， 慎德堂制要红字。钦此。』可见『慎德堂』款以红彩书写也出自道光帝旨意。 道光皇帝于瓷艺方面虽无雍、乾二帝痴迷，但追慕雍正御瓷之清雅，悉心摹仿，并得其神髓。特别 是『慎德堂』款瓷器的制作，可谓精中求精，堪比雍正御瓷。这一特点在本件拍品上体现得尤为显著。 此瓶彩绘妍美，无论是彩料，还是纹样布局，皆摹雍正御瓷之风，堪当宝藏。 参阅： 《机暇清赏—怀海堂藏清代御窑瓷器》，香港中文大学，2007 年，页 390-391，图 141

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

◎本拍品目前处于保税拍卖状态，敬请留意《保税拍品竞买须知》。 309 清道光  粉彩杏林春燕图长颈瓶 款识：『慎德堂制』四字二行楷书款 瓶高：三十一  厘米 来源：1. 英国得文郡私人珍藏，购藏于 1948 年前后     2. 香港佳士得，2012 年 11 月 28 日，编号 2371 AN EXQUISITE FAMILLE ROSE 'SWALLOW' LONG-NECKED VASE Qing Dynasty, \"Made Of Shendetang\" Four Character Mark, Daoguang Period 31 cm. high PROVENANCE: 1. An English private collection, Devon, circa 1948         2. Christie's Hong Kong, 28th November 2012, Lot.2371 RMB: 2,000,000-3,000,000 309［款识］ 309 参阅图：道光二十三年五月初二日 九江关监督蒋方正《进单》中相关记录 309 参阅图： 香港怀海堂藏，清道光『粉彩杏林春燕图瓶』

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清乾隆  御制洋彩海晏河清图碗 明清时期，将吉祥图案装饰在瓷器之上已经非常流行，景德镇御瓷中的纹样装饰必定样样如意，个 个吉祥，即『图必有意，意必吉祥』。拍品这件秀雅精致的小碗，一面绘杏花朵朵、洞石苍雅；一 面绘水波幽幽，莲花高洁，似与杏花竞相争春，各见绰致，空中两只春燕嬉戏空中，御风悠然，一 只展翅向前，一只回眸等候。这其中既有『杏林春燕』之雅趣，又见『海晏河清』之寓意，画意与 纹样完美结合，并糅合了宫廷画师的丹青妙笔。每组纹样细节精致，各具情态，恍若眼前徐徐展开 一幅晴空春意图，双燕嬉戏飞舞间渲染出一片明媚春光。 著名才子唐寅曾写过『燕子归来杏于花，红桥低影绿池斜』的诗句，诗中所描绘场景与拍品所展现 的景象极为相似，燕过杏花间，碧水池中绿影斜斜，一派春意浓浓。而对『杏林春燕』还有另外一 种解释，来自于科举制度。因为殿试之期怡逢杏花盛开，以杏花喻意殿试之期，天子会赐宴接见众 学子，『燕』有谐音『宴』之意，『杏林』象征有幸上榜者，当『杏』与『燕』同时出现，故有金 榜题名和出席御宴的寓意。而皇室御用瓷器上出现此图，更有开科取士、求贤若渴之意。另外『荷』 与『河』同谐音，『燕』与『晏』同谐音。唐薛逢《九日曲池游眺》中有云：『正当海晏河清日， 便是修文偃武时』。海晏河清之象比喻天下太平，国泰民安。此件拍品将高宗皇帝『求贤若渴』及 『四海升平』之渴求与吉愿融于一器，真实且写意的反映出皇帝对大清永固的内心祝祷与美好期许， 亦展现出清盛世之风貌，极具匠心。

附图 1：故宫博物院藏，清乾隆『粉彩花鸟图碗』 拍品与故宫博物院藏清乾隆粉彩花鸟图碗［附图 1］于器型、 附图 2：台北故宫博物院藏，清雍正『珐琅彩杏林春燕图碗』 纹饰图案及款识等近乎一致，如无意外应属一对。此外雍正 附图 3：台北故宫博物院藏，清雍正『珐琅彩柳燕图碗』 皇帝也对此类以燕子为题材的作品非常喜爱，台北故宫博物 附图 4：英国大维德基金会藏，清乾隆『珐琅彩杏林春燕图碗』 院藏有两对清雍正时期同类珐琅彩瓷碗［附图 2、附图 3］， 一对绘制『杏林春燕』图，另一对绘制『柳燕图』，两对于 画 面 中 皆 出 现 了 喜 燕 与 杏 花 纹 样。 再 者， 英 国 大 维 德 基 金 会藏有一件清乾隆时期杏林春燕图珐琅彩碗［附图 4］，与 2006 年香港佳士得秋拍编号 1309 拍品应属一对，后者于当时 售出 151,320,000 港币的佳绩。相形之下，台北故宫藏雍正时 期作品更具当时的时代特征，更加符合雍正皇帝的艺术品位 及修养，成对纹饰者，虽题材相同，但绘画略有不同或完全 不同。反观乾隆时期作品，成对者纹饰大多相同。另外，本 件拍品与故宫博物院藏品中所绘杏花更为贴切，花瓣粉白过 渡自然，花蕊娇黄，填色工整，盎然生机。 观此小碗，所绘纹样图案为历代宫廷趋之若鹜的花鸟手卷作 了最佳的诠释，极富『黄家富贵』之院体风格，可见画师选 材精良。宋徽宗笃信道教，对大自然的观察细致入微，他曾 命人将其藏画辑录为《宣和画谱》，当中收录了 6396 幅三国 至宋代的作品，而花鸟画便占有 2786 幅，可见徽宗对花鸟画 的喜爱程度。 台北故宫博物院藏南宋画院侍诏马远所绘《倚云仙杏图》［附 图 5］，清丽脱俗，与拍品描绘之杏花格调一致，宛若春色中 的一抹暖阳，令人如痴如醉。美国克利夫兰艺术博物馆所藏 南宋画家牧溪之《莲燕图》［附图 6］，可见春燕荷塘之搭 配题材早已流行，飞燕、荷花及荷叶之形态走势都与本器纹 饰相似，栩栩如生，灵动非凡。清代著名宫廷画家郎世宁所 绘《弘历观荷抚琴图》［附图 7］中荷花、荷叶设色淡雅工致， 着色方式与笔触与本拍品上的荷花、荷叶有异曲同工之妙。 可见本器绘工之高超绝妙，绝为能工巧匠之作也。 此碗的纹饰描绘，以突破传统的粉彩与珐琅彩相结合的方式 绘就，杏花旁的嶙峋洞石由蓝料彩加以墨彩描绘，观之极富 『青绿山水』之绘画艺术风格，且所绘洞石皆呈一高一低之势， 高矮错落，如有长幼尊卑之意。拍品枝干以赭墨彩绘就，杏 花花瓣皆采用胭脂红料，为表现出杏花粉白之效，在其彩中 加入玻璃白，由此可呈现出其色阶渐变质感，观之更为柔和 曼妙，更加符合乾隆皇帝对于唯美的美学高度。台北故宫博 物院藏清乾隆磁胎洋彩诗意杏花纹牙签筒［附图 8］，其纹样、 设色与拍品如出一辙，系一脉相通之作。 综上所述，拍品这件珐琅彩加粉彩杏林双燕荷清碗应为乾隆 时期景德镇御制瓷器之精彩作品，画风题材可上溯至宋徽宗， 而清高宗在文艺方面有许多建树和抱负均与徽宗一脉相承。 此碗纹饰蕴含中国文人画之意韵精髓，图案皆寓意吉祥。制 作工艺上将粉彩珐琅彩交错而施，艺术效果发挥至极致，工 笔重彩，得当相宜。拍品有别于乾隆器物所追求得繁缛富丽 之感，而是继承延续了雍正器之清雅舒朗遗风，传世少见， 弥足珍贵。

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

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

310 清乾隆  御制洋彩海晏河清图碗 款识：『大清乾隆年制』六字三行篆书款 口径：十四·九  厘米 AN EXTREMELY AND SUPERBLY ENAMELLED 'LOTUS AND SWALLOW' BOWL Qing Dynasty, Qianlong Six Character Mark and of the Period 14.9 cm. diam. RMB: 1,200,000-1,500,000 310［款识］

310［图样展开图］ 310

清乾隆  洋彩加金荷塘鹭鸶图小尊 拍品体量颇为精巧，可爱隽秀，十分罕见。小尊喇叭状口，鼓腹渐敛，下承小圈足，足内施松石绿釉， 中央留白，署矾红彩『大清乾隆年制』六字三行篆书双框款，款识形式新颖少见。器内壁满施松石绿釉。 腹壁莹洁的白釉地上以粉彩描绘通景的荷塘白鹭图。池水中，嫩绿的叶柄、花梗从水中升起，托起 硕大的荷叶、鲜艳欲滴的荷花与饱满多子的莲蓬，摇曳生姿。其间点缀四只形态各异的白鹭，羽翼 丰满而洁白，姿态悠然自得，轻逸出尘。整幅画面，呈现出一派自然恬静的夏日荷塘美景。主题纹 饰外，自上而下辅以如意云头纹、折枝莲纹、缠枝莲纹、变形夔纹、莲瓣纹等，施彩丰富而不繁缛， 色泽丰富娇艳而不媚俗。口沿、颈肩部加饰三道金彩，熠熠生辉。 本品釉彩精妍，美轮美奂，纹饰表现手法与彩料的运用技法上都凸显出洋彩之特征，如绘画技法摹 仿西洋，荷花、白鹭极具写实；边饰纹样中使用洋彩特有的圆状光点装饰；局部彩料为珐琅料，如 折枝莲纹两侧的枝叶等。 洋彩是十八世纪清宫与西洋文化交流互动而产生的艺术珍品，它是雍乾时期清宫对运用西洋绘画技 法描绘的彩瓷的正式名称。乾隆朝《活计档》、《陈设档》多作『磁胎洋彩』，原配木匣上也皆刻上『洋 彩』品名。『洋彩』名称最早出现于雍正十三年［1735］唐英所撰之《陶务述略碑记》：『洋彩器皿， 本朝新仿西洋法琅画法，人物、山水、花卉、翎毛，无不精细入微。』洋彩的绘画设色妍丽繁缛， 有别于传统技法，更需要画工高超的绘画功底与丰富的经验。唐英在乾隆八年奉谕编撰完成的《陶 冶图册》第十七编『圆琢洋采』中曾作如此评述：『圆琢白器，五采绘画，摹仿西洋，故曰洋采。 须素习绘事高手，将各种颜料研细调和，以白瓷片绘染烧试，必熟谙颜料、火候之性，始可由粗及 细，熟中生巧，总以眼明、心细、手准为佳。所用颜料与法琅色同，其调色之法有三：一用芸香油， 一用胶水，一用清水。盖油色便于渲染，胶水所调便于拓抹，而清水之色则便于堆填也。』文中明 确指出洋彩的最重要特点——与瓷胎画珐琅使用相同的颜料。 拍品稀珍可贵，传世品甚为少见。香港佳士得 2011 年春拍编号 3652，清乾隆青花矾红彩夔凤纹尊 一对与拍品器形相似，但外壁以夔凤纹为主题纹样，当时成交价为 1522 万港币，可参照比对。

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

◎本拍品目前处于保税拍卖状态，敬请留意《保税拍品竞买须知》。 311 清乾隆  洋彩加金荷塘鹭鸶图小尊 款识：『大清乾隆年制』六字三行篆书款 高度：十三·三  厘米 A SUPERB AND WELL GILTED ENAMELLED 'LOTUS AND BIRDS' VASE Qing Dynasty, Qianlong Six Character Seal Mark and of the Period 13.3 cm. high RMB: 1,200,000-1,500,000 311［款识］

311

清乾隆  粉彩开光菊花纹双耳壁瓶 壁瓶悬于墙壁，为半器造型，始见于宣德时期，直到万历开始流行，乾隆朝达到制器巅峰，此时壁 瓶造型规整且多种多样，品种有青花，粉彩和斗彩等，深受高宗皇帝的钟爱，曾将十四式壁瓶挂饰 在养心殿三希堂的东板墙上，《清高宗御制诗文全集》有七首咏『挂瓶』的诗，反复吟咏，可见其 珍爱程度。 最早在《清档》中见到烧造壁瓶的记录为乾隆七年九月。『二十三日，司庫白世秀副催縂逹子來説， 太監高玉交：御製詩一首，傳㫖：將此詩交與唐英燒造再轎瓶上，用其字併寳爾酌量收小，其安詩 地方並花樣亦酌量燒造，欽此。』乾隆四十五年八月十七日九江关监督额尔登布于《贡档进单》中 记载：『（奴才）額爾登布跪進：……（交熱河）白地洋彩花卉轎瓶成對，……』。或为拍品同类 器之九江关御瓷进贡记录。 拍品制作考究，颇见匠心。一侧平面，撇口束颈，颈部两侧以粉彩双夔龙耳饰之，肩部作台阶状， 腹部近底稍敛，下承外撇圈足，线条婉转，胎釉精良。瓶身两面以白釉为地，口部至肩部自上而下 分饰卷草纹、如意云纹、缠枝西番莲纹、缠枝花卉纹。腹部开光内饰数朵菊花争艳，周围以描金边 框装饰，开光外绘缠枝莲纹。胫部及圈足描绘蕉叶纹及卷草纹。全器设色妍丽雅致，口沿、足底边 及各部位转折处均描金边，极尽精致华丽。值得一提的是，上下两处卷草纹所用蓝料以玻璃白打底， 其中蓝料非常罕见，或为进口珐琅料。口内及圈足内施松石绿釉，底书矾红彩『乾隆年制』四字篆 书单行款。背面点缀红彩梅花朵朵，以掩饰支钉痕迹。拍品造型优美，画面笔触纤细工整，纹饰优 美华贵，意境典雅而不流俗，繁花盛开的娟秀与雍容浓郁的宫廷气息相结合，令人爱不释手。

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

◎本拍品目前处于保税拍卖状态，敬请留意《保税拍品竞买须知》。 312 清乾隆  粉彩开光菊花纹双耳壁瓶 款识：『乾隆年制』四字单行篆书款 瓶高：十八·三  厘米 记录：香港佳士得，2015 年 6 月 3 日，编号 3149 A VERY RARE AND EXCEPTIONAL FAMILLE ROSE 'CHRYSANTHEMUM' HANDLED HANGING VASE Qing Dynasty, Qianlong Four Character Seal Mark and of the Period 18.3 cm. high PROVENANCE: Christie's Hong Kong, 3rd June 2015, Lot 3149 RMB: 2,000,000-3,000,000 312［款识］ 312 参照图： 乾隆四十五年八月十七日 九江关监督额尔登布《贡档进单》中相关内容 312［背面图］

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清乾隆  粉彩描金莲蓬座双鱼八吉祥供器 拍品为清代宫廷佛前供器八吉祥中的『双鱼』，故宫博物院梵宗楼一楼供奉文殊菩萨，其坐像前的 佛坛上供有一套粉彩八吉祥供具，其中双鱼造型与拍品基本相同，惟其底座为蓝地，参见《清宫藏 传佛教文物》，页 241，图 125。 佛教自西汉末年传入中原以来，对我国文化产生了深远影响，清王朝建立后，满族统治者崇尚黄教， 佛教在中国又迎来了一个新的大发展时期。故宫博物院藏有一副名为《玄烨像》的油画［参见《故 宫博物院藏—清代宫廷绘画》页 52，图 14］，画中描绘康熙帝老年的模样，端座于炕上，手持佛珠， 座前炕几上整齐地排列了八吉祥供器。由此可见拍品此类佛前供器对清代历朝皇帝来说，意义重大。 乾隆帝对藏传佛教最为痴迷，以致不惜工本，利用大量人力、物力，命内府造办处及景德镇御厂制 造佛教用品及供器，由用途，纹饰设计无不亲力亲为，造就了一批极具时代及汉藏特色的艺术精品。 如乾隆二十三年十一月日立《佛堂收供玻璃磁琺瑯各樣供器賬》：『乾隆二十五年十一月初九日收 造辦處：……洋磁八吉祥一分［乾隆二十六年七月二十六日熱河衆香樓供］……』。 乾隆二十五年八月《各作成做活計清檔》中载：『初八日，郎中白世秀員外郎金輝來説，太監胡世 傑傳㫖：着傳與尤拔世，嗣後燒造七珍、八寶、八吉祥、八供、五供養等俱各刻欵，欽此。』 乾隆三十八年八月《各作成做活計清檔》中载：『初九日，庫掌四德照熱河衆香楼現供磁七珍、八寶、 八供飬、五供飬樣各畵得紙樣一分，並輪塔、寶瓶、奔巴瓶紙樣各一張，持進交太監胡世傑呈覧，奉㫖： 俱交江西照樣焼造，欽此』。 光緒二年《梵宗樓陈设档》中录：『……梵宗樓下中間安供：銅胎文殊菩薩一尊……前供花梨條案 一張上……左右供……洋磁八吉祥一分（破壞不全）……』，内容恰与上文中所示梵宗楼现有陈设 一致，会逢其适，可供方家图文对比参考，更显其珍。 拍品分为台座和双鱼插件两部分。通体粉彩绘饰，顶部玉环形供圈饰以缠枝莲纹。其内镂空瓷塑双鱼， 立身相依，口吐火莲，矾红描金，富丽堂皇。周围绶带环绕，生机盎然，自由自在。供圈下承以莲台， 莲蓬之面挖雕莲子，莲花主体瓣瓣饱满，脉络清晰，精致非凡，莲托八宝，气势庄严。下连柱杆， 枝蔓环绕，卷叶镂空，下承台阶式覆莲器座，座颈及底部分饰如意云纹及回纹一周，座面亦绘缠枝 莲纹，与供圈装饰上下相映成趣，别富意趣。松石绿釉底中央矾红落『大清乾隆年制』六字篆书款。 金鱼象征着佛法游刃自如，以大神力度化众生达到彼岸，有坚固活泼，解脱坏劫之意。全器工艺繁 复精湛，吉祥满溢，华美珍罕，为重要的乾隆御用礼佛瓷质供器精品，极富皇家气派，传世不可多得。 参阅： 《清宫藏传佛教文物》，香港，1992 年，页 241，图 125 《故宫博物院藏—清代宫廷绘画》，文物出版社，1992 年，页 52，图 14

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

313 清乾隆  粉彩描金莲蓬座双鱼八吉祥供器 款识：『大清乾隆年制』六字三行篆书款 高度：二十九  厘米 AN EXTREMELY RARE FAMILLE ROSE AND GILTED LOTUS-SHAPED CERAMIC PISCES Qing Dynasty, Qianlong Six Character Seal Mark and of the Period 29 cm. high RMB: 200,000-300,000 313［款识］ 313 参照图：乾隆二十三年十一月日立《佛堂收供玻璃磁珐琅各样供器账》中相关记录 光绪二年《梵宗楼陈设档》中相关记录 313 参照图：故宫博物院梵宗楼供奉 『文殊菩萨前供奉粉彩八吉祥供具』 313 参照图： 故宫博物院藏油画《玄烨像》

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清乾隆  粉彩七月葵花图盖碗 清代宫庭之中茗茶风尚由来已久，尤以雍乾二朝大盛。乾隆皇帝不仅钟情茗茶，亦雅好文人品茶， 在其宫廷生活中可见有各式材质的品茗用器，其中又以瓷质器物为大宗，制作工艺富贵华丽，前所 未有。 拍品为乾隆朝粉彩茶器之珍贵隽品，精巧别致，碗敞口，深弧腹，拱形盖顶设圆钮，扣合于茶盅之 内。瓷胎细密，白釉莹润通透，碗身及盖面皆以粉彩绘七月葵花洞石图，黄蜀葵娇艳盛开，圃簇似 锦，大花黄粉相间，小朵粉丽柔嫩，含苞欲放，竞相争艳，摇曳生姿。洞石旁红叶依附，点睛夺目， 一派春光明媚之景。 整器描绘方式颇具中国画之气韵，笔触精纯细腻，彩料晕染自然，毫无堆砌之感，墨彩勾勒轮廓， 深浅浓淡，皴擦自然，恰到好处的表现出枝桠、花朵的阴阳相背，达到工笔画之写实效果，当是御 窑厂能工巧匠匠依照工样将画稿临摹勾勒于白瓷胎上，务必毫厘不差，同时又要顾及到瓷质器表不 同于纸面的不均衡特性，稍有差池，便会前功尽弃，极其考验工匠的制瓷技巧。此器画样于构图间 尤为注重花卉的生态与意境营造，其上秋葵绘制由来从故宫博物院藏清早期宫廷画家蒋廷锡绘《花 卉图册》之秋葵图中可见一二，秋葵花卉勾勒渲染上极具院体画派风格，形态画意皆有所影响传承。 台北故宫博物院所藏清康熙宜兴胎画珐琅四季花卉方壶［参见《也可以清心——茶器·茶事·茶画》， 台北故宫博物院，页 105，图 84］中所绘秋葵与拍品画法极尽相同，而本器粉彩装饰更为舒展顺畅， 色彩过渡间更显自然精致，存世少见，不可多得。 七月葵花特指秋葵，也称黄蜀葵、野芙蓉等。清人陈淏之《花镜》一书中称其『秋月开花，色淡黄如蜜， 心深紫，六瓣侧开，淡雅堪观』。 因花开淡雅，黄蜀葵与道教文化颇有渊源。道家崇尚清淡平和， 故诗词典故中往往以葵花、道人互喻。唐代诗人李涉《黄葵花》赞曰：『此花莫遣俗人看，新染鹅 黄色未干。好逐秋风天上去，紫阳宫女要头冠』。 参阅： 《也可以清心——茶器·茶事·茶画》，台北故宫博物院，2002 年，页 105，图 84

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

314 清乾隆  粉彩七月葵花图盖碗 款识：『敬畏堂制』四字二行楷书款［盅底］ 『七月葵花』四字二行楷书款［盖底］ 口径：十一  厘米 A FINE AND RARE FAMILLE ROSE 'SUNFLOWER' COVERED BOWL Qing Dynasty, ‘Made of Jingweitang‘ Four Character Mark, ‘Sunflower of July‘ Four Character Mark 11cm. diam. RMB: 200,000-300,000 314［盖款］ 314［款识］ 314 参照图： 314 参照图： 故宫博物院藏， 台北故宫博物院所藏， 蒋廷锡画《花卉图册》之秋葵图 清康熙『宜兴胎画珐琅四季花卉方壶』

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清乾隆  霁蓝描金缠枝莲托八吉祥纹茶盖碗 霁蓝描金是清代历朝高档御瓷的经典装饰手法，于《清档》中记载为『霁青描金』或『天青描金』， 在九江关御贡瓷器中不乏其例。据乾隆二十七年十一月二十一日九江関監督舒善《贡档进单》中述： 『内务府外郎兼佐领管理九江关税兼管窑务［奴才］舒善恭进：……［交圆明园］霽青描金福寿茶 盖碗拾副，……』；乾隆五十三年八月初二日九江関监督海绍《贡档进单》记载：『［奴才］海绍 跪进：……霽青描金福寿葢盌十副，……』；及乾隆五十七年八月二十日九江関监督福英《贡档进单》 记载：『［奴才］福英跪进：……霽青描金蓋盅十副，……』。或为拍品同类器之九江关进贡记录。 拍品与台北故宫博物院藏品相同［参见台北故宫官网，馆藏编号：中瓷 -000153］。盖碗器形饱满， 线条流畅，高雅精巧。外壁及盖面纹饰相同，施霁蓝釉为地，色泽亮丽，上以金彩绘缠枝莲托八吉 祥纹样。盖钮及圈足亦以金彩勾边，碗内及足内施松石绿釉，釉色纯正。上下均有青花书『大清乾 隆年制』六字篆书款。全器整体纹饰华丽，蓝釉深沉名贵，金彩辉煌夺目，交相映衬，更显奢华之气。 弘历钟爱茗茶，亦好繁缛华丽之品，此茶盖碗兼属两者之臻，诚为珍器。 参阅： 台北故宫博物馆藏品，馆藏编号：中瓷 -000153 《宫廷珍藏—清代官窑瓷器》，上海文化出版社，2003 年，页 264

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

315 清乾隆  霁蓝描金缠枝莲托八吉祥纹茶盖碗 款识：『大清乾隆年制』六字三行篆书款 口径：十一  厘米 AN EXQUISITE AND SUPERB DARK BLUE GLAZED AND GILTED 'LOTUS AND EIGHT EMBLEMS' COVERED BOWL Qing Dynasty, Qianlong Six Character Seal Mark and of the Period. 11cm. diam. RMB: 150,000-200,000 315［盖款］ 315［款识］ 315 参照图： 乾隆二十七年十一月二十一日 九江关监督舒善《贡档进单》中相关内容 315 参照图： 台北故宫博物馆藏品，编号：中瓷 -000153

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时令佳器 —— 大羿 2021 秋拍：磁胎洋彩各色地轧道『节令膳碗』    色地开光节令膳碗，因乾隆皇帝的风雅所好而创烧，主要用于御茶膳房，为名副其实的宫廷御 用瓷器。自乾隆八年下旨创烧，在乾隆九年至嘉庆十一年间，作为传办瓷器不定期奉旨烧造；嘉庆 十二、十三年，作为大运瓷器烧造，随后停烧；道光元年后纳入大运瓷器每年例行烧造，直至道光 二十八年后全部停烧。历经乾隆、嘉庆、道光三朝，为清宫御用瓷器中非常难得的成组成套烧造的 瓷器品种。因其绝大部分烧造及清宫贮藏有明确的档案记录，故此类型碗在清代御窑瓷器史研究中 具有重要的学术价值。    清宫碗器在《陈设档案》或《活计档案》上计有：茶钟、茶碗、汤碗、膳碗、饭碗等类，口径 尺寸大小各有不同，依档案记录中品名对照两岸故宫博物院藏品实物，不难发现各类碗器的原来名 称与尺寸的对应关系，如茶钟口径在 10 公分左右、茶碗约 11 公分，汤碗约 13.5 公分，膳碗约 15 公分， 高度则无明显差别。而节令膳碗与宫中其他膳碗的不同之处在于，其外壁装饰纹样具有浓郁的节令 特征，且基本只在每年相应的节令之日才会使用，故更显珍贵。    『锦上添花』技法，民国早期《说瓷》、《饮流斋说瓷》等瓷书上则称之为『锦灰堆』、『锦地花』 或『规矩花』，当代陶瓷学者又称此工艺为『轧道』。故宫博物院专家叶佩兰就曾指出 ：『乾隆「唐窑」 珐琅彩瓷器的彩色「地」上，出现细如毫芒的凤尾纹（俗称「轧道」），也是前所未有的创新之举。』 锦上添花技法及画样为乾隆朝画珐琅的独有风格，此一技法似不见于雍正朝，或为唐英所引西方绘 画技法的应用，是其《陶务叙略碑记》中提到的所谓『新仿西洋珐琅画法』之一。这类锦上添花及 锥花器物，大多于档案中记载为『磁胎洋彩』。    台北故宫博物院藏有一对磁胎洋彩黄地团花山水膳碗（附图 1），与拍品编号 317 相同，大约 制作于乾隆六年 (1741) 至八年 (1743) 之间，《清档》名称为『洋彩四团锦上添花膳盌』，有红、蓝、 黄等三色地。此品种碗开光内所绘山水图均以宫廷画家稿样成画，因此描绘细腻，风格精致，主题 纹样相似却无一相同者，可见乾隆皇帝对此类碗的重视，乾隆之后，再难见到如此画工精致之器。 同类器另见故宫博物院藏品。 附图 1：台北故宫博物院藏，『磁胎洋彩黄地团花山水膳碗』