◎本拍品目前处于保税状态，敬请留意《保税拍品竞买须知》。 607 清乾隆  青花螭龙捧寿纹葫芦形双耳扁瓶一对 款识：『大清乾隆年製』六字三行篆书款 高度：十七·七厘米 记录：香港苏富比，1994 年 11 月 2 日，编号 150 参阅：1《. 故宫博物院藏文物珍品大系—颜色釉》，上海科学技术出版社、商务印书馆［香港］有限公司，1999 年， 页 183，图 166；页 237，图 215 2.《苏州博物馆藏瓷器》，文物出版社，2009 年，页 174 3.《宫廷珍藏—清代官窑瓷器》，上海文化出版社，2003 年，页 277 A PAIR OF EXQUISITE AND MAGNIFICENT BLUE AND WHITE ‘CHI-DRAGON‘ DOUBLE-GOURD SHAPED HANDLED VASES Qing Dynasty, Qianlong Six Character Seal Mark and of the Period. High: 17.7 cm. RMB: 2,000,000-3,000,000 607［款识］ 607［附图：嘉庆十年十月二十四日相关《奏折》中内容记录］ 607［附图：南京博物院藏  清乾隆  青花夔龙捧寿纹绶 607［附图：故宫博物院古陶瓷资料研究中心藏  清乾隆  607［附图：苏州博物馆藏  清乾隆  青花如意耳葫芦瓶］ 带葫芦瓶］ 青花夔龙捧寿纹绶带葫芦瓶］

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查阅公私典藏可知此类葫芦瓶极为罕有，是为乾隆朝御瓷的创新 式样，拍品与故宫博物院古陶瓷资料研究中心藏清乾隆青花夔龙 捧寿纹绶带葫芦瓶［参见《故宫博物院藏古陶瓷资料选萃·卷二》 页 207，图 183］于器型、装饰上皆为相同。苏州博物馆及南京博 物院亦有同类型器收藏，均可参照比较。 耿宝昌先生于《明清瓷器鉴定》中提及此式绶带葫芦瓶器有圆扁 之分，又称为『福寿瓶』，乾隆器端庄，规整雅丽，后于嘉庆、 道光之器则相形见绌，拍品即为乾隆时期一例佳作，工艺细腻， 精美绝伦。 据相关清宫档案记载，乾隆十四年赏赐暹罗国王的瓷器中就有此 器物，属大运用瓷器皿，年年都有所烧造，一直至道光二十四年。 嘉庆十年十月二十四日一份《奏折》中称：『……擬留交造辦處：…… 仿成窑青花夔龍福壽葫芦瓶三件……』。亦可知拍品此类型器之 清宫贮藏记录，然传世少见，当知可贵。 本品庄重典雅，设计精巧，小器大样，呈扁圆葫芦式造型，肩颈 处置对称绶带如意双耳，圈足外撇。通体尽施白釉，外壁青花随 形满绘纹饰，口垂蕉叶纹，上腹团蝠卷草纹，主腹双龙捧寿主题 纹饰，龙首位于瓶的下腹部，龙尾上摆至肩部，中央捧起团寿纹， 气势威严，对称而为，相映成趣，圈足回纹一周。外底青花书『大 清乾隆年製』六字三行篆书款。《尚书》论五福，以『寿』居首。 本器取葫芦造型，谐音『福禄』，有多子多孙、江山永固的吉祥 寓意，更兼双为饰，故此件双龙捧寿纹葫芦瓶既以龙纹体现皇权， 又以造型和图案寓意纳福延寿、如意美好，成对而存，实属难得， 是为清乾隆御造之宫廷节庆陈设佳器。 Searching from private and public collections, it can be known that the double-groud shaped vase in this design is extremely rare, which is newly created of the imperial ceramics of Qianlong period. A qianlong blue and white ‘kui-dragon‘ double-groud shaped vase in the Beijing Palace Museum, which in the same design, illustrated in Selected Porcelain from The Palace Museum, vol.2, Beijing, 2005, p.207, pl.183. Vases in the similar design are also collected Suzhou Museum and Nanjing Museum, which could be comparable. Geng Baochang has mentioned that may designed in both round and flat shapes, also named as ‘vase of happiness and longevity‘. The porcelains in elegant and regular shapeds, the present vase is a superior product of Qianlong period. The present vase in finely potted in elegant shape, fully covered with white glaze, fully decorated with vines in blue glaze, a dragon head decorated with the lower body of the vase, the tail is extended to the shoulders, the both sides decorated with ‘shou‘ character, the base inscribed with six-character reign mark in blue glaze. The present vase is in ‘hulu‘ shape, means ‘happiness and longevity‘. The decoration of dragon mebodies power of the emperor, and quite rare to kept in pair. PROVENANCE： Sotheby's Hong Kong, 4th Nov. 1994, Lot 150 LITERATURE： Selected Porcelain from The Palace Museum, vol.2, Beijing, 2005, p.207, pl.183 Porcelain Collected by SuZhou Museum, Beijing, 2009, p.174 Treasures in the Royalty, the Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.277

608 清乾隆  松石绿地洋彩填金福运齐天御制『古稀说』瓷板 高度：五十八·五厘米；宽度：二十五厘米 来源：1. 1940 年代上海“聚珍斋”张仲英旧藏     2.1942 年 -1972 年香港吴昆生旧藏     3.1974 年至 21 世纪初张仲英之子收藏 记录：伦敦苏富比，1974 年 11 月 4 日，编号 167 参阅：1.《故宫经典—故宫玉器图典》，故宫出版社，2013 年，页 190-191，图 152     2.《故宫经典—故宫屏风图典》，故宫出版社，2015 年，页 76-77，图 27 AN IMPERIAL EXQUISITE AND SUPERB ENAMELLED TURQUIOSE GLAZED AND GILTED CERAMIC SCREEN Qing Dynasty, Qianlong Period 58.5×25 cm×6 RMB: 3,500,000-5,500,000 608［附图：故宫博物院藏：清乾隆 青玉『古稀天子之宝』玺、『八徵耄念』玺］ 608［附图：故宫博物院藏：清乾隆 紫檀木边座嵌玉填金字屏风］ 608［附图：故宫博物院藏：清乾隆 碧玉古稀 说册］

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The present ceramic screen is composed with six panels, 【历史背景】 each is 25 centimeters wide, nearly 2 feet high, total length of 3 meters, which is built in magnificent size. The screen fully 乾隆四十五年 (1780)，高宗皇帝七十正寿之庆，当时的工部尚书 covered with turquoise green glaze for the ground, the glaze 彭元瑞上呈一篇《古稀之九颂》的颂词，采唐朝诗人杜甫《曲江》 is thick and elegant, decorated with gilted cloud patterns all “人生七十古来稀”之句，赞颂乾隆皇帝为“古稀天子”。高宗 over the whole body, like the emperor's imperial notepaper, 认为这句话“用意新而遣辞雅”，十分欣赏，为此他特意撰写《古 which is magnificent. The body carved \"imperial Ancient said\" 稀说》，把自己看成是千古之中唯一年登古稀的英明君主。 poetry, and fill with gold color, steady brushwork. The whole decoration is gorgeous and elegant, the poem pattern gilted 此文中，弘历为自己歌功颂德，充满了洋洋得意的情绪，同时也 in the turquoise green glaze in elegant style and embobies 相对客观的评定了自己一生的政绩。高宗一生，先后平定准噶尔， atmosphere of royal family, which shows noble palace 定回部，扫金川，靖台湾，降缅甸、安南，受廓尔喀降，平内地 furnishings of qianlong period. 三叛等，享有十全老人之美誉。他历数三代以下帝王年逾七十者， 只有汉武帝、梁高祖、唐明皇、宋高宗、元世祖和明太祖六人， The full text has 653 characters, and this set of porcelain screen 其中前四帝不值一提，元世祖和明太祖为一代枭雄，然“礼、乐、政、 has 339 characters. According to the content of its poetic 刑，有未遑焉”。“值此古稀者”，惟见自己。而他“五世同堂” patterns, it can be seen that this set of porcelain plates used to 的盛况，更是“自古所未有”。得意之情，不能自掩。 have 12 screens, and the existing six screens are the first, fourth, fifth, sixth, ninth and tenth screens. 【拍品描述】 It is worth to mention that the text which engraved on this 瓷板一组六屏，每屏宽 25 厘米，高近 2 尺，总长达 3 米，尺幅恢 screens is consistent with the imperial seal, which fully shows 弘壮观。施以吉翠松石绿釉为地，匀净厚润，色泽雅致，其上以 the hierarchical concept and sincere respect of the Qing palace 金彩描绘迤逦祥云，遍布全体，犹如皇帝御用笺纸一般，富丽堂 for heaven and ancestors. The production method of the 皇。祥云之上阴刻《御制古稀说》诗文，并填以金彩，笔法稳健， work shall be similar to that recorded in the archive of Qing 古拙沉雄，流露出凝练苍朴的金石趣味。全器装饰华丽而不失文 Court which mentioned above. According to the rules of the 雅，金彩诗纹在松石绿釉的衬托下愈显璀璨辉煌，色彩搭配精致， interior government, the manufacturing office of the interior 文字布局规整，体例考究，皇家气息浓厚，是一件尊贵的乾隆时 government shall issue the patterns and designs and then hand 期宫廷陈设大器。 them over to the imperial kiln factory for production. 《御制古稀说》全文共 653 字，此套瓷板共 339 字，依其文中内 This masterpiece of Qianlong's later years is exquisitely 容可知，此套瓷板原为十二屏，现存的六屏，分别为第一、四、五、 combined with this porcelain plate. The proportion of the 六、九、十屏。 porcelain plate is coordinated, the scale is magnificent, the pine stone green glaze is properly matched with the gold color, and 以现存六屏的布局体例可知，制作者非常讲究“顶格”，例如： there is a sense of gorgeous. The Imperial text is gilted, making 第三屏以“天”字、“祖”字顶格。第四屏以“上天”二字，第 the whole instrument full of Royal characteristics. The ceramic 二行“天”字，第四行“天”字，第五行“祖”字顶格等等。 screen is a rare piece of Qing palace furnishings. Although only half of this imperial treasure of the Qianlong Dynasty remains, 《古稀说》全文收录于《清高宗御制文二集》卷之六《说》目中（附 it is still precious, because it is the only porcelain product in the 图 1），此书在文渊阁《四库全书》中亦有收录。 Qing palace about the theory of imperial antiquity. Its source is clear and reliable, and its circulation is orderly. He first appeared in Shanghai in the spring of 1942, and then joined the hands of Zhang Zhongying, a big antique dealer. In the same year, Zhang transferred it to Wu Kunsheng, the then textile king. In 1949, he took him to Hong Kong to settle down and treasure it for life. It was bought by Zhang Zhongying's son and has been kept so far. PROVENANCE： Zhang Zhongying's Collection, 1940', Shanghai Wu Kunsheng's Collection, 1942-1972, Hong Kong Zhang Zhongying's Son Collection, 1974-21st Century Sotheby's London, 4th Nov. 1974, Lot 167 LITERATURE： Classics of the Forbidden City, Jade in the Collection of the Palace Museum, Beijing, 2013, p.190-191, pl.152 Classics of the Forbidden City, Screens in the Palace Museum Collection, Beijing, 2015, p.76-77, pl.27 608［附图：乾隆五十年七月二十九日九江关监督穆克登《进单》中相关记录］

【档案资料及其他相关御制器物】 才阿肃跪进：……御制古稀说刻玉版一册……。” 及乾隆四十六年七月十三日江苏巡抚闵鹗元《进 为志七十寿辰，乾隆皇帝又下谕旨选青玉制“古 单》：“恭进：……（交热河）制古稀说紫檀镶 稀天子之宝”玉玺（附图 2），印面四周镌刻填 嵌炕挿屏成座……”。 金《古稀说》诗文，与“八征耄念之宝”玺共贮 一紫檀木宝匣内，印匣外壁亦填金刻有《古稀说》 另外，乾隆五十年七月二十九日九江关监督穆克 和《八征耄念之宝记》，现藏于故宫博物院。乾 登《进单》中记述：“（奴才）穆克登跪进：……（交 隆四十五年十二月《各作成做活计清档》中记载： 热河）御制古稀说嵌瓷九屏风成座……”，为目 “ 初九日，员外郎五德催长大达色来说，太监鄂 前可查乾隆时期唯一一则瓷质《古稀说》清档记 鲁里交：碧玉古稀天子之寳一方（上贴本文五张） 录（附图 5）。另据黄清华先生考证：“此套瓷 传㫖：着照干清宫现设敬天勤民之寳匣一样配匣 板尺幅颇为恢弘，如此之物，文气甚浓，其放置 盛装，先呈样，钦此。”于四十六年二月十六日 之所必为高宗皇帝颐养天年之地。紫禁城的后廷 将碧玉寳一方配得紫檀木罩盖匣盛装，匣盖上懋 宫殿内房间面积一般不大，而摆设却不少，尤其 勤殿贴得御制诗本文，持进交太监鄂鲁里呈覧， 墙体各类装饰繁多，而且诸类摆设暗含吉祥寓意， 奉㫖交懋勤殿照本文刻，钦此。” 历朝更换甚少，若增换大型平面装饰，影响太大， 而类似圆明园和热河行宫等处为皇帝修养怡情之 值得注意的是，此件宝玺四周阴刻《古稀说》的 地，室内摆设较皇宫自由、宽松。”参考此前九 行文格式与拍品体例一致，充分展现出清宫敬天 江关进贡档内容中称“嵌瓷屏风交热河”，可推断， 法祖的等级观念和敬谨尊崇之心。拍品制作方式 此条档案或为拍品同类器之九江关进贡记录。 应与上述《清档》中记录相似，依据内府之规章， 由内务府造办处出具图样，后交由御窑厂烧造而 乾隆晚年这篇杰作，与此件瓷板巧妙的结合在一 成。 起，使得二者相得益彰。瓷板比例协调，尺幅恢弘， 松石绿釉与金彩搭配得当，庄严肃穆亦有华丽之 《御制古稀说》不仅镌刻在印章之上，于玉册、 感，金色的御制文似跃然而出，光灿夺目，使整 铜器、书画、织绣、家具亦有出现。故宫博物院 器饱具皇家特色。拍品是一件极难得的清宫陈设 现藏有户部左侍郎金简于乾隆七十大寿所进献的 佳器，具有极高的收藏价值。 嵌玉戗金古稀说桌屏（附图 3）及清乾隆御制古 稀说碧玉册（附图 4）等足可见高宗皇帝对于此 这件乾隆朝御物珍品，至今虽仅存一半，然不失 类古稀说作品之重视程度。朝廷上下倍亦加推崇， 其珍，因其为当今之孤品，是清宫里关于《御制 内府为之刊刻成书，流布社会，广为人知。乾隆 古稀说》的唯一瓷制品。它来源清晰可靠，流传 皇帝更视之为重要礼物，赏赐臣下与藩属，例如 有序。最初于 1942 年春现身上海，遂入大古玩 《清高宗实录》有载：“乾隆四十九年，恩赏安 商张仲英之手，同年由张氏转让给当时纺织大王 南国王缎各一、纸笔墨砚各一。特赐国王《古稀 吴昆生。1949 年吴氏携之赴港定居，珍藏终身。 说》，并御书“南交屏翰”四字”。 后为张仲英之子购得，秘藏至今。 这些内容于《清档》中亦有记载，如乾隆四十五 年十二月二十三日礼部右侍郎阿肃《进单》：“奴 608［附图：《御制古稀说》］

盖『 ‘’ 予予 宿以 ‘’ 志今 有年 年登 ，七 至袠 八， 旬因 有用 六杜 即甫 归句 政刻 而 颐古 志稀 于天 宁子 寿之 宫宝 ， 其， 』其 。次 ［章 为而 原即 第继 一之 屏曰 ］犹 日 孜 孜 ，

何『 肯为 如得 是半 夫而 ？失 由半 斯， 不然 自使 满予 歉观 然 其 ， 颂 若 ， 有 洋 所 洋 不 自 足 满 之 遂 意 以 充 为 之 诚 ， ， 以 若 是 此 为 则 敬 不 』 但 。 失 ［ 半 为 又 原 且 第 失 四 全 屏 ， ］ 予

民『 庶天 无之 始本 终， 之必 变益 耳凛 ，旦 以明 是毋 典敢 学或 为渝 实也 学。 ，以 以是 』为 。法 ［祖 为之 原规 第， 五必 屏 思 ］ 继 前烈 而慎 聪听 也。 以是 勤

思『 永是 之奋 枢武 机非 乎黩 ？武 如， 是以 而是 观筹 ，边 元非 瑞鉴 之空 九， 颂以 方是 且制 益作 深非 。虚 予饰 临。 深若 履夫 薄用 之人 戒行 ，政 则， 其旰 』 食 。 宵 ［ 衣 为 ， 原 孰 第 不 六 以 屏 是 ］ 为 慎修

为『 法佛 ，者 而。 其即 时所 其谓 政得 亦古 岂稀 有之 若六 今帝 日， 者元 哉明 ？二 是祖 诚为 古创 稀业 而 之 已 君 矣 ， ， 礼 夫 乐 值 政 此 刑 古 有 稀 未 者 遑 ， 焉 非 ， 』 其 。 余 ［ 四 为 帝 原 予 第 所 九 不 屏 足 ］

法『 祖上 、天 勤所 政赐 爱乎 民！ ，天 古赐 云古 ：稀 适于 百 予 里 ， 者 而 半 予 九 设 』 弗 。 以 ［ 敬 为 承 原 之 第 ， 十 弗 屏 励 ］ 慎 终如 始之 志， 以竭 力敬 天

609（空号） 610 清乾隆  仿官釉蒜头瓶 款识：『大清乾隆年製』六字三行篆书款 高度：二十七厘米 参阅：《故宫博物院藏文物珍品大系—颜色釉》，上海科学技术出版社、商务印书馆［香港］有限公司，1999 年， 页 183，图 166；页 237，图 215 A FINE AND GUAN-TYPE GLAZED GARLIC-SHAPED HEAD VASE Qing Dynasty, Qianlong Six Character Seal Mark and of The Period. High: 27 cm. RMB: 1,200,000-1,800,000 610［款识］ 610［附图：北京故宫博物院清宫旧藏  清乾隆  仿汝釉弦纹蒜头瓶］

610

蒜头瓶，因口若蒜头而得名，为清代官窑重要的 The present vase is elegantly potted with a 陈设佳器，许之衡著《饮流斋说瓷》中 < 说瓶罐 > globular body rising to a flat neck and a small 一章中载：『蒜头者，口似蒜头，而体段则近油 bulbous mouth. 锤，宋製已有之，后此尤火。纯色、青花多有之。』 拍品即为其中所载之纯色者。 A smaller garlic-shaped head vase is in the Palace Museum, Beijing, with similar glaze color and 故宫博物院清宫旧藏一件清乾隆仿汝釉蒜头瓶 mark, illustrated in The Complete Collection of ［参见《故宫博物院藏文物珍品大系—颜色釉》， Treasures of the Palace Museum, Monochrome 页 237，图 215］，釉色及款识写法与拍品相似， Porcelain, Shanghai & Hong Kong, 1999, p.183, 惟尺寸较小。同书中另外刊载一件清宫旧藏乾隆 pl.166; p.237, pl.215. There is an other Qianlong 时期茄皮紫釉蒜头瓶，于形製、尺寸皆与拍品相 aubergine glazed garlic-shaped head vase in the 近，亦可对比参考。相形之下，拍品颈部无弦纹 Palace Museum Beijing, which built in the similar 装饰，更具宋瓷极简风貌。形製上更为圆润秀美， size and design, could be comparable. 仿官釉色清幽古朴，彰显宋瓷素雅之美，乾隆皇 帝对宋器摹製讲究『仿旧须宗雅则』，取之精华， The present vase is fully covered with guan-type 重其气韵，亦有所创，推陈出新。 glaze, the foot rim painted with brown glaze, which shows the feature of porcelains in Song 器形秀丽，线条柔美，瓶口隆起如同蒜头，长颈 dynasty, the base inscribed with six-character 溜肩，垂鼓腹，圈足外撇，尽见迤逦之姿。通体 reign-mark. 尽施仿官釉，釉色匀净恬淡，静穆古雅，风韵内敛。 圈足底部一周呈酱釉铁色，是为仿宋官窑器之『紫 LITERATURE： 口铁足』特征，可见其用心精良，底落青花『大 清乾隆年製』篆书款。本器朴素无饰，以色取胜， The Complete Collection of Treasures of the 取法宋器，兼以化裁，工艺精湛，御窑之韵尽显 Palace Museum, Monochrome Porcelain, 其中，此类乾隆仿官釉之器传世不多，实为珍罕 Shanghai & Hong Kong, 1999, p.183, pl.166; 难得。 p.237, pl.215

611 清雍正  青花折枝瑞果纹抱月瓶 款识：『大清雍正年製』六字三行篆书款 高度：三十三厘米 记录：纽约苏富比，1992 年 12 月 1-2 日，编号 340 参阅：1.《宫廷珍藏——中国清代官窑瓷器》，上海文化出版社，2003 年，页 220     2.《故宫博物院藏文物珍品大系——青花釉里红［下］》，上海科学技术出版社，页 162，图 148 AN EXQUISITE AND RARE BLUE AND WHITE ‘FRUITS‘ MOONFLASK VASE Qing Dynasty, Yongzheng Six Character Seal Mark and of the Period . High: 33 cm. RMB: 3,500,000-5,500,000 611［款识］ 611［附图：北京故宫博物院藏 清雍正 青花釉里红三果纹灵芝耳扁壶］ 611［附图：国家博物馆藏 清雍正 青花三果纹灵芝耳扁壶］

611

抱月瓶，亦称『宝月瓶』。小口直颈、颈侧双耳， The compressed spherical body convex on the front and 因瓶腹似圆月，故名。外形最早源自宋元时期流 back sides, resting on a very low oval foot, rising to a slender 行于西夏的陶製马挂瓶，左右双系，用以挂于马 bulbous neck, flanked on the sides with strap handles with 鞍之侧，极具名族特色。明代永乐，宣德景德镇 raised central ribs and a leaf-shaped terminal enclosing 窑常见器物之一，后发展为清宫御瓷之经典品类， peony and camellia sprays, painted to the main sides with 始见于乾隆，止烧于道光，属于清宫每年必备的 a formal lotus spray with four blooms, the narrow sides left 大运琢器之一。 plain, the neck collared by bands of ‘classic‘ scroll, chevrons and key-fret. The design is highly effected by the Yongle 乾隆三十三年五月初三日一份《奏折》中称：『…… and Xuande periods in whole. The base is inscribed with 查得蓝册内珐琅圆琢器：……乾隆年欵琢器内選 six-character reign mark with blue glaze. The whole design 出一千一百六十件，其中：……青花福壽杏元雙 is exquisite and unique. It is classical of Qianlong official 帶馬掛瓶十五件……』。或为拍品之清宫贮藏记 kiln. According the imperial of Qing court, the official kiln 录。另据其他档案资料得知，乾隆朝每年烧造数 produced moonflask vases less than 5 pairs, which made 量不过五对，存世不多，珍罕可见。 such vases rarer and more valuable. 拍品与台北故宫博物院藏清乾隆青花杏元福寿纹 There is a Qianlong blue and white moonflask with the same 马挂瓶［馆藏编号：中瓷 -003549］相同。同类 design (No. 中 瓷 -003549) in the Palace Museum Taipei, 器另见南京博物院藏品［参见《宫廷珍藏——中 other Jiaqing blue and white moonflask vase in the Palace 国清代官窑瓷器》，2003 年，页 220］。故宫博 Museum Beijing, illustrated in The Complete Collection of 物院藏有一件清嘉庆青花桃蝠纹如意耳扁壶［参 Treasures of the Palace Museum, Blue and White Porcelain 见《故宫博物院藏文物珍品大系——青花釉里红 with Underglazed Red, Vol.III, Shanghai & Hong Kong, ［下］》，页 162，图 148］，可见不同时代此 2000, p.162, pl.148, from which shows the evolution and 类器之演变传承。 inheritance of this kind of vase in different ages. 本品器型尊贵高雅，端庄俊秀，唇口外撇，短直 PROVENANCE: 颈，扁圆腹，颈肩两侧设如意绶带双耳，方足外 撇。整器白釉莹润亮泽，其上以青花绘饰，瓶口 Sotheby's New York, 1st-2nd Dec. 1992, Lot 340 自上而下分绘枝缠枝灵芝纹、如意云头、缠枝番 莲莲纹样。腹外壁中央微凸起桃形开光，内绘福 LITERATURE： 寿图作主题纹饰，有寿上加寿之吉意。折枝寿桃 硕果细叶，间有祥蝠相伴，雍荣华贵，福寿齐天， Treasures in the Royalty, the Official Kiln Porcelain of the 构图疏朗，更为凸显。开光外满饰缠枝番莲花， Chinese Qing Dynasty, Shanghai, 2003, p.220 足墙饰卷草纹一周，腹侧绘缠枝灵芝纹条带状饰。 The Complete Collection of Treasures of the Palace 青花发色鲜明，苍翠欲滴，钴蓝釉料凝滞成块， Museum, Blue and White Porcelain with Underglazed Red, 并刻意点蓝斑，营造铁锈斑的样貌，这种效果应 Vol.III, Shanghai & Hong Kong, 2000, p.162, pl.148 是追仿明永乐、宣德时期青花釉料之特色，别具 新意。底足露胎一圈，足内中央青花书『大清乾 隆年製』三行六字篆款，结构规整，笔力遒劲。 全器工艺精湛细腻，独具绰约之姿，是为乾隆官 窑之标准佳器也。 611［附图：乾隆三十三年五月初三日一份《奏折》中相关内容］

612 清乾隆  青花缠枝四季花卉海浪纹双龙耳尊 款识：『大清乾隆年製』六字三行篆书款 高度：五十二厘米 记录：北京拍卖行，2014 年 11 月 21 日，编号 1193 参阅：1.《天津市艺术博物馆藏瓷》，文物出版社，1993 年，图 165     2. 香港苏富比，2006 年 10 月 8 日，编号 1058 A FINE AND RARE BLUE AND WHITE ‘FLOWER‘ HANLDED VASE Qing Dynasty, Qianlong Six Character Seal Mark and of the Period. High: 52 cm. RMB: 2,800,000-3,800,000 612［款识］ 612［附图：天津艺术博物馆藏  清乾隆  青花缠枝花卉纹双耳尊］ 612［附图：香港苏富比 1998 年 4 月 28 日编号 789 封面拍品］

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仿古之风始于宋代，当时的文人热衷于通过古器 The style of the present vase is started in the Song Dynasty, 物考证古代的典章製度，且以好古来增添文房清 the scholars are loved to valued the political systems of 趣，这种好古之风到乾隆时期更是盛极一时。乾 ancient times. The emperor Qianlong accepted Han 隆皇帝自幼接受汉族传统文化教育，以儒家思想 education from his childhood, and devoted to the ancient 治理天下并真心热爱古代文化，具有浓厚的慕古 culture. At that time, the nation was strong and unbreakable, 之情。当时国力强盛，文化事业特别是金石学的 and cultural undertakings, especially the study of gold and 研究蓬勃发展，安定的社会环境给手工业生产水 stone, flourished. The stable social environment provided 平的进步提供了基本保障，所有这些都为乾隆朝 basic guarantee for the progress of handicraft production 仿古之风盛行创造了条件。乾隆朝的仿古范围十 level, all of which created conditions for the prevalence of 分宽泛，最为核心的则是对商周青铜礼器的仿製， archaize in the Qianlong Dynasty. The scope of archaize of 有如本品。 Qianlong dynasty is very broad, the most core is imitation of bronze ritual vessels of Shang and Zhou, like this article. 拍品体型较大，胎体坚实，古朴大方，乃仿自商 周时期青铜壶式之造型。翻阅海内外公私著录， The present vase is finely built in larger size, and with strong 与拍品相同者仅见天津市艺术博物馆藏清乾隆青 body, the design is effected by the west Zhou dynasty bronze 花缠枝花卉纹双耳尊［参见《天津市艺术博物馆 vase. Searching through private and public literature, there 藏瓷》，图 165］。另外香港苏富比 1998 年春拍 is an unique vase in the same design, which illustrated 封面作品，造型与拍品相同，上下边缘纹饰及布 Porcelains from the Tianjin Municipal Museum, Beijing, 局略有出入，亦可对比参考，此件后于香港苏富 1995, pl.165. The other one was sold in Sotheby‘s Hong Kong 比 2006 年秋季再次拍卖，当时成交价为 684 万港 in the autumn, 1998, which in the same design and similar 币，可见此类器之珍贵。 patterns, could be comparable, and then sold in Sotheby‘s Hong Kong in the autumn, 2006, at HKD. 6,840,000, which 此壶庄重古雅，沉稳敦实，胎体厚重坚缜，釉面 shows how valuable and rare the vase is. 莹洁光润，敞口，短粗颈，肩部两侧附双龙耳， 对称而为，巧思可见，扁圆腹下垂，椭圆形圈足 This vase is solemn and ancient, composed and solid, the 外撇。通体白釉上以青花绘饰，自上而下繁密铺陈， body of the abdomen is heavy and firm, the glaze is bright 呈带状分布，依次饰以蕉叶纹、折枝花饰带、缠 and clean, along with an open, short and thick neck, double 枝花卉和海浪纹，腹部以缠枝四季花卉纹为主题 dragon handles are attached on both sides of the shoulder, 纹饰，足墙饰仰莲瓣纹、折枝花及如意勾云璎珞 symmetric, qiaosi can be seen, flat round abdomen ptosis. 纹。绘工精细纯熟，用笔一丝不苟，青花发色明翠， The body is decorated with painting in blue and white glaze, 呈仿永宣青花之式，采用点染之法，可见烧造工 which is densely spread from top to bottom in a ribbon-like 艺之绝妙高超，器底中央青花落『大清乾隆年製』 distribution. It is decorated with banana leaf pattern, folded 篆书款。本品风雅隽永，古意盎然，置于殿堂书 branch flower belt, wrapped branch flower and wave pattern. 房之间，可解思古之幽情，可悟审美之清趣，实 The abdomen is decorated with four seasons flower pattern, 为清乾隆御造仿古之青花上品，从中可见清代宫 and the foot wall is decorated with lotus petal pattern, folded 廷陈设大器之典型样貌，殊为难得，传世不可多见。 branch flower and ruyi cloud wreaths. The painting work is fine and skillful, the pen is meticulous, the blue and white hair color is bright and green, showing the blue and white type of imitation from Yongle and Xuande periods, using the method of spot dyeing, which can be seen that the firing technology is quite mature, the base inscribed with six- character reign mark in blue glaze. This article is elegant and meaningful, full of ancient meaning, placed between the palace study, can understand the ancient feelings, can understand the aesthetic of the Qing dynasty, it is the qing Qianlong royal made antique blue and white top grade, from which can be seen the typical style of the furnishings in Qing palace. PROVENANCE: Beijing Auction Co., 21st Nov. 2014, Lot 1193 LITERATURE： Porcelains from the Tianjin Municipal Museum, Beijing, 1995, pl.165 Sotheby‘s Hong Kong, 8th October 2006, Lot.1058

清代工匠善于观物取义，仿明技艺鬼斧神工，此于雍正仿製中 Craftsmen in the Qing Dynasty were expert at observing things and taking 体现淋漓。雍正青花选料精细，工艺严格，『参古今之式，汇 righteousness, and imitated the craftsmanship of the Ming Dynasty, which was 以新意，备储巧妙』，有『明看成化、清看雍正之说』。永宣 vividly reflected in the imitation of Yongzheng. The blue and white porcelain 青花『苍妍雄浑』之品格最得雍正青睐。据《清档》记载，雍 of Yongzheng period are fine and the making process is strict. Blue and white 正帝曾不止一次遣送清宫所藏瓷珍至景德镇以资效仿，为了达 cangyan vigorous character is most favored by the emperor Yongzheng. 到与永乐本朝一致，通常无款。本器即为其中之佳作，造型源 According to the records in the Qing Archives, The emperor Yongzheng sent 自阿拉伯铜器。 porcelain treasures stored in the Qing palace to Jingdezhen several times to reproduce. In order to be consistent with the Yongle Dynasty, the porcelains 台北故宫博物院及英国大维德中国艺术馆均藏有明初青花花 usually without marks. its shape effected from Arabic bronze. 鸟纹宝月瓶，尺寸较大，但与拍品于形製、风格及装饰纹样 上似有异曲同工之妙，从中可见此式清宫御作对永宣器之效 There are blue and white ‘birds‘ moonflask vases holds in Taipei Palace 仿及创新，佳作难得。两例分别著录于《故宫藏瓷—明青花 Museum and Percival David Foundation of Chinese Art, with the same design 瓷［一］·洪武永乐》图版 9、9a；及苏玫瑰编著《Imperial but in larger size, which shows the imitation and creation for Yongle and Taste - Chinese Ceramics from the Percival David Foundation》， Xuande porcelains by Qing courts. One of them illustrated in Porcelain of 伦敦，1989 年，页 59，编号 30。更耐人寻味的是，赫拉特 the National Palace Museum, Blue - and - White Ware of the Ming Dynasty 现存一幅公元 1488 年的画作中也有一例相同的瓷瓶，图见 Book I, Hong Kong, 1963, pl.9, 9a; an other published in Imperial Taste, Sultan-Alial-Katib 于公元 1488 年 6 月以萨迪《果园》诗集为 Chinese Ceramics from the Percival David Foundation, London, 1989, p.59, 题材创作的《苏丹侯赛因宫廷宴客图》。由此可见，这类作品 no.30. What is more interesting is that there is also a same vase in an existing 在近东宫廷亦大受欢迎，而画中瓷瓶很可能是永乐年间流入赫 painting of Herat in 1488. See Sultan alias katib's picture of Sultan Hussein's 拉特［当时为帖木儿商业重镇，现位于阿富汗境内］的外交礼 Palace Banquet with the theme of sadi's orchard poems in June 1488. It can 物。 be seen that such works are also very popular in the Near East courts, and the porcelain vase in the painting is likely to be a diplomatic gift flowing into herat 本品造型优雅隽秀，圆润饱满，直口短颈，颈侧附饰双云耳， (an important commercial town of Timur at that time and now located in 扁圆腹，椭圆形圈足。外壁满以青花绘饰，颈饰竹叶纹，肩及 Afghanistan) during the reign of Yongle. 足胫处皆饰如意蕉叶纹，遥相呼应，层次清晰，腹部一面画一 对鹊鸲登梅树相互对唱；另一面绘一对白头鸟栖息于杏花树 The compressed spherical body convex on the front and back sides, resting 上，一鸟回首仰望其同伴。两面画面有别，各自枝头皆登双鸟， on a very low oval foot, rising to a slender bulbous neck, flanked on the sides 对视顾盼，登枝报喜，别富佳趣。全器形製规整，小器大样， with strap handles with raised central ribs and a leaf-shaped terminal enclosing 玲珑别致，构图舒朗清逸，画工严谨沉稳，青花明快凝练，透 peony and camellia sprays, painted to the main sides with a formal lotus spray 出皇家独有的尊贵典雅气派。 with four blooms, the narrow sides left plain, the neck collared by bands of ‘classic‘ scroll, chevrons and key-fret. 拍品所绘纹饰构图格局清朗舒逸，从中可见院体绘画之风貌， 花鸟画向来为历代皇室宫廷所推崇，是中国绘画的重要艺术题 There is an other Yongzheng blue and white moonflask vase of Qing dynasty 材之一，《宣和画谱》中所收录宫廷藏画中阐述花鸟画题材及 in Beijing Palace Museum, illustrated in The Palace Museum's Collection of 其重要性的篇幅便有五卷之多，崔白等众多画家皆留有花鸟名 Blue and White Porcelains from Yongzheng Period of Qing Dynasty, Beijing, 作著称于世，长于细笔勾勒，作品生动传神，这不仅进一步完 2017, p.205, pl.123, and other Yongzheng period blue and white ‘flower and 善了写生技法，亦使绢本和纸本花鸟画的发展攀上了新的高 birds‘ moonflask vase was sold Chirstie‘s Hong Kong, 3rd June 2015, Lot.3126 峰。精于画艺的北宋徽宗即对花鸟题材颇为钟爱，用笔细腻， at HKD. 17,440,00. 画境生动，纽约大都会艺术博物馆藏《竹禽图》，画中小鸟立 于枝叶掩映的翠竹枝头 , 画意与拍品相近，且都采用了双鸟对 The decoration on two sides of the body is improved to two birds. This 望的方式，与拍品所饰不谋而合。本品所绘将中国花鸟画流行 composition inherited from the painting of the Northern Song Dynasty, and 题材及经典构图集于一体，可谓用心，精雅非凡。 the aforementioned flower and bird album of the emperor Huizong is the best proof of it. From a comprehensive view, the pattern of this vase is more 与拍品尺寸相若者，参见故宫博物院清宫旧藏清雍正青花花鸟 complex than that of the version in the early 15th century, but its painting is 纹宝月瓶［录于《故宫博物院藏清雍正青花瓷器》，故宫博物 more delicate. 院，编号 123］；及原属乐山堂旧藏一件清雍正青花花鸟图双 耳抱月瓶，后售于 2015 年香港佳士得春拍，编号 3126，当时 PROVENANCE: 成交价为 17,440,000 港币。 Xu Zhantang's Collection 值得注意的是，拍品此件前后瓶腹的纹饰题材增至双鸟，非常 Christie's Hong Kong, 27th May 2008, Lot 1828 见之单鸟而立，此构图方式与北宋绘画一脉相承，前述徽宗的 花鸟册页便是最佳证明。综而观之，本拍品的纹饰格局要比 PUBLICATION: 十五世纪初的版本复杂，但其画工却愈加细腻。与此同时，疏 影横斜的虬枝与娇美的梅花对比鲜明，而叶繁枝柔的杏树也与 The Tsui Museum of Art, Hong Kong, 1995, No.62 饱满妩媚的杏花相映成趣，笔法意趣均深得丹青之妙。 LITERATURE： Porcelain of the National Palace Museum, Blue - and - White Ware of the Ming Dynasty Book I, Hong Kong, 1963, pl.9, 9a Imperial Taste, Chinese Ceramics from the Percival David Foundation, London, 1989, p.59, no.30 The Palace Museum's Collection of Blue and White Porcelains from Yongzheng Period of Qing Dynasty, Beijing, 2017, p.205, pl.123 Chirstie‘s Hong Kong, 3rd June 2015, Lot.3126

613 清雍正  青花『喜上眉梢』图抱月瓶 高度：十八·五厘米 来源：徐展堂收藏 记录：香港佳士得，2008 年 5 月 27 日，编号 1828 出版：《徐氏艺术馆陶瓷 IV 清代》，香港，1995 年，编号 62 参阅：1.《故宫藏瓷—明青花瓷［一］·洪武永乐》，香港开发股份有限公司，1963 年，图版 9、9a 2.《Imperial Taste - Chinese Ceramics from the Percival David Foundation》，伦敦，1989 年，页 59，编号 30 3.《故宫博物院藏清雍正青花瓷器》，故宫出版社，2017 年，页 205，图 123 4. 香港佳士得，2015 年 6 月 3 日，编号 3126 AN EXQUISITE AND RARE BLUE AND WHITE ‘BIRDS‘ MOONFLASK VASE Qing Dynasty, Yongzheng Period. High: 18.5 cm. RMB: 1,500,000-2,000,000 613［附图：埃及书籍组织藏品］ 613［附图：纽约大都会艺术博物馆藏  北宋 赵佶 竹禽图［局部］］ 613［附图：故宫博物院清宫旧藏  清雍正  青花花鸟纹如意耳扁瓶］ 613［附图：英国大维德中国艺术馆藏  明永乐  青花鳥立花枝纹 双耳扁壶］

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614 明末清初  铜冲耳炉 款识：器宁而静，质坚而文，鸟叚云上，吐纳烟云，静观主人 高度：二十·五厘米；重量：8620 克 A FINE GILT-SPLASHED BRONZE CIRCULAR CENSER Late Ming/Early Qing Dynasty. High: 20.5 cm.  Weight: 8620g RMB: 1,200,000-1,500,000 冲耳炉形製源出宋代瓷炉，宣德皇帝以其置于 The shape of censer inherited from Sony 政务殿阁，盖因取其『敬天法相』之意也。因 dynasty, which is displayed in the Zhengwu 其线条优雅流畅，故而被后世广泛应用于宫廷， palace. Because of its elegant and smooth shape, 文房，祭祀等诸多重大场所。 it is widely used in many important places such as court, study, sacrifice and so on. 整器铜质缜密，造型浑圆，宽阔厚重，气质庄 重沉稳，磅礴大气。唇口外侈，短颈微微内凹， The whole censer is made of meticulous copper, 斜下出扁鼓腹，缓收出器底，三乳足承托器身， rounded shape, wide and thick, solemn, calm 健硕有力。口沿两端向上起双冲耳，线条过渡 and majestic. The mouth rim are extravagant 平缓自然，张弛有度，势内收，处理极为精妙。 outside the mouth, the short neck is slightly 内膛平整，烧结老道。铜质细腻匀净，包浆淳 concave, the flat drum abdomen is inclined 厚温润，色泽为藏经纸色，深沉高古，因色近 downward, the bottom is retracted, and the 佛家经典，故乃铜炉中首色，为藏家所重。炉 three feet support the body, which is strong and 底开框规整见方，内铸二十字篆书款，『器宁 powerful. The mouth rising handles, the line is 而静，质坚而文，鸟波人上，吐纳烟云，静观 gentle and natural, the relaxation is moderate, 主人』，布局规製，结体方正，笔划锋芒毕露， the potential is retracted, and the treatment is 颇有意趣。 very exquisite. The interior of the body is flat. The bottom inscribed with 20-character seal 此炉胎体厚重，铜质精粹，观之沉稳古雅，宝 mark are cast inside, the layout is regulated, the 气内蕴。叩之声妙，其声亮丽清正，回颤有韵， structure is square, and the strokes are sharp and 清越绵长，可见其材质之精，熔铸之精。拍品 revealing. 造型、铸工等特征，处处彰显着由明入清的时 代所属，既有晚明私款炉遗风，又有入清后的 This censer has a heavy carcass and the essence 规製秀雅，款识罕见，十分难得，是为书房陈 of copper. It is calm, ancient and elegant, with 设之雅器。 treasure gas inside. The sound of knocking is wonderful. Its sound is bright and clear, with rhyme in the back. It is clear and long. We can see the essence of its material and casting. The characteristics of the present censer, such as the shape and foundry shows features of Ming and Qing Dynasties. It embodies the legacy of private furnace in the late Ming Dynasty, and also the elegant regulation after entering the Qing Dynasty. The style is rare, which represents elegant style.

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