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

3420 A CLOISONNÉ ENAMEL 'DRAGON' CENSER AND 明萬曆  銅胎掐絲琺瑯雲龍捧壽紋蓋爐 COVER           「大明萬曆年造」 WANLI PERIOD, 1573-1620 來源 PROVENANCE 1. 巴茲爾．古德 (1883年-1957年)舊藏，此後家族承傳 1. Sir Basil Gould CMG., CIE. (1883-1957), thence by descent 2. 倫敦邦瀚斯，2007年11月5日，編號98 2. Bonhams London, 5 November 2007, lot 98 出版 LITERATURE 乾坤堂，《獵古研珍》·貳，2007年，香港，頁44-49 Seeking Antiquities. Studying Treasures, M & C Gallery, Hong Kong, 2007, pp. 44-49 HK$ 1,000,000 - 1,500,000 US$ 128,000 - 192,000 L 31.3cm W 21.8cm H 33.5cm 此爐呈長方形，掐絲琺瑯裝飾，四吞獸足，朝天方橋 The rectangular censer is supported on four legs depicted 耳，蓋鏤空，火焰形爐頂，為典型的明中晚期銅爐造 with the front profile of a lion in cloisonne enamel. The front 型。爐身以寶藍色琺瑯料為地，爐身正背兩面，掐絲飾 and back of the censer is depicted with two dragons pursuing 雙龍拱壽紋樣，龍為花草夔龍，是嘉靖萬曆兩朝常見的 a yellow pearl that encircles a 'shou' character. The dragons 花尾龍，鬚發上揚，眼睛圓睜，豬鼻嘴，游龍穿花，中 are depicted in red against a blue ground. Two handles rise on 間黃地寶珠，內有「壽」字，十分醒目。寶珠之上黃料 the sides, also enamelled with flower motifs. A flaming pearl 裝飾兩個「卍」字符，意寓「萬壽無疆」。下有一周蓮 sits on top of the elaborate openwork cover. A six character 瓣裝飾。爐身側面同樣以寶藍料為地，飾花草紋，海水 mark of Wanli is enamelled at the base. 之上藍色寶瓶中插戟掛罄，左右兩側各有尾鯰魚，意寓 「吉慶有餘」。四足肩以掐絲琺瑯裝飾獸面。蓋以淺藍 釉為地，鏤空飾雙龍戲珠，雙龍眼視上方，中間凸起圓 台，上面升起寶珠，在熊熊火焰中燃燒，雙龍正追趕嬉 戲著這顆火珠，在空中盤旋。此蓋爐可作熏爐使用，蓋 面鏤空縫隙可以飄出煙霧。底部中央嵌方型框，內書 「大明萬曆年造」掐絲填紅釉款。整器造型優美，品相 極好，用材講究，琺瑯料發色極正。紋飾佈局細密整 齊，排篦精細，層次鮮明飄逸，極富動感。本品造型精 美，方正有度，長年的精心呵護，使得蓋盒品相極佳， 釉色深沈純淨，推光溫潤，當為明代皇室美器。 Mark 出版於乾坤堂，《獵古研珍》·貳，2009年，香港，頁44-49 Palatial Splendour: Imperial Ceramics and Works of Art 88  御貢凝輝：宮廷御製珍品

明萬曆 銅胎掐絲琺瑯雙龍捧壽紋四足爐 © 故宮博物院 明代皇家御用監為製作琺瑯器的官方機構，存世琺瑯器 Wanli mark and period cloisonné vessels of this size are 中，僅宣德、景泰、嘉靖與萬曆四朝的器物帶有官方年 extremely rare, and are only found in a selected number of 款。北京故宮珍藏掐絲琺瑯器四千餘件，其中萬曆款琺 museum and private collections. For a similar example of a 瑯十五件，盤三件、爐三件、盒三件、燭台二件、甪端 Wanli period incense burner of fangding form in the Palace 四件；台北故宮已知萬曆琺瑯器僅一件，即口徑48公分 Museum, Beijing, see Metal-Bodied Enamel Ware: The 的雙龍紋菊瓣式盤；另外，瑞士私人收藏一件口徑10.5 Complete Collection of Treasures of the Palace Museum, p.53, 厘米的壽字紋圓盒。通觀萬曆款琺瑯器，在釉色、圖 pl.51 (fig.2). It is much smaller (23.5cm high) than the current 案、掐絲、款識以及用途等方面都有別於其它時期，形 example, and the original Wanli mark has been replaced by 成萬曆朝獨有的特色。 a Jingtai mark. Another smaller example of this type, but with a replacement cover, was sold at Sotheby's New York, 18 萬曆一朝，銅胎掐絲琺瑯器者，相見尤少。觀本品，琺 September 2007, lot 136. A censer of similar size from the 瑯發色精純，彩調配比自然，足見匠者修藝熟善。參考 McLaren collection, also with a replacement cover, was sold 一略小作例，仿景泰年款，藏故宮博物院，錄《故宮博 at Sotheby's London, 16 June 1999, lot 720. 物院藏文物珍品全集——金屬胎琺瑯器》，香港，2002 年，圖版51，明萬曆銅胎掐絲琺瑯雙龍捧壽紋四足爐， See Garner, Chinese and Japanese Cloisonné Enamels, p.67, 兩者造型紋飾相同。唯故宮博物院方爐底款上被嵌上長 and pls.47a and b, for a small box and cover with similar 方形刻有「大明景泰年製」鎏金款，應為後加景泰款， shou medallions from the collection of Sir Percival David, now 本品原裝萬曆年款，更加罕見。亦見一略大例，署萬曆 in the collection of Pierre Uldry, included in the exhibition 年款，P.D. Krolik收藏，曾兩售於倫敦蘇富比1962年12 Chinesisches Cloisonné, Museum Rietberg, Zurich, 1985, 月11日，編號107及1970年2月24日，編號26。另見一 cat. no. 112; and Garner, op. cit., pl.47c, for a dish, both with 對，售於倫敦蘇富比1972年2月15日，編號5。再見一略 a six-character mark within a rectangular panel on a 'cloud 小例，兩售於紐約蘇富比1976年1月17日，編號356及 swirl' ground similar to the present piece. A large foliate-rim 2007年9月18日，編號136。 charger, with similar six-character Wanli mark to the current example was sold at Christie's Hong Kong, 30 May 2005, lot 1267. 明萬曆 銅胎掐絲琺瑯方爐一對 巴黎Hotel Prouot，1971年6月7-8日，編號358 Palatial Splendour: Imperial Ceramics and Works of Art 90  御貢凝輝：宮廷御製珍品

3421 A CLOISONNE ENAMEL RITUAL VESSEL, LEI 清早期  銅胎掐絲琺瑯饕餮紋飛鳥罍 EARLY QING DYNASTY, 17TH CENTURY 來源 PROVENANCE 1. 美國西岸藏家收藏 1. A west coast of America collection 2. 1990年代購至三藩市Fairmont Hotel內Ashkenazi古董 2. Acquired in 1990s in Ashkenazi in Fairmount Hotel, San 珠寶店 Francisco HK$ 750,000 - 950,000 H 58.4cm US$ 96,000 - 122,000 此器原形為商代青銅罍，罍圓唇，口部外翻，束頸，折 Of a tapered body supported on a splayed foot, rising to full 肩，鼓腹下收，高圈足外撇。口沿處掐絲琺瑯倒垂蕉葉 shoulders and a waisted neck to an everted rim. The center of 紋，其下一周菱形紋飾，其間裝飾火焰鼓釘，頸部至肩 this vessel is decorated with a reinterpretation of the ancient 裝飾拐子夔龍紋，肩部接三隻鎏金飛鳥，腹部正中前後 'taotie' mask motif in the center, with upright plantain leaves 各飾饕餮紋，間飾纏枝花卉紋。饕餮紋色彩華麗，紅黃 below. 藍綠白交相輝映，線條描繪細膩，繁而不亂，與飛鳥 呼應，更添威嚴神秘之感。腹部之下與頸部紋飾相似， 自上至下依次為蕉葉紋、菱格紋、纏枝蓮紋和拐子夔龍 紋。整器流光溢彩，華美富麗，圖案佈局合理，繁複緊 密而不見絲毫凌亂，釉彩過渡自然而首尾相得益彰。 源自於國外的掐絲琺瑯工藝，因其特性，它既適合宮廷 殿閣環境的陳設，又能滿足皇家貴族的審美需求，故 而從其技術引進伊始便成為皇家工藝品重要的一類。 清早期至乾隆朝琺瑯器的製造達到鼎盛期，宮廷造辦處 設有專門的作坊，製作大到宮廷禮器、陳設，小到文房 用品、生活用具。康雍乾三代皇帝崇尚師古，下令製作 了許多仿古琺瑯作品，這些作品多源自商周青銅器，如 爐、尊、壺、觥、觚、甗等，其上常飾蕉葉紋、獸面紋 等。其特點為造型規範、色彩絢麗、花紋工整、鍍金厚 重、做工考究、精益求精，具有濃重的宮廷色彩和皇家 氣息。這些仿古琺瑯器既滿足了皇帝的精神需求，又繼 承了中國的傳統文化，愈發顯現出琺瑯器的藝術魅力。 Palatial Splendour: Imperial Ceramics and Works of Art 92  御貢凝輝：宮廷御製珍品

清康熙 銅胎掐絲琺瑯罍 © 故宮博物院藏 此器原形為商代青銅罍，可參考河南省博物院藏一件商 This vessel belongs to a group of cloisonné objects produced 中期獸面紋牛首尊，見《中國青銅器全集》，北京， in 17-18th century decorated with archaistic designs and 1996年，卷1，編號114；《西清古鑒》亦有著錄相似器 inspired by archaic bronze forms. This is noted by Sir Harry 物，見《西清古鑒》，北京，乾隆十四年（1758），卷 Garner in Chinese and Japanese Cloisonne Enamels, London, 10，頁35。晚明以來常見三代銅器為標準而創作器物， 1970, p. 81, where he notes: \"the shapes of these vessels 金玉竹木皆有為之。這一慕古風尚上接宋代宣和，下迄 are almost always based on those of ancient bronzes, such 清乾隆，然而雖以古物為本，裝飾大多數實則為本朝創 as the ku, hu and ting. The vessels are well made and the 意。宋人的仿古在徽宗時期到達頂峰，官方主持製作仿 enamels cover a wide range of colours, generally set against a 古器物，發放大臣家廟及學宮供奉祭祀，多少有政治含 deep turquoise-blue ground.\" 義，意在確立皇權的正統，統一禮制；明代晚期的仿古 則多了市民意趣，既有忠實仿造，亦有天馬行空的古風 A Qianlong cloisonne lei vase of slightly different proportions 作品；清代，特別是早期康雍乾三代的仿古，既有政治 and decoration was sold in Christie’s London, 7 June 1993, 意圖，亦有美學創意，所謂「以遊藝之余功，寄鑒古之 lot 122. A cloisonné lei vessel of the design to the current 遠思，亦足稱升平雅尚」。 example is in the collection of the musée des Arts décoratifs, Paris, illustrated by Beatrice Quette (ed.) in Cloisonné: 清人喜諧音象形等吉祥裝飾，便將商尊肩部常見的牛 Chinese Enamels from the Yuan, Ming and Qing Dynasties, 首、龍首改為三個飛鳥，寓意海晏河清。掐絲琺瑯經過 Bard Graduate Center, New York, 2011, p. 99, fig. 5.31. 明代的發展，清初的進步，到清早期時掐絲精細，發 色艷麗，仿古器型因為出土實物而更加逼肖。故宮博物 院藏有一件相似的清代早期掐絲琺瑯三陽開泰尊可資比 較，見《故宮博物院藏品大系琺瑯器編》，北京，2011 年，卷2，編號16；亦可參考香港佳士得1999年4月6 日，編號564，清乾隆掐絲琺瑯獸面紋尊。 Palatial Splendour: Imperial Ceramics and Works of Art 94  御貢凝輝：宮廷御製珍品

Palatial Splendour: Imperial Ceramics and Works of Art 96  御貢凝輝：宮廷御製珍品

3422 A GILT-BRONZE 'DRAGON' RITUAL BELL, BIANZHONG 康熙五十四年（1715年）  KANGXI MARK AND PERIOD, DATED TO THE 54TH YEAR, 銅鎏金「蕤賔」交龍紐編鐘 CORRESPONDING TO 1715 「康熙五十四年製」「㽔賔」 PROVENANCE An important Hong Kong private collection 來源 香港重要藏家收藏 LITERATURE M & C Gallery, Seeking Antiques-Studying Treasures II, Hong 出版 Kong, 2009, pp.8-15 乾坤堂，《獵古研珍》·貳，2009年，香港，頁8-15 H30.8cm 參閱 1. 故宮博物院編，《宮廷珍寶——故宮博物院藏文物珍 品大系》，香港，2004年，頁6 2.《大清盛世·瀋陽故宮文物展》，國立歷史博物館， 台北，2011年1月29日至5月1日，頁1583 3. 萬依，王樹卿，陸燕貞主編，《故宮經典清宮生活圖 典》，北京，2007年，頁29 皇朝禮器圖冊之「朝會中和韶樂編鐘」，故宮博物院藏 圖，清冷鑒、黃門等合繪 HK$ 4,500,000 - 6,500,000 US$ 575,000 - 831,000 出版於乾坤堂，《獵古研珍》·貳，2009年，香港，頁8-15 「十二個內，蕤賔，五月，異谷古」 Marks Palatial Splendour: Imperial Ceramics and Works of Art 98  御貢凝輝：宮廷御製珍品

清冷鑒、黃門等合繪 清康熙 五十二年編鐘一套 © 故宮博物院 皇朝禮器圖冊「朝會中和韶樂編鐘」 © 故宮博物院 此鐘鑄於康熙五十四年，即1715（乙未）年。鑄造精 The gilt-bronze bell is cast with a handle formed by two dragon 細、嚴謹，盡顯皇家氣派。此鐘為一套十六枚編鐘之 heads. Each dragon has the mouth opened showing sharp 一，鑄銅鎏金，以失蠟法鑄就，鐘鈕為五爪雙龍交泰。 fangs, with two long horns extending to its neck alone the 此鐘口部平齊，又稱「鎛鐘」。鐘體呈鼓形，渾圓、飽 mane, and large claws clutching the flat top of the bell. Five 滿，莊重威嚴。鐘腹有六道弦紋，將鼓部分割成五個平 horizontal alternating bands of bosses laid out in the mid- 行框帶，四個區，從上至下，第一、三、五框內飾三個 section of the body, separated by four vertical rectangular 一組的乳釘狀「音枚」；第二、四框內飾八卦紋；鐘體 panels outlining four sections at cardinal directions. High 兩面正中分刻楷書「蕤賔」和「康熙五十四年製」款， relief of seven-character reign mark on the front panel, and 上方為太極圖，下為一爻，乃萬物之始；鐘下方近口處 two-character inscription on the back panel. Both side panels 鑄八個「音乳」，作擊打之用。編鐘內膛貼有清宮黃簽 consist of ruyi patterns, eight circular disks with percussive 「十二個內，蕤賔，五月，異谷古」，此編鐘原為北京 functions underneath the last band panel and separated with 先農壇使用。此件編鐘品相極佳，鎏金整體金光輝映， ruyi motifs. Inscriptions on the interior. 令人想象到康熙時祭祀典禮全套齊懸在金漆雕木編鐘架 上時所展現的華貴及莊重。 Bianzhong were produced for the court during the Qing dynasty as an essential component of Confucian ritual 編鐘是中國重要的樂器，也是重要的禮器。清朝康熙皇 ceremonies at the imperial altars, formal banquets and 帝隆重師儒，以周禮為藍本，設計了一套用於天地、社 processions. The music produced by these instruments was 稷、宗廟等祭祀大典以及大朝會、宴享、命將出師、臨 believed to facilitate communication between humans and 殿等朝廷盛事，樂部率和聲署懸樂器於太和殿或郊壇、 deities. Gilt-bronze bells of this type were assembled in sets of 太廟、演奏「中和韶樂」，為國家大典禮樂之器。禮樂 sixteen and produced twelve pitches, with four notes repeated 的演奏「以黃鐘為宮，鎛鐘擊以起樂，編鐘從之」。 in a higher or lower octave. The twelve Chinese musical tones 一組編鐘十六枚，外型和大小相等，分兩層懸掛於木架 are arranged in the following sequence: Huangzhong (1st), 之上，它的音色以黃鐘為準，由低至高依次為黃鐘、大 Dalu (2nd), Taicu (3rd), Jiazhong (4th), Guxi (5th), Zhonglu 呂、太簇、夾鐘、姑洗、仲呂、蕤賔、林鐘、夷則、南 (6th), Ruibin (7th), Lingzhong (8th), Yize (9th), Nanlu (10th), 呂、無射、應鐘，以及四個低音倍夷則、倍南呂、倍無 Wuyi (11th), and Yingzhong (12th). The present bell generates 射、倍應鐘。 the seventh tone, Ruibin, from the set. Palatial Splendour: Imperial Ceramics and Works of Art 100  御貢凝輝：宮廷御製珍品

康熙年間以四個倍律（低音）、倍夷則、倍南呂、倍無 Cast in equal size but varying in thickness, these bells 射和倍應鐘、取代沿用的四個清聲（高音）。於郎世寧 were attached to tall wooden frames in two rows of eight as 等多位宮廷畫家合繪的清乾隆「萬壽園賜宴圖軸」，見 depicted by Giuseppe Castiglione (1688-1766) in his painting 《故宮博物院藏文物珍品全集14（清代宮廷繪畫）》、 Imperial Banquet in Wanshu Garden (ca. 1755), included 1996年，香港，編號37；或The Field Museum， in the exhibition, Splendors of China's Forbidden City. The 《Splendors of China's Forbidden City，The Glorious Glorious Reign of Emperor Qianlong, The Field Museum, Reign of Emperor Qianlong》，芝加哥，2004年，編號 Chicago, cat. no. 101. 101中，可見十六枚大小相同，但壁厚不一的銅鐘、均分 二組八個掛於木製二層鐘架上作演奏。這種形制的鎏金 The handle on top it would have been suspended on a frame. 銅龍鈕「八卦」編鐘，應有不少於四組曾在康熙朝內鑄 The hame of this dragon is Pulao, one of the nine sons of the 製，分別為康熙五十二年及五十四年之各二組。相信它 dragon, who was believed to be quite small in size but with a 們是作為北京先農壇祭祀典禮中奏禮樂使用。 roar that could shake heaven and earth. Pulao was believed to roar particularly loudly when he sees a whale, and thus 康熙五十四年鑄造的編鐘時常見於拍賣會。香港佳士得 the instrument used to strike the bells is often shaped like a 2009年12月1日編號1942的「應鐘」「蕤賓」，後售於 whale to conjure a greater sound projection. 北京保利2020年10月19日，編號5022，此組編鐘中的 「蕤賓」編鐘與本品為同一號，可作比較；紐約佳士得 A pair of Kangxi bells with dragon decoration, dated to the 2004年10月20日Andrey B. Love收藏內兩組各五枚（編 54th year, and inscribed as Jiazhong 4th tone and Wuyi 11th 號455及456），這一套之後分散出現香港蘇富比、香港 tone, were sold by Christie’s Hong Kong 27th May 2009, lot 佳士得和北京保利拍賣；紐約蘇富比1997年3月19日編 1818. Two groups of five bells decorated with trigrams and 號25的「太簇」；及香港佳士得1999年4月26日編號520 dated to the Kangxi period from the C. Ruxton and Audrey B. 之「無射」等。美國大都會博物館藏有一件與本件作品 Love collection, were sold at Christie's New York, 20 October 同為「夾鐘」的康熙五十四年編鐘，應當為另外一套。 2004, lots 455 and 456. Another bell dated to the 54th year 可以看出，自北京先農壇流出的康熙五十四年編鐘應當 of Kangxi and inscribed Wushe, was sold at Christie's Hong 在兩套或兩套以上。 Kong, 26 April 1999, lot 520. A similar carillon of sixteen bells dating to the Qianlong reign and preserved in the Forbidden 康熙五十二年鑄造的編鐘亦在蘇富比的拍賣上出現，其 City, Beijing, is illustrated in Daily Life in the Forbidden City, 中香港蘇富比2010年4月8日；編號1858的「應鐘」；於 op. cit., p. 39, pl. 43. 康熙五十二年鑄造的「八掛」紋編鐘亦曾在蘇富比的拍 賣上出現、如紐約蘇富比1975年4月24日之編號240；及 兩枚於香港蘇富比售出例子、包括2007年10月9日之編 號1327和1979年5月17日之編號454。故宮博物院內藏 一套十六件鑄雕雲龍紋的編鐘，只其年款略有不同，作 「康熙五十二年審定」。 清康熙54年（1715） 御制銅鎏金蒲牢鈕八卦紋「應鐘」、「蕤賓」編鐘 北京保利，2020年10月19日，編號5022 Palatial Splendour: Imperial Ceramics and Works of Art 102  御貢凝輝：宮廷御製珍品

3423 A YELLOW-JADE 'BAMBOO' WRISTREST 清早期  黃玉浮雕仿竹節形臂擱 EARLY QING DYNASTY, 17TH CENTURY 來源 香港蘇富比，2013年4月8日，編號3017 PROVENANCE Sotheby's Hong Kong, 8 April 2013, lot 3017 HK$ 800,000 - 1,500,000 US$ 103,000 - 192,000 L14cm 臂擱以和田黃玉琢就，玉質細膩，手感溫潤，光潔滋 Carved in the form of a slightly arched section of 蘊，彰顯上佳之玉質美感。臂擱體扁薄寬長，呈竹節 bamboo opened like a scroll painting, supported on furled 形。琢秀竹一竿，隨風搖曳，竹節俊秀，葉片舒展，自 edges, detailed with two leafy shoots and a knotty segment 然勁健。器雕工細膩，惟妙惟俏，竹中通外直，清高而 of the culmstalk, the translucent stone of a warm yellow 有節，寓清正剛直之意。文人在書寫使用之時，欣賞其 colour accented with pale brown streaks and a soft glowing 器圖案，亦能添書寫時的雅趣，頗為別緻。此器雕刻手 patina. 法不循舊禮、標新立異，實屬難得。 Compare a related wristrest, but created from celadon jade 比較一相類青白玉竹紋臂擱，造型更見率性隨意，售於 into a more irregular bamboo form, sold in Sotheby's London, 倫敦蘇富比2009年11月4日，編號9。一對器形相仿竹紋 4 November 2009, lot 9. A pair of carvings of this form with an 臂擱，於兩面分別刻雌雄孔雀，藏於倫敦維多利亞與艾 additional peacock on one and a peahen carved on the other 伯特博物館，錄於 Ming Wilson，《Chinese Jades》， is in the Victoria and Albert Museum, published in Ming Wilson, 倫敦，2004年，圖版71。 Chinese Jades, London, 2004, pl.71. 此類臂擱最早見於16世紀，明代作家高濂（活躍於十六 Wristrests of this type are thought to have first appeared in 世紀）於《遵生八箋》中曾寫道：「近有以玉為臂擱， the sixteenth century. An account of the Ming writer Gao Lian 上碾螭文……長六、七寸者」，佐證其時玉臂擱乃一創 (fl. 16th century) where he notes of, ‘jade wristrests made 新。Wilson 亦列出十六至十七世紀相類玉臂擱，皆仿竹 recently, carved with a chi pattern (…) about six to seven 枝之真實形態，上下端呈波浪狀，兩側往後翻卷，圖版 inches long’ suggests that they were an innovation of his time 67、68。 (ibid., p. 63). Wilson illustrates two wristrests of similar form to the present piece, attributed to the 16th/17th century, both similarly fashioned to the present with undulating tops and bottoms to simulate a section of bamboo and their sides rolling at the back, pls. 67 and 68. 清早期 竹節式臂擱 清康熙 墨彩竹節式臂擱 © 台北故宮博物院 © 故宮博物院 Palatial Splendour: Imperial Ceramics and Works of Art 104  御貢凝輝：宮廷御製珍品

3424 A SMALL WHITE JADE 'FOUR GENTLEMEN' BRUSHPOT WITH STAND 清乾隆  白玉雕梅蘭竹菊四君子倭角小筆筒 QIANLONG PERIOD, 1736-1795 來源 1. George de Menasce 收藏 PROVENANCE 2. Spink & Son，倫敦 1. Collection of George de Menasce 3. 香港蘇富比，2013年4月8日，編號3015 2. Spink & Son, London 3. Sotheby's Hong Kong, 8 April 2013, lot 3015 展覽 《The George de Menasce Collection》，Spink & EXHIBITION Son，倫敦，1971年，編號304 The George de Menasce Collection, Spink & Son, London, 1971, no. 304 HK$ 2,200,000 - 3,200,000 US$ 282,000 - 410,000 H10.8cm H12.1cm with stand 本筆筒以白玉為素材，玉質白潤細膩，四方倭角，器璧 Of slightly flaring rectangular section with indented 平直，壁身寬厚挺拔，內膛挖磨細膩，底承直挺四足。 corners, supported on small splayed bracketed feet, well 以淺浮彫精工細刻「花中四君子」紋飾，其構圖及風格 hollowed and finely decorated on each side with one of the 彷如水墨畫作，雅致脫俗，更凸顯原石色潤透澤、質樸 'Four Gentlemen among Flowers' (si junzhi), chrysanthemum, 無瑕之美。「花中四君子」乃指梅、蘭、菊、竹，象徵 orchids, bamboo, and a flowering prunus tree, each skilfully 四時季節流轉交替，為宋代伊始盛行之繪畫主題，後因 carved in a painterly style within recessed panels, the flawless 備受乾隆皇帝所鍾愛，而廣用於清宮各種器物。 stone of even milky-white colour finished to a smooth polish, hardwood stand inlaid with silver key-fret. Palatial Splendour: Imperial Ceramics and Works of Art 106  御貢凝輝：宮廷御製珍品

方柱形玉筆筒較圓柱形者稀有。參見台北故宮博物院藏 This brushpot is notable for the refined workmanship and 二件方形玉筆筒，尺寸比本品略大，綴山水人物，展出 purity of the white jade that provides a pristine canvas on 於該館《宮廷之雅：清代仿古及畫意玉器》特展，台 which to portray the flowers of the 'Four Gentlemen'. They 北，1997年，編號59、61；故宮博物院藏碧玉筆筒， represented the four virtues of a gentleman as these plants 上飾山水圖，見《華夏古玉．鑑賞篇（12）－集大成的 possess the natural character of human virtues: loftiness, 清代玉器》，香港，1997年，圖版85；一白玉「漁樵耕 righteousness, modesty and purity. The subject, particularly 讀」圖筆筒，為 Alan and Simone Hartman 收藏，2006 popular with the Qianlong Emperor who saw it to adorn a 年11月28日於香港佳士得售出，編號1362。另一作品外 variety of wares in different media, emerged in painting during 形修長，與本品相約，1989年9月28/29日於紐約蘇富比 the Song period to symbolise the four unfolding seasons 售出，編號425。 of the year. The subtle low relief carving draws attention to the quality of the stone and its luminosity while the flat 梅蘭竹菊四君子，千百年來以其清雅淡泊的品質，一直 planes and the style that the flowers have been rendered are 為世人所鍾愛，成為一種人格品性的文化象徵，這雖然 reminiscent of ink paintings. 是自身的本性使然，但亦與歷代的文人墨客、隱逸君子 的賞識推崇不無關係。「四君子」題材始終伴隨著中國 Compare two square-section white jade examples in the 文人文化的發展。究其原因，這裡映襯出的不僅是由於 National Palace Museum, Taipei, included in the Museum’s 「四君子」本身的自然屬性而呈現出的一種自然美， exhibition The Refined Taste of the Emperor: Special Exhibition 更重要的是古人把一種人格力量，一種道德的情操和文 of Archaic and Pictorial Jades of the Ch’ing Court, Taipei, 化的內涵注入到「四君子」之中，通過「四君子」寄託 1997, cat. nos. 59 and 61; and another white jade example 理想，實現自我價值觀念和人格追求，最終「四君子」 decorated with the design of the 'Four Noble Professions', 成為古人托物言志，寓興自我，展示高潔品格的絕佳題 from the collection of Alan and Simone Hartman, sold at 材。 Christie’s Hong Kong, 28th November 2006, lot 1362. For a brushpot of similar slender form, see one sold in Sotheby’s New York rooms, 28th/29th September 1989, lot 425. Palatial Splendour: Imperial Ceramics and Works of Art 108  御貢凝輝：宮廷御製珍品

3425 AN IMPORTANT CARVED 'SCHOLARS' SPINACH 清乾隆  碧玉雕松下高士圖筆筒 GREEN JADE BRUSHPOT 來源 QIANLONG PERIOD, 1736-1795 巴黎蘇富比，2011年6月9日，編號159 PROVENANCE HK$ 1,100,000 - 1,600,000 Sotheby's Paris, 9 June 2011, lot 159 US$ 141,000 - 205,000 H18.3cm D19.2cm 此件碧玉筆筒通景浮雕，碧玉質直筒形筆筒，淺圈足狀 The brush pot is lavishly made of a beautiful piece of green 底，外環均設五足。外壁通景浮雕壑深林密，青嶂翠 jade, its exterior carved in relief, depicting figures of scholars 壁，壽石浮雲，流水仙山，飛瀑高臺，廊橋淺坡，飛亭 enjoying a retreat in nature. 簷柱。蒼松之下，一高士扛壽桃慢步而行，身後童子攜 花籃緊跟，神態巧妙，意境深遠。不遠處三位高士緊隨 其後，三人互有應答，神態自若。眾高士行走于山林之 間，這正是乾隆皇帝所嚮往的神仙逸士。碧玉色沉，恰 如其分，鬱鬱蔥蔥似展眼前，溪淙鳥鳴縈繞耳邊，觀之 如臨其境，心曠神怡。其選材精緻，製作謹嚴，構圖繁 密，氣韻恢弘，層次清晰，雕刻生動，集文人品味與宮 廷風格於一身，為乾隆朝碧玉筆筒之佳作。 清乾隆 碧玉雕竹溪六逸圖筆筒 © 故宮博物院 Palatial Splendour: Imperial Ceramics and Works of Art 110  御貢凝輝：宮廷御製珍品

清朝康乾盛世以來，三朝帝王皆具學養，喜好藝術，於 After the Qing conquered Khotan, there was a relatively ample 是親自參與了諸多藝術品的指導與設計，故出現於宮廷 supply of raw nephrite jade, providing more raw materials for 中之器具，必是符合帝王審美與需求的。帝王雖亦可稱 objects on the scholar's desk in the court. 為文人，但貴為天子，深居內宮，宮廷的壯麗建築及雕 樑畫棟的內部陳設，均是宣揚國威、粉飾增華的帝王氣 A number of spinach-green jade brush pots of similar dating 派與好尚。御用文房器具陳設於其間，無論從應景之道 have been published and can be divided into two groups. One 來講，還是從理念上來說，亦必須突顯其富貴豪華之致 is carved with countersunk base and the other one is carved 濃豔麗的風格。尤其當帝王重視藝事且文品甚高之時， with shallow tab feet such as the present example. 往往利用充裕的國府資財，招攬各地能工巧匠，取用各 處精美材質，傾力督造巨碩纖巧之作品，亦可令不同品 Two brush pots of the first form in the National Palace 類之工藝競技交流，由此激蕩出前無古人之作，蔚為民 Museum, Taipei, are illustrated in The Refined Taste of the 間不可想亦不可能之事。 Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch’ing Court, Taipei, 1997, no. 55 and 58. Another brush 清高宗乾隆皇帝在其諸多詩文當中，屢屢流露出他對於 pot of this form decorated with a similar Daoism-inspired 王羲之、陶淵明、蘇東坡等文士的追慕與敬仰，正因如 scene was sold at Christie’s, New York, 18 March 2009, lot 此文人思想之熏受，他在對於玉器的品味方面也以傳襲 411; and an example from the Florence and Herbert Irving 古典、表現畫意為雅。這一時期的玉器雕刻有著強烈的 Collection was sold at Christie's New York, 20 March 2019, 時代風格，以此件通景浮雕碧玉筆筒為例，此筆筒雕刻 lot 822. 方法與同時期之竹雕、牙雕、木雕之工藝有異曲同工之 處，層次之豐富，通景圖案之連貫等諸多時代特徵盡顯 Examples with shallow tab feet include one illustrated by 無遺。而此類雕件終究離不開畫本與畫意，就如竹雕一 Stanley Charles Nott in Chinese Jades Throughout the Ages, 般，必先有畫，其後入刀。此件筆筒所表現之圖案，也 London, 1937, pl. CXXVI, and one in the Palace Museum, 是盡現畫意，而於乾隆玉器分類中，亦有「畫意玉器」 Beijing, illustrated in The Complete Collection of Treasures of 一類，乾隆帝也認為此類玉器有雅趣，可玩矣。這類玉 the Palace Museum - 42 - Jadeware (III), Hong Kong, 1996, p. 器大多數以文人逸事或山水名勝為主題，表現于平片狀 207, no. 169. 的插屏、圓柱狀的筆筒或不規則形的山子之上。不論宮 廷造辦處抑或是蘇、揚玉作，製作玉器皆首重畫樣與選 料工夫。畫意玉器之稿樣，往往取材自內府收藏之畫 作，或是由宮廷畫家參與繪製。故一些畫意玉器可追源 畫本。 品味此件筆筒，其通景圖案的設計佈局、刀法之刻劃表 現均是融以畫意，正是乾隆帝所欣賞的畫意玉器。其 內容亦為文人逸事，更有文人平淡蘊藉、精煉內涵、 崇尚古雅之雋永的意境。而筆筒選材精緻，製作謹嚴， 氣韻恢弘，有富貴豔麗之皇家氣息，又因碧玉色沉，故 體度莊沉，具典型宮廷風格。此筆筒直徑達19厘米， 尺寸之大，非常罕見，所雕刻之文人雅事之裝飾，同 類作品可參考Jessica Rawson，《新石器時代至清代 的中國玉器》[Chinese Jade from the Neolithic to the Qing]，倫敦：大英博物館，1995年，頁29。作者在此 文中指出當時工匠傾向模仿水墨畫中山石墨色變化效 果多於表現石本身的奇趣嶙峋。另外亦可參見Pierre-F. Schneeberger，《The Baur Collection》，日內瓦， 1976年，圖號B98；以及倫敦蘇富比，T.B.Kitson舊藏， 售於1990年10月10日，編號 154及1982年6月8日，編號 310。可以比較另一款體積較為細小的筆筒，售於紐約蘇 富比，2008年3月19日，編號16以及William Clayton舊 藏，2007年3月19日，編號50。 Palatial Splendour: Imperial Ceramics and Works of Art 112  御貢凝輝：宮廷御製珍品

3426 A SET OF SIX 'HERMIT' EMBROIDERED ALBUM 清早期  恭親王款顧繡山水人物冊一組六開 LEAVES, SEALED PRINCE GONG 鈐印：「恭親王」「凝香齋」「郡王銜多羅貝勒」 EARLY QING DYNASTY, 17TH CENTURY 來源 PROVENANCE 日本藏家舊藏 A Japanese private collection HK$ 120,000 - 180,000 W 40.7cm L 42cm US$ 16,000 - 23,000 顧繡山水人物冊系顧繡之山水人物類佳作集成。顧繡是 This is an exquisite album of six natural landscape 上海地區工藝品中的瑰麗奇葩。因源於明代松江府顧名 embroideries inspired by Song and Yuan dynasty album 世家而得名。它是以名畫為藍本的「畫繡」，以技法精 paintings. The series has a cover and base which are 湛、形式典雅、藝術性極高而著稱於世。顧繡的技法獨 enclosed in a wooden frame. The title of the piece Guxiu 到：半繡半繪，畫繡結合；針法多變，時創新意；間色 shanshui renwu ce [Gu-style album of landscapes and figures] 暈色，補色套色，因之成為後世刺繡無法逾越的藝術高 is surmounted on the embroidered cover with patterns 峰。 resembling caissons and architectural elements. Palatial Splendour: Imperial Ceramics and Works of Art 114  御貢凝輝：宮廷御製珍品

此作品集以前朝名畫為摹本，秀制精細，套針、斜纏 The first piece depicts a man sitting by the blossoming prunus 針、搶針、平針諸法並用，色彩豐富，絲縷分明，配色 on the left with several stationeries including a claire-de-lune- 精妙，繡繪結合。所繡人物、山水無不氣韻生動，工致 glazed waterpot on the polished rock he uses as a table. 無匹。作品清秀典雅，富有靈氣，將顧繡的特點體現得 淋灕盡致。後人讚：「其劈絲細過於發，而針如毫，配 On the second piece is a misty mountain landscape with three 色則有秘傳，故能點染成文，不特翎毛花卉巧奪天工， travelers watching from the pavilion. Threads are rendered to 而山水人物無不逼肖活現」。 recreate the appearance of an ink-wash that is present in the painting prototype of this piece. This is especially evident in 提起顧繡，言必露香園，在一些顧繡作品中也常見「露 the middle ground where the crowns of trees are blurred and 香園」朱線繡章，可以說「露香園」已成為顧繡代名 the mountain below is out of sight. 詞。 A lady dressed in flowing robes stands on the right near the 顧名世，字應夫，號龍海，上海人。生於明正德二年 edge of a cliff where a prunus blooms, its roots resembling （1508），為明嘉靖三十八年（1559）進士，官至上寶 the corroded parts of the scholar’s rock on the left. This lovely 司丞。其長兄顧名儒，字道夫，為明嘉靖七年（1528） painting likely echoes the first piece, where a white plum 舉人，任鄧州知州。兄弟二人任官多年後，相繼歸隱， blossom grows on the edge of a cliff and a gentleman looks to 其兄在城北之隅建造了「萬竹山居」，而後顧名世在其 the right. 旁墾拓造園，造園之時，意外得到了一方篆書題名「露 香池」三字之石，認為出自元代大家趙孟頫之手，便以 The fourth piece portrays a rocky landscape by the stream. A 此為園林命名為「露香園」。因露香園亭台樓閣畢具， man and a donkey cross the bridge in the center as they walk 又融山石水流之趣，很快便成為了海上名園，加之顧氏 towards a village in the mountains. Rocks in this painting are 以詩詞會友，文人墨客常聚於此，露香園便成為了吟詩 angular, suggesting that this work could be a tribute to the 作賦的文人賞游之地，因此也留下了多篇對露香園的贊 Song dynasty painter, Xia Gui (1195-1224). 美詩詞。 A water landscape is depicted on the fifth piece in the album. 顧氏家族為書香門第，除顧名世外，其子孫中多人精通 The moon on the far right indicates a scene at night. The 文藝，極具文彩。家族藝術修養皆高，在如此良好氛圍 fisherman in the foreground lies on his side to gaze at the 的影響下，家中女眷也深受其影響，其間刺繡人才輩 moon in the sky, the river flows from the mountains afar, and 出。朱啓鈐《存素堂絲繡錄》曾言：「明之上海顧繡， a pavilion stands discreetly by the river, hidden from sight by 以繡傳家，名媛輩出。」 the willow up front. 顧繡之名，應得來於顧名世二代顧箕英之妾顧姬繆氏， The last piece in the album depicts the figure of a man sitting 而使顧繡名聲大噪，影響明清之際刺繡的代表當屬顧名 on a rock, with branches of a pine tree reaching out to the 世的次孫媳韓希孟，即顧壽潛之妻。發展至清初康熙年 center. The figure in the middle is likely the same man from 間，顧名世之曾孫女顧氏（張來之妻），將顧繡繼續發 the first piece in this album, his gaze is fixed on the narrow 揚。 stream on the side. Towards the right of this piece are two seals of Prince Gong, each inscribed with ‘Ningxiangzhai [House of Frozen Fragrances]’ and ‘Junwangxian duoluobeile (Prince)’. On an alternative page is a seal of Prince Gong. Palatial Splendour: Imperial Ceramics and Works of Art 116  御貢凝輝：宮廷御製珍品

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BUYER S PREMIUM All electrical appliances and mechanical merchandise 2 any Lot made by the Company and its employees or its Grading 6: In fair condition. ﬔis piece shows significant A buyer’s premium will be added to the Hammer Price are sold on an “as is” basis, and should not be assumed agents in any way (including the certificate, catalogue, wear and/or damage. It may require repair or and is payable by the buyer as part of the total purchase that they operate. Before putting into any use, electrical 3 slideshow and news media) are only opinions for refurbishment in order to be used. Condition issues will price. ﬔe buyer’s premium is 20% of the hammer price appliances must be inspected and approved by qualified reference and do not constitute any guarantee for the be noted in the condition report. of each Lot up. electric technicians. 4 Lot. The Company and its employees or agents shall undertake no liability for any inaccuracy or omission in () CONDITIONS OF THE PROPERTIES 5 the aforesaid introduction or appraisal. Bidder must review the Lot(s) in the preview before the Condition reports and grades are provided free of charge ALCOHOL AND TEA auction, and bear all responsibilities (including but not JEWELRY, WATCHES AND HANDBAGS as a convenience to our buyers and are for guidance The descriptions about the auction of alcohol and limited to legal liability and/or responsibility) of their Description of the conditions of Jewelry Lot(s) usually only. They are not an alternative for examining a lot in tea are being stated in the catalogue. Our Company bidding acts. For more information on the Properties, contained in the catalogue, however, absence of a person or taking your own professional advice from reminds bidders to learn more about the auctioned please consult our business staff. If the conditions of a description does not imply that the Lot(s) is free from Specialists. Bidders must inspect the conditions of the products before bidding. Bidder’s participation in Lot (s) by themselves before the auction. Any dissent bidding at auction is deemed as the bidder’s approval about conditions of the Lot (s) after the bid shall not and acceptance of the package, quality and status of justify rescission or cancellation of a sale or any delay in the auctioned items. Any different opinion formed by payment. ﬔe condition of lots sold in our auctions can the bidders after successful bidding, will not constitute vary widely due to factors such as age, previous damage, restoration, repair and wear tear. ﬔe grading of watches is based on the general condition, quality, technical and historical interest, age and rarity of each timepiece. Lots are sold “as is,” in the condition they are in at the time of the sale, without any representation or warranty as to condition by Poly Auction (Hong Kong) or by the seller. ﬔe buyers acknowledge and agree that any sale is entirely the buyers’ decision, and the buyers have