52

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

乾隆官窯之琢器多喜置以雙耳為裝飾，而且式樣豐富，色釉多變，堪稱

開一代未有之奇。尤其洋彩琢器，耳部式樣成為本身造型裝飾的重要組

成部分，越是精巧別致，越見器物級別之尊貴高雅。縱觀清宮所藏乾隆

御瓷，運用此式樣之耳飾異常珍罕，目前僅知數例：清宮舊藏清乾隆紅

地勾蓮紋如意耳瓶，如意萬壽綬帶耳，錄於《故宮博物院藏文物珍品大

系——琺瑯彩．粉彩》，頁145、圖127；清宮舊藏清乾隆粉彩綠地勾蓮

紋如意耳，如意玉磬綬帶耳，載《故宮博物院藏文物珍品大系——琺瑯

彩．粉彩》，頁135、圖118；清宮舊藏清乾隆粉彩紫地勾蓮紋如意耳葫

蘆瓶，如意雙結綬帶耳，載《故宮博物院藏文物珍品大系——琺瑯彩．

粉彩》，頁144、圖126；暫得樓藏清乾隆青釉刻花纏枝蓮紋如意瓶，飾

如意萬壽綬帶耳，錄於《暫得樓清代官窯單色釉瓷器》頁120，圖43；清

乾隆御製洋彩江山萬代如意耳琵琶尊，售於北京保利2018年12月8日，編

號5421。

本品所飾嫩綠地仿掐絲琺瑯十分少見，嫩綠釉燒製不易。在燒製過程，

過則發黃，少則發綠，如本品這般呈色極難見到。本品以彩瓷工藝仿掐

絲琺瑯，花卉紋本身的畫法及綴飾，必然要帶有西洋風格，因此本器

整體風格上更接近於洋彩瓷作，繪畫技法摹仿西洋光影畫法，枝葉有明

暗，蕃蓮紋作暈染，顏色層次豐富，過渡柔和。洋彩乃指由西方傳教士

引入清宮，繪飾洋風彩瓷之法，初以舶來色彩加添白料調研，後來御作

坊多番實驗後成功採用，本品正為佳例，集兩地之大成，見證中西文化

之交流。

當時，西洋不僅傳入釉彩新色，亦帶來當時風行歐洲之西洋設計、裝飾

元素等，如本品器身纏枝蓮紋間所綴各色圓珠，可見於西洋巴洛克風之

花形裝飾，瓔珞珠串巧施光影，強調立體效果，宛若珍寶般耀眼。

52

Qianlong - Important Chinese Porcelains from the Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

圖五

Fig.5

54

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

56

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

Each vase is robustly potted with an ovoid body supported on a

tall splayed foot, the domed shoulder rising to a tall waisted neck

and a lipped mouth-rim. The neck is flanked by a pair of gilt ruyi

sceptre loop handles each suspending a turquoise wan symbol tied

in an iron-red ribbon with long ends. The body is boldly enamelled

in vibrant colours against a green ground with the bats in iron-red

and large lotus blooms borne on stylised foliate strapwork issuing

smaller blooms between bands of ruyi heads and stylized lotus

petals. The mouth-rim is encircled with a band ruyi heads above

upright plantain leaves collaring the neck. The domed shoulder and

foot are both encircled with bats alternating with clouds. Each base

is enamelled turquoise and inscribed in iron-red with a six-character

seal mark.

The appearance of ruyi sceptres as handles on vases was clearly

a response to Qianlong Emperor's obsession with these portents

of good fortune. Although ruyi sceptre was originally symbols with

Buddhist connotation, by the Qianlong period it had become an

auspicious emblem while the wan symbol tied with a ribbon was

also a popular motif, representing the blessing for longevity.

The ruyi handles in gilt on the present vases are skillfully decorated

as a gilt-bronze object. While in its colour scheme the present vases

imitates metalwork, stylistically it stands in the plain tradition of

yangcai porcelain with its dense overall floral designs on a coloured

ground. The design is rendered in tones created through the use of

white enamel which was first introduced to the Qing court by Jesuit

artists and, after repeated experiments, were successfully copied by

imperial craftsmen.

北京保利，2011年6月5日，編號7231

清乾隆 御製寶石藍地洋彩蓮花如意萬代尊

Poly Beijing, 5 June 2011, lot 7231

An imperial yangcai blue-ground 'lotus'

handled vase, mark and period of

Qianlong

北京保利，2018年12月8日，編號6421

清乾隆 御製洋彩江山萬代如意耳琵琶尊

Poly Beijing, 8 December 2018, lot 6421

An imperial yangcai 'landscape' handled

vase, mark and period of Qianlong

58

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

Along with new colour tones, western style designs and decorative

elements that were fashionable in Europe at the time were also

introduced to Chinese artists. For example, the small pearl-like

roundels dispersed amongst the lotus scroll decoration seen on

the present vase are taken from Western floral decoration found

on baroque-style furnishings. On the vase they are skillfully shaded

to give them a distinct three-dimensional quality that makes them

appear jewel-like.

Compare a related vase in the Palace Museum, Beijing, from

the Qing court collection, with similar ruyi sceptre loop handles

suspending wan symbols and long ribbons, illustrated in The

Complete Collection of Treasures of the Palace Museum. Porcelains

with Cloisonné Enamel Decoration and Famille-Rose Decoration,

Hong Kong, 1999, pl 118. See also other yangcai vases with

ruyi-shaped handles from the Qing court collection, for example,

a double-gourd form purple-ground vase with lotus scroll motif,

illustrated in ibid., pl. 126; a purple-ground vase with lotus scroll

decoration, illustrated in ibid., pl. 127. Compare a vase in Bajixiang

design against a turquoise ground with ruyi-shaped handles, sold

in our room in Hong Kong, 2 December, 2020, Lot 1039 for HKD

41,300,000.

©北京故宮博物院

清乾隆 粉彩綠地勾蓮紋如意耳瓶

©Palace Museum, Beijing

A famille-rose green-ground 'lotus'

handled vase, mark and period of

Qianlong

60

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

62

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

64

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

A FINE CARVED CELADON-GLAZED 'LOTUS' HEXAGONAL ARROW VASE

SEAL MARK AND PERIOD OF QIANLONG

清乾隆

粉青釉剔刻蓮紋螭龍貫耳六方大瓶

「大清乾隆年製」

H 45.5cm

HK$ 7,000,000 - 12,000,000

US$ 898,000 - 1,539,000

PROVENANCE

1. Sotheby's Hong Kong, 2 May 1991, lot 92 (Fig.1)

2. The Huaihaitang Collection, Hong Kong

EXHIBITED AND LITERATURE

Ethereal Elegance: Porcelain Vases of the Imperial Qing The Huaihaitang

Collection, Art Museum, The Chinese University of Hong Kong, Hong Kong,

2007, no. 50 (Fig.2)

來源

1. 香港蘇富比，1991年5月2日，編號92（圖一）

2. 懷海堂珍藏

展覽及出版

《機暇清賞：懷海堂藏清代御窯瓷缾》，香港中文大學文物舘，香港，

2007年， 編號50（圖二）

3805

66

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

68

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

此件瓶造型六方，撇口，束頸，折肩，收腹，高圈足；通體及足內均施

粉青釉，釉面勻凈雅麗之致，輕逸媚人之風韻撲人眉宇。腹部主題紋飾

以凸雕西蕃蓮紋，具有典型的巴洛克風格，輔以夔龍紋、蕉葉紋、如意

紋、回紋、變形蓮瓣紋等邊飾。紋飾講究左右對稱，均能達到如鏡影般

完全相稱、高度一致。底部滿施粉青釉，中心落「大清乾隆年製」青花

六字篆書款。其中口沿及雙耳所雕飾之夔龍工絕殊常，與用彩料繪畫相

比又另有一番韻味，反映了當時宮廷藝匠水平之高。減地起陽式的圖案

與媚人的粉青釉融為一體，雕纏枝蓮花、夔龍形象隱現於釉層當中。

此式釉下剔刻、淺浮雕工藝清宮舊稱「拱花」，為粉青、冬青釉等摹仿

龍泉瓷器唯一使用的裝飾手法。拱花原是晚明以來一種不著墨的印刷方

法，以凸出或凹下的線條來表現花紋，根據畫面物像的輪廓在平面木板

上陰刻成凹形線條，用宣紙覆蓋於版上，再加上毛氈，以木棍用力壓印

或用木槌在毛氈上輕輕敲打，刻版上的花紋就能清晰地凸現在紙面上，

因此工藝達到的效果與之類近，故名。在清宮陳設檔與乾隆早期造辦處

活計文件的記錄中隨處可見，例如乾隆三年五月初十日下旨燒造一批琢

器當中就有「冬青拱花寶月瓶、冬青拱漢文寶月瓶，冬青拱花漢尊」的

記載。

圖一

Fig.1

圖二

Fig.2

70

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

本品自上而下多層紋飾裝飾，各不相同，裝飾手法也不同。瓶

口剔雕拐子龍紋，雙耳剔雕夔龍紋，雙夔龍鏡像對稱，似有互

動。夔龍紋飾清?，存世少見。瓶身頸部雕仰蕉葉紋，蕉葉筋

骨團花裝飾，陰晴效果明顯，葉柄筋骨凸起，更增立體效果。

在設計上每側葉柄兼顧瓶身棱線，匠心獨到，趣味十足。肩腹

之間飾一周剔刻浮雕的梅花紋，兼具裝飾及分隔畫層功能，設

計巧妙。腹部六面通雕纏枝蕃蓮紋，花葉翻轉自然更顯功力。

足端剔雕拐子龍紋飾，與瓶口裝飾對應，十分講究。整器熟練

的雕刻技法，流暢的紋飾，筋骨凸起的趣味，再加上細若凝脂

的釉色，以刀代筆，華麗而不失內斂，代表了乾隆一朝顏色釉

瓷器的最高水平。

本品以粉青淡恬之柔美配飾六方硬朗之造型，實收剛柔相濟之

妙，可見設計者獨具匠心。此式造型清宮舊稱為「雙管六方

瓶」，最早見於雍正御窯，凝聚了胤禛超乎常人的審美品味，

見於《故宮博物院藏文物珍品全集：單色釉》，香港，2000

年，圖版204。有紋飾者甚罕，僅見一例售於北京保利2015年

12月8 日，編號7376，腹部為夔龍飾與本品略有差異。尚見

一例刻劃菊花紋樣，售於香港蘇富比2013年10月8日，編號

3018。

此式器形亦見施青花之例，北京故宮博物館藏一例，器頸及腹

部繪纏枝花卉紋，耳部為海水紋，惟不如本品飾夔龍、蕉葉紋

及梅花紋精美特殊。此瓶造型的設計甚為講究硬折線條的陽剛

之美，並注重瓶體上下各部分之間比例的協調。瓷匠深諳釉色

與造型的搭配之道，針對不同器型配以相應釉色。該瓶與此等

釉色相配有如天作之合，兩者相得益彰，既襯托出造型古樸端

莊，又彰顯出釉色柔潤典雅，整體格調陽剛當中透出陰柔婉約

之美。當時，在各式御窯瓶、尊中，尤以此等仿古貫耳瓶最適

宜宮廷廳堂陳設及插花。乾隆皇帝政務之餘借以怡情悅性，因

而曾有「便不簪花鼻亦馨」的讚句，足見帝王其對此之雅好。

北京保利，2015年12月8日，編號7376

清乾隆 粉青釉模印夔龍花卉紋貫耳六方瓶

Poly Beijing, 8 December 2015, lot 7376

A celadon-glazed moulded hexagonal

arrow vase, mark and period of Qianlong

©北京故宮博物院

清雍正 仿官釉貫耳六方瓶

©Palace Museum, Beijing

A guan-type glazed hexagonal

arrow vase, mark and period of

Yongzheng

©北京故宮博物院

清乾隆 青花勾蓮紋貫耳六方瓶

©Palace Museum, Beijing

A blue and white 'lotus' hexagonal

arrow vase, mark and period of

Qianlong

72

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

The vase is superbly potted with hexagonal section elegantly rising from

a splayed foot to an angled shoulder, sweeping up to a waisted neck and

flared rim, flanked by a pair of tubular lug handles. Its body is deftly carved

and moulded on each side with lotus blossoms wreathed in dense radiating

foliage, between bands of ruyi heads and stylized lotus petals. The neck is also

skillfully carved with upright plantain leaves between bands of florets skirting

the shoulder and kui dragon encircling the mouth rim, echoing the similar kui

dragons decorated on the handles and the slayed foot. It is applied overall with

a pale green glaze thinning to white along the edges and pooling to a darker

tone within the incisions. The base is inscribed in underglaze blue with a sixcharacter seal mark.

From its fine potting, translucent pale green celadon glaze and crisp lotus scroll

and supporting designs, this vase reveals the technical and artistic virtuosity

of potters active at the imperial kilns in Jingdezhen during the Qianlong reign.

It is truly a porcelain masterpiece that evokes a sense of effortless elegance,

despite its design being meticulously executed and conceived in advance. Its

decoration and glaze draw from the celebrated ceramic tradition of Longquan

in Zhejiang province, and reinterpret it to suit the Qianlong Emperor’s eclectic

taste.

The brilliant bluish-celadon glazes created at the Longquan kilns had provided

much inspiration to the potters of the Jingdezhen imperial kilns since the

early Ming dynasty (1368-1644). By lessening the amount of iron in the glaze

the Jingdezhen potters were able to create a cool and delicate celadon glaze

that when applied on a white porcelain body resembled the translucency and

texture of jade.

A related hexagonal vase of Yongzheng period covered in a similar celadongreen glaze is illustrated in The Complete Collection of Treasures of the Palace

Museum. Monochrome Porcelain, Hong Kong, 1999, pl. 204. See another

similar example also applied with the moulding technique, sold at our room in

Beijing, 8 December 2015, Lot 7379. Further an example with incised pattern

was sold in Sotheby’s Hong Kong, 8 October 2013, Lot 3018.

北京保利，2021年12月5日，編號5455

清乾隆 粉青釉模印夔龍紋雙耳扁壺

Poly Beijing, 5 December 2021, lot 5455

A celadon-glazed moulded 'archaic dragon'

handled vase, mark and period of Qianlong

74

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

76

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

A RARE BLUE AND WHITE 'LOTUS' HANDLED VASE

SEAL MARK AND PERIOD OF QIANLONG

清乾隆

青花纏枝蕃蓮紋出戟雙耳瓶

「大清乾隆年製」

H 33cm

HK$ 6,000,000 - 10,000,000

US$ 770,000 - 1,283,000

PROVENANCE

1. Sotheby's Hong Kong, 26 October 2003, lot 143

2. The Huaihaitang Collection, Hong Kong

EXHIBITED AND LITERATURE

Ethereal Elegance: Porcelain Vases of the Imperial Qing The Huaihaitang

Collection, Art Museum, The Chinese University of Hong Kong, Hong Kong,

2007, no. 102 (Fig.1)

來源

1. 香港蘇富比，2003年10月26日，編號143

2. 懷海堂珍藏

展覽及出版

《機暇清賞：懷海堂藏清代御窯瓷缾》，香港中文大學文物舘，香港，

2007年， 編號102（圖一）

圖一

Fig.1

3806

78

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

80

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

本品以的青銅罍作為原形，參考國立故宮博物院藏商至西周時期獸面紋

罍，是典型的乾隆仿古創新之作。尊敞口束頸，溜肩斂腹，脛部外撇，

頸部、肩部與脛部突現對稱的四道戟狀棱柱。以青花繪腹部主體樣纏

枝蓮花紋，葉片舒展，枝莖牽連婉轉，布局繁複，洋溢出西洋巴羅克氣

息，是宮廷藝術「西風東漸」之一例證。質地細膩勻凈，肩部裝飾象鼻

為耳。通體從上而下飾以六層紋飾，工整有序，分別是纏枝石榴花卉、

如意雲頭紋、變形蓮瓣紋，間飾以纏枝花卉紋。底以青花書「大清乾隆

年製」六字三行篆書款。

觀其青花發色，濃艷而不炫目，秀斂亦不蒙滯，濃淡相宜，層次宛然，

別有一番清雅韻致。釉汁瑩白堅致，與青花相襯，愈臻乎妙境，審其形

制、釉色、紋飾、畫工之精美，確其為清乾隆時重要宮廷陳設，應為乾

隆早期官窯青花精品。

乾隆皇帝親自主導且控管當時宮廷文物製作，呈現並實踐他的藝術品

味，以致乾隆一朝出現大量仿製創新之作。乾隆皇帝好古，仿古即表達

他對前朝藝匠工藝的喜愛、學習和致敬，亦有著超出古人的雄心，在摹

古的基礎下推陳出新，推動宮廷藝術發展，達至前所未有的藝術高峰。

本器即為一範例，仿製青銅罍造型，其上飾以青花，景德鎮御窯廠當時

對青花燒製技術掌控得心應手，爐火純青，纏枝花卉刻劃細膩，如紙上

作畫。

此類仿青銅尊造形的古器初見於雍正朝，至乾隆有所沿襲，品種多見於

單色釉系，如仿汝釉，售於香港蘇富比2004年10月31日，編號225；繕

魚黃釉例售於香港蘇富比2020年10月9 日，編號54；山中商會藏仿汝釉

例，售於北京保利，2021年6月7日，編號5015；惟飾以青花者極為鮮

見，見山中商會藏黃地青花之例，售於倫敦蘇富比，2019年11月6日，

編號27。亦見東京國立博物館藏一例，施淺藍釉者，載於《Catalogue

of Tokyo National Museum Chinese CeramicsⅡ》，東京，1990年，圖

722。

©望星樓

清雍正 青花纏枝花出戟雙耳尊

©Wang Xing Lou collection

A blue and white vase of bronze shape

with flower scrolls, mark and period of

Yongzheng

北京保利，2021年6月7日，編號5015

清雍正 仿汝天藍釉出戟雙耳尊

Poly Beijing, 7 June 2021, lot 5015

A ru-type glazed clair-de-lune handled

vase, mark and period of Yongzheng

82

Qianlong : The Huaihaitang Collection

御海凝珍：懷海堂藏清乾隆御瓷粹珍

The vase is skillfully potted in archaistic lei form with a baluster body rising from

a splayed foot to a waisted neck and flared rim, flanked by a pair of large scroll

handles, further adorned with raised bands and flanges to the neck and foot.

The body is painted in vibrant tone of cobalt blue with meandering leafy scrolls

bearing large, stylised pomegranate blooms, between a band of pendant ruyi

motifs and upright lappet. The shoulder is painted with a narrow band of lotus

scroll while the neck and the foot are both decorated with pomegranate scrolls.

The white base is inscribed with a six-character seal mark in underglaze blue.

This vase celebrates the tradition through both its form and pays testament to

the Qianlong Emperor’s keen interest in antiquity. Its form and raised flanges

echo the glorious bronzewares of the Shang and Zhou dynasties while its floral

scroll and choice of palette are rooted in imperial porcelain of the early Ming

dynasty (1368-1644). Qing painters employed a stippled effect to simulate

the accidental unevenness typically found on early Ming pieces. harmoniously

combining design elements from different traditions, the craftsmen of this

piece has created a visually striking and contemporary vase with direct imperial

association.

Modelled after a contemporary bronze prototype, which would in turn have

been inspired by archaic bronze lei of the Western Zhou dynasty (c. 1050-771

BC), vases of this form were first made in porcelain in the Yongzheng reign.

It is rare to find a Qianlong blue and white vase of this form although related

examples in monochrome can be found with a Qianlong seal mark and of

the period. See for example a Ru-type vase, sold at Sotheby’s Hong Kong, 31

October 2004, Lot 225; and a ‘eel skin’ glazed example, sold at Sotheby’s

Hong Kong, 9 October 2020, Lot 54; and a flambé-glazed vase of the same

form sold in Sotheby’s New York, 4 June 1986, lot 137.

See a Qianlong light-blue glazed vase of this shape with similar flanges on the

neck, body and foot included in the Illustrated Catalogue of Tokyo National

Museum. Chinese Ceramics. vol. II, Tokyo, 1990, pl. 722.

©台北故宮博物院

商至西周 青銅獸面紋罍

©National Palace Museum

An arhcaic bronze vessel, lei

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