Poly Auction Hong Kong | Autumn Auctions 2019 | Immaculately Exquisite by Poly Auction Hong Kong

Immaculately Exquisite Selected Chinese Ceramics from The Ten-Views Lingbi Rock Retreat Collection

十面靈璧山居甄選中國歷代名瓷

Hong Kong 7 October 2019 香港

2019 年 10 月 7 日

十面靈璧山居為美國極為重要私人收藏之一，其名源於主人在上世紀 80 年代以

121 萬美元入藏之呉彬《十面靈璧圖》，該作品創下當時中國古代書畫拍賣世界紀録。其主人由上世紀九十年代起專攻東方藝術，醉心收藏中國御窯瓷器、古代書畫、古

典家具，這反映了十面靈璧山居主人對這些領域深厚的興趣。其收藏主要由世界頂級古董商購入，如於英國頂級古董商埃斯肯納茨（Eskenazi Ltd.）入藏明清兩代

陶瓷、於紐約藍理捷（JJ Lally）購入宋元陶瓷、於英國馬科斯•弗拉克斯 (Marcus Flacks) 購入明清家具等。同時，主人亦在專業指導下親自參與世界級拍賣場，搜

羅中國藝術品中的奇珍，並慷慨傾囊將其納藏。十面靈璧山居主人選擇藝術品有著極高的標準，嚴格甄選作品的珍稀程度、紋飾及品質。因如此之高的遴選標準和一

流的經紀人協助，故可知進入「十面靈璧山居」收藏序列的藝術品皆堪稱精絶之珍寶。

The Ten-views Lingbi Rock Retreat Collection The Ten-views Lingbi Rock Retreat Collection is among one of the most important private collections in The US. The name after the Wu Bin’s painting scroll ‘Ten-views of Lingbi Rock’,which was collected by the owner for $1. 21 million in the 1980s and set an auction record of classical Chinese painting. The Collection was built from 1990s, specializing in oriental art and collected a great deal of Chinese imperial porcelain, classical paintings, and classical furniture, reflecting the owner's deep interest in the fields. The whole Collection was mainly helped by world-class dealers, for instance, Es-kenazi built its Ming and Qing imperial porcelain collection, for Song and Yuan ceramics, it was built by J. J. Lally, and also, the Ming and Qing furnitures collections was built by Marcus Flacks. Meanwhile, the owner often participated world- class auction under professional guide, generously collecting unless extremely rare Chinese works of art. The Collection has a very top taste of choosing works of art Strictly pay at- tention to rarity and quality, which such high standards and helping by top dealers. Works which can be chosen in The Ten-view Lingbi Rock Retreat Collection is indeed exquisite treasure.

十面观止

十面靈璧山居

甄選中國歷代名瓷

Immaculately Exquisite Selected Chinese Ceramics from The Ten-Views Lingbi Rock Retreat Collection

3301

金

3302

北宋

3303

南宋

3304

南宋

3305

耀州窯青釉刻花犀牛望月紋碗耀州窯柿釉盞吉州窯玳瑁釉斂口盞吉州窯貼花瓶北宋

河南黑釉褐斑盞

3306

北宋

3307

宋

3308

宋

3309

北宋

3310

南宋或元

3311

元

3312

北宋

3313

北宋

3314

北宋

3315

宋或金

湖田窯影青釉六出劃花牡丹紋盌湖田窯影青釉刻娃娃紋內三連盞粉盒湖田窯影青釉「骨朵」形水滴湖田窯影青釉瓜棱形執壺湖田窯影青釉瓜棱梅瓶湖田窯影青釉弦紋雙繫執壺紫定柿釉六出葵口碗定窯白釉劃花池塘雙鳧紋折腰盤定窯白釉刻劃牡丹紋透雕腰圓枕鈞窯天青釉蓮子式深腹大碗

3316

南宋

3317

南宋或元

3318

南宋

3319

遼

3320

龍泉青釉笠式盞龍泉窯青釉長頸瓶龍泉窯梅子青釉雙魔羯耳瓶三彩印落花流水紋花口碟清康熙

孔雀綠釉仿隨形竹節筆筒

3321

清康熙

3322

清乾隆

3323

清乾隆

3324

清乾隆

3325

清雍正

3326

清乾隆

3327

清乾隆

3328

清

3329

清中期

3330

清乾隆

冬青釉折沿盤一對冬青釉葫蘆瓶寶石藍釉天球瓶御製青花釉裡紅雲龍紋大天球瓶爐鈞釉綬帶如意耳葫蘆尊茶葉末釉綬帶如意耳葫蘆尊茶葉末釉荸薺瓶爐鈞釉弦紋瓶仿木紋釉花盆一對青花纏枝牡丹紋缸

—《關尹子·五鑒》「譬如犀牛望月，月形入角，特因識生，始有月形，而彼真月，初不在角。」

3301

金耀州窯青釉刻花犀牛望月紋碗來源 1. Marvin Gordon伉儷收藏，舊金山 2. 佳士得紐約，1986年12月2日，編號114 3. 藍理捷舊藏，2009年 4.十面靈璧山居舊藏，購自J.J. Lally & Co.，編號LL71

展覽及出版《The Collection of Dr. and Mrs. Marvin L. Gordon, Chinese Ceramics and Works of Art》，J.J. Lally & Co.，紐約，2009年，編號6

A CARVED YAOZHOU CELADON ‘XINIU GAZING AT THE MOON’ BOWL JIN DYNASTY, 12TH-13TH CENTURY PROVENANCE 1. Collection of Dr. and Mrs. Marvin Gordon, San Francisco 2. Christie's New York, 2 December 1986, lot. 114 3. Collection of J.J.Lally. 2009 4. The Ten-views Lingbi Rock Retreat Collection, purchased from J.J. Lally & Co., no. LL71

EXHIBITED AND LITERATURE The Collection of Dr. and Mrs. Marvin L. Gordon, Chinese Ceramics and Works of Art , J.J. Lally & Co., New York, 2009, cat. no. 6

H 7cm D 18.8cm

HK$ 300,000 - 400,000 US$ 38,500 - 51,300 此碗寬唇口，弧形腹壁，圈足，內外施青釉，碗心一菱花形開光內刻一輪圈月高掛天空，下方一水牛口部微張，其前足直立後腿曲膝跪地，抬頭仰望，菱形開光周邊及牛四周刻以簡單花草紋飾。圖案線條簡潔而概括，力道遒勁，筆畫瀟灑。

The bowl is molded with shallow rounded sides, the interior centered with a 'rhinoceros' panting at the moon and encircled by leafy scrollwork, covered overall save for the base in an olive-green glaze.

同類器可參考北京故宮博物院藏犀牛望月耀州窯碗（圖二），錄於《故宮博物院藏文物珍品全集．兩宋瓷器（上）》，香港，1996 年，頁147，圖版133；同類器物亦收錄於東方陶瓷學會展覽圖錄《古代中國窯址》，倫敦，1980年，頁103，編號446，並列其為陝西銅川黃堡鎮耀州窯出品。養德堂藏一例北宋至金犀牛望月圖盤，錄於譚旦冏，《中國陶瓷史》，下冊，台北，1985年，頁 496，售於佳士得香港，2016年11月30日，編號3118。

Similar examples can be found in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty (I) , pl.133 (fig.2) ; Another one illustrated in the exhibition catalogue in the Oriental Ceramic Society, Ancient Chinese Kilns , London, 1980, p.103, pl.446. See another one from the Yang de Tang Collection, illustrated in Tan Dan-jiong, History of Chinese Ceramics , vol. 2, Taipei, 1985, p. 496, sold in Christie’s Hong Kong, 30 November 2016, lot. 3118.

fig.1 Christie's New York, 2 December 1986, lot.114 圖一佳士得紐約，1986年12月2日，編號114

Base

fig.2 © Collection of the Palace Museum, Beijing 圖二 © 北京故宮博物院藏品

「落葉滿空山，何處尋行跡」

—唐韋應物《寄全椒山中道士》

3302

北宋

A YAOZHOU PERSIMMON-GLAZED BOWL

耀州窯柿釉盞

NORTHERN SONG DYNASTY, 10TH-12TH CENTURY

來源

PROVENANCE

1. 香港關善明先生收藏（沐文堂） 2. 倫敦蘇富比，2003年11月12日，編號43 3. 英國古董商Ben Janssens 收藏，2008年 4. 十面靈璧山居舊藏，編號EK197

1. Collection of Simon Kwan, Hong Kong (The Muwen Tang) 2. Sotheby's London, 12 November 2003, lot. 43 3. Collection of Ben Janssens, 2008 4. The Ten-views Lingbi Rock Retreat Collection, no. EK197

展覽及出版 1. 《關氏收藏宋代陶瓷》，香港藝術館，香港，1994年7月22日至9月 11日，編號86 2. 《Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands》，倫敦，2008年3月12日至21日，頁90-91

EXHIBITED AND LITERATURE 1. Song Ceramics from the Kwan Collection: Hong Kong Museum of Art , Hong Kong, 22 July - 11 September 1994, cat. no. 86 2. Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands , London, 12 - 21 March, 2008, pp. 90 - 91

H 4.1cm D 14.8cm

HK$ 250,000 - 350,000 US$ 32,100 - 44,900 此件耀州窯柿釉盞侈口外撇，圈足，斜壁微弧，線條自然而流暢。器物滿釉，通體施醬色釉，足底心無釉。釉色勻淨、溫和，胎質細膩。柿紅釉出現於宋代中期，是耀州窯的新品種，其為仿宋代漆器之作。耀州窯柿釉燒造時期較短，存世量大大罕於青釉。因其未曾發生窯變，故仍保持釉水原色，古雅而質樸。宋代耀州窯柿釉同類器罕見，可參考一例，展出於大阪東洋陶瓷藝術博物館，錄於《耀州窯名品展》，1994年，編號56。

The bowl has widely flared sides that rise from the small knife-cut foot to the very slightly everted rim, and is covered all over with a glaze of rich reddish-brown color that thins on the rim and also covers the base. A persimmon-glazed bowl with slightly more rounded sides was included in the major exhibition of Yaozhou ware at the Museum of Oriental Ceramics, Osaka, in 1997, and is illustrated in The Masterpieces of Yaozhou Ware , Tokyo, 1997, p. 44, no. 56.

fig.1 Sotheby's London, 12 November 2003, lot. 43 圖一倫敦蘇富比，2003年11月12日，編號43

fig.2 Illustrated in Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands 圖二出版於《Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands》

Base

「活火參禪筍，真泉透佛茶。」

—文天祥《游青原》

3303

南宋

A JIZHOU 'TORTOISESHELL-GLAZED' TEA BOWL

吉州窯玳瑁釉斂口盞

SOUTHERN SONG DYNASTY, 12TH-13TH CENTURY

來源

PROVENANCE

1. 英國古董商Ben Janssens 收藏，2009年 2. 十面靈璧山居舊藏，購自Ben Janssens Oriental Art，編號BE13

1. Collection of Ben Janssen, 2009 2. The Ten-views Lingbi Rock Retreat Collection, purchased from Ben Janssens Oriental Art, no. BE13

展覽及出版

EXHIBITED AND LITERATURE

《Ben Janssens Oriental Art at The European Fine Art Fair: Maastricht, Netherlands》，倫敦，2009年3月13日至22日，頁76-77

Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands , London, 13 -22 March, 2009, pp. 76 - 77

H 5.6cm D 11.6cm

HK$ 150,000 - 200,000 US$ 19,200 - 25,600 此盞敞口，口下微收，淺圈足。內外施玳瑁釉，足底露白色胎。黑色釉面上，棕黃色釉層自口沿向內外盌壁流下，形成水流狀斑紋，由內觀之呈放射狀，色澤有如玳瑁，瑰麗潤澤，協調而富於變化。玳瑁釉是吉州窯變色中極有特色以及富有美感的一種，以其色形似玳瑁而知名，其工藝為先施含鐵較高的釉料，然後隨意甩灑較淺色釉料，兩種色釉入窯燒制過程中幻化融合，形成千變萬化的色斑，傳世吉州窯玳瑁釉器除盞外，還有瓶、罐、爐等。故宮博物館藏一例宋玳瑁釉罐，載於《故宮博物院藏文物珍品全集．兩宋瓷器（下）》，香港，1996年，頁234，圖版215。關善明博士（Simon Kwan）藏有一形制較大例，展出於《關氏所藏宋代陶瓷》，香港藝術館，香港，1994年，編號170；另一例可參考 Robert D. Mowry 著之展覽圖錄《兔毫、玳瑁與鷓鴣斑．中國褐釉與黑釉瓷器400-1400》，哈佛大學藝術博物館，劍橋，1995年，頁226，編號87。

The bowl with deep rounded sides flaring out from a narrow recessed foot, covered overall with a glossy dark brown glaze accented with russet-brown splashes, simulating tortoiseshell, the glaze stopping just above the knife-pared foot, the base left unglazed revealing the buff body. The tortoiseshell appearance seems to have been created by first dipping the vessel in a dark-brown slip glaze, then splashing it with lighter brown glaze, following the drying and finally firing it right side up in the saggar. See a related bowl in the collection of Simon Kwan and included in the exhibition Song Ceramics from the Kwan Collection , Hong Kong Museum of Art, Hong Kong, 1994, cat. no. 170. Another Jizhou bowl similarly decorated included in the Exhibition Catalogue Hare’s Fur, Tortoiseshell, and Partridge Feathers. Chinese Brownand Black-Glazed Ceramics, 400-1400 , Robert D. Mowry, Harvard University Press, Cambridge, 1995, p. 226, pl.87.

fig.1 Illustrated in Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands 圖一出版於《Ben Janssens Oriental Art at The European Fine Art Fair: Maastricht, Netherlands》 Base

3304

南宋

A JIZHOU RESIST-DECORATED 'BLOSSOM' VASE

吉州窯貼花瓶

SOUTHERN SONG DYNASTY, 12TH-13TH CENTURY

來源

PROVENANCE

1. 紐約蘇富比，2002年9月19日，編號92 2. 藍理捷舊藏，紐約 3. 十面靈璧山居舊藏，購自J.J. Lally & Co.，編號LL9

1. Sotheby's New York, 19 September 2002, lot. 92 2. Collection of J.J. Lally, New York 3. The Ten-views Lingbi Rock Retreat Collection, purchased from J.J. Lally & Co., no. LL9

H 19cm

HK$ 100,000 - 150,000 US$ 12,800 - 19,200 此瓶侈口，束頸，垂鼓腹，圈足。通體施黑色釉，器身局部留白，剔出折枝梅花一枝，以褐彩勾勒輪廓及花蕊，裝飾效果甚強，花紋處露黃色胎。黑釉瓷最能代表吉州窯之特色，釉上剔出花紋，在胎色上繪出圖案，除本器之長頸瓶外，另見梅瓶、罐、碗等器型。

The body of the vase sweeping to a tall slender neck and lipped rim, all on a short rounded foot, with prunus branches reserved in the biscuit against an opaque dark brown glaze dripping into the mouth and stopping short of the buff-coloured foot.

安思遠舊藏一例，售於佳士得紐約2015年12月1日，編號61（圖一）；香港蘇富比售一例同類型，然瓶頸部略長，2015年12月3 日，編號222；Alan Barlow藏有一例相似，錄於Mary Tregear《宋瓷》，倫敦，1982年，圖261；瑞士玫茵堂藏兩例，頸部略短，見康蕊君《玫茵堂藏中國瓷器．卷三》，倫敦，2006年，編號1557 （圖二）；洪敏昌先生舊藏一例，戴於《百代昌吉—黑釉．磁州．吉州窯》展覽圖錄，國立歷史博物館，臺北，2004年，頁34，編號33。另有黑釉剔花梅瓶之器型，多見於重要公私收藏，見《故宮博物院藏文物珍品全集．兩宋瓷器（下）》，香港，1996年，圖版217（圖三）；倫敦維多利亞．艾伯特博物館藏一例，錄於John Ayers《維多利亞．艾伯特博物館藏遠東瓷器》，倫敦，1980，編號110；美國大都會博物館藏一例，錄於Suzanne G. Valenstein，《中國瓷器手冊》，紐約，1989年，編號115。

See a similar example in the Robert Hatfield Ellsworth’s collection, sold in Christie’s New York, 1 December 2015, lot. 61 (fig.1 ); another one with a longer neck sold in the Sotheby’s Hong Kong, 3 December 2015, lot 222; see another one from the collection of Alan Barlow, illustrated in Mary Tregear, Song Ceramics , London, 1982, pl.261; two similar examples in the Meiyintang collection, illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. III , London, 2006, pl. 1557 (fig.2 ); One in the collection of Hong Minchang , illustrated in Baidaichangji: Black-glaze, Cizhou and Jizhou wares , National History Museum, Taipei, 2004, p.34, pl. 33; There are several examples of meiping with the same decoration in the Palace Museum in Beijing (fig.3 ), Victoria and Albert Museum and the Metropolitan Museum, New York.

fig.1 © Robert Hatfield Ellsworth's Collection 圖一 © 安思遠舊藏

fig.2 © The Meiyintang Collection 圖二 © 玫茵堂藏品

fig.3 © Collection of the Palace Museum, Beijing 圖三 © 北京故宮博物院藏品

—蘇軾《十八大阿羅漢頌》第九尊者德頌詞「空山無人，水流花開」

3305

北宋河南黑釉褐斑盞來源 1. 倫敦蘇富比，2001年6月20日，編號64 2. 十面靈璧山居舊藏，編號EK80

A HENAN RUSSET-SPLASHED BLACK GLAZED CONICAL TEA BOWL NORTHERN SONG DYNASTY, 10TH-12TH CENTURY PROVENANCE 1. Sotheby's London, 20 June 2001, lot. 64 2. The Ten-views Lingbi Rock Retreat Collection, no. EK80

H 4.1cm D 12.3cm

HK$ 400,000 - 500,000 US$ 51,300 - 64,100 此盞敞口外撇，腹漸收，圈足。內外施黑釉，外壁釉施至近足處，無釉處露白色胎。碗內黑釉上飾褐釉斑，呈放射狀展開排列，形狀如羽，色彩微妙，變化萬千。這種黑釉瓷在日本稱為「天目」，用以指代以鐵質黑釉燒制的陶瓷。宋代精英階層飲茶風氣興盛，宋徽宗《大觀茶論》裡「天下之士勵志清白，竟為閒暇修索之玩，莫不碎玉鏘金。啜英咀華，較筐篋之精，爭鑒裁之別」，足見當時對鬥茶的推崇。茶水表面氣泡是否豐盈與持久，是判斷沖茶水平的一大因素，因此，可以清晰辨別淺色泡沫的黑釉茶器愈加受到士人喜愛。其時，中國北方地區如河南的禹州、魯山、汝州等地北宋時期窯廠星羅棋布，出產的黑瓷表面往往有著豐富的裝飾，因此制瓷工藝亦較為複雜。在黑釉表面灑上含氧化鐵成份的褐釉，可以形成令人讚歎的藝術效果。可參考京都國立博物館藏一例宋黑釉銹斑文碗（河南天目）(館藏編號G甲227)，其褐斑較小及分散（圖一）；另可參考兩例同類型褐班茶盞，載於 Robert D. Mowry 著之展覽圖錄《兔毫、玳瑁與鷓鴣斑．中國褐釉與黑釉瓷器400-1400 》，哈佛大學藝術博物館，劍橋，1995年，圖45a, b。

The bowl molded in conical form, the flaring sides rising from a slightly splayed foot to an everted rim, covered overall with a lustrous black glaze, thinning at the rim with radiating russet splashes extending downwards, the glaze stopping above the foot to reveal the pale gray stoneware body. Fine black-glazed wares was popular during the Song dynasty because of the emergence of tea drinking culture. Tea preparation contests were judged largely by the quality of the froth that they produced on the surface of the tea and how long it lasted. The pale froth could best be seen easily against a black ground, which contributed to the rising prominence of black-glazed bowls during that period. Compare with a Henan black glazed bowl from Kyoto National Museum, which have a smaller and dispersed russet splash (fig.1 ); See another two similar examples illustrated in Robert D. Mowry, Hare’s Fur, Tortoiseshell, and Partridge Feathers. Chinese Brownand Black-Glazed Ceramics, 400-1400 , Havard University Press, Cambridge, 1995, pl. 45 a,b.

fig.1 © Collection of Kyoto National Museum 圖一 © 京都國立博物館藏品 Base

3306

A CARVED Hutian Yingqing -Glazed 'PEONY' Foliate BOWL

北宋湖田窯影青釉六出劃花牡丹紋盌

NORTHERN SONG DYNASTY, 10TH-12TH CENTURY

來源

PROVENANCE

1.英國古董商Ben Janssens 收藏，2010年 2.十面靈璧山居舊藏，購自Ben Janssens Oriental Art，編號BE22

1. Collection of Ben Janssen, 2010 2. The Ten-views Lingbi Rock Retreat Collection, purchased from Ben Janssens Oriental Art, no. BE22

展覽及出版《Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands》，倫敦，2010年3月12日至21日，頁64-65

H 7cm D 25cm

EXHIBITED AND LITERATURE Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands , London, 12 - 21 March , 2010, pp. 64 - 65

HK$ 150,000 - 200,000 US$ 19,200 - 25,600 盌敞口，六瓣葵口型，圈足，足底因支燒留有醬色糊底，應為景德鎮湖田窯北宋時期所製。全器通體施青白釉，青白釉色潔淨瑩潤，外光素無紋，內刻牡丹紋，花繁葉茂，搖曳生姿，豐富而飽滿，花瓣口造型別致，是青白釉瓷器的傑作。景德鎮湖田窯燒製的產品，釉汁粘度小，因而釉薄處呈白色，積釉處帶水綠色，釉面光澤度強，透明透亦高，玻璃質感較強。故言宋代青白瓷器在胎體的硬度，薄度以及透明感皆已臻極致，代表宋代瓷器極高的燒造水平，宋元時期更遠銷海外，本器尺寸頗大，胎體瑩薄，釉質光亮滋潤，白中閃青，胎質細潔，光照見影，有如冰肌玉膚。清宮舊藏一例宋青白釉劃花葵瓣口碗，尺寸較小，且紋飾舒朗簡潔，錄於《故宮博物院藏文物珍品全集．兩宋瓷器（下）》，香港，1996年，頁199，編號181；參考大維德爵士收藏一例，現藏大英博物館，錄於畢宗陶（Stacey Pierson），《青白瓷：中國宋元瓷器》，倫敦，2002年，頁32，編號3。

Base

The bowl is of conical form, the deep flaring sides rising from a straight foot to a six-lobed rim, freely carved to the interior with peony blooms and leaves, covered overall in a transparent bluishwhite glaze pooling at the recesses, the unglazed base fired to a buff colour with iron-brown patches. The exquisite quality of Qingbai porcelain was widely recognized, and thus Qingbai porcelain made its way all over China and were exported to other localities in Asia. See a similar but smaller Qingbai six-lobed bowl, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty (II) , pl.181; Another example from the Collection of Percival David Foundation, now in the British Museum, included in Qingbai Ware: Chinese Porcelain of the Song and Yuan Dynasties , London, 2003, p.32, pl.3 .

fig.1 Illustrated in Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands 圖一出版於《Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands》

3307

A carved hutian yingqing -glazed 'boys' COSMETIC BOX AND COVER

宋湖田窯影青釉刻娃娃紋內三連盞粉盒

SONG DYNASTY, 10TH-13TH CENTURY

來源

PROVENANCE

1. 英國古董商Ben Janssens 收藏 2.十面靈璧山居舊藏，購自Ben Janssens Oriental Art，編號BE28

1. Collection of Ben Janssen 2. The Ten-views Lingbi Rock Retreat Collection, purchased from Ben Janssens Oriental Art, no. BE28

D 11.2cm

HK$ 50,000 - 80,000 US$ 6,400 - 10,300 粉盒子母口，盒蓋呈扁圓形，盒面刻劃娃娃紋，刀法犀利流暢，剛勁有力。盒蓋直沿，腹壁下收後直底高足。粉盒造型規整，柔中帶剛，器身施滿青白釉，釉光瑩潤，造型別致，秀雅可愛。粉盒是貴族仕女存放胭脂、粉黛等化妝用品的器皿，宋代人更將之作為婦女陪嫁品。唐、五代粉盒裝飾較少，以釉取勝，五代至北宋形式漸多，紋飾纖麗。作為貴族用品，賞玩及實用兼具，濃縮了當時上流社會的審美情趣與時尚追求，寓富麗於清雅之中。可參考美國明尼阿波利斯博物館藏同類器，館藏編號 2000.83.5A,B（圖一）。德馨書屋舊藏一例青白釉刻花紋盒，器型與本例相同，售於佳士得香港，2017年10月2日，編號46。另有數例盒內同飾荷葉形小碗及花蕾，然圈足型，出土自江西德安縣劉氏墓（紀年1038），圖見彭適凡，《宋元紀年青白瓷》，香港，1998年，圖版7；另一例見Captain 與 Mrs V. BulkeleyJohnson收藏，曾展於東方陶瓷學會《The Arts of the Sung Dynasty》，1960年，編號217；另比一例，售於紐約佳士得1998 年3月25日，編號161。養德堂藏一例宋青白印花菊式胭脂蓋盒，載於譚旦冏，《中國陶瓷史》，下卷，臺北，1985年，頁477。東京繭山龍泉堂藏一例宋代青白釉刻牡丹紋粉盒，售於倫敦蘇富比，井上恆一珍藏中國藝術專場，2015年5月13日，編號33。

Base

The box is of compressed globular form, finely molded on the cover with boys at play, applied on the interior with three small barbed-rim cups separated by three curved stems of lotus pods issuing from a central bud, applied overall with a transparent glaze pooling to a light turquoise blue in the recesses, the raised interior rim and base left unglazed revealing the smooth white body. See similar examples in Minneapolis Institute of Ar t, no. 2000.83.5A,B (fig.1 ). Another box from Dexin Shuwu, sold at Christie’s Hong Kong, 2 October 2017, Lot46. Some boxes with similar lotus leaf bowl with buds, with straight foot, excavated in the Liu’s tomb(dated 1038AD) in De’an county of Jiangxi Province, illustrated in Peng Shifan, Dated Qingbai Wares of the Song and Yuan Dynasties, Hong Kong, 1998, no.7; Another example from the collection of Captain and Mrs V. Bulkeley-Johnson, exhibited in The Arts of the Sung Dynasty, Oriental Ceramics Society, 1960, no.217; See another example from Yang de Tang Collection, illustrated in Tan Dan-jiong, History of Chinese Ceramics , vol. 1, Taipei, 1985, p. 477; One similar box from the Mayuyama & Co., sold in Sotheby’s London, 13 May 2015, Lot 33.

fig.1 © Collection of Minneapolis Institute of Art 圖一 © 美國明尼阿波利斯博物館藏品

3308

宋

A Hutian Yingqing -glazed WATER DROPPER

湖田窯影青釉「骨朵」形水滴

SONG DYNASTY, 10TH-13TH CENTURY

來源

PROVENANCE

1. 英國古董商Ben Janssens 收藏，2008年 2.十面靈璧山居舊藏，購自Ben Janssens Oriental Art，編號BE27

1. Collection of Ben Janssen, 2008 2. The Ten-views Lingbi Rock Retreat Collection, purchased from Ben Janssens Oriental Art, no. BE27

展覽及出版

EXHIBITED AND LITERATURE

《Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands》，倫敦，2008年3月12日至21日，頁92-93

Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands , London, 12 - 21 March, 2008, pp. 92 - 93

H 4.5cm

HK$ 30,000 - 50,000 US$ 3,800 - 6,400 此青白釉水滴造型小巧，唇口，分上下兩層，由器型如塤，圓形顆粒飽滿鼓脹，其口入飾以連珠紋一圈，通體施青白釉，底面無釉。水滴，也稱「水注」、「硯滴」，是古代文人磨墨時用來裝水、滴水的用具，注水於硯面供研磨之用。本器釉水晶瑩純淨，似水如冰，美不勝收。在方寸之間集造型、剔刻、捏塑等多種工藝於一體，精工細作。存世相似較罕，可參考Peter Scheinman舊藏一例青白釉塤型水滴，其圓粒較為細密，層數較多，售於佳士得紐約， 2018年9月13日，編號1294。

Base

This water dropper is of conical form, the shape is quite unusual for the pebbled surface beneath a pale blue glaze that falls irregularly to just above the unglazed base. See one similar example from the Peter Scheinman collection, sold in Christie’s New York, 13 September 2018, lot 1294. This small Qingbai water droppers was made for use on the scholar's table to add drops of water to freshly ground ink, to produce a mixture suitable for painting or calligraphy. The craftsmen exemplified the Song literati's taste for simple forms with incised or molded decoration.

「萬古長空，一朝風月」

—《五燈會元》卷二

3309

北宋湖田窯影青釉瓜棱形執壺來源 1. 倫敦蘇富比，1998年11月18日，編號860 2. 十面靈璧山居舊藏，編號EK37

A Hutian Yingqing -glazed MELON-SHAPED EWER NORTHERN SONG DYNASTY, 10TH-12TH CENTURY PROVENANCE 1. Sotheby's London, 18 November 1998, lot. 860 2. The Ten-views Lingbi Rock Retreat Collection, no. EK37

H 15.7cm

HK$ 350,000 - 450,000 US$ 44,900 - 57,700 執壺作瓜稜形，壺帶蓋，口下連腹，無頸，腹為八稜形，圓足。通體施青白釉，釉色白中泛青，釉質光亮如晶，透明度好，腹上部連一曲柄，另一側為細長微曲壺流，流下部有一劃花紋飾。身為瓜型，蓋為瓜蒂型，整體協調統一，造型巧妙。這類執壺的獨特之處是器型較小，與常見的點茶用執壺和分酒用的注壺有一定的差距。因此，其使用功能耐人尋味。《詩經 ·大雅 ·綿》:「綿綿瓜瓞，民之初生，自土沮漆。」瓞：小瓜也，意為連綿不斷的藤上結了許多大大小小的瓜一樣。引用為祝頌子孫昌盛，綿延不絕。後又逐漸衍生出仕途騰達，夫婦和諧等含義，是中國古代非常重要的吉祥圖案。這種吉祥的取意自六朝時就已形成。家門昌盛，人丁興旺，大概是自古以來就是人們對自己及家庭未來的期盼，因此，取意綿綿瓜瓞以期子孫昌盛的吉祥器物和圖案在中國古代長盛不衰。根據此類瓜瓞形執壺各個時代的演變，從唐代出現寫實的瓜形器物，到北宋中期的執壺非常接近瓜形，再到金代逐漸脫去寫實的風格，在以後開始廣泛出現用圖像的形式來表達這種吉祥含義的變化過程，體現了從寫實的表達到示意性的表達的發展過程。此種執壺的發展代表了宋金時期吉祥圖案和祈福文化的發展脈絡。體現了從具象的美向抽象美的轉變。

Base

The vase is of finely potted lobed oval form, applied to one side with a high strap handle and to the other with a short and slightly curved spout, a cover in the form of a stalk with curled leaf applied as a knob, covered overall with a soft pale bluish-white glaze stopping at the base of high foot to reveal the white body.

Qingbai is a term used for hard-white-bodied porcelain wares with a bluish-white glaze. The iron oxide in the glaze mixture, fired in a reducing atmosphere, creates the characteristic attractive faint light blue tone seen on Qingbai ceramics. Most Qingbai ewers, such as the present lot, derive their shape from metal wares. See a melon-shaped ewer excavated in 1959 in Xiaoquan Town, Deyang county, Sichuan province, now under the collection of Nezu Museum, included in the exhibition The Colors and Forms of Song and Yuan China: Featuring Lacquerwares, Ceramics, and Metalwares , Tokyo, 2004, p.177, cat. no 29n (fig.2 ). The loops on the lid and handle were made to secure the two together with a tie, which would have consisted of a chain attachment in the original silver vessels.

fig.1 Sotheby's London, 18 November 1998, lot. 860 圖一倫敦蘇富比，1998年11月18日，編號860

宋代以景德鎮為代表燒製的青白瓷，有較多種樣式的瓜稜壺，其造型為仿金屬器特徵，然多見長直頸例，如北京故宮博物館所藏宋青白釉瓜稜壺執壺，錄於《故宮博物院藏文物珍品全集．兩宋瓷器（下）》，香港，1996年，頁189，圖版171。本壺口開腹頂，較為少見，然亦有金屬器相似例，可參考1959年四川省德陽縣孝泉鎮清真寺窖藏出土宋崇寧年代一例瓜形水注（圖二），載於《宋元之美》，根津美術館，日本，2004年，頁177，圖29n。玫茵堂藏一例青白瓷瓜稜型壺，載於康蕊君《玫茵堂藏中國陶瓷》卷一，倫敦，1994年，編號599（圖三）。另一相似例出土於遼代中京大定府遺址，遼寧省寧城縣附近遼代墓葬，紀年為西元1099 年，錄於《內蒙古文物資料選集》，呼和浩特，1964年，編號206 及頁167，編號112（2）。另一例瓜稜形壺載於劉良佑，《中國歷代陶瓷鑑賞2：宋瓷》，臺北，1991年，頁287。

fig.2 Excavated in Xiaoquan Town, Deyang county, Sichuan province in 1959 © Illustrated in The Colors and Forms of Song and Yuan China: Featuring Lacquerwares, Ceramics, and Metalwares 圖二出土於1959年四川省德陽縣孝泉鎮清真寺窖藏 © 出版於《宋元之美》

See a very close example, illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol.1 , London, 1994, pl. 599 (fig.3) . See, another similar example, excavated from a Liao tomb dated to A.D. 1099, near the site of the central Liao capital in Ningcheng county, Liaoning province, illustrated in Neimengu wenwu ziliao xuanji , Huhhot, 1964, pl. 206., and p. 167, fig. 112(2). Compare also another related melon-shaped ewer included in Liu LIang-yu, Sung Wares. A Survey of Chinese Ceramics, vol.2 , Taipei, 1991, p. 287 top.

fig.3 © The Meiyintang Collection 圖三 © 玫茵堂藏品

「肌膚若冰雪，淖約若處子。」

—《莊子逍.遙遊》

3310

A Hutian Yingqing -Glazed LOBED VASE, MEIPING

南宋或元湖田窯影青釉瓜棱梅瓶來源十面靈璧山居舊藏，購自Courage and Joy Asian Art Advisory，編號 CY6

SOUTHERN SONG OR YUAN DYNASTY, 12TH - 13TH CENTURY PROVENANCE The Ten-views Lingbi Rock Retreat Collection, purchased from Courage and Joy Asian Art Advisory, no. CY6

H 17.2cm

HK$ 150,000 - 200,000 US$ 19,200 - 25,600 此器為梅瓶形制，唇口，短頸，豐肩，斂腹，器身瓜稜型，釉色青中帶白，釉質光潔瑩潤，足底露胎。青白釉是景德鎮在宋代的主要產物，因釉色白中帶青，故稱青白釉、影青或隱青。其形式或受北宋御用定窯白瓷影響，之後因元代祟白，更成為宮廷及民間重要產物之一。沐文堂收藏一例宋青白釉帶蓋梅瓶，出版於《關氏所藏宋代瓷器》，香港藝術館，香港，編號132，後售於倫敦蘇富比，2003年 11月12日，編號77。可參考另一對青白釉無蓋梅瓶，售於佳士得紐約，1986年12月2日，編號123。一例帶蓋青白釉梅瓶，售於佳士得紐約，1999年3月22日，編號257。

Base

The meiping is of shouldered form rising from a narrow circular foot, finely moulded with twelve lobes divided into pairs by crisply raised ridges, the pale buff ware burnt brownish in the firing. See a similar example with cover in the Mu Wen Tang Collection, illustrated in Song Ceramics from the Kwan Collection , Hong Kong Museum of Art, Hong Kong, 1994, cat. no. 132, sold at Sotheby’s London, 12 Nov 2003, Lot.77; A pair of similar vases, without covers, was sold at Christie's New York, 2 December 1986, lot 123; and another single vase with its cover, 22 March 1999, lot 257.

3311

元

A Hutian Yingqing -Glazed EWER

湖田窯影青釉弦紋雙繫執壺

YUAN DYNASTY, 13TH-14TH CENTURY

來源

PROVENANCE

1. 英國古董商Ben Janssens 收藏，2008年 2. 十面靈璧山居舊藏，購自Ben Janssens Oriental Art，編號BE25

1. Collection of Ben Janssens, 2008 2. The Ten-views Lingbi Rock Retreat Collection, purchased from Ben Janssens Oriental Art, no. BE25

展覽及出版

EXHIBITED AND LITERATURE

《Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands》，倫敦，2008年3月12日至21日，頁78-79

Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands , London, 12 - 21 March, 2008, pp. 78 - 79

H 17.3cm

HK$ 80,000 - 120,000 US$ 10,300 - 15,400 此執壺唇口，直頸，豐肩，短流，壺把圓弧上拱，極具張力，肩兩側模塑雙繫，中間有一圓形小孔，可供繫繩，便於提攜行走，腹部重心偏上，下部內斂出隱圈足。外壁通體弦紋裝飾，簡潔雅致，規整而又有律動。弦紋凸起處釉薄顯白胎，內凹處則積釉顯青綠，白、綠相間，淺淡相宜，外壁滿釉，釉質清亮，釉層勻薄，積釉處閃綠，釉層氣泡豐富，釉面見細小開片。內膛底部澀胎，胎質細白。

The ewer is with molded with ovoid and ribbed body rising from a slightly recessed foot to a waisted neck with lipped rim, set with a strap handle opposite a short tapering spout, flanked by two small loop handles covered overall in a transparent ice-blue glaze.

Qingbai ware, also known as Yingqing , refers not to the locales where the kilns were located but to their appearance. Qing and Bai in Chinese denote the alluring pale blue-green tones of the brilliant translucent glaze which so effectively complimented the white biscuit body beneath. The grooves on the body of this ewer represent an unusual feature in qingbai porcelain. This feature, as well as the sturdy potting, indicates a date slightly later than the Song dynasty. A somewhat larger Longquan vase in the Baur collection in Geneva has a remarkably similar grooved body, see in Ayers, J. Chinese Ceramics in the Baur Collection, Vol. I, Geneva, 1999, no. 39 [A106], pp. 82-3.

Base

3312

A DINGYAO PERSIMMON-glazed FOLIATED lobed BOWL

北宋紫定柿釉六出葵口碗

NORTHERN SONG DYNASTY, 10TH-12TH CENTURY

來源十面靈璧山居舊藏，購自Courage and Joy Asian Art Advisory，編號 CY2

PROVENANCE The Ten-views Lingbi Rock Retreat Collection, purchased from Courage and Joy Asian Art Advisory, no. CY2

H 7cm D 19.4cm

HK$ 300,000 - 400,000 US$ 38,500 - 51,300 此件斗笠式碗，六出花式廣口，圈足，斜壁微弧，線條自然而流暢。器物滿釉，施醬色釉，外部施釉不到底，足牆露胎，足底心有釉，釉色勻淨、溫和。胎質細膩、潔白。為定窯瓷匠高技藝之典範代表。定窯以白釉器居多，柿釉者較少見。紫定為定窯瓷器中較為難得的瓷種，加之定窯胎質輕薄，保存至本件品相極為難得。宋代定窯以燒白釉瓷器為主，而醬釉器和黑釉器的數量則較少。醬釉器又稱作「紫定」，黑釉器又稱作「黑定」。此盤因釉色較淺，釉面泛黃色，所以這種醬釉器又稱作「紫金釉」。目前所知除河北定窯燒制醬釉瓷器外，河北磁州窯，河南修武窯、魯山窯、寶豐窯，陝西耀州窯，山西介修窯，甘肅安口窯等也有燒制。這些罕見的品種在古籍中被稱作「紫定」、「黑定」以及「金花定碗」。明代曹昭曾在《格古要論》評價紫定瓷器道：「紫定色紫，有墨定色黑如漆，土俱白，紫定瓷器其價高於白定。」可見其稀缺、珍貴，令世人矚目。《項子京歷代中瓷圖譜》中載有「紫定」，並形容其釉色絢紫如葡萄，是在曹昭「紫定色紫」說的基礎上的推測。與本品同類，可見清宮舊藏一例紫定葵口折腰盤，錄於《故宮博物院藏文物珍品大系：兩宋瓷器（上）》，1996年，第96頁，圖87。法國集美博物館藏一例，錄於《La ceramique chinoise ancienne》，頁65。

Base

The bowl is of widely flared conical shape with a hexalobed rim, the finely potted wide sides supported on a short foot, applied overall with a persimmon glaze thinning at the rim to dark brown tone, the foot left unglazed to reveal the white body.

Ding lobed bowls covered with this lustrous russet-brown glaze are highly prized for their discerning craftsmanship which draws inspiration from the beauty of nature in both its lobed form and colour. It is rare to find a Ding bowl of this fine shape and exquisite glaze color. Although persimmon-glazed bowls were made by many northern kilns in China, the striking near-white body visible through the glaze at the rim is a distinctive feature of wares produced at the Ding kilns. The technique of producing the russet-brown hue on the rim of Ding wares, reminiscent of brown lacquers of the Northern Song dynasty, is worth noting. The color is in fact a film that was produced when the dark brown glaze was over-saturated with iron and the excess iron crystallized out at the surface during firing and cooling.

fig.1 © The Freer Gallery of Art, Washington D.C.' no. F1911.367 圖一 © 美國弗利爾．賽克勒美術館藏品編號F1911.367

定窯始燒於唐，入宋後盛極，其以生產白瓷著稱，亦生產黑釉、綠釉等，紫釉或絳釉產量雖少，亦因此聲名極高。明代曹昭曾在《格古要論》評價紫定瓷器道：「紫定色紫，有墨定色黑如漆，土俱白，紫定瓷器其價高於白定。」可見其稀缺、珍貴。現存同類器罕見，可參考美國弗利爾·賽克勒美術館所藏由查爾斯·朗·弗利爾所贈定窯六出紫釉大碗，較本例略小，館藏編號 F1911.367，著錄於《東方陶瓷大觀》，第九卷，東京，1987年，編號62（圖一）。東京國立博物館藏一例定窯碗，載於《東京國立美術館圖錄》，卷一，東京，1988，編號368。鴻禧美術館藏一例定窯花口紫釉碗，載於James Spencer《漢至清代中國陶瓷精選》，臺北，1990年，編號28。參考一例，售於北京保利，2019 年6月5日，編號5463，成交價為人民幣218萬（圖二）。

fig.2 © Poly Beijing, 5 June 2019, lot.5463 圖二 © 北京保利，2019年6月5日，編號5463

Compare with a smaller example, in the Freer Gallery of Art, Washington D.C., published in Oriental Ceramics: The World's Greatest Collections, vol. 9 , Tokyo, 1981, no. 62 (fig.1) ; another Ding bowl in the National Museum of Tokyo, illustrated in Catalogue of Tokyo National Museum. Chinese Ceramics, vol. I , Tokyo, 1988, cat. no. 368; see another six-lobed Ding bowl in the Chang Foundation, Taipei, illustrated in James Spencer, Selected Chinese Ceramics from Han to Qing Dynasties , Taipei, 1990, pl. 28. See a very similar example sold in Poly Beijing, 5 June 2019, lot.5463, at RMB 2,185,000 (fig.2 ).

3313

北宋

A DINGYAO CARVED 'MANDARIN DUCKS' DISH

定窯白釉劃花池塘雙鳧紋折腰盤

NORTHERN SONG DYNASTY, 10TH-12TH CENTURY

來源

PROVENANCE

1. Dr. David Goldstein，紐約 2. 藍理捷舊藏，紐約 3. 十面靈璧山居舊藏，購自J.J. Lally & Co.，編號LL37

1. Dr. David Goldstein, New York 2. Collection of J.J. Lally, New York 3. The Ten-views Lingbi Rock Retreat Collection, purchased from J.J. Lally & Co., no. LL37

展覽及出版

EXHIBITED AND LITERATURE

藍理捷，《美國私人收藏中國早期陶瓷》，2005年3月28至4月16日，紐約，編號32

J.J. Lally, Early Chinese Ceramics: An American Private Collection , 28 March to 16 April 2005, New York, pl. 32

D 21.3cm

HK$ 550,000 - 850,000 US$ 70,500 - 109,000 此盤撇口，淺壁，折腰銳收，器裡折腰痕明顯，底寬平微凹下，小矮圈足。全器薄胎滿釉，色呈牙白，內裡劃花為飾，淺劃雙鳧蓮塘紋，一對鴛鴦伴游於水塘，景致優雅，勾勒簡潔，筆力灑脫。覆燒成器，口沿無釉。野鳧雙蓮紋在北宋定窯器中頗為常見，梅堯臣有《東溪》詩曾贊：「野鳧眠岸有閒意，老樹著花無醜枝。」將老樹換成新荷，正是盤中意趣。刀鋒所到處，釉水沈積，令之線條層次鮮明，畫面更加飽滿。惟類似的圖樣流傳至今且善者稀少，還見之於台北故宮博物院所藏的兩件定窯雙鳧紋碗（《定窯白瓷特展圖錄》，國立故宮博物院，1987，編號45）。而彼兩件雙鳧盤，雌雄雙鳧並排戲水，花紋裝飾但蘆草茨菰而已；此盤並集茨菰葉、雙鳧、雙蓮，且以茨菰葉為中心對稱鋪陳，在同類紋樣中可謂至臻。

Base

The dish is finely potted, its body suppor ted on a shor t spreading foot, the flared sides rising from an angled base, the interior freely carved to the interior with a pair of mandarin ducks swimming in a pond with waterweeds, all encircled by scrolling lotuses, applied overall with a creamy ivory glaze pooling slightly on the exterior into characteristic 'teardrop' streaks, the rim left unglazed.

fig.1 Illustrated in Early Chinese Ceramics: An American Private Collection 圖一出版於《美國私人收藏中國早期陶瓷》 © J.J. Lally & Co.

fig.3 © Collection of the National Palace Museum, Taipei 圖三 © 國立故宮博物院藏品

fig.2 © Pair of Mandarin Ducks on an Autumn Bank by Huichong (by repute), Collection of the National Palace Museum, Taipei 圖二 ©（傳）《秋蒲雙鴛圖》國立故宮博物院藏品

fig.4 © Percival David Foundation Collection 圖四 © 大維德基金會藏品

鴛鴦象徵忠誠以及婚姻美滿，與蓮花組合作為吉祥圖案，寓意「一路榮華」、「夫妻恩愛」等。臺北故宮博物院藏宋惠崇（傳）所作之《秋蒲雙鴛圖》（圖二）亦描繪了此種圖景，這一主題在宋代陶瓷中並不鮮見，除盤外，亦見於碗等其它器型。此器沿襲銀器造型，搭配此紋飾主題亦為定窯名品之一。臺北故宮藏有一例定窯刻鴛鴦紋盤（圖三），載於《定窯白瓷特展圖錄》，臺北，1987年，編號77；倫敦大維德基金會所藏另一例，其盤沿鑲銅口，現藏大英博物館，載於《大維德藏百件中國瓷器精品》，東京，1980年，編號6（圖四）；美國弗利爾美術館亦收藏一例鑲銅口例，錄於《東方陶瓷：世界收藏大觀．卷9》，東京，編號58。另一例錄於康蕊君《玫茵堂藏中國陶瓷．卷一》倫敦，1994，編號357。另一相似例，售於佳士得倫敦，2008年5月 14日，編號255，出版於《卡爾．坎普收藏中國陶瓷》，烏爾里瑟遠東藝術博物館，2002年，編號617。本品曾為Dr. David Goldstein（大衛．戈德斯坦）收藏，他為美國紐約的資深心臟科醫生，丹心妙手，從醫將近二十年。

See similar example in the Palace Museum, Taipei, included in the Special Exhibition of Ting Ware White Porcelain , Taipei, 1987, cat. no. 77 (fig.3) ; another example from the collection of the Percival David Foundation, with the bronze rim, illustrated in A Hundred Masterpieces of Chinese Ceramics from the Percival David Collection , Tokyo, 1980, pl. 6 (fig.4) ; another example in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol.1 , London, 1994, pl. 357. Another sold in Christie’s London, 14 May 2008, lot 255, including in The Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities , Ulricehamn, 2002, no. 617.

「薄霧濃雲愁永晝，瑞腦消金獸。佳節又重陽，玉枕紗櫥，半夜涼初透」

—李清照《醉花陰》

3314

北宋定窯白釉刻劃牡丹紋透雕腰圓枕

A VERY RARE CARVED DING 'PEONY' RETICULATED OVAL PILLOW NORTHERN SONG DYNASTY, 10TH-12TH CENTURY

來源 1. 埃斯肯納齊舊藏，倫敦 2. 十面靈璧山居舊藏，編號EK183

展覽《Song: Chinese Ceramics, 10th to 13th Century》，Eskenazi，倫敦， 2003年，11月6日至29日，圖錄編號23

出版《Song: Chinese Ceramics, 10th to 13th Century》，Eskenazi，倫敦， 2003年，圖錄編號23

PROVENANCE 1. Collection of Eskenazi, London 2. The Ten-views Lingbi Rock Retreat Collection, no. EK183

EXHIBITED Song: Chinese Ceramics, 10th to 13th Century , Eskenazi, London, November 6 - 29, 2003, cat. no. 23

LITERATURE Song: Chinese Ceramics, 10th to 13th Century , Eskenazi, London, 2003, cat. no. 23

H 12.5cm L 27.5cm

HK$ 5,000,000 - 7,000,000 US$ 641,000 - 897,400 枕為腰圓形，前低後高，枕式較高，尺寸頗大，為定窯枕的特色，也是宋金所流行的式樣。其通體胎質潔白，施白色釉，潔淨簡潔，素底無釉，枕內施釉。其枕面以淺刻勾勒花卉卷草紋樣：枕面中央為一朵盛開的牡丹，左右各兩朵花脅待之，間以卷枝紋填滿。枕前壁如意開光，其內勾勒卷草紋，另三面裝飾極為精彩，以鏤雕盛開花卉卷草紋：中央及兩側花卉一正二反，側邊兩束卷草，卷草莖自花束中捲曲，再各生細枝，滿飾側邊，技法嫺熟，複雜精美，巧奪天工，加之釉汁肥潤，保存完整，藝術價值極高。瓷枕首現於唐代，後為宋代士人所珍，晚明高濂在《遵生八箋》中指出「有用磁石為枕……最能明目益睛，至老可讀細書」；又曰：「臞仙制，用紙三大卷，狀如碗，品字相迭，束縛成枕，頭枕上卷，每卷綴以朱簽牙牌，下垂，一曰太清天籙，一曰南極壽書，一曰蓬萊仙籍。用以枕於書窗之下，便作一夢清雅」。可見，瓷枕的質地、工藝、紋飾十分講究，不僅益於健康，更可養神，其重要性不言而喻。北宋詩人張耒曾作《謝黃師是惠碧瓷枕》：「鞏人作枕堅且青，故人贈我消炎蒸。持之入室涼風生，腦寒發冷泥丸驚。」即是說明瓷枕的質地，硬且如冰，可消炎暑，使人鎮定清涼。

The bean-shaped high pillow is of the popular form of Song and Jin dynasty, on the top carved with tiny lines delicately with blooming peony fully surround by foliage scrolls and a scrolling band on the below façade, other three sides with marvelous openwork of foliate scroll with lotus blooming, all covered with a clear glaze. The base is unglazed, revealing the fine, white body. Derived from the contemporaneous metalwork, it is quite rare to find openwork decorated ceramics pillow like this lot, the foliate scrolls pattern are more commonly seen in ewers and vases in carving or painting techniques. Similar patterns can be found in the metalwork of the tomb relics from Liao to Song dynasty. Two 'Ding' bean-shaped pillow can be found in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelain of the Song Dynasty (I) , Hong Kong, 1996, p.98 and 100, pl.89 and 90.

fig.1 Illustrated in Song: Chinese Ceramics, 10th to 13th Century 圖一出版於《Song: Chinese Ceramics, 10th to 13th Century》

fig.2 圖二

Excavated from ZoneA, Jianciling, A Ding White-glazed 'Boy' Pillow © Collection of Hebei Wenwu Yanjiusuo 北宋中期定窯白釉纏枝蓮紋童子形枕座定窯窯址（澗磁嶺A區）出土 © 河北省文物研究所藏品

fig.3 圖三

A Carved 'Peony And Peom' Pillow © Collection of the Palace Museum, Beijing 宋珍珠地劃花腰圓枕乾隆御題 © 清宮舊藏北京故宮博物院藏品

以鏤雕手法生產的定窯枕存世罕見，此種鏤雕裝飾手法多見於同時代金屬器，如瓶、執壺中亦多見。自唐代起，這種繁密複雜的圓型卷草紋便多見於金銀器中，至遼代墓葬亦多有出土帶類似裝飾的金屬器。圓枕則多見刻花剔花者，鏤雕者罕見。故宮博物院藏兩例金代定窯圓枕，錄於《故宮博物院藏文物珍品全集．兩宋瓷器（上）》，香港，1996年，頁98及100，圖版89及90。定窯瓷枕中，最負盛名當屬「孩兒枕」，而本品之鏤空設計腰圓枕，存世更罕。孩兒枕自唐代始燒製，宋代廣泛流行，考古多發見，均堪為國之珍寶。北京故宮博物院和台北故宮博物院各收藏有一件定窯白釉孩兒枕。台北故宮博物院藏品底部刻有乾隆三十八年御製詩《詠定窯睡孩兒枕》：「北定出精陶，曲肱代枕高。錦繃圍處妥，繡榻臥還牢。彼此同一夢，蝶莊且自豪。警眠常送響，底用擲籖勞。（《御製詩四集》卷十三）」據清宮造辦處檔案記載，乾隆皇帝於乾隆三十八年至四十年（1773-1775年）曾多次題賞古玩瓷枕，並下令為其配制木座、錦墊，可見對其喜愛，而在乾隆詠定瓷的御製詩中，以枕為題材的多達11首。北京故宮博物院另藏有一例宋代珍珠地劃花腰圓瓷枕，枕面刻有乾隆御題詩文，並落「宋朝辰翰」陰文章，為清宮舊藏瓷枕中精品。（圖三）

fig.4 Excavated from ZoneA, Jianciling, A Carved Ding 'Floral' Pillow (Details) © Collection of Hebei Wenwu Yanjiusuo 圖四北宋晚期定窯白釉刻花卷草紋如意形枕（局部）定窯窯址（澗磁嶺B區）出土 © 河北省文物研究所藏品

fig.5 圖五

A Carved Gold 'floral' Dish, Song Dynasty © Collection of Dr. Carl Kempe, Sweden 宋金刻花卉紋盤 © 瑞典 Carl Kempe 舊藏

fig.6 圖六

Murals of Mandala in Zanda County, Ali, Ngari © China Tibetology Research Center 西藏阿里札達縣帕爾宗遺址壇城窟窟頂壁畫 © 四川大學中國藏學研究所

fig.8 圖八

A Guan-Ware Vase © Hangzhou Guan-Ware Museum 南宋官窯鏤空瓶 © 杭州南宋官窯博物館

fig.7 © Collection of The Palace Museum, Beijing 圖七清乾隆青釉鏤空花卉紋套瓶 © 北京故宮博物院藏品

此式鏤空裝飾技法，亦在出土的北宋汝窯、南宋官窯中出現。一例南宋官窯鏤空瓶，出土於杭州，現藏於杭州南宋官窯博物館（圖八），雖破損較為嚴重，但仍可從腹部鏤空處看出此器之工藝繁複至極。南宋官窯為典型貢御之品，傳世同類宋瓷中，飾有鏤空裝飾者亦極為罕見，欲完成其鏤空，需要極為堅實的胎土，可控、可延展性強，並附以極為奢華的工藝雕刻，即應為皇室用瓷的炫技之作；側面或代表了此類精湛鏤空裝飾器，應為兩宋官樣制瓷的技術巔峰。

3315

宋或金

A LARGE JUNYAO BOWL

鈞窯天青釉蓮子式深腹大碗

SONG OR JIN DYNASTY, 12TH-13TH CENTURY

來源

PROVENANCE

1. 倫敦蘇富比，2001年11月14日，編號87 2. 十面靈璧山居舊藏，編號EK105

1. Sotheby's London, 14 November 2001, lot. 87 2. The Ten-views Lingbi Rock Retreat Collection, no. EK105

H 14.5cm D 26.8cm

HK$ 1,300,000 - 1,600,000 US$ 166,700 - 205,100 此器形制頗大，斂圓口，深弧壁，圜底，矮圈足，足壁微外撇。通體罩施天藍色釉，釉質勻潤清澈，釉層由上往下垂流，口沿釉薄呈現一道黃褐色邊。施釉至足際，圈足外壁局部沾釉，胎面堅致光亮，圈足無釉處，露土色胎。

Base

The large Jun bowl with the deep rounded sides, rising from a splayed foot to a slightly inverted rim, applied overall with a milky lavender-blue bubble-suffused opaque glaze transitioning at the rim to a mushroom color, the glaze terminating unevenly at the foot revealing the dark stoneware body.

fig.1 © Collection of Henan Provencal Museum 圖一 © 河南博物院藏品

鈞窯瓷器是中國歷史上的名窯奇珍，其成就在於釉中加入銅金屬，經高溫產生窯變。釉色以青、藍、白為主，兼有玫瑰紫、海棠紅等，色彩斑斕，美如朝暉晚霞，具有乳濁而不透明的效果。宋人曾以「夕陽紫翠忽成嵐」詩句來讚美，可見鈞窯器色引人入勝，讓人不忍釋手。另有「黃金有價鈞無價」和「家有萬貫，不如鈞瓷一件」的美譽。本器通體天藍色釉，凝厚滋潤，清馨淡雅。釉色之美更由造型之妙相稱，器內轉折處均見釉色淺淡，黑褐堅硬的胎骨若隱若現，使得造型輪廓鮮明，釉質的溫柔婉約和器型的剛健硬朗合二為一，別見一番古樸典雅之風韻。鈞瓷碗多見於世界知名公私收藏中，然鮮有尺寸如本件般相若者， 1925年鄢陵縣窖藏出土一例鈞窯天青釉碗，直徑22.2釐米，現藏河南博物院（圖一）。另一例可參考瑞士玫茵堂收藏，載於康蕊君《玫茵堂藏中國陶瓷．卷一》倫敦，1994，編號387（圖二）。較小型例可參考北京故宮博物院藏鈞瓷碗，載於《故宮陶瓷全集·宋代．卷一》，香港，1996年，圖225。可見倫敦大英博物館大維德基金會，見Margaret Medley，《中國陶瓷》，1976年，圖83。亦可比較瑞士鮑爾收藏兩例，戴於《鮑爾藏品．日內瓦：中國陶瓷．卷一》，日內瓦，1968年，圖A31和A32。

fig.2 © The Meiyintang Collection 圖二 © 玫茵堂藏品

It is not difficult to find Jun bowls in the famous collection all over the world. A large Jun bowl excavated in the Yanling county relics in 1925, now in the Henan Provencal Museum (fig.1) . See another one in Meiyintang Collection, illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. I, London, 2006, pl. 387 (fig.2) . A smaller example can be seen in the Palace Museum, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty (I) , Hong Kong, 1996, pl.125; Another example, from the Sir Percival David Foundation, see Margaret Medley, Chinese Ceramics , 1976, pl.83. Also compare with two examples from Baur Collection, illustrated in The Baur Collection, Geneva: Chinese Ceramics , vol I, Geneva, 1968, pl.A31 and A32.

3316

南宋

A LONGQUAN CELADON CONICAL BOWL

龍泉青釉笠式盞

SOUTHERN SONG DYNASTY, 12TH-13TH CENTURY

來源

PROVENANCE

1. 私人收藏 2. 藍理捷收藏，紐約 3. 十面靈璧山居舊藏，購自J.J. Lally & Co.，編號LL104

1. Private Collection 2. Collection of J.J. Lally, New York 3. The Ten-views Lingbi Rock Retreat Collection, purchased from J.J. Lally & Co., no. LL104

展覽

EXHIBITED

藍理捷，第十五屆古董雙年展：巴黎大皇宮，巴黎，2010年9月15至22日

J.J. Lally & Co., XXV Biennale des Antiquaires: Grand Palais , Paris, 1522 September 2010

H 5cm D 13.2cm

HK$ 250,000 - 300,000 US$ 32,100 - 38,500 本器敞口，斜直壁，呈斗笠型，圈足，足心有小乳突。全器光素無紋，釉層較厚，內外滿施粉青色釉，裡足滿釉，足底刮釉，圓足修削工整。全器釉色瑩潤，淡雅恬靜，器型小巧玲瓏，精細優美，恰好體現了宋人清雅簡潔的生活美學，同類器可參考兩岸故宮藏品。粉青釉由南宋龍泉窯首創，以石灰鹼釉入窯，其稠度增加，而流動性降低，從而可以多層施釉。加之紫金土的運用，使胎土不易變形，使胎坯變薄，達至輕盈優美的造型。遂甯金魚村曾出土多件粉青釉斗笠盞，可參考之，見成都文物考古研究所編著，《遂寧金魚村南宋窖藏》，圖版53-55。

Base

The bowl is of conical form, rising from a short foot to widely flared sides, covered overall in a bluish-green glaze of even color, the narrow foot ring left unglazed revealing the stoneware burnt brownish-orange in the firing. Similar examples can be found in the Palace Museum of both Beijing and Taipei. Several similar examples were excavated from the relics in the Suining Jinyu village, illustrated in Southern Song Relics in the Suining Jinyu Village , Chengdu Institute of Cultural Relics and Archaeology, pl. 53-55.

3317

南宋或元

A LONGQUAN CELADON LONG NECK VASE

龍泉窯青釉長頸瓶

SOUTHERN SONG OR YUAN DYNASTY, 13TH-14TH CENTURY

來源

PROVENANCE

1. 倫敦蘇富比，1992年6月9日，編號137 2. 十面靈璧山居舊藏，編號FR356

1. Sotheby's London, 9 June 1992, lot. 137 2. The Ten-views Lingbi Rock Retreat Collection, no. FR356

H 20cm

HK$ 200,000 - 300,000 US$ 25,600 - 38,500 本器口微侈，長直頸，腹部扁圓，下承圈足。通體施青釉，勻淨純粹，釉質溫潤，足尖露胎。造型古樸巧拙，敦厚端莊，陳設絕佳，秀美的造型頗具典雅風韻。龍泉釉是石灰堿釉的一種，高溫粘度大，不易流釉，可以施厚釉，而且釉層中含有大量小氣泡和未熔石英顆粒，它們使進入釉層的光線發生強烈散射，從而使其在外觀上獲得一種和普通玻璃釉完全不一樣的視覺效果。本器體量頗大，較小例可參考清宮舊藏一例宋龍泉窯穿帶瓶，出版於《故宮博物院文物珍品全集．兩宋瓷器下》，香港，1996年，編號99（圖一）。另可參考一例高21.7釐米例，錄於《南宋の青磁》，東京，2010，頁43，編號13。參考一例臨宇山人舊藏，售於佳士得香港2015年12月2 日，編號2807，成交價港幣232萬（圖二）。

Sotheby's London, 9 June 1992, lot. 137 倫敦蘇富比，1992年6月9日，編號137

This large vase is with compressed globular body resting on a low foot, surmounted by a tall cylindrical neck with everted rim, covered with a semi-translucent olive-green glaze, the unglazed footrim burnt orange in the firing. A smaller vase from the Qing Court collection, now in the Beijing Palace Museum can be compared with, illustrated in: The Complete Collection of Treasures of the Palace Museum: Porcelain of the Song Dynasty (II) , Hong Kong, 1996, pl.99. A Longquan vase with a more compressed body and of larger size (21.7 cm.) was included in the exhibition catalogue, Heavenly Blue: Southern Song Celadons , Tokyo, 2010, p. 43, fig. 13. Compared to a very similar example, in the collection of The Linyushanren, sold in Christie's Hong Kong, 2 December 2015, lot. 2807(fig.2) .

fig.1 © Collection of the Palace Museum, Beijing 圖一 © 北京故宮博物院藏品

fig.2 © The Linyushanren Collection Christie's Hong Kong, 2 December 2015, lot.2807 圖二 © 臨宇山人舊藏佳士得香港，2015年12月2日，編號 2807

3318

南宋

A LONGQUAN CELADON 'KINUTA' MALLET VASE

龍泉窯梅子青釉雙魔羯耳瓶

SOUTHERN SONG DYNASTY, 12TH-13TH CENTURY

來源

PROVENANCE

1. Dr. David Goldstein，紐約 2. 藍理捷收藏，紐約 3. 十面靈璧山居舊藏，購自J.J. Lally & Co.，編號LL42

1. Dr. David Goldstein, New York 2. Collection of J.J. Lally, New York 3. The Ten-views Lingbi Rock Retreat Collection, purchased from J.J. Lally & Co., no. LL42

展覽及出版

EXHIBITED AND LITERATURE

藍理捷，《美國私人收藏中國早期陶瓷》，2005年3月28至4月16日，紐約，編號54

J.J. Lally & Co., Early Chinese Ceramics: An American Private Collection , 28 March to 16 April 2005, New York, pl. 54

H 19.3cm

HK$ 500,000 - 800,000 US$ 64,100 - 102,600 此瓶盤口、長頸、折肩、筒形腹、底淺挖為圈足。頸兩側各貼飾半環耳，形象為龍首魚身，亦稱魚龍或摩羯，模印而成，再與器頸相接；魚首朝外，冠羽貼器飄動，長頸外伸，前後兩片短翅略平舉，魚身柔卷，魚尾與器頸相接，使魚耳形成優雅的S形曲度。全器施粉青釉，釉色瑩亮無瑕，敦厚凝練，將每一折曲修飾圓潤。胎質細膩，盤口稜處釉流縮而呈淺青色，足緣無釉，為黃褐色，露灰色胎。此器形端正大方，簡約端莊，釉色勻凈，是南宋時期龍泉窯的代表作品之一。

The vase is well-potted with a cylindrical body rising from a low footrim to a canted shoulder sweeping up to a tall gently tapering neck applied with a lively pair of crisply-molded and carved serpentine dragon-fish-handles, each with the detailing of the scales, fins and eyes finely incised, all below a wide everted dished rim with slightly upturned lip, covered overall with an even glaze of soft bluish-green tone, draining to a paler tone at the edges, the unglazed hand-pared footrim burnt an orange color in the firing.

長頸盤口瓶由北宋汝窯首度燒造，南宋官窯的作品中也多所繼承，為官方所垂青。龍泉窯位於浙江南部，瓷場分佈廣泛，產品種類多樣，南宋之後，成為供應海內外器用的重要窯場。龍泉窯多在長頸兩側加魚形耳或鳳形耳，此造型不僅在宋、元時期的許多墓葬及窖藏中頻繁出現，在海外貿易瓷遺址也經常見及。這件魚耳青瓷瓶的雙魚耳表面飾有印紋，紋路細緻，釉色粉青，瑩潤光亮，勻淨無瑕。

Base

fig.1 Illustrated in Early Chinese Ceramics: An American Private Collection 圖一出版於《美國私人收藏中國早期陶瓷》 © J.J. Lally & Co.

fig.2 Sinan shipwreck excavation 圖二新安沉船發掘

fig.3 © Collection of the National Palace Museum, Taipei 圖三 © 國立故宮博物院藏品

魚龍耳的瓶非常罕見，可參考數例，1977年發現的新安海底沉船的考古遺物中一例魚耳瓶（圖二）及二例鳯耳瓶兩種耳型的器形，見《新安海底文物》，首爾，1977年，編號3，6及7；臺北故宮博物院藏一例宋元龍泉青瓷魚耳瓶（館藏編號：故-瓷-014124）（圖三），另藏南宋鳳耳瓶數例；瑞士玫茵堂舊藏一例，尺寸略小，模印之魚耳亦較為簡潔，見康蕊君《玫茵堂藏中國陶瓷·卷一》，倫敦，1994，頁304，編號570；日本臨宇山人舊藏一例南宋雙魚耳瓶（圖四），形制稍大於本件，載於蘇玫瑰，（Chinese Classic Wares from a Japanese Collection: Song Ceramics from the Linyushanren Collection），《亞洲藝術》，2014年3月至4 月，97-108頁，圖20。倫敦維多利亞．艾爾伯特博物館藏一例（圖五），載於柯玫瑰《宋代陶瓷》，2004年，頁94，編號95。另參考阪本五郎舊藏一例雙魚耳瓶，售於香港蘇富比，2019年4月 2日，編號3028。龍泉窯鳳耳瓶例，除上述新安沈船及臺北故宮博物院外，另可參考清宮舊藏一例，現藏北京故宮博物院，錄於《故宮博物院藏文物珍品全集·兩宋瓷器（下）》，香港，1996年，圖版98；另可參考 1983年在麗水松陽縣西屏鎮出土一例南宋龍泉窯粉青釉鳳耳瓶，現藏松陽縣博物館；另，日本藏有數例南宋龍泉青瓷鳳耳瓶，最知名者為日本久保惣紀念美術館和陽明文庫所藏的兩例，由天皇命名為「千聲」和「萬聲」；另外，在日本大阪東洋陶瓷博物館、白鶴美術館、常盤文庫以及根津美術館皆藏有南宋龍泉青瓷鳳耳瓶。

fig.4 © The Linyushanren Collection 圖四 © 臨宇山人舊藏品

fig.5 © Collection of the Victoria and Albert Museum, London 圖五 © 維多利亞．艾伯特博物館藏品

Longquan vase with dragon-fish handles is relatively rarely seen, one similar example with two other vases with phoenix handles were recovered from a shipwreck off the coast of Korea in 1323, and included in Special Exhibition of Cultural Relics Found off Sinan Coast , National Museum of Korea, Seoul, 1977, col. pl. 3 (fig.2) , which along with pls. 6 and 7. One with dragon-ear handles from the National Palace Museum (fig.3) , Taipei (museum no:guci-014124), with several examples with phoenix handles. One smaller examples from the Meiyintang collection, with a more simple design of the handles, see Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. I, London, 2006, p.304, pl. 570. Another example with a slightly larger vase with dragon-fish handles from the Linyushanren Collection (fig.4) , see Rosemary Scott, Chinese Classic Wares from a Japanese Collection: Song Ceramics from the Linyushanren Collection’, Arts of Asia , Mar-Apr, 2014, p.97-108, pl.20; One in the Albert & Victoria Museum (fig.5) , see Rose Kerr, Song Ceramics , 2004, p.94, pl.95. One example from the Sakamoto Goro Collection, sold at Sotheby’s Hong Kong, 2 April, 2019, Lot 3028.

3319

遼

A MOULDED SANCAI -GLAZED DISH

三彩印落花流水紋花口碟

LIAO DYNASTY, 10TH-12TH CENTURY

來源

PROVENANCE

1.英國古董商Ben Janssens 收藏，2008年 2. 十面靈璧山居舊藏，購自Ben Janssens Oriental Art，編號BE29

1. Collection of Ben Janssen, 2008 2. The Ten-views Lingbi Rock Retreat Collection, purchased from Ben Janssens Oriental Art, no. BE29

展覽及出版

EXHIBITED AND LITERATURE

《Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands》，倫敦，2008年3月12日至21日，頁60-61

Ben Janssens Oriental Art at The European Fine Art Fair: Masstricht, Netherlands , London, 12 - 21 March, 2008, pp. 60 - 61

D 12.8cm

HK$ 30,000 - 50,000 US$ 3,800 - 6,400 此碟敞口，斜壁，平底。口沿為八瓣花口。通體裝飾模印花紋，盤心為一朵蓮花，外飾密集水波紋，盤壁分別裝飾兩種形態，共八朵荷蓮。此盤通體施黃綠色釉料。其花紋模印清晰，製作精美，可與唐代三彩比肩。同類器可參考清宮收藏一例遼代三彩印花盤，錄於《故宮博物院藏文物珍品全集．兩宋瓷器（上）》，香港，1996年，圖版254。另見關善明博士收藏一例遼代三彩印花盤，錄於《關氏所藏宋代陶瓷》，香港藝術館，香港，1994年，編號185。

Base

The dish is of lobed form, with shallow, slightly rounded sides rising from a flat base, moulded to the interior with a central floral roundel surrounded by stylized wave pattern, each lobe of the cavetto decorated with a lotus flower, all against a ground of waves, the base left unglazed. Compared similar example, see the collection of the Qing court, now in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty (I) , pl.254; See another example from the Simon Kwan’s Collection, included in Song Ceramics from the Kwan Collection , Hong Kong Museum of Art, Hong Kong, 1994, cat. no. 185.

3320

清康熙孔雀綠釉仿隨形竹節筆筒

A TURQUOISE-GLAZED BAMBOO-SHAPED BRUSHPOT, BITONG KANGXI PERIOD, 1662-1722

來源

PROVENANCE

十面靈璧山居舊藏，編號FR16

The Ten-views Lingbi Rock Retreat Collection, no. FR16

H 13.8cm

HK$ 80,000 - 120,000 US$ 10,300 - 15,400 孔雀綠釉是以銅為著色劑的一種低溫釉，因呈色碧翠亮麗，恰似孔雀尾羽而得名，始燒於金元時期的磁州窯。拍品造型新穎，構思巧妙，取竹節為形，曲線流暢，別富意趣。竹節外壁隨形，通體施孔雀綠釉，釉彩自然流淌，極盡變幻之能事。置於書齋案頭，妙趣橫生。

Base

Of irregular form imitating a section of a gnarled bamboo trunk, covered with a semi-translucent turquoise glaze pooling darker near the base, while the base left unglazed. The application of turquoise glazes appeared on Jingdezhen porcelain as early as the Yuan dynasty. As the turquoise glaze owes its colour to copper oxide in an alkaline glaze mix, both the Ming guan and the present Qing vase share similar characteristics in the networks of fine crackles and the formation of thick welts just above the bases, like the present lot.

3321

清康熙冬青釉折沿盤一對「大清康熙年製」來源 1. 佳士得倫敦，1997年6月9日，編號140 2. 香港蘇富比，2014年10月8日，編號3604 3. 十面靈璧山居舊藏，購自Courage and Joy Asian Art Advisory，編號 CY4

D 25.5cm

HK$ 500,000 - 700,000 US$ 64,100 - 89,700 直口，寬折沿，盆形腹，平底。通體施冬青釉，盤底白釉，胎質細膩潔白。底中央有一雙圈，內書雙行楷書「大清康熙年製」款。康熙一朝多好仿古，追宋瓷嫺靜典雅風韻，瓷工們耗費大量精力於釉層發色之上，本品尊貴端莊，通體敷施冬青釉，淡雅嬌嫩，瑩潤如玉，極見勻淨雅靚之致，深為其輕逸媚人之風韻所折服。

Mark

A PAIR OF FINE LARGE WINTERGREEN-GLAZED DISHES KANGXI PERIOD, 1662-1722 Kangxi Six-Character Mark PROVENANCE 1. Christie's London, 9 June 1997, lot. 140 2. Sotheby's Hong Kong, 8 October 2014, lot. 3604 3. The Ten-views Lingbi Rock Retreat Collection, purchased from Courage and Joy Asian Art Advisory, no. CY4

The pair of dishes is well potted with shallow rounded sides rising from a slightly tapered ring foot, covered overall in an exquisite wintergreen glaze. The white base is inscribed with the reign mark in under-glaze blue within a double circle. fig.1 Christie's London, 9 June 1997, lot. 140 圖一佳士得倫敦，1997年6月9日，編號140

fig.2 © Collection of the Nanjing Museum 圖二 © 南京博物院藏品

康熙十九年朝廷派員至景德鎮，重啟御窯廠燒造，據康熙二十二年本《饒州府志》卷之十一「陶政」記載：「康熙十九年九月內，奉旨燒造御器，差總管內務府廣儲司郎中徐廷弼、主事李延禧、工部虞衡司郎中加三級臧應選、六品筆帖式車爾德於二十年內駐廠督造。每製成之器實估價值，陸續進呈御覽。」此次燒造前後歷時七年，至康熙二十七年方止。期間精品迭出，無論品類還是紋飾均別具一格，氣宇不凡，開創清代御瓷之新境地，於後世影響頗為深遠，史稱「參古今之式，運以新意，備儲巧妙。於彩繪人物、山水、花鳥，尤各極其勝。既成，其精美過於明代諸窯。」於顏色釉一項創新甚多，品格超群，斑斕繽紛，歎為觀止。冬青、豆青、粉青釉最初仿自龍泉青釉，在此時越發成熟，成為康熙顏色釉中之珍稀品種，而本品正是詮釋此番妍美之佳例。康熙官窯創燒仿龍泉之單色釉瓷器，而研製出此類冬青釉色系的單色瓷，目前所見之例稀少，彌足珍貴。參考一較寬圈足例，南京博物院藏品，刊於《中國清代官窰瓷器》，上海，2003年，頁 111（圖二）。康熙折沿盤例，亦見施不同釉色，日內瓦鮑爾藏白釉盤，見《世界陶磁全集．卷15：清》，東京，1983年，圖35。尺寸較大黃釉盤及模印龍紋之例，錄於《上海博物館藏康熙瓷圖錄》，香港，1998年，編號239（圖三）。粉青釉折沿盤見一尺寸較小之例，售於佳士得香港，1990年3月24日，編號753；另見一例尺寸較大及有模印龍紋，售於佳士得紐約，2011年3月24日，編號 1737。

fig.3 © Collection of the Shanghai Museum 圖三 © 上海博物館藏品

The celadon produced in Jingdezhen during the Kangxi period was often called imitation Longquan ware. The known examples of celadon-glazed dishes during this period are very rare. Compare a celadon-glazed dish modelled with straight sides and wide foot rim, in the Nanjing Museum, included in the exhibition The Official Kiln Porcelain of the Chinese Qing Dynasty , Shanghai, 2003, cat. no. 111 (fig.2) . Examples of dishes of this form covered with various monochrome glazes; see a white-glazed dish, moulded with a pair of fishes, in the Baur collection, illustrated in Ceramic Art of the World. Ch’ing Dynasty, vol. 15 , Tokyo, 1983, pl. 35; and a larger yellow-glazed dish incised with dragons, published in Kangxi Porcelain Wares from the Shanghai Museum Collection , Hong Kong, 1998, pl. 239 (fig.3) . A smaller dish with everted rim was sold at Christie’s Hong Kong, 20 March 1990, lot 753; and a slightly larger dish incised with a dragon, was sold at Christie’s New York, 24 March 2011, lot 1737.

3322

清乾隆冬青釉葫蘆瓶「大清乾隆年製」來源 1. 日本私人收藏 2. 佳士得香港，2010年5月31日，編號2012 3. 十面靈璧山居舊藏，編號EK387

展覽《大樸尚簡──明清單色釉瓷器菁華展》，保利藝術博物館，2018年

出版《大樸尚簡──明清單色釉瓷器菁華展》，保利藝術博物館，2018年，編號61

A FINE WINTERGREEN-GLAZED DOUBLE GOURD VASE QIANLONG PERIOD, 1736-1795 Qianlong Six-Character Mark PROVENANCE 1. A Japanese Private Collection 2. Christie's Hong Kong, 31 May 2010, lot. 2012 3. The Ten-views Lingbi Rock Retreat Collection, no. EK387

EXHIBITED Pure And Natural: Special Exhibition of Ming and Qing Monochrome Porcelains , Poly Art Museum, 2018

LITERATURE Pure And Natural: Special Exhibition of Ming and Qing Monochrome Porcelains , Poly Art Museum, 2018, no. 61

H 32.5cm

HK$ 3,000,000 - 3,500,000 US$ 384,600 - 448,700 本品取瑞果葫蘆為形，優美雅致。直圓口微斂，斜肩，束腰，腹部渾圓，淺挖足，形制規整，造型端莊秀美。底以青花書「大清乾隆年製」六字三行篆書款。外施冬青釉，質地勻淨潤澤，透出淡淡藍韻，醉人心扉，達到器形與釉色完美結合之境地，是為一代之冠。底部內凹，澀圈一周，以供墊燒。無論胎釉、造型、神韻均與雍正者無異，殊為可貴。

The vase is well potted with a compressed globular lower bulb rising from the countersunk base to a slightly smaller globular upper bulb, surmounted by a long narrow mouth. The vase is covered overall with a pale sea-green glaze. The base is inscribed with a sixcharacter seal mark in underglaze blue.

乾隆早期御瓷製作與雍正時期具有許多共性，往往相同的器皿只有款識的差異，其餘皆一致，因為乾隆御窯廠不但致力摹古，而且對「摹新」也頗為鍾情。翻閱內務府造辦處的檔案隨處可見，在弘曆諭旨御窯廠仿造瓷器名單中除了歷代名窯以外，尚有不少沒有標明年代僅以釉色紋飾造型為名稱的器物，它們往往是康雍時期的御瓷名品，而且以雍正者居多。由於它們自身的美深得弘曆所愛，故有仿造。這類「摹新」之作一般遵循嚴格的複製要求，追求與原物高度一致。由於雍乾之交御窯廠物料、人工、技術相當，「摹新」之作與前朝實物幾無差異，其實只是年號款識的更迭而已。本品即是這種「摹新」現象的反映，並有檔案記載為依據。

Mark

fig.1 Illustrated in Pure And Natural: Special Exhibition of Ming and Qing Monochrome Porcelains 圖一出版於《大樸尚簡──明清單色釉瓷器菁華展》

青釉葫蘆瓶早於文獻中有記載。乾隆三年六月，弘曆開展即位以來最大規模的一次御瓷燒造，他諭旨將內府所藏近兩百件歷代名窯瓷器和雍正御瓷交付御窯廠，吩咐唐英按照其要求燒造或照樣燒造，此次燒造的不少瓷器可與當今現存的實物一一對應。據《乾隆三年內務府造辦處活計檔．江西》記載：「六月二十五日：七品首領薩木哈，催總白世秀來說太監高玉交……冬青有蓋葫蘆罐一件……，交與燒造磁器處唐英，俱照樣燒造送來。燒造完時再將交出原磁器繳回，仍交磁器庫。此磁器內有大器皿應畫樣帶去，其小磁器皿俱各帶。欽此。」此處所言「冬青有蓋葫蘆罐一件」，應是對此一品種之記載。此處所言「冬青有蓋葫蘆罐一件」沒有言明年代，應是指雍正御窯器物，檢閱清宮舊藏，亦可找出雍正時期的對應之物。現北京故宮博物院藏「清雍正冬青釉葫蘆瓶」就應是檔案所言「冬青有蓋葫蘆罐」，此物是雍乾二朝獨有的品類，後世不復見。只是雍正者為六字二行篆書款，乾隆者則是六字三行篆書款，本品即為一例。本品擬取瑞果葫蘆之形，優美雅致，乃為雍乾二帝審美品味的見證，是當年宮廷藝術的經典之作，睹物思情，淡雅的冬青之色深深地蘊涵著雍乾父子二人相同的情結——對趙宋文人開創的恬靜審美境界的無限嚮往和留戀。類似藏品，可參考南京博物院收藏兩個冬青釉帶蓋例，其中一例著錄於《清瓷萃珍：清代康雍乾官窰瓷器》，香港中文大學文物館，香港，1995年，編號69（圖二）。香港天民樓收藏一例，載於《天民樓藏瓷》，香港，1987年，卷1，圖版160（圖三）；再比一例，出自靜觀堂收藏，曾展於敏求精舍《清朝瑰寶》，香港藝術館，香港，1995年，編號212，後售於佳士得香港，2002年10月 28日，編號723。暫得樓收藏一青釉之例，曾展覽並出版於《暫得樓清代官窰單色釉瓷器》，上海博物館，上海，2005年，編號42 （圖四）。

Double-gourd vases are also known as dajiping 'vase of good fortune', as the double gourd, or bottle gourd, symbolises fertility and good fortune. It is very rare to find double-gourd vases with wintergreen glaze color like the present lot. A few examples could be found in museums and collection of important collectors. Two examples with cover could be found in Nanjing Museum, one of them illustrated in the Exhibition of Qing Imperial Porcelain of the Kangxi, Yongzheng, Qianlong Reigns , The Chinese University of Hong Kong, 1995, no. 69 (fig.2) ; and one illustrated in Chinese Porcelain: The S.C. Ko Tianminlou Collection, vol. I , Hong Kong, 1987, pl. 160 (fig.3) . See, also, one from the Jingguantang collection, included in the Min Chiu Society exhibition Splendour of the Qing Dynasty , Hong Kong Museum of Art, Hong Kong, 1995, cat. no. 212, and sold at Christie’s Hong Kong, 28 October 2002, lot 723. And, One without cover is include in the Zande Lou collection, illustrated in Qing Imperial Monochromes: The Zande Lou Collection , Hong Kong, 2005, p. 118, no. 42 (fig.4) .

3323

清乾隆寶石藍釉天球瓶

A LARGE BLUE-GLAZED BOTTLE VASE, TIANQIUPING QIANLONG PERIOD, 1736-1795 Qianlong Six-Character Mark

「大清乾隆年製」來源 1. 倫敦蘇富比，1992年6月9日，編號261 2. 十面靈璧山居舊藏，編號FR358

展覽《大樸尚簡──明清單色釉瓷器菁華展》，保利藝術博物館，2018年

PROVENANCE 1. Sotheby's London, 9 June 1992, lot. 261 2. The Ten-views Lingbi Rock Retreat Collection, no. FR358

EXHIBITED

出版

Pure And Natural: Special Exhibition of Ming and Qing Monochrome Porcelains , Poly Art Museum, 2018

《大樸尚簡──明清單色釉瓷器菁華展》，保利藝術博物館，2018年，編號47

LITERATURE

H 56cm

Pure And Natural: Special Exhibition of Ming and Qing Monochrome Porcelains , Poly Art Museum, 2018, no. 47

HK$ 4,000,000 - 6,000,000 US$ 512,800 - 769,200 瓶直口，體量宏大，長頸，圓腹，圈足。通體施宝石藍釉，底青花書「大清乾隆年製」六字三行篆書款。本品高逾55釐米，器形端正大方，釉色釉質肥腴，色澤沉靜明快，尤如藍寶石般璀璨閃耀，口沿一線燈草口，為整器平添幾分寧謐之趣。邵蟄民撰寫的《增補古今瓷器源流考》記有「清瓷至乾隆而極盛，器式之多亦莫與倫比」，瓷器大件器物增多，形體高大，不因胎體厚重而變形，器型端莊，故此可見工匠高超的製瓷技藝。

Mark

fig.1 Sotheby's London, 9 June 1992, lot. 261 圖一倫敦蘇富比，1992年6月9日，編號261

The vase is of globular form with bulbous body and cylindrical neck. The exterior is covered with a glaze of rich blue tone thinning to a slightly paler shade below the mouth rim, and pooling in a thick line above the foot. The interior and base are applied with a transparent glaze. The base is inscribed with a six-character seal mark in underglaze blue.

fig.2 © Illustrated in Pure And Natural: Special Exhibition of Ming and Qing Monochrome Porcelains 圖二 © 出版於《大樸尚簡──明清單色釉瓷器菁華展》

高溫藍釉是古代顏色釉瓷的一種。藍釉中摻入適量鈷料作著色劑，生坯施釉高溫燒製而成。元代景鎮窯始燒，明代藍釉又稱為「霽藍」、「霽青」、「祭藍」等，據《大明會典》載，自嘉靖九年（1530年）起，四郊各陵瓷器皆用「圜丘青色」，而霽藍釉祭器專供於天壇環丘台，乾隆十三年（1748年）冬至祭天首次奉詔用霽藍釉器。參考香港藝術館收藏之藍釉天球瓶，尺寸相若，曾展於《清瓷薈錦──香港藝術館藏清代陶瓷》，香港，1984年，編號85（圖三）。見日本紡織廠企業家Budo Takashiro收藏一例，售於佳士得香港，2014年11月26日，編號3275。另見南京博物院收藏，曾展覽並出版於《清瓷萃珍──清代康雍乾官窯瓷器》，香港，1995 年，圖錄編號66（圖四）。及東京松岡美術館收藏一尺寸較小之例，刊於 John Ayers 及佐藤雅彥，《世界陶磁全集》，卷15：清，東京，1983年，頁199，圖版272。香港望星樓亦有同類收藏，載於《望星樓藏瓷》，2004年，頁224，圖87。

The rich cobalt blue seen on the current vase is sometimes referred to as 'sacrificial blue'. This name derives from the use of vessels bearing this colour glaze during sacrifices at the Imperial Altar of Heaven. In AD 1369 the first Ming dynasty emperor Hongwu issued an edict declaring that the vessels used on the Imperial altars should henceforth be made of porcelain. Each altar was associated with a specific colour of porcelain, and in addition to blue being used on the Altar of Heaven, red was used on the Altar of the Sun, yellow on the Altar of Earth, and white on the Altar of the Moon. Compare examples with this cobalt blue glaze and similar size included in the exhibition, The Wonders of the Potters Palette , Hong Kong Museum of Art, 1984, no. 85 (fig.3 ); another one from the Budo Takashiro Collection, was sold at Christies Hong Kong, 26 November 2014, lot 3275. See also, a slightly taller one from the Nanjing Museum, included in the exhibition catalogue Qing Imperial Porcelain , Hong Kong, 1995, no. 66 (fig.4 ). Another example with a less globular body is in the Baur Collection, Geneva, illustrated by J. Ayers and M. Sato in Sekai Toji Zenshu, Volume 15 , Qing Dynasty, Tokyo, 1983, p. 199, no. 272.

3324

清乾隆御製青花釉裡紅雲龍紋大天球瓶「大清乾隆年製」來源 1. 香港徐氏藝術館收藏（靜觀堂） 2. 香港蘇富比，1991年10月29日，編號192 3. 香港蘇富比，2000年10月29日，編號6 4. 香港蘇富比，2003年4月27日，《The World of Qianlong》專場，編號48 5. 香港蘇富比，2004年10月31日，《龍游帝苑》專場，編號22 6. 十面靈璧山居舊藏，編號EK253

展覽香港徐氏藝術館

出版 1. 《徐氏藝術館》，香港，1991年，圖版96 2. 《徐氏藝術館：陶瓷IV》，香港，1995年，圖版83 3. 《香港蘇富比二十週年（1973-1993）》，香港蘇富比，1993年，圖版198 4. 《香港蘇富比三十週年（1973-2003）》，香港蘇富比，2003年，圖版282

H 48.1cm

HK$ 20,000,000 - 30,000,000 US$ 2,564,100 - 3,846,200

Mark

A MAGNIFICENT AND EXTREMELY RARE COPPER-RED AND UNDERGLAZE-BLUE ‘DRAGON’ VASE, TIANQIUPING QIANLONG PERIOD, 1736-1795 Qianlong Six-Character Mark PROVENANCE 1. Jingguantang Collection, The Tsui Museum of Art, Hong Kong 2. Sotheby's Hong Kong, 29 October 1991, lot. 192 3. Sotheby's Hong Kong, 29 October 2000, lot. 6 4. Sotheby's Hong Kong, 27 April 2003, "The World of Qianlong", lot. 48 5. Sotheby's Hong Kong, 31 October 2004, "Dragon Emperor", lot. 22 6. The Ten-views Lingbi Rock Retreat Collection, no. EK253

EXHIBITED The Tsui Museum of Art

LITERATURE 1. The Tsui Museum of Art , Hong Kong, 1991, pl. 96 2. The Tsui Museum of Art. Chinese Ceramics IV: Qing Dynasty , Hong Kong, 1995, cat. no. 83 3. Sotheby's Hong Kong Twenty Years: 1973-1993 , Hong Kong, 1993, pl. 198 4. Sotheby's Thirty Years in Hong Kong: 1973-2003 , Hong Kong, 2003, pl. 282

來源 PROVENANCE

fig.1 Sotheby's Hong Kong, 29 October 1991, lot. 192 圖一香港蘇富比，1991年10月29日，編號192

fig.2 Sotheby's Hong Kong, 29 October 2000, lot. 6 圖二香港蘇富比，2000年10月29日，編號6

fig.3 Sotheby's Hong Kong, 27 April 2003, "The World of Qianlong", lot. 48 圖三香港蘇富比，2003年4月27日，《The World of Qianlong》專場，編號48

fig.4 Sotheby's Hong Kong, 31 October 2004, "Dragon Emperor", lot. 22 圖四香港蘇富比，2004年10月31日，《龍游帝苑》專場，編號22

出版 LITERATURE

fig.5 Illustrated in The Tsui Museum of Art 圖五出版於《徐氏藝術館》

fig.6 Illustrated in The Tsui Museum of Art. Chinese Ceramics IV: Qing Dynasty 圖六出版於《徐氏藝術館：陶瓷IV》

fig.7 Illustrated in Sotheby's Hong Kong Twenty Years: 1973-1993 圖七出版於《香港蘇富比二十週年（1973-1993）》

fig.8 Illustrated in Sotheby's Thirty Years in Hong Kong: 1973-2003 圖八出版於《香港蘇富比三十週年（1973-2003）》

fig.9 圖九

瓶直頸粗壯，腹部渾圓，圈足。口沿繪海水紋，外壁以青花、釉里紅繪雲龍出海，足脛部繪海浪翻滾。外底署青花篆書「大清乾隆年製」六字三行款。頸及腹部通體滿繪雲龍圖案，青花繪雲氣翻卷，洶湧澎湃；釉里紅繪一蒼龍於雲氣中騰躍，口齒怒張，鬚髮披散，氣勢磅礡，右前爪前伸追逐前方的火珠，肌肉鼓脹，龍爪為三趾，皆鋒利尖銳，氣勢撼人。其身形於雲氣中時隱時現，將飛龍在天的靈動體現得淋灕盡致，極富藝術表現力，明顯受到南宋陳容的繪畫風格影響，見墨龍圖、九龍圖（圖九）。明朝龍紋之特色均可多於本器：三爪，扁鼻，怒目圓瞪，鬃毛秀密，龍角煊赫。此瓶借鑒清代順治時期經常使用的「龍身在雲中三現」的表現形式，龍身只露出三段，其它部分被浮雲遮掩，故稱「一身三現」，確有「雲從龍」之感。卷雲紋刻劃細緻，畫面寫實。青花發色幽藍，沈靜典雅，礬紅彩亮麗純正，色彩對比和諧悅目。畫藝高超，將祥雲間騰躍的巨龍描繪得極為威武生動，充分地體現了飛龍在天的皇家威儀。

The magnificent vase is superbly potted with a globular body surmounted by a columnar neck. The exterior of the body is finely painted with fine ruby-coloured copper-red to depict an extraordinary three-clawed dragon in aggressive forward motion amidst clouds above crashing waves in underglaze-blue. The maned head of dragon is applied with fierce gaze and a long snout over the powerful jaws, the undulating body with detailed scaly hide and saw-like spine accented with flowing tufts of hair at the joints, brandishing one foot with three razor-like claws to capture a hidden 'flaming pearl'. The clouds are rendered in a much more stylized manner than those on the usual Qianlong porcelain. All above a turbulent sea with projecting crests rising from the base, a wave band below the rim between line borders. Written on the underside base is an underglaze blue six-character reign mark in archaistic script.

本品所繪蒼龍氣勢萬千，飛騰於海面雲氣之間，紅藍輝映，成功的將宋人繪畫技法與瓷繪這一新的藝術載體結合起來，令觀者不無讚歎不已。前文已提及，本品所繪雲龍紋樣為自陳容墨龍圖而來，氣

The vase is extremely important and rare for its rendering of the theme inspired by the celebrated Southern Song ink handscroll painting Nine Dragons by the prominent poet, calligrapher and

韻生動，鋒利的三趾龍爪尤為引人注目，具有鮮明的時代特徵，此式龍紋常見於唐、宋、元工藝美術，清代則極為罕見，此時官窯幾乎都為模式化的五爪龍，考其緣由，當是本品以陳容畫作為粉本，是一件獨特的「畫意」御瓷。陳容，字公儲，號所翁，福建長樂人，南宋端平二年（1235年）進士，官至莆田太守，南宋著名畫家，以繪墨龍圖著稱，以墨色濃淡及巧妙的留白表現神龍在翻騰的雲海穿行，其繪畫技巧和藝術價值在中國繪畫史上有著重要的地位。本品以瓷胎為紙，鈷藍、銅紅為墨，所繪雲龍紋飾構圖繁複細膩，章法嚴明考究，其藝術水準可與陳容之作比美，而以技術難度論，本品之瓷繪丹青則更勝一籌。其青花濃淡相宜，渲染有度，真有「墨分五彩」之神妙；釉里紅沈著厚重，白描與平塗相結合，筆法精妙，色澤層次分明，不見渾濁、浸漫。青花和釉里紅是兩種不同的呈色劑，鈷與銅燒成的溫度和氣氛要求不同，燒製難度極大，因製作工藝繁雜複而苛刻，自永宣後少有成器者，雍正御瓷推崇永宣禦器，故御窯廠大力摹造，即便如此，觀有清一代青花釉里紅製品，青花濃重時則釉里紅發色暗淡，釉里紅鮮豔時則青花灰暗，兩

fig.13 Poly Beijing, 5 June 2019, lot. 5552 圖十三北京保利，2019年6月5日，編號5552

artist, Chen Rong (active 1235-58) (fig.9) . Furthermore, the shape and design of this dragon tianqiuping are ultimately based on the large blue-and-white bottles of similar form made in the Yongle, Xuande period of Ming Dynasty, decorated either with a blue dragon among cloud scrolls, or with a white dragon reserved on a sea of blue waves. Bottles of both these designs are illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red (I) , Hong Kong, 2000, pl. 87 & 88 (fig. 10, 11 ). There is also an example with the same form and design but made later in Yongzheng period available in John Alexander Pope, Chinese Porcelains from the Ardebil Shrine, Washington, 1956, pl.53, today preserved in the Archaeological Museum, Teheran. Further Yongzheng examples in the same form but in blue-andwhite decoration could be seen in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red (III) , Hong Kong, 2000, pl. 81 & 102 (fig. 14, 15 ).

全其美者，百中不見一二，曆為榷陶者所傷神，而本品之青花與釉里紅均鮮妍欲滴，恰到好處，益見其難能可貴。天球瓶造型源自伊斯蘭世界的西亞金屬器，是明永樂、宣德時期景德鎮窯的創新器形，多以青花裝飾。唐英十六歲入宮，進內務府伺候，涉獵清宮浩瀚庋藏，是故洞察乾隆帝之期許而製瓷。唐英督造之天球瓶汲取永宣二朝之三爪龍紋，可見於數例，北京故宮博物院藏，一繪穿雲遊龍紋，二飾青花水波遊龍紋，載於《故宮博物院藏文物珍品全集．青花釉裏紅（上）》，香港，2000年，圖版87及 88（圖十、圖十一）；另一例，繪纏枝蓮穿花龍紋，蓄台北故宮博物院，見《明代初年瓷器特展目錄》，台北，1982年，編號5（圖十二）。及至清代雍正、乾隆，龍紋天球瓶皆沿龔仿製。雍正時期龍紋天球瓶之例分有青花卷雲紋龍紋或青花海水白龍紋。參考伊朗德黑蘭文物博物館藏，原蓄阿德比爾寺，刊於 John Alexander Pope，《Chinese Porcelains from the Ardebil Shrine》，華盛頓，1956 年，圖版53，編號29.470及29.471。十面靈璧山居收藏，御製青花釉里紅雲海騰龍大天球瓶，售於北京保利，2019年6月5日，編

fig.16 A Grisalle-decorated Dragon Brushpot by Tangying, Qianlong Period © Art Museum of The Chinese University of Hong Kong 圖十六清乾隆唐英製墨彩雲龍紋筆筒 ©香港中文大學文物館藏

For a related Yongzheng underglaze-blue and copper-red tianqiuping, see one example just sold in our Beijing room on 5 June 2019 as lot 5552 (fig.13) , which also belonged to The Ten-views Lingbi Rock Retreat Collection. Compare three examples of same form, Qianlong mark and decoration, from the Chang Foundation, Taiwan, illustrated in James Spencer, Selected Chinese Ceramics from Han to Qing Dynasties , Taipei, 1990, pl.150 (fig.17); another from a Hong Kong collector, exhibited and illustrated in Treasures of Hong Kong, The 20th Anniversary of Hong Kong's Handover , The Capital Museum, Beijing, 2017, p.96 (fig.18) ; the last one from the Qing court collection and still in Beijing, published in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red (III) , Hong Kong, 2000, pl. 210. (fig.19) To conclude, the current vase combines the Qianlong emperor's fascination with the past as well, with the direct continuity of style from Imperial porcelain produced during the reign of his

清雍正御製青花釉里紅雲海騰龍大天球瓶北京保利，2019年6月5日，編號5552 成交價：RMB 147,200,000

fig.18 Collection of Hong Kong Collector © Treasures of Hong Kong, The 20th Anniversary of Hong Kong's Handover 圖十八 © 《香江雅集：香港回歸祖國二十週年特展》

號5552。（圖十三）故宮博物院收藏二例，青花纏枝蓮龍紋天球瓶及青花海水白龍紋天球瓶，分別錄於《故宮博物院藏文物珍品全集．青花釉裏紅（下）》，香港，2000年，圖版81及102（圖十四）。清雍正青花釉里紅海水龍紋天球瓶，見前書圖版197（圖十五）。雍正之例著重仿古，乾隆之例更為創新。不正式統計比較與本品相近者，紋飾、尺寸均與本品相類，共有三例，或出自同一批工匠之手。鴻禧美術館收藏，今見 James Spencer 編，《中國歷代陶瓷選集》，台北，1990年，圖版150（圖十七），早年售於香港蘇富比，1984年5月22日，編號125。另見一例錄於《香江雅集：香港回歸祖國二十週年特展》，首都博物館，北京，2017年，編號 103，頁96（圖十八）。另見故宮博物院收藏，錄於《故宮博物院藏文物珍品全集．青花釉裏紅（下）》，圖版210（圖十九），以茲參考。此外，北京故宮博物院收藏青花雲龍紋天球瓶，同前書圖版127；青花釉里紅雲龍紋天球瓶，圖版211，亦可作參考。

father, the Yongzheng emperor, and the exacting standards and masterful achievements of the master potters in the Imperial kiln in Jingdezhen. Successful firing of copper-red, particularly for larger pieces, most likely required numerous attempts before achieving a single successful example, let alone one such superbly-controlled brilliant underglaze-blue and strong underglaze-red as the present example. The direct continuity in style from the Yongzheng period combined with the highest standards set and accomplished in this vase, strongly suggest that it was produced during the residency of the most famed supervisor of the Imperial kilns in Jingdezhen, Tang Ying (1682-1756).

3325

清雍正爐鈞釉綬帶如意耳葫蘆尊「大清雍正年製」來源 1. 香港蘇富比，1999年11月1日，編號348 2. 亞洲重要私人收藏 3. 香港蘇富比，2006年10月8日，編號1010 4. 十面靈璧山居舊藏，編號EK303

展覽《大樸尚簡──明清單色釉瓷器菁華展》，保利藝術博物館，2018年

出版 1. 《香港蘇富比三十週年（1973-2003）》，香港蘇富比，2003年，圖版143 2. 《大樸尚簡──明清單色釉瓷器菁華展》，保利藝術博物館，2018 年，編號99

H 17.7cm

HK$ 16,000,000 - 22,000,000 US$ 2,050,000 - 2,820,000 本品斂口，形似蒜頭，口沿及上部呈圓形，束頸，溜肩，中間束腰類似葫蘆，兩側對稱置彎曲的如意形耳以連接上下部，下腹部渾圓，精美大氣，廣底，淺圈足。通體施爐鈞釉，色澤深沈，底落「大清雍正年製」六字三行篆書款，工整古樸。

Mark

A FINE AND VERY RARE ROBIN'S EGG-GLAZED DOUBLE-GOURD VASE YONGZHENG PERIOD, 1723-1735 Yongzheng Six-Character Mark PROVENANCE 1. Sotheby's Hong Kong, 1 November 1999, lot. 348 2. An Important Private Chinese Collection 3. Sotheby's Hong Kong, 8 October 2006, lot. 1010 4. The Ten-views Lingbi Rock Retreat Collection, no. EK303

EXHIBITED Pure And Natural: Special Exhibition of Ming and Qing Monochrome Porcelains, Poly Art Museum, 2018

LITERATURE 1. Sotheby's Thirty Years in Hong Kong: 1973-2003 , Hong Kong, 2003, pl. 143 2. Pure And Natural: Special Exhibition of Ming and Qing Monochrome Porcelains , Poly Art Museum, 2018, no. 99

Finely potted with domed lower bulb of truncated form, the gently curved sides with slightly raised broad band encircling the shoulder, rising to a waisted neck with central rib, all surmounted by a garlicshaped upper bulb joined to the lower section with elegantly arched handles culminating at both ends in ruyi-head terminals, applied allover with a finely mottled glaze ranging from pale blue through turquoise to purple, the base is incised with a six-character seal mark. Double gourd vases in this form are very important and fine decoration to the Qing imperial court during Yongzheng and Qianlong period. However, it is extremely rare to see examples vases of lower bulb of truncated form applied with robin’s egg-glaze. Compare two rarely seen robin egg’s-glaze double gourd vases with bulbous lower section from the Chang Foundation, Taiwan, illustrated in James Spencer, Selected Chinese Ceramics from Han to Qing Dynasties , Taipei, 1990, pl.132 (fig.4 ), sold at Sotheby's London, 10 December 1985, lot 271; another illustrated in Fujioka Ryoichi & Hasebe Gakuji, eds, Sekai tōji zenshū/Ceramic Art of the World , vol. XIV: Min/Ming Dynasty, Tokyo, 1983, p.72, pl.80 (fig.5 ).

來源 PROVENANCE

fig.1 Sotheby's Hong Kong, 1 November 1999, lot. 348 圖一香港蘇富比，1999年11月1日，編號348

出版 LITERATURE

fig.2 Illustrated in Sotheby's Thirty Years in Hong Kong: 1973-2003 圖二本品出版於《香港蘇富比三十週年（1973-2003）》

本品外形端莊，紅紫交融之色散布遍體，時代特徵一如古人所言，色澤深沈瑰麗，氣度非凡。此種釉色獨雍正一朝特有，除乾隆初期個別器物延續紅點外，往後再不復見，具有鮮明的時代特徵。釉面中藍與紅二色，在垂流中變化萬千，交融呈一體。釉中諸色渾融交錯，迷離迤邐，妙不可言。清代《南窯筆記》載：「爐鈞一種，乃爐中所燒，顏色流淌中有紅點者為佳，青點次之」，本品即為筆記所載之有紅點者，俗謂「高梁紅」。爐鈞釉瓷品稀有，其中綬帶如意耳葫蘆尊更屬珍罕。本品更形典雅，目前資料尚未見造型、裝飾與之皆相同的藏品。此類如意耳尊甚受宮廷喜愛，本品造型沈穩而秀雅，釉面失透滋潤，釉色深沈，流淌的綠釉交混點點紅斑，似山嵐雲氣，斑駁陸離，於烈焰中幻化出別樣瑰麗，可令賞者如癡如醉。且釉面流淌大，正體現雍正朝爐鈞釉之特性。翻閱公私典藏，雍正及乾隆時期所出均有近似藏品，爐鈞釉綬帶如意耳葫蘆尊至為稀有，包括本品，目前僅見三例，其中如本器般廣底者更是未有所見。施爐鈞釉圓底二例，一為鴻禧美術館藏，圖見 James Spencer 編，《中國歷代陶瓷選集》，台北，1990年，圖版132（圖四），後售於倫敦蘇富比，1985年12月10日，編號 271。另一例錄於 John Ayers 及佐藤雅彥著，《世界陶磁全集》，卷15：清，東京，1983年，頁72，圖版80（圖五）。

北京故宮博物院藏一例清雍正粉青釉凸花如意耳蒜頭瓶（圖六），另見鴻禧美術館收藏乾隆年製鬥彩之例，錄於《中國歷代陶瓷選集》，編號160（圖七）。雍正朝單色釉並無過多紋飾裝飾，少部分有暗花紋，但憑造型、釉色取勝。雍正低溫單色釉琢器體形俊秀，好似美人亭亭玉立的身材，均勻乾淨的釉色又像佳人光潔無瑕的肌膚，深受人們喜愛。雍正帝常親自過問御瓷的製作，尤其對單色釉的配製格外在意。因此，景德鎮所產單色釉的品種在雍正年間大為增加。清宮舊藏之明代遺存的單色釉瓷數量，亦頗為可觀，而康熙年間也屢有創舉，但由於雍正帝對新釉色汲汲以求，所以單色釉在其治下仍迭有創新。清檔中有多筆記錄，堪可證明雍正帝對單色釉的喜愛程度。雍正皇帝風雅慕古，在朝期間陶瓷工藝有了極大的發展，據唐英的《陶成紀事》記載，單雍正朝仿古創新的各種高低溫顏色釉便列出五十七條之多。雍正皇帝時代除了在仿古器物和釉色上做出了突出的貢獻，並且在單色釉的燒造方面達到了新的高峰，研製出仿古與創新釉色若干，其中對爐鈞釉的描述為「色在廣東窯與宜興掛釉之間，而花紋流淌過之」，在其所載試配成功與通用的十九種釉水品種中，爐鈞釉居首，頗受皇室青睞。雍正朝爐鈞釉器物多作仿古或本朝經典造型，多見荸薺瓶、蒜頭瓶、銅爐等造型，如意耳葫蘆尊造型甚為珍罕，級別極高。

3326

清乾隆茶葉末釉綬帶如意耳葫蘆尊「大清乾隆年製」來源 1. 香港蘇富比，1979年5月21日，編號126 2. 何鴻卿爵士舊藏 3. 馬錢特，倫敦，2002年 4. 佳士得香港，2006年5月30日，編號1253 5. 上海四方齋舊藏 6. 十面靈璧山居舊藏，編號EK385

展覽 1. 《中國文物集珍：敏求精舍銀禧紀念展覽》，香港藝術館，香港， 1985-1986年，編號188 2. 《Recent Acquisitions 2002》，馬錢特，倫敦，2002年，編號21 3. 《大樸尚簡──明清單色釉瓷器菁華展》，保利藝術博物館，2018年

出版 1. 《中國文物集珍：敏求精舍銀禧紀念展覽》，香港藝術館，香港， 1985-1986年，編號188 2. 《香港蘇富比二十週年（1973-1993）》，香港蘇富比，1993年，圖版329 3. 《Recent Acquisitions 2002》，馬錢特，倫敦，2002年，編號21 4. 《大樸尚簡──明清單色釉瓷器菁華展》，保利藝術博物館，2018 年，編號74

H 18.1cm

HK$ 15,000,000 - 20,000,000 US$ 1,920,000 - 2,560,000

Mark

A VERY RARE TEADUST-GLAZED DOUBLEGOURD VASE QIANLONG PERIOD, 1736-1795 Qianlong Six-Character Mark PROVENANCE 1. Sotheby's Hong Kong, 21 May 1979, lot. 126 2. Collection of the Sir Joseph E. Hotung Family Trust 3. S. Marchant & Son, London, 2002 4. Christie's Hong Kong, 30 May 2006, lot. 1253 5. Sifangzhai , Shanghai 6. The Ten-views Lingbi Rock Retreat Collection, no. EK385

EXHIBITED 1. Anthology of Chinese Art: Min Chiu Society Silver Jubilee Exhibition , Hong Kong Museum of Art, Hong Kong, 1985-1986, cat. no. 188 2. Recent Acquisitions 2002 , S. Marchant & Son, London, 2002, cat. no. 21 3. Pure And Natural: Special Exhibition of Ming and Qing Monochrome Porcelains , Poly Art Museum, 2018

LITERATURE 1. Min Chiu Society Exhibition, An Anthology of Chinese Art , Hong Kong, 1985, Catalogue, no. 188 2. Sotheby's Hong Kong Twenty Years: 1973-1993 , Hong Kong, 1993, pl. 329 3. Recent Acquisitions 2002 , S. Marchant & Son, London, 2002, cat. no. 21 4. Pure And Natural: Special Exhibition of Ming and Qing Monochrome Porcelains , Poly Art Museum, 2018, no. 74

來源 PROVENANCE

fig.1 Sotheby's Hong Kong, 21 May 1979, lot. 126 圖一香港蘇富比，1979年5月21日，編號126

出版 LITERATURE

fig.2 Illustrated in Min Chiu Society Exhibition, An Anthology of Chinese Art 圖二出版於《中國文物集珍：敏求精舍銀禧紀念展覽》

fig.3 Illustrated in Sotheby's Hong Kong Twenty Years: 19731993 圖三出版於《香港蘇富比二十週年（1973-1993）》

fig.4 Illustrated in Recent Acquisitions 2002 圖四出版於《Recent Acquisitions 2002》

fig.5 Illustrated in Pure And Natural: Special Exhibition of Ming and Qing Monochrome Porcelains 圖五出版於《大樸尚簡──明清單色釉瓷器菁華展》

本器斂口，葫蘆形身，上部作蒜頭狀，腰間內收，束以凸稜一道，下部豐腹渾圓，淺圈足，兩側以如意形彎耳連接上下；通體及底施茶葉末釉，口沿及如意耳稜角、邊沿等處泛褐色。底刻「大清乾隆年製」六字三行篆書款。如意耳尊是清雍正、乾隆時期官窯流行的尊式之一，因裝有如意形耳而得名。本品造型甚為獨特，此類如意耳葫蘆尊本於乾隆一朝燒造甚少，館藏與市場流通中之例不為多見。參考一對茶葉末釉之例，為出光美術館舊藏，後售於倫敦蘇富比， 1979年5月21日，編號126，著錄於《中國陶磁：出光美術館藏品図錄》，第3冊，東京，1987年，編號961及《明 ·清陶磁の名品 ─官窯の洗練、民窯の創造》，東京，2013年，編號112（圖六）。暫得樓收藏一圓底之例，曾展覽並出版於《暫得樓清代官窰單色釉瓷器》，上海博物館，上海，2005年，編號51（圖七）。此類平底如意葫蘆尊尚有爐鈞釉，見本場拍品F19A2074號拍品；粉青釉之例，見雲海閣張宗憲舊藏，售於廈門保利，2019年8月4 日，編號929，以2700萬人民幣落鎚（圖八）。另見青花纏枝蓮之例，兩度售於香港蘇富比，1993年10月27日，編號189及2019年 4月3日，編號3306（圖九）。鴻禧美術館亦藏一鬥彩之例，圖見 James Spencer 編，《中國歷代陶瓷選集》，台北，1990年，圖版160。茶葉末釉是清末民初出現的描述這種黃綠色結晶釉的形象稱呼，《陶雅》（晚清寂園叟撰）卷下二十三：「茶葉末一種，本和黃、黑、綠三色而成，以雍正仿成化者為貴，然者成化之有茶葉末者明矣，仿明者略偏於黑，雍正官窯則仿於黃矣。而尤以綠色獨多者，蓋乾隆窯也。」民國時期又將廠官釉分為「大茶葉」、「新橘」、「鱉裙」、「王八綠」、「蟹甲青」、「鱔魚黃」等，此尊的顏色偏綠，滋潤細膩，其中夾雜著的黃黑色細小斑粒燦若晨星，釉面略帶鬃眼，根據「深綠之有鬃眼者謂之新橘」《陶雅》卷下十八的說法，因此應定之為典型的廠官釉或茶葉末釉中的「新橘」類，為廠官釉中極為少見的奇品特類。

fig.8 Poly Xiamen, 4 August 2019, lot. 929 圖八廈門保利，2019年8月4日，編號929

Finely potted with domed lower bulb of truncated form, the gently curved sides with slightly raised broad band encircling the shoulder, rising to a waisted neck with central rib, all surmounted by a garlicshaped upper bulb joined to the lower section with elegantly arched handles culminating at both ends in ruyi-head terminals, applied allover with a finely speckled rich olive glaze, the impressed seal mark set within a reserved square and covered in a brown glaze. Compare a pair of identical vases sold at Sotheby's London, 10 December 1985, lot 271, illustrated in Chinese Ceramics in the Idemitsu Collection , Tokyo, 1987, pl. 961, also see in Masterpiece of Ming and Qing ceramics : the sophistication of official kilns, the innovation of commercial kilns , Tokyo, 2011, no. 112 (fig.6 ). See a rounder base example from the Zandelou, illustrated in Qing Imperial Monochromes: The Zande Lou Collection , Hong Kong, 2005, no. 51 (fig.7 ). Compare also a robin’s egg-glazed one in this sale, lot.F19A2074; a celadon glazed example from Robert Chang, sold in Poly Xiamen, 4 August 2019, lot. 929 (fig.8 ); a blue and white example sold in Sotheby’s Hong Kong, 27 October 1993 lot. 189, and 3 April 2019 lot. 3306 (fig.9 ). See, also, a doucai example in the Chang Foundation illustrated in Selected Chinese Ceramics from the Han to the Qing , p. 358, col. pl. 160.; and a celadon-glazed example from the J.M. Hu Family Collection included in Christie's exhibition of Important Chinese Ceramics from the Robert Chang Collection , London, 1993, Catalogue, no. 71.

3327

清乾隆

A FINE TEADUST-GLAZED BOTTLE VASE

茶葉末釉荸薺瓶「大清乾隆年製」

QIANLONG PERIOD, 1736-1795 Qianlong Six-Character Mark

來源

PROVENANCE

1. E.T. Hall 教授（1924-2001年）收藏，編號275 2. 香港蘇富比，2000年5月2日，編號570 3. 十面靈璧山居舊藏，編號EK60

1. Professor E.T. Hall (1924-2001), no. 275 2. Sotheby's Hong Kong, 2 May 2000, lot. 570 3. The Ten-views Lingbi Rock Retreat Collection, no. EK60

EXHIBITED

展覽《大樸尚簡──明清單色釉瓷器菁華展》，保利藝術博物館，2018年

Pure And Natural: Special Exhibition of Ming and Qing Monochrome Porcelains , Poly Art Museum, 2018

出版

LITERATURE

《大樸尚簡──明清單色釉瓷器菁華展》，保利藝術博物館，2018年，編號77

Pure And Natural: Special Exhibition of Ming and Qing Monochrome Porcelains , Poly Art Museum, 2018, no. 77

H 32.5cm

HK$ 800,000 - 1,200,000 US$ 102,600 - 153,800 茶葉末釉原名廠官釉，是清雍正、乾隆時期御窯廠督陶官唐英在明代磁州窯所產黑釉器物基礎上的創新之作。其釉呈色穩定，因失透而顯莊嚴、沉穩；因窯變而形成黃綠變化，高雅精美。唐英《陶成紀事碑》記載廠官釉品種有三：蛇皮綠、鱔魚黃、黃斑點。後人習稱鱔魚青、鱔魚黃、茶葉末。

The compressed body with tall neck raised on a spreading foot, covered overall with a finely mottled opaque glaze of even rich teadust tone which also covers the interior of the base surrounding the golden-green glaze of the reign mark, the foot rim dressed in a dark brown slip.

撇口，直頸，扁腹下垂，圈足外撇，為清代的經典瓶式。全器通體施茶葉末釉，似茶葉細末遍灑其中。瓶底足露胎呈黑褐色，胎釉相接處留有刮削時形成的小鋸齒紋，以摹「鐵足」之效果，底心刻「大清乾隆年製」六字三行篆書款。

Teadust-glazed vases of this shape and size, also with Qianlong incised seal marks, have been collected by important dealers and collectors including S. Marchant & Sons and well-known family of Mitsubishi from Japan, the later one published in Qing Porcelain in the Seikado Bunko Collection , Torataro Yoneyama, 2006, p.109. Compared several examples of same form and size, one from the T. Y. Chao Family collection, sold in Sotheby’s Hong Kong, 19th May 1987, lot. 294; another one from the Meiyingtang, illustrated in Meiyintang Collection, vol. 2 , London, 1994, no. 936, later sold in our room on 2nd April 2018, lot. 3005. Also a slightly larger one, now in the Victoria and Alberta Museum, published by R. Kerr, Chinese Ceramics, Porcelain of the Qing Dynasty 1644-1911 , London, 1986, fig. 25. See also another vase of the same form from Mayuyama & Co., Ltd, Tokyo, sold at Sotheby’s Hong Kong, 8 April 2013, lot. 3067.

英國收藏家、古董商S. Marchant & Son 於2011年出版其收藏的50 件中國清朝瓷器，將此類乾隆茶葉末釉荸薺瓶珍為封面；日本三菱（Mitsubishi）家族也曾有這種收藏，出版於《Seikado Bunko藏清朝瓷器（Qing Porcelain in the Seikado Bunko Collection）》， Torataro Yoneyama 編，2006年，頁109。趙從衍收藏亦有一例，售於香港蘇富比，1987年5月19日，編號294；另有一瓶，器形略大，藏於倫敦維多利亞與亞伯特博物館，錄於Rose Kerr，《Chinese Ceramics：Porcelain of the Qing Dynasty 1644－ 1911》，倫敦，1986年，圖版25。玫茵堂收藏一例，售於我司 2018年4月2日，編號3005。東京繭山龍泉堂亦有收藏，售於香港蘇富比，2013年4月8日，編號3067。

fig.1 Sotheby's Hong Kong, 2 May 2000, lot. 570 圖一香港蘇富比，2000年5月2日，編號570 Mark

fig.2 Illustrated in Pure And Natural: Special Exhibition of Ming and Qing Monochrome Porcelains 圖二出版於《大樸尚簡──明清單色釉瓷器菁華展》

3328

清

A ROBIN'S EGG-GLAZED VASE

爐鈞釉弦紋瓶「大清雍正年製」

QING DYNASTY Yongzheng Six-Character Mark

來源

PROVENANCE

1. 紐約William H. Wolff遺產 2. 紐約蘇富比，1992年6月3日，編號221 3. 十面靈璧山居舊藏，編號FR334

1. Estate of William H. Wolff, New York 2. Sotheby's New York, 3 June 1992, lot. 221 3. The Ten-views Lingbi Rock Retreat Collection, no. FR334

H 17cm

HK$ 200,000 - 300,000 US$ 25,600 - 38,500 瓶撇口，直頸，扁圓腹，圈足。器頸、肩及下腹共飾五道凸棱。通體施爐鈞釉，足內陰刻「大清雍正年製」六字三行篆書款。爐鈞釉以銅、鈷等元素為呈色劑，釉呈紅、藍、綠、紫、青等色，釉面自然垂淌，相互熔融，形成彩斑或條紋，釉質或光潤，或凹凸不平。本品爐鈞釉釉中的紅中泛紫，似剛成熟的高粱穗色，恰如雍正時期的「高粱紅」。本品甚有雍正時期爐鈞釉的意味，釉層肥厚，僅飾凸棱或弦紋，簡潔雅致，以絢麗多姿的彩釉取勝。從傳世爐鈞釉器看，雍正爐鈞釉器有玉壺春瓶、缽、缸、天球瓶、燈籠尊、錐把瓶、如意耳葫蘆瓶、紙槌瓶、花盆、蓮蓬口長頸瓶等，此件為弦紋撇口瓶，相對較為罕見。本品通體施爐鈞釉，形成長短不一的垂流條紋，有的彎曲，有的垂直，如同五彩繽紛的孔雀尾羽，又似一汪湖水，清波蕩漾，極為精美。原配底座。外形端莊，紅紫交融之色散布遍體，時代特徵一如古人所言，色澤深沉瑰麗，氣度非凡。此獨雍正一朝特有，除乾隆初期個別器物延續紅點外，往後再不復見，具有鮮明的時代特徵。釉面中藍與紅二色，在垂流中變化萬千，交融呈一體。釉中諸色渾融交錯，迷離迤邐，妙不可言。

Mark

The vase has a compressed globular pear-shaped body rising from a spreading foot to a waisted neck and a wide flaring mouth. The body is moulded with five bow-strings, all covered with a mottled glaze ranging from pale blue through turquoise to purple. The base is incised with a six-character seal mark. The mottled glaze on this vase was first developed in the Yongzheng reign by the talented Superintendent of the imperial kilns in Jingdezhen , Tang Ying (1682-1756). In order to recreate the celebrated Jun glazes of the Song and Ming dynasties, Tang sent his trusted assistant to the Jun region in Henan province to learn from the local potters. Among the many types of glazes derived from those efforts are mottled purple ones, such as the flambé variety, and mottled turquoise ones such as 'robin's egg', which Tang Ying termed ‘Lu Jun ’, meaning Oven Jun .

fig.1 Sotheby's New York, 3 June 1992, lot. 221 圖一紐約蘇富比，1992年6月3日，編號221

3329

清中期

A PAIR OF FAUX BOIS JARDINIERES

仿木紋釉花盆一對「大清雍正年製」

MID QING DYNASTY, 18TH CENTURY Yongzheng Six-Character Mark

來源

PROVENANCE

1. 佳士得紐約，1987年4月25日，編號347 2. 佳士得紐約，2001年10月16日，編號395 3. 十面靈璧山居舊藏，編號EK89

1. Christie's New York, 25 April 1987, lot. 347 2. Christie's New York, 16 October 2001, lot. 395 3. The Ten-views Lingbi Rock Retreat Collection, no. EK89

H 25cm D 41.2cm; H 25.5cm D 41.5cm

HK$ 600,000 - 800,000 US$ 76,900 - 102,600 仿木紋釉盆始見於雍正時期，按雍正皇帝諭旨燒造，至後朝亦有燒制，然而盆身體積縮小，釉色加深，或飾以花卉、果實圖飾。其外壁所施仿木紋釉系以紅赭與墨褐二彩描繪出木材自然紋理，形象逼真，遠望儼然如木，其工藝異常精細，雖系人工，宛若天成，展現出鮮明的內府匠作精神，別具藝術魅力。此式仿木紋釉始燒於雍正時期，是清雍正、乾隆朝獨具特色的釉色之一，裝飾效果自然生趣，清雅怡人。依據《內務府造辦處活計檔》記載，雍正七年「正月二十九日，據圓明園來帖內稱本月二十六日太監王玉持來……花梨木紋釉罐桶一件……」，即指此一創新釉種。本件之彩釉保存幾近完美，一如初出，應屬所見最為寶貴的仿木紋釉瓷器之一。

Each bucket is modelled with two horizontal gilt bands and decorated to the exterior in shades of brown and ochre to simulate wood grain on three cloud feet. The upper half of the interiors glazed white, the remainder unglazed. Each base is potted with two drainage holes and a Yongzheng six-character mark in under-glaze blue.

Mark

花盆成對流傳，內壁施白釉，外壁以赭色彩釉描繪木紋，深淺變化的紋理、癭瘤自然模擬，似取諸黃花梨木精製而成。腹部及近足處凸起粗稜仿盆箍，將外壁區隔為上下兩部分，下承四個如意雲紋足，頗為傳神。花盆底挖兩洞，作排水口之用。底以青花書「大清雍正年製」六字三行篆書款。參考國立故宮博物院藏清沈煥之《仙葩清供》冊，可見類似的萬年青花盆。另見故宮博物院兩例，著錄於《故宮博物院藏文物珍品大系──雜釉彩．素三彩》，頁310，圖260（圖一）；頁311，圖261。玫茵堂有類似收藏，清雍正洋彩仿花梨木紋釉黃彩篾紋瓷桶（圖二），後售於北京保利2018年12 月8日，編號5489，成交價人民幣713萬元。中國國家博物館藏亦有一例，清乾隆仿木紋釉帶座花盆（圖三）；相同器物見於香港蘇富比，1979年5月21日，編號241，清雍正仿木紋釉三足花盆，可資參閱。關於此種仿木釉筆筒，耿寶昌先生在《明清瓷器鑒定》的論述中記為雍正朝所獨有，「……木秞地開光繪畫的筆筒，款式甚為特殊，器內及外壁上下邊線飾以木紋理的彩色秞，外壁中部繪有墨彩松鶴圖或人物行旅圖，在畫面的花草和樹梢上點染淺藍、綠、淡珊瑚紅、紫和白色，甚為新穎。」

The vessels are shaped and painted like a wide wooden tub formed of vertical planks, tied with metal bands. Another Faux-bois tub from the Meiyintang collection is included in the exhibition China. The Three Emperors 1662-1795 , Royal Academy of Arts, London, 2005-6, cat. no. 235 Compare similar items from the Qing Court Collection and still in Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Miscellaneous Enamelled Porcelains Plain Tricoloured Porcelains , Hong Kong, 2009, pl.260 (fig.1 ) and 261. See another example sold in Sotheby’s Hong Kong, 21 May 1979, lot. 241. See, also, similar item in the Meiyingtang Collection, later sold in Poly Beijing, 8 December 2018, lot. 5489 (fig.2 ), at Renminbi 7,130,000; one with wooden stand in National Museum of China (fig.3 ).

fig.4 © 'An Ever-Green (Rohdea) Flower Pot' of Pure Displays of Immortal Blossoms by Shen Huan, Collection of the National Palace Museum, Taipei 圖四清沈煥《仙葩清供》萬年青花盆 © 國立故宮博物院藏品

3330

清乾隆

A BLUE AND WHITE 'FLORAL' JARDINIERE

青花纏枝牡丹紋缸

QIANLONG PERIOD, 1736-1795

來源

PROVENANCE

1. 紐約蘇富比，1997年9月23日，編號283 2. 十面靈璧山居舊藏，編號EK6

1. Sotheby's New York, 23 September 1997, lot. 283 2. The Ten-views Lingbi Rock Retreat Collection, no. EK6

H 52cm D 61cm

HK$ 400,000 - 600,000 US$ 51,300 - 76,900 唇口，口部下沿微凸起弦，腹下漸收，底部內凹形成圈足。器型端莊穩重，胎體厚重堅質，釉色肥厚白淨。口沿下繪一周海水紋及如意頭，腹部中體繪青花纏枝牡丹紋，脛部分繪。畫工細膩流暢，筆法飄逸，發色自然。卷缸亦為「畫缸」，為文人墨客書房陳設的大型實用器，器型與魚缸的區別在於口沿造型和整體器形的不同，本器雖無款識，但以其造型與畫工皆與官窯無異。

fig.1 Sotheby's New York, 23 September 1997, lot. 283 圖一紐約蘇富比，1997年9月23日，編號283

The jardinière is sturdily potted with deep rounded sides rising to a lipped rim. The exterior is vividly painted with large peony blooms borne on leafy meandering scrolls with smaller blooms and set between a band of pendant ruyi heads at the shoulder and turbulent waves at the base in rich, cobalt-blue tones.

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