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清乾隆 仿哥釉三羊尊
美国 北京时间
11月22日 晚上10点 开拍 /9小时37分
拍品描述 翻译
年代: Qianlong period, Qing dynasty
尺寸: H: 13 5/8, Dia: 10 in. (H: 34.61, Dia: 25.40 cm.)
英文描述:This piece replicates the form of an ancient bronze zun vessel, comprising a robust shape with a flared mouth. Three sets of raised bands between the neck and body enrich the structure with varied and interesting lines. Three molded ram’s heads rest on the shoulders as handles, rising prominently against the body with archaizing details. The entire surface is coated with an imitation Ge glaze with a network of golden and iron-colored crackles across the surface. The ram heads are evenly distributed across the juncture of the neck and body. The base bears a six-character, three-line seal mark in underglaze blue: “Made in the Qianlong Reign of the Great Qing.” This three-rams zun is modeled after Zhou and Han dynasty bronze vessels, a masterpiece of innovation from the imperial kilns during the late Yongzheng reign. Early Qianlong monochrome-glazed ceramics, which continued the legacy of the previous reign, were highly regarded. This piece exemplifies that tradition, with its form, body, and glaze comparable to Yongzheng-era works, and was produced under the supervision of Tang Ying during the early Qianlong period—making it a rare example. The motif of “Three Auspicious Rams” (三羊开泰) plays on the homophony between “yang” (ram) and “yang” (positive energy). It symbolizes the transition from winter to spring, the rise of positive energy, and the renewal of all things. In the context of China’s patriarchal society, the motif aligns with the idea of the ruler and father as “yang,” which led to its prominence in Qing court art. The Qianlong emperor further explored this theme by producing the three-rams zun in other glazes, with Ru-imitating glazes being the most common, followed by Guan-imitating glazes. Imitation Ge glaze examples like this one are notably rare. The practice of producing the same form with multiple glazes was prevalent during the Yongzheng and Qianlong reigns, reflecting the emperor’s special fondness for certain shapes. A nearly identical example, the “Yongzheng Mark and Period Blue and White Three Rams Zun” (Palace Museum collection, No. 故00150729), offers a useful comparison.
来源:伊利諾州芝加哥私人收藏
品相:瓶内壁釉面局部有轻微釉裂及烧制缺陷;总体品相良好
中文长介绍:本品為仿古代青銅尊,尊形壯碩,口沿外撇,頸腹之間各飾雙道凸弦紋共三組,豐富了造型與線條的變化。肩部堆塑三羊首為耳,羊首高起,形式古樸。通體滿施仿哥釉,釉質肥潤,釉面開有金絲鐵線,縱橫交錯敦實厚重,三羊首均勻分布在腰頸相接處。底部書「大清乾隆年制」六字三行青花篆書款。 三羊尊摹自周漢銅壺,為雍正後期御窯廠的創新佳品,乾隆初年御窯單色釉瓷器承前朝遺緒,成就斐然,本品即為其中一例,其器形、胎釉均與雍正者無異,是為唐英督造之下的乾隆早期御窯之佳器,甚為難得。 三羊開泰,因古時「羊」、「陽」通假,亦稱「三陽開泰」。其意為冬去春來,陰消陽長,萬物復甦,因此三陽開泰有吉祥之象。此外,中國宗法社會亦有「君為陽」,「父為陽」的思想,故此紋飾在清代受到皇家大力推崇,成為官窯瓷器的經典紋樣。乾隆皇帝還將其它色釉用來燒制三羊尊,市場流通及館藏同類作品中,以仿汝釉居多,其次為仿官釉,仿哥釉者則較為罕有。雍乾二朝御瓷一器多釉的燒造模式非常流行,往往表明君王對某類器形懷有獨特的鐘愛。 故宮博物院館藏藏品 「雍正款青花纏枝花紋三羊尊」(編號-故00150729),與本品器型上幾乎一致,可資參考。
中文参阅:相似藏品可參閱:故宮博物院館藏,編號故00150729;編號故00154107;北京保利2016年06月春拍,編號7504。

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