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清雍正 粉彩團蝶紋盌 雙圈六字楷書款 THE PORCELAIN: YONGZHENG SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1723-1735); THE ENAMELS POSSIBLY LATER ADDED
美国
09月18日 晚上9点 开拍 / 09月16日 下午3点 截止委托
拍品描述 翻译
清雍正 粉彩團蝶紋盌 雙圈六字楷書款
粉彩或為後加
5 11/16 in. (14.4 cm.) diam.
清雍正 粉彩團蝶紋盌 雙圈六字楷書款 粉彩或為後加 5 11/16 in. (14.4 cm.) diam. Lee Ling Yun 珍藏芝加哥藝術博物館,1930年入藏 芝加哥藝術博物館珍藏,拍賣收益用於拓展及維護亞洲藝術館藏
拍品專文 The motifs on the present bowl are based on one of the rarest and most ingenious designs for imperial porcelain created during Yongzheng period. The exterior is exquisitely painted with five circular medallions, each remarkably rendered without an enclosing border. Within these roundels, seemingly disparate motifs—flower buds, petaled blossoms, and the outstretched wings of butterflies—are ingeniously combined to form a coherent design. The result is spontaneous and deliberate, testifying to the extraordinary refinement and pictorial intelligence that was cultivated at the Yongzheng imperial kilns, and admired through later periods. The butterfly was a favored motif in Chinese decorative arts, admired not only for its graceful form but also for its auspicious meanings. As a rebus, the butterfly, die 蝶, may suggest the multiplication 疊 or “doubling” of good wishes, and, through its association with the phrase maodie 耄耋, also conveys blessings for longevity, particularly the attainment of advanced age. The use of butterfly roundels became especially popular during the Qing period and was used in a range of media. It is seen with particular brilliance in porcelain and silk: in the latter, the motif appears most delicately embroidered on satin court robes, for an example, see R. Scott, “Joined Colours: Decoration and Meaning in Chinese Porcelain,” Transactions of the Oriental Ceramic Society, vol. 58, 1993–1994, p. 71, fig. 5. For a related Yongzheng mark-and-period 'butterfly medallion' bowl, see Anthology of Chinese Art - Min Chiu Society Silver Jubilee Exhibition, Hong Kong, 1985, no. 185, later sold at Christie’s Hong Kong, 30 April 2000, lot 588. Other Yongzheng-period butterfly bowls include an example from the Baur Collection, illustrated in Sekai Toji Zenshu, vol. 15, no. 206, and another in the Palace Museum, Beijing, illustrated in Gugong cang chuanshi ciqi zhenyan duibi: Lidai guyaozhi biaoben tulu (Genuine and Imitation Ceramics in the Palace Museum Collection, with Specimens from Historical Kiln Sites), 1998, p. 212, no. 190, where the author also illustrates a Yongzheng porcelain bowl with Republic-period enamels, p. 213, no. 191, further attesting to the continued admiration for this design in later periods.

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