| 中文版 English
书画 陶瓷 玉石 佛造像/唐卡 金属器 家具 漆器 竹木牙角 紫砂 鼻烟壶 钱币邮品 名酒 奢侈品 其它
Calendar
Today
< >

具体要求

其它要求

-
关闭
全球拍卖首页 > Roseberys London > 中国、日本和东南亚艺术第一部分 > Lot 79
A rare and magnificent Chinese 'yangcai' famille rose baluster vase of massive proportions
英国
11月03日 晚上6点 开拍 /12天17小时
上一件 下一件
拍品描述 翻译
Qing dynasty, Qianlong/Jiaqing period Lavishly enamelled with finely-detailed, Baoxiang flower and leaves on the imitation-sgraffiato, pink scrolling ground, the shoulder with brocaded borders, the lower register with a folded corner imitating fabric, enclosing bats and suspending musical stones, the gently flared neck with formal lappet borders outlined with interlocking scrolls and enclosing floral blossoms, mirrored by a further lappet band at the foot, also enclosing blossoms, the interior turquoise, the base unglazed, 61cm high. Provenance: Acquired by repute in China circa 1960s by shipping magnate Elias Calogeras (1933-2018) whilst on a business trip, and thence by descent within the family to the present owner. 清乾隆/嘉慶 粉地洋彩洋花大瓶 來源：據傳於約1960年代，由航運業鉅子 Elias Calogeras（1933–2018）在中國出差期間購得，其後由家族世代傳承至現任藏家。 Detailed textual records of Yangcai in its early stages remain scarce. It is generally believed to have emerged in the late Kangxi period, following the successful development of porcelain-bodied Falangcai in the imperial palace, and to have flourished during the Yongzheng reign. According to the Zaobanchu Archives: Falangcai Workshop (Huojidang: Falang zuo), an entry dated the twelfth day of the seventh month in the sixth year of the Yongzheng reign (1728) records: “Prince Yi presented … newly refined Falangcai pigments: moon-white, white, yellow, green … nine colours in all … ascertain the quantities of the moon-white and pine-pollen colours and provide them to Nian Xiyao for porcelain firing.” Nian Xiyao served as Superintendent of Porcelain at Jingdezhen from the fourth to the thirteenth year of the Yongzheng reign (1726–1735). This record suggests that, by around the sixth year (1728), the Jingdezhen imperial kilns may already have been producing Yangcai wares. Moreover, in the seventh month of the seventh year (1729), Nian Xiyao sent two experienced enamel painters, Zhou Yue and Wu Shiqi, from Jiangxi to the capital. This episode provides further evidence that Yangcai porcelain painting was already being practiced at Jingdezhen at the time. In the thirteenth year of the Yongzheng reign (1735), Tang Ying’s Stele Inscription on Ceramic Affairs (Taowu xulüe beiji) states: “Yangcai vessels were newly made in our dynasty by imitating the Western method of painted Falangcai enamel; figures, landscapes, flowers, and birds were all rendered with exquisite delicacy and lifelike refinement.” Taken together, these records suggest that by the Yongzheng period, Yangcai production at Jingdezhen had become technically sophisticated and firmly established. The earliest known formal definition of Yangcai dates to the eighth year of the Qianlong reign (1743). In the section on Yangcai Wares in Illustrated Explanations of the Manufacture of Ceramics (Taoye tushuo), Tang Ying, then Superintendent of Porcelain, wrote: “White wares of upright vessels form are painted in polychrome colours, imitating Western styles; hence they are called Yangcai. Skilled painters well versed in the art must first grind and finely mix the various pigments … The pigments used are the same as those for Falangcai colours, and there are three methods of preparing them: one uses yunxiang oil [a locally produced oil used as a substitute for imported enamel oil], one uses glue water, and one uses clear water. Oil-based colours are suited to shading and blending; those mixed with glue are suitable for rubbing and wiping; while colours prepared with clear water are suited to building up and filling in the decoration. During painting, some painters work with the vessel placed on a table, some hold it in their hands, while others recline beside it at a lower level. Each position is adopted according to the size and form of the vessel, so as to facilitate the movement of the brush.” Tang Ying’s explanation highlights two defining features of Yangcai. First, it was characterized by a rich palette, with pigments closely resembling those used for Falangcai. Second, its vessels could be complex in form, requiring painters working on larger pieces to adjust their posture and the angle of approach to suit the vessel’s shape. During the Qianlong reign, under the supervision of Tang Ying, Yangcai porcelain at the imperial kilns of Jingdezhen entered a period of remarkable flourishing. Its forms and decoration grew increasingly elaborate, while both the range and volume of production far surpassed those of the Yongzheng period. At the same time, porcelain production came to be governed with ever greater exactitude by the tastes and preferences of the emperor. One type of vessel recorded in the palace archives appears to bear a close relation to this large pink-ground Yangcai vase in the sale. An entry in the Palace Workshops Archives (Huojidang), dated the thirteenth day of the tenth month in the second year of the Qianlong reign (1737), records: “Eunuchs Mao Tuan, Hu Shijie, and Gao Yu presented … one yellow-ground Yangcai bowl with Western-style flowers … The Qianlong Emperor instructed: ‘The yellow-ground Yangcai bowl with Western-style flowers is exceedingly fine. Have more made … This design is also to be produced on large jars and on vases of various sizes. The mouths of the vases previously made are much too coarse; when making them again, make the mouths narrower … The celadon-glazed, molded large vessels in the palace collection, the Jiajing-period vessels with interlaced lotus and the Eight Buddhist Emblems and paired handles, and the Jiajing-period vessels with dragons among interlaced lotus, have all three types reproduced according to the floral design on the yellow-ground Yangcai bowl, and have several more made …’” The designation “yellow-ground Yangcai bowl with Western-style flowers” found in the palace archives may be understood to refer to an imperial bowl decorated with Yangcai on a yellow ground, its Western floral motifs rendered in imitation of the principles of Western linear perspective. The outlines of the flowers, grasses, and foliage are delineated throughout in black enamel rather than in the traditional black pigment; the petals and leaves are further rendered through successive gradations of light and shade, with delicate touches of white introduced to evoke the highlights cast by light. In this manner, the floral forms acquire a pronounced sense of volume, depth, and shifting light and shadow. The floral composition is dense yet gracefully varied, with intertwining stems and tendrils woven into an intricate decorative scheme. It thus departs from the planar arrangement characteristic of traditional floral ornament and instead conveys a distinctly Western Rococo pictorial sensibility. A bowl of similar decoration are preserved in the Shanghai Museum; see Lu Minghua, Qingdai Yongzheng–Xuantong guanyao ciqi [Official-Kiln Porcelain of the Qing Dynasty, from the Yongzheng to the Xuantong Reigns], Shanghai, 2014, pl. 3-146. Another example is illustrated in Michel Beurdeley and Guy Raindre, Qing Porcelain, London, 1987, pl. 183. A further example was sold by Sotheby’s Hong Kong on 20 May 1981, lot 879. On this evidence, the small vase produced after the floral design of the yellow-ground Yangcai bowl may perhaps be identified with the yellow-ground Yangcai square vase with floral decoration in the collection of the National Palace Museum, Taipei (Object No. 故瓷005104N000000000). The large vases, jars, and other substantial vessels said in the archival record to have been made according to the same design, however, have yet to be identified. This large pink-ground vase with Western-style floral decoration may represent a derivative type of the large yellow-ground wares discussed above. Yet no record of comparable wares appears until the fourth month of the thirty-fourth year of the Qianlong reign (1769). The Qing Palace Porcelain Archives (Qinggong ciqi dang) records: “Yiling’a, kneeling, presented … a pair of pink-ground vases with Western-style floral decoration, submitted to Yulanfeng … a pair of pink-ground floral-decorated teapots, a pair of pink-ground floral-decorated tea bowls, and a pair of pink-ground floral-decorated tea trays.” By the Jiaqing reign, records in the Qing Palace Porcelain Archives (Qinggong ciqi dang) indicate that pink-ground Yangcai wares were predominantly made in vase forms. For example, in the first year of the Jiaqing reign (1796), the archives record the delivery of “a pair of pink-ground Yangcai pagodas”; in the second year (1797), “a pair of pink-ground Yangcai ‘auspicious’ vases” were delivered to the Palace of Tranquil Longevity (Ningshou Gong); in the third year (1798), “a pair of pink-ground Yangcai ‘melons’ vases” were delivered to the Rehe Palace; in the fourth year (1799), “a pair of pink-ground Yangcai ‘auspicious Lotus’ vases” were delivered to the Imperial Garden; and in the fifth year (1800), “a pair of pink-ground Yangcai ‘eight immortals’ vases” were retained by the emperor for presentation as gifts.” 目前的考古研究缺乏對洋彩初始階段的詳盡文字記載，學界多認為它發端於康熙末年宮廷瓷胎琺瑯研製成功後，成熟於雍正朝。 據《活計檔·琺瑯作》記載：「雍正六年（1728）七月十二日，怡親王交……新煉琺瑯料：月白色、白色、黃色、綠色……以上共九樣……月白色、松花色有多少數目，爾等查明白，給年希堯燒瓷器用。」年希堯自雍正四年（1726）至十三年（1735）任景德鎮督陶官，此條記檔似可表明，雍正六年（1728）前後，景德鎮御窯廠已存在燒製洋彩器的可能性。同時，雍正七年（1729）七月，年希堯從江西送來有經驗的畫琺瑯匠周岳與吳士琦，此事似亦可作為當時景德鎮已有瓷胎畫琺瑯製作活動的旁證。雍正十三年（1735），唐英《陶務敘略碑記》記載：「洋彩器皿，本朝新仿西洋琺瑯畫法，人物、山水、花卉、翎毛無不精細入神。」由此推之，景德鎮瓷胎洋彩之製作技術，至雍正朝已漸臻成熟。 現知洋彩的正式釋意最早記載於乾隆八年（1743），督陶官唐英在《陶冶圖說》圓琢洋彩一條中說：「圓琢白器，五彩（意應指斑斕五彩）繪畫，模仿西洋，故曰洋彩。須選素習繪事高手，將各種顏料研細調和......，所用料與琺瑯色同，其調色之法有三：一用芸香油（用來代替進口琺瑯油料的中國本土產油料），一用膠水，一用清水。蓋油色便於渲染，膠水所調便於拓抹，而清水之色便於堆填也。畫時有就案者，有手持者，亦有側眠於低處者，各有其器大小以就運筆之便。」 唐英的上述解釋揭示出洋彩定義的兩個關鍵因素：其一，洋彩色彩豐富，所用顏料與琺瑯顏料色彩十分相近；其二，洋彩造型複雜，其中形體碩大者要求畫師就器物的造型變換著色時的姿勢和角度。 在唐英督陶的乾隆朝間，洋彩瓷器在景德鎮御窯場大放異彩，其形制、紋飾日益複雜，產量、種類遠勝雍正時期，且更加嚴格地按照皇帝的喜好生產瓷器。其中一則記檔所載的器物類型，似與本場拍賣所呈現的這樽粉地洋彩洋花大瓶相關。據乾隆二年（1737）十月十三日《活計檔》記載：「太監毛團、胡世傑、高玉交……洋彩黃地洋花宮碗一件……（乾隆皇帝）傳（旨），洋彩黃地洋花宮碗甚好，再燒造些……（此）花樣亦燒造些大罐及大小號花瓶，（之前燒造的瓶）嘴子甚粗，再燒造時收細些……（清宮藏）冬青釉拱花大樽、嘉（靖）窯穿枝蓮八寶雙環大樽、嘉（靖）窯青龍穿枝蓮樽，此三樣樽照洋彩黃地洋花宮碗上花樣再燒造些……」。 宮廷檔案所見「黃地洋彩洋花宮碗」一名，當指以黃色為地，施以洋彩，並仿西洋透視畫法繪飾西洋花卉的御製宮碗。此類花樣，頗具鮮明特徵，花草枝葉皆以黑色琺瑯勾勒輪廓，而非沿用傳統黑彩；花瓣與葉片之間復以深淺相間、層層暈染之色彩敷施，並以白色點綴其間，以摹擬光線映照的高光，從而營造花卉的立體層次與光影效果。其花卉構圖繁密錯落，枝蔓交織，已非傳統花卉紋飾之平面式鋪陳，而呈現出頗為鮮明的西洋洛可可藝術繪畫意趣。 此飾紋相類的碗盅，上海博物館有藏，圖見陸明華，《清代雍正-宣統官窰瓷器》，上海，2014年，圖版3-146。另有一例，載於 Michel Beurdeley 及 Guy Raindre，《Qing Porcelain》，倫敦，1987年，圖版183。香港蘇富比也曾拍出一例，1981年5月20日，編號879。 以此而推，按洋彩黃地洋花宮碗花樣生產的小瓶，或可參見台北故宮博物院所藏洋彩黃地洋花紋方瓶，文物統一編號：故瓷005104N000000000。然檔案中所提及的按此花樣燒造的大瓶，樽等大型器皿卻暫無跡可尋。此粉地洋花大瓶或為此類黃地大型器物的衍生品類，然相類品的記錄直至乾隆三十四年（1769）四月始見。《清宮瓷器檔》載：「伊齡阿跪進……交御蘭芬粉地洋花如意瓶成對……粉地洋花茶壺成對、粉地洋花茶碗成對、粉地洋花茶盤成對。」 至嘉慶朝，考諸《清宮瓷器檔》，粉地洋彩器物多為立件。如嘉慶元年（1796），「交宮粉地洋彩寶塔成對」;嘉慶二年（1797），「交寧壽宮，宮粉地洋彩年年吉慶瓶成對」；嘉慶三年（1798），「交熱河宮，粉地洋彩瓜瓞綿綿紙槌瓶成對」；嘉慶四年（1799），「交御花園，宮粉地洋彩寶蓮吉慶瓶成對」；嘉慶五年（1800），「（皇）上留賞人用，宮粉地洋彩暗八仙萬年樽成對」。
Condition Report：

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
10
200
20
500
50
1,000
100
2,000
200
5,000
500
10,000
1,000
20,000
2,000
50,000
5,000
100,000
10,000
200,000
20,000
500,000
100,000
+

委托价 （已有0次出价）

英镑
电话提醒

价格信息

拍品估价：20,000 - 40,000 英镑 起拍价格：14,000 英镑  买家佣金：
落槌价 佣金比率
0 - 20,000 26.00% + VAT
20,000 - 500,000 25.00% + VAT
500,000 - 以上 20.00% + VAT

拍卖公司

Roseberys London
Roseberys London
地址： 70/76 Knights Hill
电话： +44 (0)20 8761 2522
邮编： SE27 0JD
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种：
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时，请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种：
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账，所以请您在汇款时，选择足额到账，或在汇款金额的基础上加上汇款手续费（如25美金）。
4. 国际转账汇款时， 您需要知道海外拍卖行以下汇款信息：
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码（8位字母数字组合，必填项， 如： BFKKAT2K）
* 收款银行清算码（9位数字组合，选填项）
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输， 您只需要支付相关的运费及保险费（如您需要）即可；有的海外拍卖行会推荐几家长期合作的运输公司， 这些运输公司有着良好的信誉和高质量的工作效率，您大可放心。您只需要提供您的收货地址， 竞得拍品账单。 运输公司会根据您提供的信息给您报价， 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了， 信用卡是最常用的支付手段， 当然还有其他像PayPal，转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税，需由包裹接受人（即买家）自行承担。 征收标准：具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品，如枪支、管制刀具、象牙、犀角等；中国买家不得通过本平台参与上述物品的拍卖活动；任何情形下，买家均须对自己的竞拍行为独立承担责任。
服务热线：400-608-1178
查看全部小贴士