| 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 > Bonhams HK > 中国古董艺术品 > Lot 142
A rare and large imperial cloisonné enamel 'Three Rams' vase, Zun 17th/18th century
香港 北京时间
2020年12月01日 开拍 / 2020年11月29日 截止委托
上一件 下一件
拍品描述 翻译
A rare and large imperial cloisonné enamel 'Three Rams' vase, Zun 17th/18th centuryThe vase well cast of baluster form, supported on a tapered foot rising to a waisted neck, set with stylised chilong flanges and three rams heads on the shoulder, brightly and lavishly enamelled around the exterior with archaistic and stylised taotie masks above a band of florets and further band of cicada lappets reserved on a ground of densely scrolling lotus, the shoulder with a wide band of striding, stylised chilong beneath upright lappets enclosing further stylised taotie masks, all reserved on a turquoise ground. 68cm (26 3/4in) high. 注脚 十七/十八世紀 掐絲琺瑯仿古獸面紋出戟三陽開泰尊Provenance:A French private collection來源：法國私人收藏The present physically and visually imposing zun vase is notable for its innovative form and represents the technical and artistic developments revived during the early Qing dynasty.Compare a nearly identical cloisonné enamel vase of similar size (67cm high) with flanges and similar ram heads and taotie-mask design, early Qing dynasty, in the Qing Court Collection, and another closely related example of similar form and design but without ram heads, with the mark 'Jingtai nian zhi', early Qing dynasty, illustrated in the Compendium of Collections in the Palace Museum: Enamels 2 Cloisonné in the Qing Dynasty (1644-1911), Beijing, 2011, nos.15-16.The present lot is laden with auspicious meaning. The sheep or goat, (yang 羊), appeared as early as the Han dynasty as a pun for xiang (祥), meaning 'auspicious' or 'lucky'. By the Qing period, the image of sheep has become heavily associated with yang (陽), meaning the sun, and the warm, positive or masculine force in Chinese cosmology. The sheep imagery then developed into three sheep, sanyang (三羊), as a reference to the favourable arrival of Spring, since the phrase sanyang kaitai (三陽開泰) refers to the period between the Winter solstice and the New Year. This is the period when the warm yang energy is said to emerge, as detailed in the ancient Chinese classic of cosmology, the Yijing (The Book of Changes).The ancient form of the vase, as well as the archaistic motifs of taotie masks and chilong flanges and designs, also reflects the archaistic scholarly trends of the 17th/18th centuries. The academic trend known as the 'search for evidence' (kaozheng 考證) movement began in the early 17th century. Although this movement originated in a renewed scholarly interest in ancient texts and inscriptions on archaic bronzes, as literati sought a more empirical approach to understanding their ancient heritage, it led to a greater fascination for decorative designs adopted from ancient bronzes too. Responding to this wave of archaism which would later be adopted by the Imperial court and Manchu emperors who wished to display their patronage of Han Chinese culture, artisans reproduced the motifs and patterns of ancient bronzes on their cloisonné enamel wares. Xiqing gujian (Catalogue of the Xiqing Antiquities), provided abundant prototypes to the recreations of archaistic pieces. The prototype of the present lot appears to be a drawing of an archaic bronze zun, illustrated in the Imperial catalogue of Chinese ritual bronzes known as the Xiqing gujian, Beijing, 1758, vol.10, p.35. This type of large wine vessel zun with three animal heads on the shoulder, and with stylised taotie masks on the body, was popular during the mid and late Shang Dynasty. For example, see an archaic bronze zun, mid Shang Dynasty, in the Henan Provincial Museum, illustrated in Zhongguo qingtongqi quanji (Complete Collection of Chinese Bronzes), Beijing, 1996, pl. 114. 圓唇，口部外翻，束頸，折肩，鼓腹下收，高圈足外撇，頸部及肩腹部三面出戟，作鎏金卷草螭龍形，上中下四層三組，頸部鑄兩粒三組乳釘狀鎏金旋火紋凸起，肩部接三隻羊首，下腹部正中前後及圈足三面亦出螭龍戟，肩部掐絲作番蓮紋一周，每朵填色各異，有紅白藍綠諸色，其下掐絲飾蕉葉紋，葉內作饕餮紋，以回紋一周為底邊，回紋一下飾掐絲填琺瑯白地連枝菊瓣紋一周，肩部以羊首為中心，對稱飾掐絲填琺瑯香草龍紋一對三組，腹部以出戟為中心飾饕餮紋三組，饕餮紋之下有青地連枝菊花紋一周，下腹飾仰蕉葉紋一周，間以各色纏枝番蓮紋，圈足飾藍地青色拐子龍紋一周，器內皆鎏金。此器原形為商代青銅尊，可參考河南省博物院藏一件商代中期獸面紋牛首尊，見《中國青銅器全集》，北京，1996年，卷1，編號114；《西清古鑒》亦有著錄相似器物，見《西清古鑒》，北京，乾隆十四年（1758），卷10，頁35，書中記為周代，似不確，當為商器。晚明以來常見三代銅器為標準而創作器物，金玉竹木皆有為之。這一慕古風尚上接宋代宣和，下迄清代乾隆，然而雖以古物為本，裝飾大多數實則為本朝創意。宋人的仿古在徽宗時期到達頂峰，官方主持製作仿古器物，發放大臣家廟及學宮供奉祭祀，多少有政治含義，意在確立皇權的正統，統一禮制；明代晚期的仿古則多了市民意趣，即有忠實仿造，亦有天馬行空的古風作品；清代，特別是乾隆一朝的仿古，既有政治意圖，亦有美學創意，所謂「以遊藝之餘功，寄鑒古之遠思，亦足稱昇平雅尚」。（乾隆帝《西清古鑒》序） 清人喜諧音象形等吉祥裝飾，便將商尊肩部常見的牛首、龍首改為三個羊首，寓意三陽開泰。景泰藍經過明代的發展，清初的進步，到乾隆時掐絲精細，發色艷麗，仿古器型因為出土實物日夥而更加逼肖。 三陽開泰，亦作三陽交泰，本為易學用語，依《易》十二消息卦之說，十月為坤卦，純陰之象；十一月為復卦，一陽生於下；十二月為臨卦，二陽生於下；正月為泰卦，三陽生於下，象徵冬去春來，陰消陽長，萬事吉祥。故「三陽開泰」被用來稱頌歲首或用作吉祥之辭。北京故宮博物院藏有一件相似的清代早期掐絲琺瑯三陽開泰尊可資比較，見《故宮博物院藏品大系琺瑯器編》，北京，2011年，卷2，編號16；故宮另有一件清早期掐絲琺瑯獸面紋出戟尊，鈐有「景泰年製」款，除羊首從缺，器型裝飾與本品近同，見前書，編號15。

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
100
50
500
100
1,000
200
2,000
250
5,000
500
10,000
1,000
20,000
2,000
50,000
5,000
100,000
10,000
+

价格信息

拍品估价：2,500,000 - 3,500,000 港币 起拍价格：2,500,000 港币  买家佣金：
落槌价 佣金比率
0 - 1,200,000 25.00% + VAT
1,200,000 - 20,000,000 20.00% + VAT
20,000,000 - 以上 12.00% + VAT
服务费：平台服务费为成交总金额（含佣金）的3%

拍卖公司

Bonhams HK
Bonhams HK
地址： Suite 2001, One Pacific Place 88 Queensway, Admiralty Hong Kong
邮编： 0
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