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清康熙 御製透明料陰線葡萄鳥紋盤 CHINE, DYNASTIE QING, EPOQUE KANGXI (1662-1722)
法国 北京时间
2021年06月09日 开拍 / 2021年06月07日 截止委托
拍品描述 翻译
清康熙 御製透明料陰線葡萄鳥紋盤
盤透明料,撇口,淺腹,折沿,平底。盤心刻葡萄樹,果實纍纍,枝幹卷曲連綿,三羽小鳥翩舞其中。折沿刻枝葉舒展,葡萄串串,藤蔓延綿,三羽小鳥繞著盤沿飛翔。
葡萄樹藤蔓枝葉綿延滋生,果實串串,喻子孫昌茂,繁衍不息。
康熙皇帝對玻璃器甚為着迷,他下詔建立玻璃廠,聘請傳教士為設計師,將歐洲的玻璃配方傳授於宮廷工匠,因此產生了如此器帶西洋風格的作品。由於當時的玻璃製造技術不太成熟,產量不多,傳世品中更為少見,非常珍貴。
此器1989年4月購於斯賓克,被著錄於1989年斯賓克出版《The Minor Arts of China》圖版108;1990年4-6月於紐約華美協進社舉辦之《Clear as Crystal,Red as Flame》展出,並著錄於展覽目錄圖版10號;1995年於三藩市亞洲藝術博物館舉辦之《A Chorus of Colors - Chinese Glass from Three American Collections》展出,並著錄於展覽目錄圖版20。
Diamètre: 11 cm. (4 1/3 in.)
Lot Essay It has been noted that the crizzling of the glass, particularly on the interior of the present dish, suggests a Kangxi period dating as glass production at this early stage tends to have an excess amount of alkali in the preparation, which causes the decomposition of the glass, known as crizzling. Varying and controlling the amount of alkali creates opaque, translucent or transparent glass. The strong European style in the design of the present dish was probably influenced by the Jesuit missionaries who assisted at the imperial workshops, particularly the Flemish Jesuit, Ferdinand Verbiest (1623-1688), who was known to be close to the Kangxi Emperor. On closer inspection, the delicate foliage and swirling tendrils show the ragged lines made by diamond-point engraving as opposed to the use of the wheel-cut technique which would have produced a smoother finish. It is perhaps significant that when the papal legate, Carlo Ambrogio Mezzabarba, came to Beijing in 1721, amongst the gifts that he presented to the Kangxi emperor from Pope Clement XI were several pieces of Venetian glass, including those with diamond point engraving - although Venetian glass is recorded as being presented to Chinese emperors by the missionaries as early as the Wanli reign Diamond-point engraving can also be seen on a pair of clear glass cups which are similarly decorated with birds and grapevine, and dated to the Kangxi period, in The Corning Museum of Glass, and illustrated by C. Brown and D. Rabiner, Clear as Crystal, Red as Flame, China Institute in America, New York,1990, no. 11. The choice of motif on this Kangxi period dish, as on the pair of glass cups, also indicates a European influence since in China the grape design is usually combined with squirrels, rather than the birds. Comparisons may also be drawn to a very similar design – albeit without the birds – woven into the Chinese blue silk damask of a morning robe made for Peter the Great, now in the State Hermitage in St. Petersburg, in Russia before 1696, and thus the silk itself must pre-date the late 1690s.

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