| 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 > Sotheby's > 中国艺术珍品 > Lot 76
An imperially inscribed blue and white 'Mount Hui Temple' teapot and cover, Seal mark and period of Qianlong | 清乾隆 青花御題詩烹茶圖闊底壺 《大清乾隆年製》款
美国 北京时间
2021年09月21日 开拍 / 2021年09月19日 截止委托
上一件 下一件
拍品描述 翻译
An imperially inscribed blue and white 'Mount Hui Temple' teapot and cover
Seal mark and period of Qianlong
清乾隆 青花御題詩烹茶圖闊底壺 《大清乾隆年製》款
the domed body rising to an elongated waisted neck and flared rim, set with an upright curved spout opposite an elegant loop handle, each side with a rectangular panel enclosed within scroll borders, one panel finely painted with a scene of two gentlemen enjoying tea in a temple accompanied by an attendant near a brazier and a second attendant offering a scroll to one of the gentlemen, amidst a walled garden with craggy rocks and two tall pine trees, the moon gate revealing the horizon beyond, further trees peeking out from behind the garden confines, the other panel inscribed in kaishuwith an eight-verse poem titled Brewing tea on the bamboo brazier at the Temple for Listening to Pines at Mount Hui inspired by the Ming verses and the paintings of Wang Fu, composed by the Qianlong Emperor and ending with two mock seals reading Qian Long, both panels reserved on a dense ground of stylized leafy arabesque scrolls interspersed with bats and flowers, the cover similarly decorated, the base with a six-character seal mark in underglaze blue (2)
御題詩文：
惠山聽鬆庵用竹爐煎茶因和明人題者韻即書王紱畫卷中
纔酌中泠第一泉 惠山聊復事烹煎 品題頓置休慚昔 歌詠膻薌亦賴前
開士幽居如虎跑 （音趵） 舍人文筆擬龍眠 裝池更喜商丘犖 法寶僧庵慎棄全
印文：
乾 隆
Width 7 in., 17.8 cm Sotheby's New York, 18th September 1996, lot 209.
來源
紐約蘇富比1996年9月18日，編號209 The Qianlong Emperor was a connoisseur of fine tea and is said to have composed over two hundred poems on the subject of tea preparation and enjoyment. The present teapot attests to the Emperor's fondness for the beverage not only through its function, but also in the image on one side of a gentleman being served tea in a pavilion, and in the Emperor's own poem on the opposite side titled Brewing tea on the bamboo brazier at the Temple for Listening to Pines at Mount Hui inspired by the Ming verses and the paintings of Wang Fu, followed by the eight verses of the poem itself and two seals bearing the Emperor's name.
The poem was penned in 1751 when the Emperor made a special visit to Mount Hui, Wuxi, Jiangsu province, during his first Southern Inspection Tour. The location attracted him because the local spring was celebrated for its pure water that produced the finest quality tea, and because his grandfather, the Kangxi Emperor, had also visited the site, sipped tea brewed on the famed bamboo brazier, and gave his own poetry to be kept in a local pavilion. During his visit, the Qianlong Emperor read his grandfather's poetry as well as the poetry and paintings of scholars who came before him, who were also moved by Mount Hui's spring and the marvelous tea it produced.
Mount Hui's pure spring water was appreciated by scholars since the Tang dynasty (618-907), when it was recorded in the Chajing [The Classic of Tea] by Lu Yu (733-804), the highly respected ‘Sage of Tea,’ who ranked it second among all natural springs. Lu Yu also designed a metal brazier veneered in bamboo, known in short as the 'bamboo brazier' (zhulu), which was mentioned by the famous contemporary poet, Du Fu (712-770), in a verse reading 'Simple and easy, the lofty man's manner; a stove enclosed in wooden bamboo...' Thereafter, the bamboo-caned brazier became associated with high-mindedness and virtuosity, a connotation that was perpetuated by literati of the subsequent Song, Ming, and Qing dynasties.
In the Ming dynasty, Pu Zhen (
Xinghai) (fl. 1368-1402), the abbot at the Temple for Listening to Pines at Mount Hui, commissioned a bamboo brazier to be made for the temple. The contemporary Wuxi painter and progenitor of the Wu School, Wang Fu (1362-1416), contributed to the design of the brazier. The brazier itself became a celebrated artifact, and it was regularly commemorated in poems and paintings. Wang Fu himself painted a work in 1402 titled Brewing Tea on the Bamboo Brazier(Zhucha tu juan). This painting, along with Wang Da's (ca. 1368-1424) Preface to the Pure Songs to the Bamboo Brazierand Record of the Bamboo Brazier(both written in 1395), and poems by other contemporary literati were all mounted on scrolls and kept together at the Temple for Listening to Pines. Later scholars visiting the illustrious temple contributed to the canon of works celebrating the bamboo brazier and tea made from the spring's water. The scrolls containing these were compiled as the Compendium of the Bamboo Brazier(Zhulu tuyong).
In his visit of 1751, the Qianlong Emperor was served tea brewed on the bamboo brazier while he viewed the collection of paintings and poetry dedicated to it. Upon returning from the south, the Emperor ordered a replica of the Mount Hui retreat to be built in Yuquan Mountain near the Forbidden City and instructed his workshops to produce a copy of the original Ming dynasty bamboo brazier with an imperial poem (dated 1751) inscribed to the base. It now resides in the Palace Museum, Beijing.
The original Compendium of the Bamboo Brazier was destroyed by fire in 1779. The following year the Qianlong Emperor commanded court painters to repaint the scrolls under his supervision. Upon completion, the Emperor gifted the new Compendium of the Bamboo Brazier to the Mount Hui Temple and ordered that it be stored in a special room. In addition, he had the paintings and poems transferred onto a series of steles, also to be kept in the temple. While the temple, along with the replica paintings and poems, were lost to a fire in 1860, some of the stele survive, as do the Emperor's own poems.
The Emperor's experience viewing the Compendiumand tasting the tea made from Mount Hui's spring using the bamboo brazier left a deep impression on him, further evidenced by the poem on the present teapot. In particular, the title of the poem expresses his appreciation for Wang Fu's painting. The poem then eulogizes the materials and processes that go into making the tea, and the splendors of the art, the setting, and the history that enhance the tea-drinking experience at the Temple for Listening to Pines. The image on the opposite side of the teapot conveys the experience in visual form by showing a small temple in which one gentleman sits with two teacups on a kangand receives a scroll from an attendant, as another gentleman sits on the floor by a teapot set atop a brazier and a second attendant approaches the brazier. Outside, a pine tree grows amidst rocks in the enclosed courtyard.
A Yixing teapot of the same form, and bearing the same image and poem, is preserved in the collection of the Palace Museum (coll. no. 故00164718) and published in Gugong bowuyuan cang Yixing zisha / Yixing zisha wares in the Palace Museum, Beijing, 2009, pl. 24.
Most other Qianlong teapots bearing an imperial poem and illustrating a scene of tea drinking were executed in the famille-rosepalette. Examples include one sold in these rooms, 13th-14th September 2016, lot 261; and a closely-related teapot that was sold twice in our Hong Kong rooms, 27th October 1992, lot 156, and again, 2nd May 2000, lot 646, and is now in the Alan Chuang Collection, illustrated in Julian Thompson, The Alan Chuang Collection of Chinese Porcelain, Hong Kong, 2009, pl. 113. A third famille-roseteapot of this type, but with the outdoor pavilion scene and inscription panels surrounded by feathery iron-red scrolls and scattered flower heads, from the Qing Court Collection (coll. no. 故00154836) and still in Beijing, is published in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 108. See also a famille-roseteapot which bears an imperial poem extolling sanqingtea dated to the bingyinyear of the Qianlong reign (corresponding to 1746), which is modeled in the same form as the present teapot, but features poetic verses on both sides of the vessel, in the collection of the Chang Foundation and illustrated in Zhongguo lidai taoqi xuanjiSelected Chinese Ceramics from Han to Qing Dynasties. Taipei, 1990, pl. 162.

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：80,000 - 120,000 美元 起拍价格：80,000 美元  买家佣金：
落槌价 佣金比率
0 - 400,000 25.00% + VAT
400,000 - 4,000,000 20.00% + VAT
4,000,000 - 以上 13.90% + VAT
服务费：平台服务费为成交总金额（含佣金）的3%

拍卖公司

Sotheby's
Sotheby's
地址： 1334 York Avenue
邮编： 10021
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