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A MAGNIFICENT AND IMPORTANT YANGCAI PAINTED 'IMPERIAL POEMS AND LANDSCAPES' INCISED CELADON-GROUND LOBED OVAL VASE Qianlong seal mark and of the period
香港 北京时间
2022年05月29日 开拍
拍品描述 翻译
"Qianlong seal mark and of the period
Exquisitely potted of lobed pear shape rising from a spreading foot moulded with key-fret band and upright lappets, the celadon-glazed body incised with ruyi-head clouds around four lobed panels enclosing famille rose mountainous landscape scenes with various trees and pavilions, and poetic inscriptions, all beneath a pendent ruyi-head band and upright lappets on the flaring neck flanked by a pair of gilt elephant-head handles. 35.5cm (14in) high. 清乾隆 御製詩洋彩冬青地四團山水象耳海棠罇
青花「大清乾隆年製」六字篆書款

Provenance: An European private collection

來源:歐洲私人收藏

It is rare to find a famille rose and celadon-glazed vase of this shape and design. The present lot is particularly striking in its lustrous glaze, exquisitely painted panels and combination of carved and moulded decorative motifs. The present lot displays the very high level of quality achieved by craftsmen working at the Imperial kilns at Jingdezhen during the reign of the Qianlong emperor.

Tang Ying, the famed superintendent at Jingdezhen during the Yongzheng and Qianlong reigns, strove for technical and artistic perfection, and wares made under his supervision are renowned for their stylistic variety and exceptional quality. The sophistication and deliberate employment in the Yongzheng and early Qianlong periods of carefully varied types of celadon glaze to achieve quite different aesthetic results appear to reflect the emperor's particular interest in this glaze colour. The specific celadon glaze used for vases of this type is a bright sea-green, which Chinese connoisseurs designate as douqing, which achieves a distinct contrast between the ground and relief designs.

The paintings in the four medallions depict four landscapes, each associated with one of the four seasons and with a short poem by the Qianlong emperor; they read:

兩行煙柳春光媚,幾頃澄波綠意深
Beautiful Spring light caught between the two banks of misty willows,
several ripples of deep green.
「乾隆」、「宸翰」方印

平池鋪玉鏡,晴雪晃金錢
Jade mirrors laid down on the flat pond, gold coins swayed by clear snow.
「乾隆宸翰」、「惟精惟一」方印

顫雨蘆梢纔卧起,笑風蓮蕚乍開齊
The trembling rain and bending reed tips, together with the laughing wind and lotus blossoms bloom all at once.
「乾隆」、「宸翰」方印

半夜飄金籟,千林翦絳霞
In the middle of the night the sound of golden pipes float, the thousand tree scrape at the deep red clouds
「乾隆宸翰」、「惟精惟一」方印

The four poems are all included in the Leshan tang quanji (The Complete Works of Leshan Hall), the collected poems of the Qianlong Emperor. The last poem, however, was deleted from the later edition of the collection in the 23rd year of the Qianlong Emperor's reign. Therefore, the poems on this vase must have been based on the 40-volume 'Complete Works of Leshan Hall' published in the Hall of Martial Valour in the second year of Qianlong's reign (1737). Leshan Hall was the reading room of the Qianlong Emperor when he was a prince. In the Autumn of the 8th year of Yongzheng, the prince compiled his writings including essays, prefaces and poems etc, into fourteen volumes. By the time he became Emperor Qianlong however, his writings grew to fill 40 volumes. In the 23rd year of his reign, however, Qianlong felt that many of the writings were unsatisfactory and deleted much of his work, so that the 'Complete Works of Leshan Hall' were slimmed down to 30 volumes.

According to the Qing archives: 'On the 11th day of the 8th month, the 7th year of Qianlong, the order was issued... The Imperial poems and paintings for decorating a jar are very good. Tang Ying should not only manufacture this on jars, but also other vases with similar designs of landscape, flowers and Imperial poems.' See Qing gong neiwufu zaobanchu dang'an zonghui [The Collection of Archives of the Office of the Ministry of Internal Affairs of the Qing Palace], Beijing, 2005, vol.11, p.74. This record is the earliest evidence that Emperor Qianlong ordered a large number of porcelains fired with his Leshan Hall Imperial poems.

According to the Qing Archives: 'On the 16th day of the 10th month of the 17th year of Qianlong's reign, Bai Shixiu gave four volumes of Imperial poems to the general manager Wang Changgui, and he gave them to Tang Ying to use on the firing of porcelain. He was told to select poems in the future from these volumes and not the Leshan Hall collection', see Ibid., vol.18, p.84. The four volumes mentioned in the record are in fact the Yuzhi shi chu ji, published in the 14th year of the Qianlong reign. From this we can see that this was the last time when poems from the Leshan Tang collection were used.

Therefore, the present lot was most probably fired, at the latest, by the 17th year of the Qianlong reign. Establishing the earliest date at which it could have been fired however is not as easy to define. It is possible that prior to the seventh year of Qianlong, porcelain with Imperial poems were fired. According to the Qing Archives, On the 26th day of the 11th month of the 12th year of Qianlong, 'Bai Shixiu said that on the 26th, Liu Cangzhou, the general manager, handed over a pair of Yangcai zun vases with elephant handles and decorated with four roundels with landscapes.' See Ibid., vol.15, p.85. The description of the vase in the record appears to match very closely with the present lot.

One poem on the vase does also appear to contain a variation from the published original. In the view of Spring, the characters bo cheng (波澄), are reversed from the original cheng bo (澄波) in the Leshan tang quanji. Mistakes such as these are quite common on porcelain. This could either be a mistake by the craftsman, or that the artist was copying a manuscript has made mistakes. Several other examples of porcelain with these variations of Imperial poems can be seen illustrated in Poem and Prcelain: The Yu Zhi Shi Ceramics in the Palace Museum, Beijing, 2016, nos.22, 37 and 56; including one vase in the Palace Museum Beijing, inscribed with the line '飽餐春卉秋葩' which may be translated as 'Feasting on autumn flowers and spring flowers. The published poem however, is written '飽餐秋卉春葩', 'Feasting on Spring flowers and autumn flowers', in the Yuzhi shi er ji, vol.16, p.5. Another example is a vase with the poem '問風畧悉農桑候' 'Ask the wind about the time of sowing', but which originally in the published anthology Yuzhi shi er ji, vol.2, p.10, is written: '問風畧先農桑候' 'Ask the wind if it knows of the time of sowing'. Another vase has the poem 劉院何能借問程, 'How could ask the direction from Liu Yuan' but which originally was '劉阮何能借問程' 'How could ask the direction from Liu Ruan' in Leshan tang quanji dingben, vol.30, p.6.

See a very similar vase, Qianlong seal mark and period, with the same landscape and poem by the Qianlong emperor, in the Victoria and Albert Museum, London, the Salting Bequest, illustrated by J.Ayers, Far Eastern Ceramics in the Victoria and Albert Museum, London, 1980, pl.68. Another very similar vase with landscapes and inscriptions, Qianlong seal mark and of the period, is in the National Museum of China, illustrated in Zhongguo guojia bowuguan: guancang wenwu yanjiu congshu - ciqi juan, qingdai, Shanghai, 2007, no.105.

Two other vases, one with the same decoration, Qianlong seal marks and of the period, originally from the Liddell collection, in the Manchester City Art Gallery (acc.nos. 1947.534 and 1947.535), are illustrated in the catalogue by Bluett & Sons Ltd., The Liddell Collection of Old Chinese Porcelain, London, 1929, nos.178 and 179. Compare also with a similar celadon-ground famille rose vase with panels of four seasons flowers, Qianlong seal mark and of the period, in the Victoria and Albert Museum, London, acc.no.:C.1465-1910.

壺身成海棠形,圓唇,口外侈,束頸,兩側飾象耳鋪首,圓鼓腹略下垂,圈足外撇,口沿、象耳,足圈,開光邊線施金彩,頸部胎體陽刻仰面如意蕉葉紋一周,其下飾鼓釘紋一周,再下雕俯面如意蕉葉紋一周,腹部則滿刻陰線雲蝠紋,圈足腰身陽刻菊瓣紋一周,其下飾拐子紋一周,全身里外罩冬青釉,腹部前後左右四面海棠形開光,開光內繪洋彩春夏秋冬四景,每景以四體書乾隆御題詩一句,詩意與畫意對應,前面春景題:楷書「兩行煙柳春光媚,幾頃澄波綠意深」鈐「乾隆」、「宸翰」方印,後面夏景題:行書「顫雨蘆梢纔卧起,笑風蓮蕚乍開齊」鈐「乾隆」、「宸翰」方印,左面秋景題:隸書「半夜飄金籟,千林翦絳霞」鈐「乾隆宸翰」、「惟精惟一」方印,右面冬景題:篆書「平池鋪玉鏡,晴雪晃金錢」鈐「乾隆宸翰」、「惟精惟一」方印。

四詩皆為乾隆青宮時期作品,收錄於《樂善堂全集》及《樂善堂全集定本》:

「兩行煙柳春光媚,幾頃澄波綠意深」見《帝景雜詠》
—《樂善堂全集》,乾隆二年,卷36,頁2
—《樂善堂全集定本》,乾隆二十三年,卷27,頁13;
「顫雨蘆梢纔卧起,笑風蓮蕚乍開齊」見《雨後池塘閒步》
—《樂善堂全集》,乾隆二年,卷37,頁16
—《樂善堂全集定本》,乾隆二十三年,卷27,頁2;
「半夜飄金籟,千林翦絳霞」見《看西廊紅葉》
—《樂善堂全集》,乾隆二年,卷38,頁21
「平池鋪玉鏡,晴雪晃金錢」見《冬至後一日同二十四叔父五弟逰西苑試射》
—《樂善堂全集》,乾隆二年,卷36,頁5
—《樂善堂全集定本》,乾隆二十三年,卷27,頁16

其中《看西廊紅葉》在乾隆二十三年從重編文集時刪去。故此罇製作時所據版本當為乾隆二年武英殿刊四十卷本《樂善堂全集》。樂善堂為乾隆為寶親王讀書處,雍正八年秋,弘曆編其所作經說、史論、序跋、雜文、詩賦為《樂善堂文鈔》十四卷,又稱《庚戌文鈔》。乾隆元年,皇帝「爰取庚戌文鈔所載存十之三,續作未訂入者存十之七,總為一編共若干巻」(《樂善堂全集定本》四庫全書本乾隆自敘)而成《樂善堂全集》四十卷。乾隆二十三年,皇帝認為「《樂善堂集》,緣初刻所存卷帙頗繁,其中多有不甚愜心之句」(《樂善堂全集定本》上諭),故刪訂為《樂善堂全集定本》三十卷。

根據《清內務府造辦處各作成做活計檔》(《清檔》)記錄:「乾隆七年八月十一日,奉旨著...御製詩句畫山水壯罐甚好,令唐英不獨此壯罐款式,別樣瓶亦照有詩句山水花卉燒造。」見《清宮內務府造辦處檔案總匯》,北京,2005年,卷11,頁74。此條記載為目前文獻所見最早記錄乾隆帝下令大量燒造御題詩之證據,此為文獻記錄中瓷器題寫樂善堂御製詩之上限。

《清檔》記載:「乾隆十七年十月十六日員外郎白世秀達子來説縂管王常貴交御製詩四套傳,?着賞唐英,嗣後燒造瓷器應用詩之處即用此詩揀選燒造,不必用樂善堂詩文,欽此。」見前書,卷18,頁84。此處御製詩四套即乾隆十四年刊定之《御製詩初集》,由此可知題寫樂善堂御製詩之下限。

綜上,此罇燒造時間最遲當在乾隆十七年,上限則不易確定,如唐英七年已經有燒造御製詩句畫山水壯罐,那麼七年以前就有燒製御製詩瓷器亦有可能。再查《清檔》有,乾隆十二年十一月二十六日,「二十六日司庫白世秀來説,總管劉滄州交『洋彩冬青地四團山水象耳海棠罇』一對」(《總匯》,卷15, 頁85)。此件海棠罇描述皆與本件拍品相合,結合樂善堂御製詩瓷器之年代下限,那麼可以確認本品在清宮的正式名稱當為「洋彩冬青地四團山水象耳海棠罇」。

此罇春景一幅所題御製詩中作「波澄」,《樂善堂全集》作「澄波」,應為窯工筆誤。此類筆誤在御製詩瓷器中間有出現,或因窯工所據手稿傳抄失真,或因窯工摹寫失誤。茲舉北京故宮藏數例:1、清乾隆紫地粉彩開光題詩勾連文螭耳壁瓶,御題詩原為「飽餐秋卉春葩」(《御制詩二集》,卷16, 頁5),瓶上題為「飽餐春卉秋葩」;2、清乾隆琺瑯彩開光題詩山水圖瓶,御題詩原為「問風畧先農桑候」(《御制詩二集》,卷2,頁10),瓶上題為「問風畧悉農桑候」;3、清乾隆錦地粉彩開光題詩人物圖葫蘆瓶,御題詩原為「劉阮何能借問程」(《樂善堂全集定本》,卷30, 頁6),瓶上題為「劉院何能借問程」。前二例似轉寫失真,後一例則是明顯筆誤。以上三例皆著錄於《故宮博物院藏御製詩陶瓷器》,北京,2016年,編號56、22及37。

與本件類似之清乾隆御題詩洋彩冬青地四團山水象耳海棠罇有三例,題詩皆相同,畫面略有出入,三件口沿及圈足無金彩,一件藏英國維多利亞及艾伯特博物館,見J.Ayers著,《Far Eastern Ceramics in the Victoria and Albert Museum》,倫敦,1980年,圖版68;一件藏英國曼徹斯特美術館,刊於Bluett & Sons Ltd.圖錄,《The Liddell Collection of Old Chinese Porcelain》,倫敦,1929年,圖版178、179;一件藏中國國家博物館,見《中國國家博物館:館藏文物研究叢書瓷器卷,清代》,上海,2007年,編號105。英國曼徹斯特美術館還藏有一件類似御題詩海棠罇,畫面與御題詩皆不相同,但口沿同本件拍品一樣皆施金彩,館藏編號 1947.534。另有一類洋彩冬青地四團開光象耳海棠罇,開光內繪四季花卉,其他特徵則與本件類似,如英國維多利亞及艾伯特博物館館藏一件,開光繪四季花卉,口沿與足圈施金彩,館藏編號C.1465-1910。"

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