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An Exquisite Jiaqing Period-and-marked Bow
美国 北京时间
2015年09月30日 开拍
拍品描述 翻译
Dr. Robert I-San Lin's Collection of Important Chinese Artworks An exquisite Jiaqing period-and-marked bowl with ladies paying homage to the Queen of the West in Fa Lan Cai and Fen Cai and in Zha Dou ground. This exquisite bowl has a very thin, white, and unctuous body like a semi-egg shell porcelain, which is typical for Gu Yue Xuan (old moon pavilion) porcelains of Yongzheng, and Qianlong periods. Its internal wall and the outer base are decorated with a smooth and thick turquoise glaze. This kind porcelains are called "Lu Li Lu Dee" (green inside and green at the base) porcelains, and are the top quality imperial porcelains of Qianlong and Jiaqing periods, though many imitations exist. The external wall is decorated with Zha Dou pattern, which is made of uncountable number of very fine needle scoring lines. Such extremely labor intensive decoration was reserved for the best imperial porcelains of these two emperors. The motif is a pair of wood rafts, carrying two and three court ladies, respectively, and sailing toward the palace in the heaven, where the Queen of the West (Si Wan Mu) resides. The enamels used in the decoration include Fan Lan Cai (cloisonn?? enamel) and famille rose (Fen Cai), a rare combination that occurred during the short period of late Qianlong and early Jiaqing. One of the ladies carries a bottle of wine, another a Lin Zhi mushroom, and a third Ru Yi, looking upward toward the palace in the heaven to celebrate the longevity and the eternal youth of the Queen. The painting is artistic and outstanding. The selection and application of the enamels are meticulously carried out. The ladies have beautiful traditional Chinese faces, with the eyes, eyebrows, noses, ears, and little mouths clearly painted. Furthermore, the artist, who might have worked on Qianlong porcelains, employed Qianlong's Xuan Lan (gently washing onto) technique to paint the faces from very subtle to more intense brownish red, to make the face stereo, vivid, and animate. The artist planted two flourishing branches of green willow on the tail of each dried-wood raft, not only giving the painting a lovely green color but also filling the painting with the vigor of spring. Interestingly, most of the outlines of the figures are done by elaborate needle scoring not just by brush drawing. The most surprising, under a careful examination the scored circular waves of the Zha Dou background pattern changes around the rafts, forming a wedge-shape pattern in front of the rafts, showing that the rafts are breaking the waves and moving forward. What a way to express the dynamics. The brownish purple, aubergine, and green enamels are highly iridescent, typical for Kangxi, Yongzheng, Qianlong and early Jiaqing enamels. Gold enamel decorates the mouth rim, the Ru Yi head and perhaps some other parts; but most of the gold enamel has worn off due to aging, and is hard to see, except under a magnifying glass. The gold enamel is the Ni Gin (clay gold) type that was the only gold enamel available during and before Jiaqing. Ni Gin contains fine gold powder and under magnification looks like gold foil. About 80 years later, a new type of gold enamel, Sui Gin (water gold) was introduced which looks like gold mirror. During late 19th and early 20th centuries, Gu Yue Xuan was used to describe some small but delicately decorated imperial porcelains of Kangxi, Yongzheng, and Qianlong. This bowl belongs to this category. A white-glazed square is reserved in the center of the outer base and in which the thick, intense red enamel Jiaqing mark is written. The words are well-written and the strokes neatly arranged horizontally or vertically, in a manner typical for the imperial marks of this period. This shape of bowls were made primarily during Kangxi, Yongzheng, Qianlong, and early Jiaqing. (See e.g., Gen Bao Chun's Identification of Ming and Qing Porcelains, Qing Section, p. 140, fig. 183-3.) The motif of court ladies pay homage to the Queen of the West was popular during late Qianlong, Jiaqing, and early Daoguang. About 100 hundred years ago, the British Museum Chinese porcelain expert Hobson published a photo of a small bowl with very similar motif but with mark of "Made for Shen De Tang" (for Daoguang emperor). This bowl is a rare and important Jiaqing artwork. H7.4 cm, dia 15.1 cm, weight 249.2 g. (Collection of Dr. Robert I-San Lin of California) 清嘉慶軋道地琺瑯彩仙女乘槎為西王母祝壽圖馬蹄碗。此碗胎甚細白而薄、釉細潤、為典型清中期御窯瓷。外壁以細針劃出弧形海水浪花作地紋、此種細細劃出暗花地的工藝俗稱軋道地、為乾隆及嘉慶上等御瓷飾法之一。在軋道地上再以鮮艷的琺瑯彩及粉彩繪出兩槎、槎上各載二、三仙女前往天宮為西王母祝壽、其中一仙女手持一瓶美酒、另一仙女持一靈芝、還有一仙女持如意面向天宮拜壽,天宮則以雲上的樓宇為代表、以海上聳立的三岩石代表仙島。選彩、填彩、及繪工都極細緻,仙女面貌五官端正可愛、並以乾隆粉彩的方法細細渲染赭彩由??到淡、使面部極具立體感。有趣的是兩槎尾各有兩枝綠綠的垂柳、充滿青春活力、而不是枯乾的。用放大鏡細看軋道的紋線、可見到在槎前的波浪呈三角形向兩邊分開、而不是他處波浪的圓弧形、劃出兩槎破浪前進動態。嘉慶御窯瓷師手工之精、藝術修養之高甚值欽佩。碗內壁及外底都飾以豆瓣綠釉、是沿襲乾隆官窯精品綠裡綠底的傳統。所用的赭紫、茄紫、及綠彩在側射光下都反出強蛤蜊光。小部份紋飾填金彩、但要在放大鏡下才見清楚。口沿施色金彩一週、但因年久已部分磨失。用放大鏡可見此金彩為泥金、泥金是中國傳統宋元以來以金粉配料的彩、放大時呈金鉑狀、高度放大可見金粉粿粒。水金是清晚期由德國引進的化學溶解的金質、不呈金鉑狀、也看不到金粉。很特殊的是此碗紋飾的輪廓是以細針劃成、然後在廓內填較厚的彩、以達到琺瑯彩凸出的效果。琺瑯彩瓷源於康熙晚年、到乾隆晚年及嘉慶年間琺瑯彩常與粉彩共同用在同器上。康雍乾以後琺瑯彩瓷很少見。琺瑯彩精品大都是小器皿、是在宮中造辦處由名畫家畫紋飾、大部份紋飾都有典故、有大內文人氣派、過去曾把這些精品叫做古月軒瓷、此碗也屬於古月軒。外底心留白、內書"大清嘉慶年製"礬紅三行章式篆款、礬紅彩厚而凸出釉面、字體端正、筆劃緊密、為典型嘉慶款。髙7.4cm、口徑15.1cm、249.2克。耿寶昌的明清瓷器鍳定清代部份列有此造型(第140頁、圖183之3)仙女朝拜西王母是清中期御瓷選用的紋飾之一、百年前大英帝國博物館中國瓷專家賀伯遜在他的Chinese Pottery and Porcelain書中有"慎德堂製"款的小碗、其主飾亦為仙女乘槎朝拜西王母。慎得堂製瓷是道光帝御用瓷。此碗嘉慶御窯精品。(加州林亦森博士珍藏,1960年代由台北帶來美國)

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