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全球拍卖首页 > Sotheby's HK > 中国艺术珍品 > Lot 3615
An imperial and exceedingly rare puce-enamel falangcai 'dragon' vase, Blue enamel mark and period of Yongzheng Possibly made in 1732 according to Qing court record | 清雍正 御製胭脂紅琺瑯彩逐珠雲龍紋玉壺春瓶 《雍正年製》藍料款 據錄或製於雍正十年
香港 北京时间
2023年04月08日 开拍 / 2023年04月06日 截止委托
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Lot Details Description An imperial and exceedingly rare puce-enamel falangcai 'dragon' vase,? Blue enamel mark and period of Yongzheng Possibly made in 1732 according to Qing court record 清雍正 御製胭脂紅琺瑯彩逐珠雲龍紋玉壺春瓶 《雍正年製》藍料款 據錄或製於雍正十年 琺瑯彩瓶，份屬清朝御瓷之最，佐證宮中琺瑯作巧技。器採玉壺春瓶之式，上纖下盈，悅目大方。以白瓷為紙、彩料代墨，工筆畫雙龍，圓目炯炯，五爪伸張，細鱗披身，鬚髮飄揚，逐火珠而行，傲翔卷雲間。瓶頸器肩處，添蕉葉、靈芝、如意雲頭作飾，與腹下蓮瓣、足壁卷草相呼應，雅緻規整。胭脂紅彩，色澤既濃且嬌，與器底藍料四字楷款相副相乘，無負重器之名。 h. 30 cm Condition report Provenance Collection of a German businessman, acquired in Shanghai between late 1920s and early 1940s, by repute, and thence by descent, Hamburg. 德國商賈收藏，傳二十年代至四十年代初得於上海，此後家族傳承，漢堡 Catalogue note A Special Imperial Commission Regina Krahl This vase belongs to the rarest category of Qing imperial porcelain. With its extraordinary dragon design in a deep puce enamel, it may well look alien at first glance. Its square blue-enamelled reign mark, inscribed over the glaze, identifies it as falangcai (‘foreign enamels’), that is, as having been painted in the imperial enamelling workshops inside the Forbidden City in Beijing. Yet its shape, size and design concept evoke porcelains produced at the imperial kilns of Jingdezhen in Jiangxi, south of the Yangzi River. It stands out in virtually every respect, although it is not completely unique, as two companion pieces of this same category are known. If it were not for the records of the Zaobanchu, the workshops of the Qing Imperial Household Department, it would be difficult to reconcile it with the history of China’s imperial porcelain production, as we know it. The Yongzheng Emperor (r. 1723-1735) was an adventurous, somewhat eccentric individual, who enjoyed experimenting with unconventional ideas. He took a strong personal interest in the production of works of art by the imperial workshops, had clear ideas what he wanted to see and was very specific in his demands and criticisms. He entered into veritable dialogues with his craftsmen, where he would explain his notion, they would deliver, then he would criticise, they would make changes, he would rate the outcome again, etc. The Yongzheng reign is justly celebrated for the unmatched quality of its artefacts, both in terms of material and workmanship, and for its innovative acumen, which led to a renewed flowering of China’s arts and crafts in the Qing dynasty, that can be likened to the greatest periods of the Song and the Ming. For ceramics, the most favourable conditions were created, when workshops were installed inside the Forbidden City, where porcelain blanks provided by the Jingdezhen kilns in Jiangxi could be painted by court artists quasi under the eyes of the respective emperors. This led to real paintings on porcelain in the style of the court painters, as seen on the bowl with swallows, also presently offered for sale, lot?1. The porcelains we know from these workshops bear little resemblance, however, to this vase and its two companions. One of these two, the pair to our piece, of the same shape, size, design, enamel colour and painting style, is preserved in Japan, where it was recorded first in an exhibition in 1932, when it belonged to the businessman and prolific collector Nagao Kin’ya (1892-1980) of Tokyo (Tōzai kobijutsu tenrankai [Exhibition of ancient art from East and West], Osaka Arts Club, Osaka, 1932, no. 489). In 1934 it was registered in Japan as Important Art Object (jūyō bijutsuhin) and published again in 1935 and 1956. Thereafter, its trace was briefly lost, but in 1976 it was exhibited and illustrated again, this time by the Egawa Museum of Art, Nishinomiya (Egawa Bijutsukan kaikan sanshūnen kinen shūki tokubetsu ten zuroku (Catalogue of the special autumn exhibition commemorating the third anniversary of the opening of Egawa Museum of Art), Osaka, 1976, colour plate).?It is now in the Hyōgo Prefectural Museum of Art, Nada-ku, Kobe (fig. 1). The other vase, also closely related, but the design differing in many details, particularly in its supporting border patterns, was included in the Fiftieth Anniversary Exhibition of Twelve Chinese Masterworks at Eskenazi, London, 2010 (cat. no. 12), where it was chosen for the catalogue’s dust jacket and discussed at length in an essay by Julian Thompson, titled ‘A Yongzheng Beijing Enamelled Puce Dragon Vase’ (pp. 40-47) (fig. 2). The Zaobanchu records are often not clear enough to identify precise designs, but in this case they are rather specific. An entry for the 24th day of the 7th month in the tenth year of Yongzheng, 12th September 1732, states (fig. 3): ??????Treasury Keeper Chang Bao and Chief Commissioner Samuha, according to a memo from the Summer Palace, presented a large white-ground yuhuchunping with red dragon(s) (its mouth chipped, together with a black-lacquered stand), and a white porcelain yuhuchunping (together with a black-lacquered stand). The Emperor commented that the red dragon on the large white-ground yuhuchunping is well painted, except for the dragon’s tail, which lacks fluency; so are the borders above and below, but slightly too blurry. He ordered the dragon design to be copied onto the smaller yuhuchunping; with a single or two dragons depending on space. The vase should be similarly enamelled (falang), with the dragon’s tail more fluent and the borders above and below clearly rendered. The chip [of the larger vase] is ordered to be restored.? The Yongzheng Emperor often sent pieces from the imperial storerooms to the Jingdezhen kilns as models to be copied, but here he asked for a pear-shaped vase with a design of red dragons that had been brought out of storage to be sent to the workshops inside the Forbidden City to be copied in enamels (falang). This was most unusual. A smaller plain white porcelain blank of similar shape was provided together with it, since the Beijing workshops could only decorate existing porcelains but were not in a position to produce the ware themselves. Pear-shaped vases of yuhuchunping form with red dragons are virtually unknown, but there exists one design that would fit the bill, also of the Yongzheng period, painted in underglaze copper red. One such vase (but without damage) was sold in our London rooms, 2nd April 1974, lot 363 (fig. 4). The Emperor’s complaint that the design is too blurry could be well explained by a design in copper red, the only colour with a notorious tendency to blur in the firing. Three days later, on 15th September 1732, the original red-dragon vase had been repaired and was ready to be copied: ??????On the 27th day of the 7th month, Treasury Keeper Chang Bao and Chief Commissioner Samuha delivered the original, large white-ground red-dragon yuhuchunping (the mouth chip restored) to Eunuch Cangzhou. ??????On 24th September two further white pear-shaped vases were provided, as the first piece appears to have caused the enamellers problems: ??????On the 6th day of the 8th month (24th September 1732), according to a memo from the Summer Palace, Treasury Keeper Chang Bao and Chief Commissioner Samuha delivered two small white porcelain yuhuchunping to Eunuch Cangzhou. The Emperor instructed: If the small yuhuchunping presented the other day is unsuitable for painting, it is possible to prepare these two vases for painting.? Less than a month later, on 19th October 1732, one finished piece was delivered, and a second one a week after that. Such short delivery times between order and delivery were of course out of the question for orders sent to Jingdezhen: ?????On the 1st day of the 9th month, Treasury Keeper Chang Bao and Chief Commissioner Samuha submitted a small white-ground red-dragon yuhuchunping to Eunuch Cangzhou.? ??????On the 8th day of the 9th month, Treasury Keeper Chang Bao and Chief Commissioner Samuha submitted a small white-ground red-dragon yuhuchunping to Eunuch Cangzhou.? The characterization of these pieces as ‘small’ may be surprising in light of the size of the present vase and its companions (30 cm), but may be understood as a way to distinguish the larger prototype (35.5 cm) from the smaller specimens commissioned, which now had the same design and were therefore described with the same terms. Some years later, on the 10th day of the 1st month of the 13th year of Yongzheng, 2nd February 1735, another delivery is announced: ??????Treasury Keeper Chang Bao and Chief Commissioner Samuha presented a large red-enamelled yuhuchunping. Deputy Palace Warden Li Ying relayed the Emperor’s order: It is acceptable to have the dragon’s body smaller, but the hair is quite short, and the border at the foot and the plantain leaves are?messily painted. In the future, they have to be rendered with clear details.? If we interpret the two vases delivered to the palace in October 1732 as the present piece and its companion in Japan, this third reference to a vase being presented could fit the piece described by Thompson. Its description as ‘large’ could here be understood as being considerably larger than other pieces delivered from the Beijing workshops, with which it may have been compared in this context. Thompson interpreted this quote differently and saw the Eskenazi vase as the workshops’ answer to the piece presented then. The remarks by the Emperor, however, sound more like a general admonition for the future than a direct order to create yet another, better piece, and no other vase of this type is recorded to have been delivered. However that may be, it would seem that the two vases presented to the Emperor on 19th and 26th October 1732 can be identified as the present vase and its twin in Japan; Thompson agreed with that interpretation in respect to the vase in Japan; the present piece had not yet been discovered when he wrote. Seen against this background, it becomes easier to understand why this vase and its companions are so extraordinary. To copy a copper-red decorated vase in enamels was a new challenge for the Beijing workshops. The unusual deep puce-coloured enamel, which is unlike other rose-pink and purple enamels used on falangcai wares, must have been specially prepared for this job in the hope, thus to do justice to the underglaze colour of the original. The mottling of the copper red was reproduced by complex shading and stippling. As one would expect, the painters at the court were highly accomplished in rendering superb five-clawed dragons; but they had to find their own mode in translating the supporting borders, a style of decoration to which they were not accustomed. Although they quite accurately transferred the different motifs to their vases, the way the banana leaves are striated and how the lingzhi and the classic scrolls undulate looks very different from what we know from Jingdezhen, where porcelain painters repeated such motifs day in and day out, until the outcome was totally predictable. Painted for the first time in the Forbidden City, these patterns reveal a different flow of the brush. On the Eskenazi vase, where the designs were adapted, they look even less familiar. From the Emperor’s remarks we can assume that he was reasonably pleased with the results, yet no other orders are recorded, and no other examples are preserved where the Ateliers of the Forbidden City had to copy a design from Jingdezhen; nor were any other vessels of such large size again enamelled in the palace workshops. The main reason for this may be that the Yongzheng Emperor died very soon after, on 8th October 1735. 奉旨特製 康蕊君 本品屬清代御瓷中極稀少之一類，以胭脂紅彩繪雲龍，乍看新穎特異，方框底款以釉上藍料書之，意味此為琺瑯彩瓷，紋飾繪製及燒造均在北京紫禁城內，然而玉壺春器形、尺寸、設計卻近類江蘇景德鎮御窰廠製瓷。此瓶非孤品，現知另二類例，猶舉足輕重，據清宮造辦處檔案，可知本品於中國官窰瓷器歷史上之重要地位。 清雍正皇帝（在位1723-1735年）大膽進取，或曰不從流俗，勇於創新，不囿於傳統，大力支持宮中造辦處的工藝發展，不僅指示各式工藝品製作，且給予明確的批評與指引，甚至與匠人們反覆溝通，解釋自己的想法，匠人做出成品，皇帝復予以批評，匠人根據指示修改，皇上再給予評論等等。 雍正一朝之工藝品美善至臻，無論是材質、工法皆無懈可擊，且重視創新，促使清代藝術與工藝蓬勃發展，可與宋、明齊名。為精進製瓷技術，打造出最佳研發環境，在紫禁城內設作坊，將景德鎮御窰廠燒成素瓷送至宮中，由皇帝督造，宮廷畫師繪紋裝飾，如本季拍賣的琺瑯彩杏林春燕圖盌，拍品編號 1。然而本品與另二件類例，彷彿異於其他造辦處作坊成品。 其一類例，與本瓶成對，器形、尺寸、紋飾、釉彩及繪畫風格，皆如出一轍，現藏於日本，1932年首度展出，時為知名企業家與收藏家長尾欽彌（1892-1980年）收藏，《東西古美術展覽會》，大阪美術俱樂部，大阪，1932年，編號489。1934年，登錄為日本「重要美術品」，1935、1956皆再次出版，之後沉寂一時，1976年展出於兵庫縣穎川美術館《頴川美術館開館三周年紀念秋季特別展圖錄》，大阪，1976年，彩圖版。讓瓶現屬神戶市灘區兵庫縣立美術館藏品（圖一）。 另一瓶與本品相近，但細觀可見多處相異，尤其是邊沿輔助紋飾，此例展出於倫敦古董商埃斯卡納齊的五十周年特展，《Twelve Chinese Masterworks》，倫敦，2010年（編號12），並刊於封面，同錄朱湯生撰專文，〈A Yongzheng Beijing Enamelled Puce Dragon Vase〉，頁40-47（圖二）。 清宮造辦處活計檔關於個別器物描述，多數簡短難辨，關於此件玉壺春瓶之記錄卻甚精確。雍正十年七月二十四日，西元1732年9月12日，記載（圖三）： 「據圓明園來帖內稱本日司庫常保、首領薩木哈持出白地紅龍大玉壺春瓶一件（口上有缺處，隨黑漆座）、白磁玉壺春瓶一件（隨黑漆座）。傳旨：此白地紅龍大玉壺春瓶上紅龍畫得甚好，但龍尾不甚爽利。上下花紋亦好，畫得略渾些。可將此小玉壺春瓶照大小瓶上龍形畫下，酌量或畫兩條或畫一條。其龍尾改畫爽利些，上下花紋照樣俱要畫清楚，照（燒）琺瑯。再口上缺處著補好。欽此。 」 雍正皇帝時常下令將宮中典藏品，運送至景德鎮作為摹本，此處則是將庫裡的白地紅龍大玉壺春瓶，送到紫禁城中琺瑯作摹製，此舉極為特殊。同送過去的包含一件白瓷玉壺春，因為北京宮中作坊雖能繪燒瓷器紋飾，卻無窰燒造瓷胎。 綜觀史上，紅彩龍紋玉壺春瓶，幾無記錄，唯一款式亦出自雍窰，以釉裏紅繪之，例如一瓶（口沿無損），1974年4月2日，售於倫敦蘇富比，編號363（圖四）。上述檔案中，雍正皇帝批評龍尾不俐落，或因釉裏紅燒造時容易暈糊之特性。 三天後，1732年9月15日，口沿缺損的白地紅龍大玉壺春瓶已補好，準備送至琺瑯作： 「於七月二十七日，將原白地紅龍大玉壺春瓶—件（口上缺處收拾妥），司庫常保、首領薩木哈持進交太監滄洲收，訖。 」 9月24日記載，再提供另外兩件白瓷玉壺春瓶予琺瑯作，因為前一件的繪製不合聖意： 「於八月初六日（據）圓明園來帖內稱本日司庫常保、首領薩木哈來說太監滄洲交白磁小玉壺春瓶二件。傳旨：若前日交出小玉壺春瓶畫不合式，可將此二件預畫。欽此。 」 其後不足一月，1732年10月19日，一件成品呈送至御前，再一週後交上另一件，如此快速的交辦過程，無疑並非景德鎮可及者。 「於九月初一日，畫得白地紅龍小玉壺春瓶一件。司庫常保、首領薩木哈持進交太監滄洲呈進，訖。 於九月初八日，畫得白地紅龍小玉壺春瓶一件。司庫常保、首領薩木哈持進交太監滄洲呈進，訖。 」 稱本瓶與成對的另例（30公分）為「小」玉壺春瓶，令人訝異，然或為了區分此二件成品與雛本（35.5 公分）之故，畢竟三瓶之紋飾設計一致。 又過數載後，雍正十三年正月初十日，西元1735年2月2日，檔案記錄： 「司庫常保首、領太監薩木哈持來畫紅琺瑯大玉壺春瓶一件。說宮殿監副侍李英傳旨：此瓶上龍身畫細罷了，但龍髮甚短，足下花紋與焦葉亦畫的糊塗，嗣後再往清楚裡畫。欽此」 若1732年10月的小對瓶，就是本品與日本藏品，這一件大玉壺春瓶，對應的應該就是朱湯生文章主角，此瓶也確實較先前北京造辦處作例大上許多。關於上述記載，朱氏解讀不同，認為埃斯卡納齊藏品應該是琺瑯作在正月初十日帝王下旨後，修改再製者。雍正皇帝之評語，或僅指示未來繪瓷方向，並非下旨再燒一件，後續檔案亦不見上呈此類瓷器。不論如何，此次上拍的玉壺春瓶與日本藏品，應即是1732年10月進呈的兩件；撰文當時，本瓶尚未現身於市場，但朱氏亦同意日本藏品與清檔之直接關聯。 綜上觀之，此件胭脂紅龍紋玉壺春瓶與其對瓶之獨特性，顯而易見。對於琺瑯作的匠人，運用琺瑯彩仿作釉裏紅紋飾，甚是挑戰。此紅彩濃深，異於其他琺瑯彩瓷上的粉紅或紫彩，應為特別調配，希冀能盡量接近釉裏紅原型。釉裏紅紋飾上的深淺濃淡，來自於繁複的點染技巧。繪五爪龍紋，對於宮中匠師想必熟能生巧，然而輔助紋飾之風格與繪製，應較為生疏。如蕉葉紋、靈芝紋與卷草紋，雖然精準轉繪於琺瑯彩瓶上，卻與常見的景德鎮官窰風格大異其趣，因後者匠人日復一日，反覆描畫相同紋飾，如此精熟，遂保成品風格一致。琺瑯作初試之作，筆觸可見差異，雖然紋飾相同，埃斯卡納齊藏瓶之輔助紋飾，則更加與眾不同。 細讀雍正皇帝之評語，應似相當滿意其成果。然而，之後已無類似的特製御瓷，造辦處也再無奉旨摹作景德鎮官瓷，而且琺瑯作亦無繪製如此大尺寸的瓷器，或因不久之後，1735年10月8日，雍正皇帝駕崩。

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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。
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