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An outstanding blue and white 'nine dragon' vase, meiping, Mark and period of Qianlong, Possibly made in 1738 according to Qing court record | 清乾隆 青花九龍海水梅瓶 《大清乾隆年製》款 據錄或製於乾隆三年
香港 北京时间
2023年04月08日 开拍 / 2023年04月06日 截止委托
拍品描述 翻译
Lot Details Description Property from an Asian private collection An?outstanding?blue and white 'nine dragon' vase, meiping, Mark and period of Qianlong Possibly made in 1738 according to Qing court record 亞洲私人收藏 清乾隆 青花九龍海水梅瓶 《大清乾隆年製》款 據錄或製於乾隆三年 34.8 cm Condition report Provenance Acquired in Paris, 2014. 2014年購於巴黎 Catalogue note With its harmonious yet striking combination of form and decoration, the magnificence of this vase can hardly be overstated. Superbly modelled with elegant proportions and impressively painted in brilliant tones of cobalt blue with nine ferocious dragons against waves, the vase is a testament to the period of aesthetic achievement and technological mastery in imperial porcelain production. The composition is dominated by a three-clawed full-frontal dragon with wings rendered emerging from swirling waves, surrounded by eight sinuous beasts with differing numbers of claws. Although dragons soaring amongst waves have been heavily employed as a motif on ceramic vessels and form part of the general repertoire of Chinese works of art, there is no question that the present representation of this glorified mythical beast is far superior to its common depiction, in terms of the remarkable quality of the painting and compositional arrangement. Both the shape of the meiping and the design of nine dragons among turbulent waves are inspired by early-Ming prototypes. No 15th century vases of this form with nine dragons, however, appear to be recorded. A large fragmentary blue and white Xuande mark and period meiping with a lipped mouth and rounded shoulders, but depicting a single four-clawed bifurcated dragon grasping a sprig of lingzhi in its mouth, was excavated in Zhushan, Jingdezhen, included in Imperial Porcelain: Recent Discoveries of Jingdezhen Ware, Museum of Oriental Ceramics, Osaka, 1995, cat. no. 54; and another Xuande meiping with a single dragon was sold in these rooms, 14th November 1989, lot 22, and again at Christie’s Hong Kong, 19th March 1991, lot 521. For Xuande porcelain decorated with nine dragons among crashing waves, see a stembowl in the Palace Museum, Taipei, included in the Illustrated Catalogue of Ming Dynasty Porcelain in the National Palace Museum, Tokyo, 1977-8, vol. 2, pl. 78; and another, sold in these rooms, 27th October 1992, lot 33 (fig. 1). There is a matching record in the Qing court archives dated the 1st day of the 7th month in the 3rd year of Qianlong (15th August 1738), which states that eunuchs Mao Tuan, Hu Shijie and Gao Yu, as proposed by Chief Commissioner of the 7th rank Samuha and Treasurer Bai Shixiu, presented two dozen archaistic porcelain (fig. 2). Among them was a ‘Xuande-blue meiping with nine dragons and waves’, for which a fitted zitan stand was made and submitted on the 4th day of the 10th month (15th November).? Both the silhouette and the reign mark of the present vase suggest an early Qianlong date consistent with the aforementioned entry. The full curving shoulders of this meiping are reminiscent of earlier Ming-dynasty prototypes and differ from slightly later examples with broader and relatively plateaued shoulders. It is rare to find Qianlong blue and white reign marks in regular script (kaishu) on porcelain, as seen on the present vase. Peter Y.K. Lam discusses that this type of marks can be ascribed to the first few years of the reign; see ‘Four Studies on Yongzheng and Qianlong Imperial Ware’, Ethereal Elegance. Porcelain Vases of the Imperial Qing. The Huaihaitang collection, Art Museum, The Chinese University of Hong Kong, Hong Kong, 2007, p. 55, and p. 29 for Chinese. Looking at the nine dragons on the present meiping, it is apparent that the depiction of the beasts is very similar to that of the Yongzheng period. Given that this Qianlong vase could have been produced in the 3rd year of the reign, it is possible that the painting was completed by the same craftsmen who were already working in the imperial kiln in the preceding period. Compare two large Yongzheng blue and white vessels with reign marks in regular script: a charger with a full-frontal winged dragon surrounded by two striding beasts, in the collection of Musée des Arts Décoratifs, Paris, accession no. 2716, and included in De la Chine aux Arts décoratifs: L'art chinois dans les collections du musée des Arts décoratifs [Chinese decorative arts in the collection of Musée des Arts Décoratifs], Paris, 2014, cat. no. 32; and a bottle vase with a pair of five-clawed dragons soaring sinuously through scrolling foliage bearing large floral blooms, sold in these rooms, 7th April 2015, lot 108. Although there are a few Qianlong meiping of this design with nine dragons amongst waves, the present vase appears to be the only example executed solely in cobalt blue. An underglaze-red and blue ‘nine dragon’ meiping of this size from the Qing court collection is illustrated in The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain with Underglazed Red (III), Hong Kong, 2000, pl. 205; and another blue and red vase was sold in these rooms, 1st May 2001, lot 534 (fig. 3). Both are?inscribed with a Qianlong seal mark and potted with more angular shoulders compared to the present vase. An example decorated with iron-red dragons in the Palace Museum, Beijing, is included in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pl. 8. Compare also a related Qianlong blue and white ‘dragon and floral scroll’ meiping, with broader shoulders and a reign mark in seal script, illustrated in The Complete Collection of Treasures of the Palace Museum, op.cit., Hong Kong, 2000, pl. 116. 此梅瓶器形優雅,鈷料代墨,瓶肩妙繪正面三爪翼龍,另有八龍相伴,姿態、爪數各不一,傲游波濤中,天威盡展,見證御窰的工精藝熟、爐火純青。海水龍紋瓷器雖非罕類,中國藝術品上慣見,但此構圖別具匠心,布局得宜,極富張力,與眾不同。? 此梅瓶之器形與紋飾,各以明初御瓷為範。然而,無論發掘或傳世,均未見有十五世紀九龍紋梅瓶之例,然可參考景德鎮珠山御窰遺址出土相關宣德署款青花大梅瓶例,如一殘件,唇口圓肩,獨繪一銜芝四爪龍,展於《皇帝の磁器: 新発見の景德鎮官窯》,大阪市立東洋陶磁美術館,大阪,1995年,編號54。另一宣德梅瓶,器畫獨龍,售於香港蘇富比1989年11月14日,編號22,1991年3月19日在香港佳士得再度易手,編號521。宣德窰九龍海水瓷例,則可參考台北故宮藏高足盌,收入《明瓷名品圖錄》,東京,1977-8年,卷2,圖版78。另有一例,1992年10月27日經香港蘇富比拍出,編號33(圖一)。 乾隆三年七月初一(公元1738年8月15日)清宮造辦處木作記錄進呈仿古瓷器二十餘件,描述詳細,當中有一器與此梅瓶吻合:「七品首領薩木哈、催總白世秀來說,太監毛團、胡世傑、高玉交:大觀釉放大腰元雙管瓶一件、宣窰青葉釉裏紅梅花瓶一件、宣窰青九龍海水梅瓶一件……傳旨……將瓶、罐、罇等俱各配座。欽此」(圖二)。同年十月初四(公元1738年11月15日):「七品首領薩木哈,將宣窰青葉釉裏紅梅瓶一件、宣窰青九龍海水梅瓶一件,各配得紫檀木座一件,持進交太監毛團、胡世傑呈進訖。」 此瓶溜肩圓弧,底署楷書六字款,兩者均屬乾隆初年的特徵,與檔案年份相符。此瓶圓肩,豐腴之餘,線條柔麗,承襲明朝瓷風,有別於年代稍晚的寬廣瓶肩。乾隆青花楷書款,正如此瓶所寫,極為罕見,林業強在專文〈清代雍乾兩朝御窰瓷器四題〉中指,此式年款「僅見於乾隆初年」(《機暇清賞:懷海堂藏清代御瓷器》,香港中文大學文物館,香港,2007年,頁29,英譯見頁55)。 觀此瓶上九龍,氣勢磅礡,甚具雍窰餘韻。若如檔案所述,乾隆三年燒就,那麼為此瓶繪龍的藝匠或自雍正年間已在御窰供職。對比兩件雍正青花龍紋器,尺寸俱碩,署楷書款:其一乃巴黎裝飾藝術博物館藏大盤,器心畫正面翼龍,盤沿添綴行龍一雙,藏品編號2716,收錄在《De la Chine aux Arts décoratifs: L'art chinois dans les collections du musée des Arts décoratifs》,巴黎,2014年,編號32;另一為雍正青花穿花龍紋長頸膽瓶,售於香港蘇富比2015年4月7日,編號108。 乾隆海水九龍紋梅瓶,雖有數例傳世,但以青花繪就者,僅此一例。參考青花釉裏紅九龍梅瓶兩件,均署乾隆篆書年款,器肩較寬廣,與此瓶的圓溜有別:其一屬清宮舊藏,尺寸與此相近,圖見《故宮博物院藏文物珍品全集:青花釉裏紅(下)》,香港,2000年,圖版205;另一則售於香港蘇富比2001年5月1日,編號534(圖三)。北京故宮尚有一例,以礬紅彩畫九龍,錄於《故宮珍藏康雍乾瓷器圖錄》,香港,1989年,圖版8。還有一乾隆青花穿花龍紋梅瓶,其肩寬廣,下署篆款,可資比對,收入《故宮博物院藏文物珍品全集》,前述出處,圖版116。

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