A yellow-ground famille-rose bowl, Mark and period of Qianlong | 清乾隆　粉彩洋花內五福宮盌　《大清乾隆年製》款

拍品描述

Property from a private collection 私人收藏 14.9 cm 來源 上拍於香港蘇富比1982年11月8日，編號288 Demonstrating a harmonious amalgam of Chinese and Western aesthetics, the present bowl reflects the Qianlong Emperor's penchant for Western novelties and reinforces his image as a ruler of great sophistication and worldliness with refined cultural taste. The design on the bowl displays traditional Chinese elements, such as the classic arrangement of a continuous flower scroll and the depiction of five iron-red bats, a common symbol of good fortune in Chinese iconography representing wufu and hongfu qitian. It is further enriched with Westernized flavour, evident in the interlocking Baroque-style scrolls with feathery rendering of leaves and the use of white enamel to create the illusion of light and shadow. The vibrant hues of the design are beautifully juxtaposed against the yellow ground, a colour exclusively reserved for the imperial court. Palace documents from the 2nd year of Qianlong's reign (1737) also recorded that the Emperor expressed great admiration for this type of 'palace bowls with yellow ground foreign flowers' and requested more of these pieces to be produced, illustrating the great desirability of such bowls in the imperial Qing court. See, for example, a close comparable preserved in the Nanjing Museum, illustrated in Treasures in the Royalty. The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 243; a slightly smaller example in the British Museum (acc. no. Franks.577.+); and a third example of diminutive size from the Qing court collection, now preserved in the Beijing Palace Museum (acc. no. gu-154589) and exhibited in The All Complete Qianlong: The Aesthetic Tastes of the Qing Emperor Gaozong, Taipei, 2013, cat. no. II-3.28. See also a well-known Qianlong square vase decorated in this motif housed in the Taipei Palace Museum (acc. no. guci-5104). 洋彩是清朝宮廷與西洋文化融合而生的藝術珍品，深受皇帝的喜愛及重視。清自康熙以來，歐洲傳教士將巴洛克與洛可可藝術風格引入宮廷，漸漸影響了清朝皇帝的審美取向，把繁而不亂、精緻華麗的圖案，展現在於御製藝術品之上，形成了當代獨特風格。 唐英《陶成紀事》已有記載：「洋彩器皿，新仿西洋琺瑯畫法，人物、山水、花卉、翎毛，無不精細人微」。乾隆年間成書之《南窰筆記》曰：「迄我朝定鼎之後，即於鎮廠仿作，諸窰必備。更得洋色一種，成一代巨觀，陶製之精，于斯為盛雲。」。民國《飲流齋說瓷》：「雍乾之間，洋彩逐漸流入，且有泰西人士如郎世寧供奉內廷，故雍、乾兩代有以本國器皿摹仿洋瓷花彩者，是曰洋彩。」 洋彩系仿琺瑯彩畫法，結合中國傳統紋飾，呈現出精采絕倫的技術效果，盡顯皇家氣派。此盌為宮盌樣式，外壁明黃地上繪四季花卉，枝葉翻捲，層次分明；盌內白地上繪五蝠翩翩起舞，象徵壽、富、康寧、修好德、考終命的美好意願。 據清宮造辦處活記檔記載，乾隆二年（1737年）景德鎮所送進宮一批新造瓷器中包括洋彩黃地洋花宮盌，甚得皇帝青睞，並下令「再燒造些」。 乾隆二年十月（江西燒瓷器處）十三日：「司庫劉山久、七品首領薩木哈，催總白世秀來說太監毛團、胡世傑、高玉交……洋彩黃地洋花宮盌一件。傳旨：……洋彩黃地洋花宮盌甚好，再燒造些；……再照洋彩黃地洋花宮盌上花樣將小盒亦燒造些；……再東青釉拱花大漢尊，嘉窰青龍穿枝蓮八寶雙環大尊，嘉窰青龍穿枝蓮天球尊，此三樣尊照洋彩黃地洋花宮盌花樣燒造些……欽此」。 洋彩黃地洋花宮盌，可算是乾隆以來各朝皇帝鍾愛之品種，至道光年間，仍有續燒。

图片