A very rare pair of pink-ground famille-rose triple-spouted vases, Seal marks and period of Qianlong | 清乾隆　粉紅地粉彩纏枝花卉福壽延年三聯橄欖瓶一對　《大清乾隆年製》款

拍品描述

Property of a Gentleman 士紳收藏 25.4 cm 來源 前中華民國國務總理許世英（1872–1964年）收藏，後為家族所藏 The Qianlong Emperor challenged his artists to make ceramic pieces that were technically innovative and unconventional in their aesthetics. During his reign, the refinement of material and craftsmanship and the expansion of the range of glaze and enamel colours allowed potters at the imperial kilns of Jingdezhen to become highly ambitious in their repertoire. The present pair of vases fulfilled all of Qianlong’s special requirements for ornamentation, innovation and show. The shape of these vases is recorded in Geng Baochang, Ming Qing ciqi jianding [Appraisal of Ming and Qing porcelain], Hong Kong, 1993, p. 263, fig. 450.10, where Geng calls it san lian ganlan ping (triple-joined olive-shaped bottle). The closest comparable example to the present pair of vases is the famous white-glazed tri-neck vase with fruiting pomegranate branches design in relief, in the Palace Museum, Taipei, published in the Illustrated Catalogue of Ch’ing Dynasty Porcelain in the Palace Museum, vol. II, Tokyo, 1981, pl. 87. For other examples of these highly innovative and unusually shaped multi-neck pieces, see a double gourd-shaped vase with three necks, decorated with bats and gourd vines in famille-rose enamels, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Shanghai, 1999, pl. 116; and a tea-dust glazed vase with six necks included in the Special Exhibition of K’ang-hsi, Yung-cheng and Ch’ien-lung Porcelain Ware from the Ch’ing Dynasty in the Palace Museum, Palace Museum, Taipei, 1986, cat. no. 96. Compare also a single-neck ganlan ping decorated with a very similar flower design in famille-rose on a celadon ground, included in the Illustrated Catalogue of Ch’ing Dynasty Porcelain in the Palace Museum, op. cit., pl. 33. 乾隆帝品味獨特，常命御作匠人燒造工藝創新、別具一格之瓷器。乾隆一朝，景德鎮御窯廠之製瓷材質與工藝日益精進，釉色與彩料亦大幅擴展，使陶工得以在器形與紋飾上大膽創新。本對瓶之裝飾、新意與華美，完美契合了乾隆帝對御瓷之嚴苛要求。此類器形見載於耿寶昌著《明清瓷器鑑定》（香港，1993年，頁263，圖450.10），書中稱之為「三聯橄欖瓶」。 與本對瓶器形最為接近之比較例，可參考台北故宮博物院藏一件著名的清乾隆白釉凸雕石榴紋三聯瓶，錄於《故宮清瓷圖錄：乾隆窯・嘉慶窯・道光窯》，卷二，東京，1981年，圖版87。 其他造型新穎奇巧之多管瓶例子，可參考北京故宮博物院藏一件清乾隆粉彩福壽紋三孔葫蘆瓶，錄於《故宮博物院藏文物珍品全集：琺瑯彩・粉彩》，上海，1999年，圖版116；另見台北故宮博物院藏一件清乾隆茶葉末釉六管瓶，曾展於《清康雍乾名瓷特展》，台北故宮博物院，台北，1986年，編號96。 紋飾方面，可比較台北故宮博物院藏一件清乾隆粉青地洋彩纏枝花卉紋橄欖瓶，其花卉紋飾與本品極為相似，錄於前述《故宮清瓷圖錄》，圖版33。

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