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清乾隆 御製松石綠地洋彩描金蓮托八吉祥紋如意耳大瓶 PROVENANCE 1. Collection of Lord Loch of Drylaw (1827-1900) 2. Collection of Alfred Morrison (1821-1897), Fonthill House, Tisbury, Wiltshire, probably acquired in 1861 from Lord Loch of Drylaw 3. The Rt. Hon The Lord Margadale of Islay, T.D. 4. Christie's London, 18 October 1971, lot 82 5. Jen Chai Art Gallery, New York, no. A532 (one of the gallery labels of J.T. Tai & Co.) 6. Collection of J.T. Tai 7. Sotheby's Hong Kong, 7 October 2010, lot 2132 This vase is robustly potted with an ovoid body rising from a tall splayed foot to a tall waisted neck and a galleried mouth-rim. The neck is flanked by a pair of iron-red ruyi sceptre handles. The body is boldly enamelled in vibrant colours against a turquoise ground with the bajixiang ('Eight Buddhist Emblems'). Each emblem is depicted beribboned, interspersed with scattered sprigs of lotus and hibiscus. The neck is similarly decorated with a lotus meander above upright plantain leaves collaring the shoulder. The foot is encircled with interlinked stylised acanthus leaves and a keyfret border. All the details are skillfully outlined in gilt. The interior and base are enamelled turquoise and the latter is inscribed in gilt with a six-character seal mark. This vase was previously in the collection of J. T. Tai, sold on 7 October 2010 in Sotheby's Masterpieces of Qing Imperial Porcelain from J.T. Tai & Co. J.T. Tai was of the foremost dealers in Chinese art in the second half of the 20th century. He was a magnet for aspiring and established collectors of fine Chinese ceramics and works of art. He was one of the China's great connoisseur-collectors and patrons in the 20th century, and a true benefactor to generations to come. An extremely important and rare magnificent yellow-ground famille-rose double-gourd vase with the same provenance as the present vase was sold in the sale at HKD 250 million, and now in the collection of Dr. Alice Cheng. The painter of the present piece has successfully imitated the effect of gilt wires by outlining the famille-rose enamelled pattern in gilt. Compare three related vases in the Palace Museum, Beijing, from the Qing court collection, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelains with Cloisonné Enamel Decoration and Famille-Rose Decoration, Hong Kong, 1999, pls 115, 119 and 118. Further large vases of various forms and decoration include one enamelled with bats among clouds and flower sprays, flanked by a pair of archaistic dragon handles, sold in Sotheby's Hong Kong, 8 October 2013, lot 201; another also painted with bats and flanks by a pair of dragon handles, sold in Christie's Hong Kong, 30 May 2005, Lot 1500. See also one example in the form of ovoid vase, sold in our Beijing rooms, 23 November 2009, lot 2042; a smaller vase similarly inscribed with gilt mark was also sold in our Beijing rooms recently, 5 June 2019, lot 5412. Last but not least, see a pair of jars with covers, sold in our Beijing rooms, 5 June 2015, lot 6425. This magnificent vase belongs to a group of vessels commissioned by the Qianlong Emperor which was created to imitate cloisonné enamel. The Qianlong Emperor was particularly fond of cloisonné work which he revived on a grand scale. Although the idea of imitating other materials through porcelain had existed well-before the eighteenth century, the craftsmen of the Qianlong period advanced the technique to a completely different level of perfection, sometimes creating pieces that were difficult to distinguish from the actual medium they were simulating. While in its colour scheme the present vase imitates cloisonné metalwork, stylistically it stands in the plain tradition of yangcai porcelain with its dense overall floral designs on a coloured ground. The design is rendered in tones created through the use of white enamel which was first introduced to the Qing court by Jesuit artists and, after repeated experiments, were successfully copied by imperial craftsmen. The thin golden outlines confining the vibrant enamels are a brilliant means to make the colours stand out against the turquoise ground. The appearance of ruyi sceptres as handles on vases was clearly a response to the Qianlong Emperor's infatuation with these portents of good fortune, which during his reign were produced by thousands in all possible materials. Although ruyi sceptres as well as the bajixiang included in the decoration were originally symbols with Buddhist connotation, by the Qianlong period they had become general auspicious emblems and can even be found in combination with Daoist symbols. 款識：「大清乾隆年製」 來源 1. 洛赫爵士（1827-1900年）收藏 2. 放山居，艾弗瑞．莫里森（1821-1897年）收藏，應於1861年購自洛赫爵士 3. 蘇格蘭艾雷島馬格代爾爵士收藏 4. 倫敦佳士得，1971年10月18日，編號82 5. Jen Chai Art Gallery，紐約，編號A532（戴潤齋公司其中一種標籤) 6. 戴潤齋收藏 7. 香港蘇富比，2010年10月7日，編號2132 此瓶尺寸碩大，盤口直唇，弧長頸設如意耳一對，雅緻大方，賞心悅目，肩頸交接處隆起一圈，鼓圓腹下承高圈足，其形尊貴秀挺，線條流麗。瓶身裝飾雍容華麗，通體施松石綠釉為地，口沿繪變體回紋一周，唇邊作如意雲頭，頸部正反兩面各畫西蕃蓮紋一個，近肩處飾蕉葉紋，大小蕉葉相間，空白處間飾折枝蓮紋，佈局構思巧妙。 肩部續飾折技花草紋及如意雲頭，腹紋繪八吉祥紋，八個佛教圖案各有飄帶纏繞，穿插在折技蓮紋及各式花草紋之間，圖案看似隨意安放，實際上佈局嚴謹，花葉互不重疊，分佈平均，不鬆不緊，視覺上平衡勻稱，設計精巧，令人讚嘆。足牆繪卷草紋，足沿施回紋一周，與口沿互相呼應，圈足內壁亦罩松石綠釉，底部中正刻「大清乾隆年製」六字三行篆書款，並填入描金，與松石綠地相互映襯，加倍鮮明。 本品曾為戴潤齋（J. T. Tai）舊藏，2010年10月7日於香港蘇富比專拍《彩華騰瑞──戴潤齋清宮御瓷珍藏》釋出。戴潤齋乃二十世紀著名中國古董商，與世界頂級的歐美收藏家多有往來，為戰後中國古董圈內知名人物，收藏品味高極，被納入收藏者無一不為重器，為後世頂級藏家之景仰。其專場雲集多件清宮御瓷，除本品外，另一件傳承來歷與本品一致的亮眼拍品，清乾隆淺黃地洋彩錦上添花「萬壽連延」圖長頸葫蘆瓶，以港幣2.5億元易手，入藏張永珍博士寶蓄，轟動一時。 本品最大特色在於摹仿掐絲琺瑯的外觀，主要體現在用色和勾線方面，工匠以松石綠釉摹仿銅胎掐絲琺瑯之色地，並以金彩畫骨，勾勒花紋輪廓線框，帶出鎏金掐絲的質感，而卷草上的紅、黃、綠三彩質感硬朗深沉，也是掐絲琺瑯常見的顏色，極為寫實。底款不以礬紅、青花書寫，而是填滿松石綠釉後填刻描金年款，這也是仿掐絲琺瑯器的特徵及制式，可見匠工之細微。 乾隆御窯瓷器反映著皇帝本人的藝術品位，乾隆時期的粉彩瓷器一改雍正時期靈秀典雅的風格，而傾向追求製作工藝精細，紋飾華麗繁縟。不僅在造型方面趨於多樣化，在設色用彩等裝飾工藝上更有獨特的表現。乾隆皇帝愛好新奇玩意，對官窯瓷器的出品精益求精，景德鎮御窯廠除了大量仿燒前朝名窯器物，仿古之風盛行，也流行仿各種材質器物，例如仿石釉、仿木釉、仿珊瑚、仿綠松石，也包括像目前拍品的仿掐絲琺瑯。 其時燒造品種之豐富，裝飾之華麗，令人讚嘆，無一不體現出乾隆時期高超的製瓷技藝，堪稱巧奪天工。邵蟄民撰《增補古今瓷器源流考》中評：「清瓷彩色至乾隆而極，其彩釉之仿他物者亦以乾隆為最多最精…足與真物相抗衡」，反映當時乾隆造瓷工藝精湛，能燒出幾可亂真之物。 本品用色方面屬仿掐絲琺瑯器，但花卉紋及八吉祥本身的畫法及綴飾，風格上更接近於洋彩瓷作，即繪畫技法摹仿西洋光影畫法，枝葉有明暗，八吉祥紋和蕃蓮紋皆作暈染，花瓣層次豐富，過渡柔和。洋彩乃指由西方傳教士引入清宮，繪飾洋風彩瓷之法，初以舶來色彩加添白料調研，後來御作坊多番實驗後成功採用，本品正為佳例，集兩地之大成，見證中西文化之交流。 如此完美之作並非一般常規所見的官窯瓷品，乾隆一朝御窯廠的燒造制度極為嚴苛，每年分別燒造大運瓷器和御貢瓷器。大運瓷器是為了滿足清宮日常需用、陳設而必備的器皿，每年燒造有明確的數量、品類要求，燒造大運瓷器是御窯廠的主要任務。而御貢瓷器則是由九江關監督，並由御窯廠精心燒造，專門供奉給乾隆皇帝御用的器皿，其數量極少，質量極精，紋飾和造型均不同於大運瓷器，一年三貢，分別於端陽節、萬壽節、年節這三個節日前進宮供御。督陶官為了取悅乾隆皇帝，自當竭盡巧思去燒瓷，器形、紋飾力求與從前不同，突出新意，本品仿掐絲琺瑯之舉，堪稱乾隆官窯中別緻的代表。 瓶身所繪「八吉祥」紋飾，即是佛教之八寶，為佛前供器，分別由法輪、法螺、寶傘、白蓋、蓮花、寶罐、金魚、盤長八件組成。每件供器含義不同，法輪代表佛說大法圓轉，萬劫不息；法螺代表菩薩果妙音吉祥；傘代表張弛自如，曲覆眾生；華蓋代表遍覆三千，淨一切樂；蓮花代表出濁世而無染；罐代表福智圓滿，具完無漏；魚代表堅固活潑，能解壞劫；盤長代表回環貫徹，一切通明。乾隆帝喜好吉祥紋飾，八吉祥紋自然亳不例外，畫在瓷品作飾，絕不違和，瓶頸以如意作耳，取其順心之意，故本瓶所帶吉祥、如意之兆，正合帝意。 縱觀乾隆朝御瓷，運用此法，俱為品格不凡者，足見此件作品之罕有珍貴。參考故宮博物院清宮舊藏三例，載於《故宮博物藏文物珍品全集．琺瑯彩．粉彩》，香港，1999年，圖版115、119、118。另可比較松石綠地粉彩折枝花卉福壽延綿圖雙龍耳瓶，其耳為雙龍，身繪紅蝠，但工藝及尺寸類同，售於香港蘇富比，2013年10月8日，編號201。另一例也繪雲蝠紋及設龍耳，售於香港佳士得，2005年5月30日，編號1500。 另見一例為松石綠地粉彩福壽呈祥燈籠瓶，售於北京保利，2009年11月23日，編號2042。續見一尺寸較為細的花觚，同為金彩底款，售於北京保利，2019年6月05日，編號5412。最後可參考蓋罐一對，售於北京保利，2015年6月05日，編號6425。

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