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清乾隆 仿哥釉葵花式三足洗 PROVENANCE 1. The J. M. Hu (1911-1995) Family Collection 2. Sotheby's New York, 4 June 1985, Important Chinese Ceramics from the J. M. Hu Family Collection, lot 65 3. Collection of Robert Chang 4. Christie's Hong Kong, Imperial Wares from the Robert Chang Collection, 2 November 1999, lot 517 5. Collection of The Gerald M. Greenwald, no. 82 6. Christie's Hong Kong, 1 December 2010, For Imperial Appreciation: Fine Chinese Ceramics from the Greenwald Collection, lot 2825 EXHIBITION AND LITERATURE An Exhibition of Important Chinese Ceramics from the Robert Chang Collection, Christie's, London, 2-14 June, 1993, lot 62 The washer has low flaring sides moulded as eight petals below a rounded and everted rim, with three short globular legs applied to the sides of the base, under a lustrous greyish blue glaze with a network of widely-spaced dark brown crackles, the underside of the feet are unglazed, there is a ring of nine brown-dressed spur marks to the recessed base. Compare a very similar one in the Nanjing Museum published in Treasures in the Royalty: The Official Kiln Porcelain of The Chinese Qing Dynasty, Shanghai, 2003, p. 334. Lobed washers of this kind are based on Song dynasty prototypes, an example of which was sold at Christie's Hong Kong, 31 October 1994, lot 528. A number of Guanyao washers of floral form in the National Palace Museum, Taipei, are illustrated in Catalogue of the Special Exhibition of Sung Dynasty Kuan Ware, 1989, nos. 135-143. See also one Geyao octafoil washer published in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty (II), Hong Kong, 1996, p.66, pl. 59. Compare a very similar one in the Nanjing Museum published in Treasures in the Royalty: The Official Kiln Porcelain of The Chinese Qing Dynasty, Shanghai, 2003, p. 334. Lobed washers of this kind are based on Song dynasty prototypes, an example of which was sold at Christie's Hong Kong, 31 October 1994, lot 528. A number of Guanyao washers of floral form in the National Palace Museum, Taipei, are illustrated in Catalogue of the Special Exhibition of Sung Dynasty Kuan Ware, 1989, nos. 135-143. See also one Geyao octafoil washer published in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty (II), Hong Kong, 1996, p.66, pl. 59. Due to the Yongzheng and Qianlong emperors' keen interest in the antique revival, Song glazes were often copied during the Qing dynasty. A Ge-type bulb bowl with a Yongzheng mark in the Museum of Far Eastern Antiquities, Stockholm, is illustrated in Oriental Ceramics, The World's Great Collections, vol. 9, Kodansha series, no. 274. 款識：「大清乾隆年製」 來源 1. 胡惠春（1911-1995年）家族收藏 2. 紐約蘇富比，1985年6月4日，「暫得樓珍藏名瓷」，編號65 3. 張宗憲收藏 4. 香港佳士得，1999年11月2日，「張宗憲珍藏」，編號517 5. 葛沃得珍藏，編號82 6. 香港佳士得，2010年12月1日，「曄兮如華-葛沃得珍藏御製瓷器」專拍，編號2825 展覽及出版 《雲海閣重要中國瓷器：張宗憲珍藏展》，佳士得，倫敦，1993年6月2至14日，編號62 此三足洗歷經胡惠春、張宗憲、葛沃得（Gerald M. Greenwald）雅蓄，來源顯赫。洗折沿，八瓣花口，器壁呈海棠花瓣狀起伏自然，淺腹，平底下承三隻簡化獸足洗，底有九處支釘痕。通體仿哥釉，釉汁滋潤古樸，肥腴瑩潤，靜穆而高貴，釉面呈灰青色，開片分明，鐵線交錯，口沿釉薄處微呈褐色，足端刷鐵黑色釉，乃仿宋哥窯「紫口鐵足」的特徵。底心青花書「大清乾隆年製」六字三行篆書款。整體造型俊秀，挺拔大方，古樸凝重，堪稱乾隆官窯仿哥釉器個中翹楚，保存良好，殊世罕見。 乾隆慕古，以古為師，陶古鑄今，集古今之大成。一方面，哥釉古雅凝幽，備受鍾愛。《清高宗御製詩集》所載歷代陶瓷贊詠詩共一百九十九首，其中贊詠哥窯竟達二十首，如《詠哥窯周素尊》「古質天然樸不華」（《御製詩四集》卷之五十），《詠哥窯葵花碗》「哥窯百圾破，鐵足獨稱珍」（《御製詩四集》卷之四十二），可觀深情。乾隆一朝，仿哥釉燒造極受重視，如《清檔》載，「乾隆三年六月二十五日：七品首領薩木哈，催總白世秀來說太監高玉交：……哥釉收小八方雙管瓶一件，哥釉四喜瓶一件，哥釉太極紙槌瓶一件，哥釉放大天盤口大漢尊一件，哥釉六方雙管尊一件，哥釉蓮座蒜頭瓶一件，哥釉葵瓣筆洗一件，哥窯腰元罐一件，傳旨：交與燒造磁器處唐英……俱照樣燒造送來。燒造完時再將交出原磁器繳回，仍交磁器庫。此磁器內有大器皿應畫樣帶去其小磁器皿俱各帶。欽此。」因此，在乾隆朝各式仿古單色釉中，仿哥釉最為成功，工藝達至巔峰，形神兼備，釉色的質感和形制的凝厚得到充分彰顯，「仿古暗合，與之無二」，而在器形、功用等方面，皆有所創新。 本件便屬《清檔》所載「哥釉葵瓣筆洗一件」，此種造型的器物除仿哥釉外，尚可見仿官、仿汝、天藍釉等品種，參見南京博物院見一近例，錄於《宮廷珍藏：中國清代官窯瓷器》，上海，2003年，頁334；《故宮博物院藏清代御窯瓷器》卷一下冊，頁436、437，圖205。 文房之瓷質者以素雅為上品，宋人宣導的此番美學理念於後世影響深遠。明萬曆屠隆《考盤餘事．筆洗》載：「今用作洗，最佳者有官哥元（圓）洗、葵花洗。」此式三足洗製作考究，先造一模，以模成型，再接三足，始見於雍正朝，為唐英榷陶御廠之際所創，至乾隆早期燒製甚盛，釉色品種更為豐富。此式花口洗突破了圓洗造型的單調，給人以耳目一新的感覺。 參考各大公私收藏，南宋和元代官窯似乎曾燒造多款近似本拍品的稜口洗，均淺圈足，或開六稜或八稜，多者甚至有十稜或十二稜。這類作品的器底均施滿釉，並用支釘燒造。故宮博物院藏數例稜口哥窯洗，一例八稜洗著錄於《故宮博物院藏文物珍品大系：兩宋瓷器 (下)》，香港，1996年，頁66，編號59。此外，大維德爵士曾珍藏三件八稜官窯洗，其登錄號為PDF 30、A53及A54，可作參考。