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清乾隆　御製鬥彩加粉彩暗八仙福壽紋八方盤口大瓶 MARK AND PERIOD OF QIANLONG PROVENANCE 1. Collection of Jean Nicolier, Paris, France, late 1920s 2. Collection of Héliot family, Paris, France, 1955 3. Duchange family collection, Paris, France An octagonal vase with a splayed foot and a galleried mouth rim. An articulately proportioned body that gradually rises to a slightly rounded shoulder and further extends to the neck to reach the rim. The vase is divided into six sections that are connected with rounded protruding horizontal bands. Six sets of doucai and fencai decorative schemes fill the surface of the vase. The rim painted in gilt, the adjacent surface decorated with floral motifs accompanied by multiple ‘shou (longevity)’ medallions. Floral motifs then extend downwards to the neck which is adorned with five bats on clouds, lingzhi and peaches. Symbols for the ‘Eight Immortals’ occupy the middle area that is vertically divided into eight sections. These symbols are depicted alongside the floral ground. They include Han Zhongli’s fan, Zhang Guolao’s fish drum, He Xiangu’s lotus flower, Lan Caihe’s flower basket, Li Tieguai’s gourd, Cao Guojiu’s castanets, Lu Dongbin’s sword and Han Xiangzi’s flute. Floral decorative elements continue towards the foot, and the turquoise-glazed base is inscribed with a six-character Qianlong reign mark in iron-red glaze. The present lot is a richly adorned vase that encompasses auspicious messages of longevity and fortune. The vase is of superb quality and is likely personally designed by the superintendent Tang Ying (1682-1756) for the celebration of Wanshoujie in the palace. Currently, there is no known piece alike. Porcelains made under the supervision of Tang Ying can be classified into three categories. Most of the works designed by Tang Ying belong to the first category which consists of porcelains produced specifically for use within the imperial palace. The second category are porcelains made for rituals and worship. The third, items gifted to friends and for Tang Ying’s personal use. Usually, the most outstanding works are found to be used within the imperial palace, particularly larger sized objects such as the vase in discussion, are mainly put on display. Majority of Qianlong duocai porcelains are comparatively more petite in scale and often take the forms of dishes, bowls and jars. Doucai vases occupy a minority of Qianlong imperial wares and octagonal vases are rarely available. The present lot is a quintessence of Qianlong imperial ware. A Qianlong ‘Eight Immortals’ Vase from the Shanghai Museum is closely associated with the present lot, illustrated in Gems from the Collection of Shanghai Museum, Shanghai Museum, Shanghai, 2004, fig. 132. There is an undeniable resemblance between the shape, size and structure of the two works, with the exception of stylistic discrepancies on the painted images and colours of glazes used. The vase from the museum collection depicts the ‘eight immortals’ as human figures, whereas the ‘eight immortals’ are represented by their respective treasures on the present lot. Symbolic parallels presented by the two vases suggest a close production date or a common source of inspiration. The ‘eight immortals’ symbols encompass the wish for longevity. Qianlong period porcelains with the ‘eight immortals’ symbols are more often found in dishs. Vases are not commonly ornamented with these emblems, but a Qianlong tianqiuping with an identical symbolic motif from the Philbrook Museum of Art in Oklahoma was sold in Christie’s Hong Kong, 30 May 2018, lot 8888 at 130 million HKD. Symbols of the ‘eight immortals’ are more often found with wares in other forms, one example is a Daoguang ‘Eight Immortals’ dish that was made deliberately for the Wanshoujie Festival that celebrates longevity. See Zhao Congyue, Porcelains with Inscription of Shendetang Collected by the Palace Museum, Beijing, 2014, pl. 2. The present lot is outstanding for its meticulous design. The design scheme consists of secondary decorative elements such as the ‘shou’ characters, lotuses, peaches, bats, and auspicious clouds that are in dialogue with the central ‘Eight Immortals’ theme. These symbols complement each other and accentuate the implied wishes for a pleasant and a long life. See a Qing fencai foliate dish adorned with peaches and bats, as well as symbols of the ‘Eight Immortals’ that are only painted near the rim, sold in Sotheby’s Hong Kong, 7 May 2002, lot 533. The present lot demonstrates an identical set of symbols drawn more eminently on a larger medium. A number of Ming Qing imperial wares are seen to have adopted the ‘Eight Immortals’ Symbols’ design. In the third year of the Qianlong reign, an imperial order has been placed specifying the making of a wucai ‘Eight Immortals’ Symbols’ dish. See Feng Xianming, Zhongguo gu taoci wenxian jixi [A Complete Explanation of Ancient Chinese Ceramics], Taipei, 2000, p. 231. See another Qianlong vase with dragon handles and the ‘Eight Immortals’ symbols, sold in Sotheby’s Hong Kong 7 April 2015, lot 3608, now in the Shanghai Museum collection. See another in the collection of The Palace Museum in Beijing, a cloisonné enamel ‘Eight Immortals’ Symbols’ vase with two ‘shou’ characters at the belly and a ‘卍’ symbol, see The World Rejoices As One: Celebrating Imperial Birthday in the Qing Dynasty, 2015, pl. 104. Doucai is created by combining an underglaze and an overglaze. First, an outline is drawn with underglaze blue, a layer of clear glaze is applied on top, then fired at the kiln at high temperature. The fired product is then further embellished with colourful glazes and then fired at a lower temperature. Doucai originated in the Xuande period and was revived during the Kangxi reign. During the Yongzheng period, enamels were introduced which subsequently led to more innovative and intricate designs with vibrant colours. Qianlong doucai wares were a continuation of skilled craftsmanship developed in the preceding reign. Novelty, vibrance, sophistication are characteristics of Qianlong period pieces. An important contemporaneous feature is using gilt to embellish outlines, which is evident on the mouth rim, the ‘shou’ character and other details of the present lot. A more remarkable feature of this lot is the size, which is unusually larger than most works with a similar design. It was exactly because of Qianlong emperor’s enthusiasm in crafts, history, culture and innovation that led to a plethora of superb porcelains from that period. The present vase follows the bats and longevity motif from Yongzheng porcelains and incorporated European aesthetics in the depiction of the recurring floral motif that are delicately outlined with underglaze blue. There are only three Qianlong period fencai and doucai porcelains in the world currently. Including a small fencai jar with a scene of children at play and a ‘monkeys’ vase where underglaze-blue was used sporadically as ornamentation. The two are currently in the collection of The Palace Museum, illustrated in Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p. 31, pl. 22 and p. 346, pl. 27. Compare another from the National Palace Museum in Taipei, illustrated in Catalog of the Special Exhibition of K'ang-Hsi, Yung-Cheng and Ch'ien-Lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum, National Palace Museum, Taipei, 1986, no. 84. Based on the stylistic features of the inscribed reign mark, it is very likely that this is a piece produced at the beginning of the Qianlong reign. Currently, there is no known identical example. But the Shanghai Museum houses a piece that resembles the size, form, design of the present lot. The reign mark on the piece at the Shanghai Museum is also very similar to the one on the present lot, which suggests that the two pieces could have been made by the same craftsman. An identical one sold at China Guardian, 3 June 2006, lot 1718. See also a Tianqiuping originally from the Philbrook Museum of Art, later sold at Christie's Hong Kong, 30 May 2018, lot 8888. 「大清乾隆年製」 來源 1. Jean Nicolier 收藏，法國巴黎，1920年代末 2. Héliot家族收藏，法國巴黎，1955年 3. 杜尚家族收藏，法國巴黎 乾隆帝，論鑒寶藏古、好物興藝，堪稱歷代國君之冠。 此瓶成於景德鎮御窯廠，器型恢宏，鬥彩巧綴粉彩，錦上添花，祥瑞滿溢，應為唐英給乾隆萬壽節賀壽所製。未見它例有錄，疑為傳世孤品。 本品當為雍乾時期督陶官唐英所督製。但凡講起中國御窯瓷器的燒造歷史，就不得不提到其中最重要的人物—唐英。唐英字俊公，號蝸居老人、陶成居士，堂號陶成堂，瀋陽人，漢軍正白旗，生於康熙二十一年（1682年），卒於乾隆二十一年（1756年），自雍正六年（1728年）佐理窯務，先後榷窯二十餘年，是御窯廠歷史上督窯時間最長、成就最高的督陶官，督陶所制史稱「唐窯」。 唐英在景德鎮督窯期間監督燒造的器物可分三類：第一類即是大宗供御瓷器，每年由唐英監督燒造上供宮廷。按清檔記載，其中不乏唐英親自設計的創新品種，如八方瓶、轉心瓶、甲子萬年筆筒等。第二類是唐英供奉廟宇神靈的供器，由爐、花觚、燭台組成五供成套使用，皆為青花作品。第三類是唐英自用或為友人訂燒的作品。此三類中最為矚目者，當屬此類陳設大器，工藝水平極高，燒制難度極大，實為唐英時期炫技之作。 乾隆年間燒製的鬥彩瓷器多為盤、碗、罐等小件，花瓶等立件品類本來就不多，以八方瓶作器形者則更稀有。本件瓷器在乾隆御瓷中屬極為罕有的華麗清雅之作，上海博物館藏有一件清乾隆景德鎮窯粉彩八仙人物圖瓶，與本品極有關聯，錄於《上海博物館藏品精華》，上海，2004年，圖132，其形制、尺寸及結構皆與本品十分相近，只是用色和圖案有所差別。館方一器為明八仙，而本品為暗八仙，但八仙所繪的位置相同，一明一暗，互相呼應，暗示兩者當時極有可能是同一時期燒造，或至少在設計上是有共同參照或互相取材。 通體呈八角形，盤口長頸，腹部往下略收，高圈足外撇。器型端莊俊秀，製作難度極高，通體分六段製成後黏接成型，以堆塑而成的凸起裝飾線，橫向將瓶身分隔。瓶自上至下有六組鬥彩加粉彩紋飾，瓶口描金，盤口處以鬥彩纏枝花卉托描金團壽紋。頸部以鬥彩繪祥雲，每一面皆有五隻蝙蝠於彩雲間飛揚，上面以粉彩飾靈芝及壽桃，寓意五蝠捧壽、鴻福齊天、福壽雙全。肩部繪鬥彩加粉彩纏枝靈芝花卉紋，枝葉延綿而生，畫面極具生氣。 祥雲設色青花、淡綠、明黃、粉紫等，尤其是粉紫色起到畫龍點睛的作用，使得紋飾更富裝飾性。紅色蝠翱翔於雲間，姿態各異，祥雲迤邐，寓意千雲祥集，洪福紛至。佈局疏朗清新，畫筆生動流暢，色彩淡雅柔美，迤邐之中有淡雅，既有鬥彩的淡彩清麗又有粉彩的豐滿柔美，彰顯乾隆時期瓷器的多樣化特點。 腹部主體部分有八面紋飾，纏枝花卉紋為地，中央位置七彩祥雲間浮現暗八仙紋，依次為漢鐘離的團扇、張果老的魚鼓、 何仙姑的蓮蓬、藍采和的花籃、鐵拐李的葫蘆、曹國舅的陰陽板、呂洞賓的寶劍、韓湘子的笛子。腹部漸下而收，間飾兩段纏枝花卉紋，圈足外撇。底施松石綠釉，中心礬紅彩書「大清乾隆年製」六字三行篆書款。 暗八仙紋，寄語長壽，明清瓷器上偶有見之，乾隆鬥彩暗八仙瓷例多見於折沿盤，立件甚稀，近年只見一天球瓶例，為美國奧克拉荷馬州費布克美術館珍藏，售於香港佳士得，2018年5月30日，編號8888，以港幣一億三千萬元成交；後朝例較多見鬥彩暗八仙紋出現在其他類型的瓷器上，如道光御製外黃地內暗八仙紋盤，為萬壽節而製，見趙聰月編，《故宮博物院藏慎德堂款瓷器》，北京，2014年，圖版2。 本品暗八仙形象各異，曲盡其致，其餘部分紋飾皆鋪纏枝花卉為地，綴以壽字、蓮花、壽桃、蝙蝠、祥雲等吉祥圖案，所以此器不僅暗八仙細膩生動，周邊的輔助紋樣也精緻入微，例如漢鐘離的團扇上綴有壽桃，韓湘子的笛子飾有靈芝等，加上頸部每一個面均可見到茂盛豐碩的壽桃、蝙蝠及靈芝，寓意吉祥喜慶，為乾隆鬥彩加粉彩瓷器的巔峰之作。 如許之衡《飲流齋說瓷》記有：「……至乾隆則華縟極矣，精巧之至，幾於鬼斧神工……」。邵蟄民撰《增補古今瓷器源流考》記：「清瓷至乾隆而極盛，器式之多亦莫與倫比」。 明清瓷器多見一些御器以八仙所用法器來代表八仙人物，如乾隆三年即曾要求燒造五彩暗八仙盌一件，見馮先銘，《中國古陶瓷文獻集釋》，臺北，2000年，頁231。另參考一件乾隆款黃地洋彩暗八仙雙龍耳瓶，售於香港蘇富比2015年4月7日，編號3608，現藏上海龍美術館。另可比較一件北京故宮藏乾隆款掐絲琺瑯暗八仙紋瓶，腹部兩側開光內飾有兩個壽字，與其下「卍」字錦地紋相呼應，寓意「萬壽」，見《普天同慶：清代萬壽盛典》，前述出處，圖版104。 鬥彩由釉下彩和釉上彩兩種釉彩組成，先以青花於瓷胎上勾勒出圖案輪廓線的全體或主體，罩上透明釉，入窯高溫燒成後，再於輪廓中填入一種到多種的彩料，二次入窯以低溫烘燒。鬥彩初創於宣德時期，歷經成化的發展高峰及明中晚期的低潮階段，於康熙時復興。雍正時期，開始於釉上彩色系中引入琺瑯彩料，其可混色且易於渲染的特性，大幅增添了色彩的種類及富麗，為瓷畫帶來了前所未有的漸層、立體效果。 乾隆鬥彩承襲了前朝優異的基礎，力求出新，以色彩豐富、彩繪精緻、畫面華麗著稱。尤以瓶頸五蝠捧壽紋最為突出，與雍正一朝的蝠壽紋紋飾相似，秉承前朝工藝之精湛，令人嘆為觀止，可參考清雍正粉彩過枝八桃五蝠壽雙全盤成對，售於北京保利，2018年6月14日，編號5179。此時的另一特色為在紋樣上描金，使畫面更顯富麗堂皇，可見於本品之口沿、壽字、芭蕉扇等。觀摩本品，此器為乾隆鬥彩器中較少見的大型器物，在高度達43公分的瓶身上滿繪紋飾，以設色淡雅的青花細膩地勾繪出帶有西洋風格的纏枝花葉，再將礬紅、胭脂紅、紫、洋黃、水綠、藍色等琺瑯料精細地填入，加以白彩適時暈染和金彩重點描繪，畫面層次紛陳，活潑生動，可謂集成型、彩飾、焙燒工藝之大成的傑作。 乾隆御瓷，鬥彩加粉彩為飾者館藏僅存數例，包括：一粉彩嬰戲圖小罐，背景山石以釉下青花勾繪而成，及一粉彩百猴圖撇口瓶，部分細節以釉下青花刻繪。兩者均帶乾隆年製款，現藏於故宮博物院，著錄於《故宮珍藏康雍乾瓷器圖錄》，香港，1989年，31頁，圖版22及頁346，圖版27。同可比較台北故宮博物院一青花加彩龍鳳紋瓶，周邊纏枝牡丹以釉下青花繪製，見於《清康雍乾名瓷特展》，國立故宮博物院，台北，1986，編號84。 本件暗八仙八方大瓶，或為乾隆朝偏早期的御瓷，其乾隆款的寫法似也支持這種看法。綜觀公私收藏，迄今未見相同之例，應為孤品。最接近者為上海博物館所藏一例，此外，中國嘉德2006年6月3日曾釋出一件與上海博物館相同的作品，編號1718，品種相同，形制、大小亦與本品相仿，題材紋飾互相呼應，款字極有可能出自同一工匠之手，當年或一同設計，又或曾一同成對陳設，極為難得。另參考美國費布克美術館舊藏清乾隆鬥彩加粉彩暗八仙纏枝蓮紋天球瓶，後售於香港佳士得，2018年5月30日，編號8888。