唐珍收藏
拍品编号：0017
估价：GBP300,000—500,000
成交价：375,000
拍卖时间：2019-11-06 上午10:30
拍卖地点：伦敦
拍卖公司：伦敦蘇富比
简介：A SUPERB AND RARE CARVED CELADON-GLAZED 'PEONY' VASE
QIANLONG INCISED SEAL MARK AND PERIOD
the baluster body elegantly sweeping up to a slightly angular shoulder and surmounted by a tall slender neck and flared rim， finely and crisply carved around the body with undulating peony scrolls above a lappet border， all between pendant ruyi heads and trefoils， the neck adorned with upright plantain leaves between further bands of ruyi pendants， with keyfret borders skirting the shoulder and encircling the rim， covered overall in a translucent bluish-green glaze pooling to a rich celadon tone in the recesses， the base with an incised six-character seal mark
Condition Report
There is minor variation to the colour of the glaze around the moulded parts of the design on the neck and one approx. 0.5 cm diam.， glaze imperfection to the neck.
中文内容仅供参考，请以英文原版为准。瓶颈釉色有轻微变色，釉面另见一处直径约0.5公分微瑕。
"In response to your inquiry， we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers， we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed， professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective， qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale， which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT， ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
我们很高兴为您提供上述拍品状况报告。由于敝公司非专业修复人员，在此敦促您向其他专业修复人员索取咨询，以获得更详尽、专业之报告。
准买家应该检查每款拍品以确认其状况，苏富比所作的任何陈述均为专业主观看法而非事实陈述。准买家应参考有关该拍卖的重要通知（见图录）。
虽然本状况报告或有针对某拍品之讨论，但所有拍卖品均根据印于图录内之业务规则以拍卖时状况出售。
Cataloguing
Catalogue Note
This vase appears to be unique and it is exceedingly rare to find a monochrome celadon vessel of the Qianlong （1736-1795） period with such sophisticated carving. From its fine potting， translucent pale green celadon glaze and crisp peony scroll and supporting designs， this vase reveals the technical and artistic virtuosity of potters active at the imperial kilns in Jingdezhen in the 18th century. It is truly a porcelain masterpiece that evokes a sense of effortless elegance， despite its design being meticulously executed and conceived in advance. Its decoration and glaze draw from the celebrated ceramic tradition of Longquan in Zhejiang province， and reinterpret it to suit the Qianlong Emperor’s eclectic taste.
Celadon-glazed wares are perhaps the type of ceramics most intimately associated with China； their origins can be traced back to the Bronze Age， and since then they continued to be popular throughout the Chinese empire. The brilliant bluish-celadon glazes created at the Longquan kilns had provided much inspiration to the potters of the Jingdezhen imperial kilns since the early Ming dynasty （1368-1644）. By lessening the amount of iron in the glaze the Jingdezhen potters were able to create a cool and delicate celadon glaze that when applied on a white porcelain body resembled the translucency and texture of jade. A wide range of exquisite celadon tones were created in the early Qing dynasty， as a result of the Yongzheng （r. 1723-35） and Qianlong Emperors’ appreciation of Song dynasty （960-1279） porcelain. Much admired by contemporary connoisseurs was the douqing [bean-green]， a bright sea-green colour， and the present fenqing [soft-green]， a pale celadon-green glaze. When applied to finely carved pieces as on this vase， the thinning and pooling of the glaze on the raised lines and the recesses create a very delicate shaded effect and accentuate the crispness of the design.
The elegant silhouette of this vase， its restrained decoration， subtle glaze and incised mark suggest it was made in the early years of the Qianlong reign， before designs became overtly elaborate. The imperial kilns at Jingdezhen were then under the direction of China’s most famous superintendent， Tang Ying （1682-1756）， who strove for technical perfection. Tang’s exposure to the imperial art collections while employed by the Imperial Household Department in his youth， allowed him to study in detail the finest antique ceramics of the Song and Ming periods， which he aligned to the personal taste of the Yongzheng and later the Qianlong emperor. The luxuriant peony scroll on this piece， which is particularly crisp in its rendering， was adapted from the somewhat rough and rustic designs on Longquan celadons of the Yuan （1279-1368） and Ming periods. By adding tall lappets at the neck， precisely carved ruyi heads at the shoulder and covering the vase with a subtle and elegant pale-celadon glaze， the craftsman has skilfully translated the original Longquan peony design into the refined decorative language of the Qing court.
Qianlong vases with such graceful profiles and elegant designs are rare and no other closely related vase appears to have been published. This vase however shares similarities with some of the finest celadon-glazed wares made in this period； the crispness of its design can be compared with a small globular jar， with the reign mark incised and gilded， from the collections of Charles Oswald Liddell， Captain A.T. Warre， G. and N. Warre， and H.M Knight， included in numerous exhibitions and sold three times in our Hong Kong rooms， in 1981， 1999 and 9th October 2007， lot 1203； a baluster-shaped vase， in the collection of the Burton family， and later in the collection of Tom and Ruth Jones， sold at Christie’s New York， 29th March 2014， lot 2181； a larger hexagonal vase， with the reign mark in underglaze blue， in the Huaihaitang collection， included in the exhibition Ethereal Elegance. Porcelain Vases of the Imperial Qing， Art Museum， The Chinese University of Hong Kong， Hong Kong， 2008， pl. 50； and a shouldered hu， sold in these rooms， 20th June 2001， lot 30， and again in our Hong Kong rooms， 8th April 2007， lot 719.
A related pattern of lappets at the neck is found on a globular vase， also covered in a similar celadon-green glaze， sold at Christie’s New York， 22nd/23rd March 2018， lot 1544； a reticulated hexagonal vase， in the Palace Museum， Beijing， illustrated in Kangxi， Yongzheng， Qianlong. Qing Porcelain from the Palace Museum Collection， Hong Kong， 1989， pl. 122； and its pair sold in our New York rooms， 12th June 1984， lot 292， and again in our Hong Kong rooms， 2nd May 2005， lot 516.
本瓶塑形静雅，粉青釉透亮莹润，牡丹纹清晰利落，展示十八世纪景德镇宫廷御作坊瓷匠之超卓造诣，虽经精心构思而施工谨慎，然而浑然天成，不带匠气。此瓶纹饰及釉色取灵感自浙江龙泉窑出品，然而器形则见新颖，迎合乾隆帝之喜好。
青釉陶瓷，于中国历史悠久，最早可远溯至青铜时期，多年来深受欢迎。龙泉窑青釉，明亮清丽，自早明以来启发景德镇御窑瓷匠。窑工筛减宋代龙泉釉中铁质，乃得如斯水莹青釉，色如美玉。
雍正及乾隆二帝喜爱宋瓷，故此清初时期烧成各色青釉，豆青，呈明快海绿色调；粉青，呈淡蓝绿色，于当时均深受推崇。刻花或浮雕纹饰，高低起伏，高处釉料较薄、低处则釉聚，形成细致明暗效果，更显纹饰分明。
本瓶器形典雅，纹饰含蓄，带刻款，故此可推断为乾隆早期，纹饰未曾发展至更为繁复之时。当时景德镇御窑由史上最闻名之督陶官唐英（1682-1756年）监督，唐英早年钻研陶务，十六岁供役于内务府，因此得以精研宋明瓷器臻品，并迎合雍正及乾隆二帝品味，发展各款珍器。本品莲纹瑰丽分明，取材自较为朴雅之元明龙泉青釉器，瓶颈叶纹、瓶肩如意头等，以及粉青釉色，均为艺匠原创，以切合清宫喜好瑰丽繁华之品味。
本乾隆瓶造型秀丽，纹饰优雅，如此佳品极为珍罕，据现时记载并无近例，唯可比较同期其他青釉器：纹饰利落，可比较一小罐，描金及刻款，出自Charles Oswald Liddell、Captain A.T. Warre、G. and N. Warre及H.M Knight收藏，曾多次展览，三度售于香港苏富比，先后为1981、1999年及2007年10月9日，编号1203；另比一例，出自Burton家族收藏，后转入Tom 及Ruth Jones收藏，售于纽约佳士得2014年3月29日，编号2181；怀海堂收藏一六方瓶例，尺寸较大，釉下青花年款，曾展于. 《机暇清赏－－怀海堂藏清代御窑瓷缾》，香港中文大学文物馆，香港，2007年，图版50；一壶例售于伦敦苏富比2001年6月20日，编号30，后易手于香港苏富比2007年4月8日，编号719。再比一瓶例，牡丹纹饰，浮雕年款，售于巴黎佳士得2019年6月12日，编号126。
此外尚可比较数例，其一瓶腹浑圆，青釉与本品相近，售于纽约佳士得2018年3月22/23日，编号1544；其二饰玲珑透花，六方瓶型，现藏于北京故宫博物院，图载于《故宫珍藏康雍干瓷器图录》，香港，1989年，图版122；与该例成对之瓶，则售于纽约苏富比1984年6月12日，编号292，后易手于香港苏富比2005年5月2日，编号516。
拍品分类：陶瓷>清代单色釉瓷器
拍卖会：2019年11月拍卖会
拍卖专场：皇家瓷器-私人收藏
预展时间：2019年11月4日-5日
预展地点：伦敦
