唐珍收藏
拍品编号：0021
估价：GBP120,000—160,000
成交价：150,000
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 RARE LARGE CELADON-GLAZED JARDINIERE IN THE SHAPE OF A DOUBLE-LOTUS LEAF
YONGZHENG SEAL MARK AND PERIOD
naturalistically modelled as a large curled lotus leaf gently folding outwards and inwards， with veins and lotus seeds to the interior， tapering to a horizontal row of petals and resting on a similarly shaped foot， evenly covered to the exterior and interior with a soft celadon coloured glaze thinning to white at the edges and pooling to deeper tones in the recesses， suffused overall with an attractive matrix of icy crackles， the base inscribed with a six-character seal mark in underglaze blue
Condition Report
Examination with UV light reveals a number of small chips to the extremities， which has been restored with over-spray extending to the surrounding areas. A few of the restored chips to the bottom edge of the base have flaked/chipped off （the largest ca. 1 cm）.
中文内容仅供参考，请以英文原版为准。紫光灯下可见边角细磕经喷涂修复，其周边区域可见相关喷涂痕迹。底足内部有几处边角细磕经修复，部分已剥落，最大约1公分。
"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 jardinière is remarkable in its refinement and must have been created under the tenure of Tang Ying （1682-1756）， who served the Yongzheng and Qianlong （r. 1736-1795） emperors as supervisor of the Qing imperial kilns at Jingdezhen from 1726 until his death. Modelled naturalistically in the form of an open lotus flower， this piece was a technical tour de force that would have required the utmost attention at every stage of its production； its irregular shape and large size would have been particularly challenging to glaze and fire successfully and any imperfection would have resulted in the rejection and subsequent destruction of the piece.
This piece appears to be unique and was probably made upon a specific order. Its inspiration may have come from Northern Song dynasty （960-1127） censers in the form of lotus flowers. One such censer has been recovered from the Ru manufactories at Qingliangsi， Baofeng， Henan province， and illustrated in Grand View： Special Exhibition of Ju Ware from the Northern Sung Dynasty， National Palace Museum， Taipei， 2006， cat. no. 19. Porcelain ware in the form of lotus flowers were also made in the early Ming dynasty （1368-1644）， such as the white-glazed stand unearthed from the Yongle （r. 1403-1424） strata at the site of the imperial porcelain kiln factory in Jingdezhen and illustrated in Imperial Porcelains from the Reigns of Hongwu and Yongle in the Ming dynasty， Beijing， 2015， pl. 129.
Porcelain vessels delicately modelled in the form of flowers or leaves were popular in the early Qing dynasty， although these are generally small-scale items for the scholar’s desk. See for example a waterpot similarly modelled as a flower and leaf， but with a Qianlong mark and of the period， in the Nanjing Museum， included in the exhibition Treasures in the Royalty. The Official Kiln Porcelain of the Chinese Qing Dynasty， Shanghai， 2003， cat. no. 343.
The naturalistic rendering of the petals and leaves of this jardinière， and the soft tone of the celadon glaze endows this piece with a sense of serenity and modesty， which are well suited to its subject matter. The lotus， hehua or lianhua in Chinese， is closely associated with Buddhism， and represents qualities such as purity， integrity and spiritual awakening. The flower rises undefiled from impure muddy waters， symbolising the power of the soul to emerge from the physical world， samsara， and achieve enlightenment.
本花盆典雅秀丽，相信乃出自清代著名督陶官唐英，唐英于雍正及乾隆年间任职于景德镇，直至1726年逝世前为止。本花盆呈荷叶造型，形状不规则而尺寸庞大，制作难度极高，窑烧时稍有不稳，即前功尽弃。
本盆疑为孤品，相信乃特定烧制，或按北宋莲花形香炉为灵感，后者可比较河南宝丰清凉寺汝官窑址，图载于《大观：北宋汝窑特展图录》，故宫博物院，台北，2006年，编号19。莲花形之瓷器，亦见于早明，比较一白釉例，出土自景德镇御窑永乐层，载于《明代洪武永乐御窑瓷器》，北京，2015年，图版 129。
花或叶形之瓷器，流行于清初，唯多属小巧文士珍玩。比较一水丞例，乾隆年器并款，现藏于南京博物院，曾展于《宫廷珍藏：中国清代官窑瓷器》，上海，2003年，编号343。
本品莲瓣及莲叶刻划风格自然，粉青釉淡雅，气韵安谧，切合莲花主题。莲花常见于佛教题材，象征高洁，出污泥而不染，比喻超脱超脱轮回，得道成佛。
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
