Footnotes

• Treasury 6, no. 1458
  
  紫砂胎畫粉彩山水鼻煙壺
  狂筆勾勒大師，宜興，1800～1850
  
  A 'famille-rose' enamelled stoneware 'landscape' snuff bottle
  
  Famille rose enamels on finely-crackled white glaze on reddish-brown stoneware; with a flat lip and slightly concave foot surrounded by a flattened footrim and with a recessed flat panel on each main side; one side painted with a landscape, the other side with a man in a skiff between a cliff on the upper right and a house nestled among rocks and pines on the lower left; the panels surrounded by a simulation of shagreen; the lip and footrim unglazed; the foot and interior glazed white
  The Jagged Line Master, Yixing, 1800–1850
  Height: 6.47 cm
  Mouth/lip: 0.63/1.52 cm
  Stopper: gilt-bronze, chased with a formalized shou ('longevity') character, made from half a garment button; bronze collar
  
  Condition: Tiny chip partly polished off on outer footrim. Not obtrusive. Usual scratches and wear to surface. General relative condition: very good.
  
  Provenance:
  Drouot, Paris (Millon-Jutheau), 24 April 1983, lot 51
  Belfort Collection
  
  Published:
  Kleiner 1995, no. 242
  Treasury 6, no. 1458
  
  Exhibited:
  British Museum, London, June–October 1995
  Israel Museum, Jerusalem, July–November 1997
  
  It is reasonable to conclude that the Jiaqing or early Daoguang are the most likely periods for Yixing bottles of this shape because, although we cannot be sure at what point the form evolved, we do know from the series of identical forms decorated with Pekinese dogs and doves (see Sale 3, lot 110) that it was used in the Daoguang period.
  
  The appeal of the decoration lies in the manner in which the wild but controlled modulation in the outlining brushstrokes and the quick but sure placement of the minor strokes brings these formulaic elements to life.
  
  The panels are surrounded by a design that is intended to imitate shagreen. With its rough surface polished down, shagreen was a tough and attractive material, and it appears in simulations at both Jingdezhen and Yixing at about the same time in the mid- Qing period. The shagreen ground is masterfully done and has obviously received the artist's full attention. The cells vary in size and shape and are drawn with extraordinary care. Subtle variations in the glaze beneath create areas of dark and light that mimic the natural material.
  
  紫砂胎畫粉彩山水鼻煙壺
  
  紫砂胎，開片白釉，畫粉彩；平唇，微凸底，弄平的圈足，兩面繪開光中山水圖，隙地繪鯊魚皮紋，唇、圈足不施釉，底、內壁施白釉
  狂筆勾勒大師，宜興，1800–1850
  高﹕ 6.47 厘米
  口徑/唇徑： 0.63/1.52 厘米
  蓋﹕鎏金青銅，半球扣子鏤刻一團壽字，青銅座
  
  狀態敘述：圈足外邊剜除微了小的缺口，不引人注目，表面呈一般性的刮痕、損耗；一般性相對的狀態﹕良好
  
  來源:
  Drouot, Paris (Millon-Jutheau), 1983年4月24日，拍賣品號 51
  Belfort Collection
  
  文獻﹕
  Kleiner 1995, 編號 242
  Treasury 6, 編號 1458
  
  展覽﹕
  大英博物館， 1995年6月～10月
  Israel Museum, 耶路撒冷，1997年7月～月11月
  
  同類造型的第三場拍賣會，拍賣品號 110 ，據獅子狗鴿子的主題來推測，是道光朝燒製的，所以本壺要不是嘉慶年間作的大概也是道光時期作的。倣鯊魚皮紋的紋飾是清朝中葉在景德鎮和宜興出場的，在本壺上真是畫得技術過硬。
  
  兩幅山水圖討人喜愛在於筆法狂縱恣肆，古老的畫題得以新生。

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Category: Asian Art / Chinese Works of Art

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