Footnotes

• Exhibited:
  Chinese Snuff Bottles, jointly presented by Hong Kong Chinese Snuff Bottle Collectors Study Group and the Urban Council, Hong Kong, Hong Kong Museum of Art, 15 October to 26 November 1977
  
  Illustrated:
  Chinese Snuff Bottles, Hong Kong Museum of Art, Hong Kong, 1977, pp.44 & 125, pl.67
  
  Compare two other closely related bottles from the Mary and George Bloch collection, illustrated by Moss, Graham and Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, Vol.6, Arts of the Fire, Hong Kong, 2008, pp.460-463, no. 1206, 1207, and sold in these rooms, 23 November 2010, lot 96 and 25 May 2011, lot 96. See also a third example from the collection of Denis S. K. Low, illustrated by Denis S.K. Low, More Treasures from The Sanctum of Enlightened Respect, Hong Kong, 2002, p.197, pl.182.
  
  It is believed that such moulded porcelain snuff bottles were inspired by their Imperial ivory counterparts. Monochrome glazes of varying colours are used to imitate various raw materials such as cinnabar lacquer, lapis lazuli and turquoise matrix. However, early examples of ceramic bottles imitating turquoise matrix dated to the Qianlong period are usually subtly enamelled with black lines. By the Jiaqing period, moulded porcelain bottles in monochrome colours with dragon and phoenix design were prevalent wedding gifts for the extended Imperial family. In essence, the use of turquoise glaze on porcelain by the Imperial potters in the early nineteenth century is rare.
  
  清 1796-1820 瓷胎模製綠松釉龍鳳紋鼻煙壺
  
  展覽：
  香港中國鼻煙壺收藏家學會、香港市政局聯辦，《中國鼻煙壺》，香港藝術館，1977年10月15日至11月26日。
  
  出版：
  《中國鼻煙壺》，香港藝術館，香港，1977年，頁44及125，圖版67。
  
  壺作扁瓶形，撇口，溜肩，下身微斂，圈足微撇。口沿及圈足飾金彩，通體着以綠松釉，其中一面浮塑雲龍戲珠紋，另一面則飾丹鳳朝陽紋，頸部及圈足外側分別塑迴紋與如意頭雲紋一圈。一龍一鳳盤旋於卷雲、綬帶及火焰之中，具龍鳳呈祥之意，氣勢不凡。而佛塑使通體圖案極具立體感，使得盤旋的龍鳳如破雲而出，頗具匠心。
  
  以松石綠釉裝飾的瓷胎龍鳳紋鼻煙壺在瑪麗及莊智博收藏中僅見兩隻，後分別於2010年及2011年在香港邦瀚斯拍出，通過對比可推測此壺壺蓋應該已不是原配。見莫士撝, Victor Graham 及曾嘉寶著，《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection》，第6冊，第二部份，頁460 -463，編號1206、1207。另外一件見Denis S. K. Low，《More Treasures from The Sanctum of Enlightened Respect》, 香港，2002年，頁197，編號182。
  
  瓷胎模製浮塑鼻煙壺的製作也可能是受到早期象牙雕或漆器鼻煙壺工藝的影響而生，除以綠釉、藍釉、白釉等單色釉裝飾以外，亦有彩釉裝飾。有學者認為在瓷胎上施不同釉色是為模仿其他材質所製作的鼻煙壺，如藍釉以模仿青金石，紅釉以模仿剔紅，綠釉以模仿綠松石等等。然而乾隆早期所見的瓷胎松石釉鼻煙壺，通常都都再以黑釉模仿綠松石的天然石紋，如故宮博物院所藏一件清乾隆松石釉獸面銜耳罐形鼻煙壺，見李久芳、張榮編《故宮博物院藏文物珍品全集：鼻煙壺》，香港，2003年，頁213，編號323。然而到了嘉慶朝時期，瓷胎模製鼻煙壺開始盛行，諸如此類龍鳳呈祥紋飾的作品通常出現在皇親國戚或是達官顯貴結拜良緣之時，而此時御窯廠的工匠們早已不單只是以模仿為目的了。

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Category: Asian Art / Chinese Works of Art

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