Footnotes

Treasury 6, no. 1319


瓷胎粉彩雪溪垂釣鼻煙壺
景德鎮，道光年款，1821～1850


Keen Fisherman

Famille rose enamels on colourless glaze on porcelain; with a convex lip and recessed flat foot surrounded by a protruding convex footrim; painted with a continuous snowy riverside scene with a fisherman wrapped in a straw coat fishing from the prow of his partially covered skiff beneath a bare willow; the foot inscribed in iron-red seal script Daoguang nian zhi (Made during the Daoguang period); the lip, inner neck, and interior glazed
Imperial kilns, Jingdezhen, 1821–1850
Height: 7.35 cm
Mouth/lip: 0.6/1.1 cm
Stopper: coral; gilt-bronze collar
Condition: one area of abrasion in blue enamel robe of fisherman on the figure's right arm, possibly an original firing fault; otherwise perfect and in kiln condition


Provenance:
Hugh Moss (HK), Ltd (1994)

Published:
Treasury 6, no. 1319

Commentary:
The subject of a fisherman in a snowy riverscape first appears on ceramics during the Qianlong period (see a magnificent set of two identical ovoid vases in the imperial collection in Guoli Gugong bowuyuan 1967, vol. 1, plates 2 and 3). It was then revived during the Daoguang period on a small series of imperial porcelain snuff bottles, again probably made in sets, but with varying compositions. Although the two Qianlong vases are host to a more complex composition and a lengthy poetic inscription in clerical script, it is obviously the inspiration for this bottle even though the elements have been simplified. In both cases the fisherman sits huddled in his partially covered skiff floating amidst snow-covered reeds, with bare trees and jutting segments of the riverbank surrounding him. There are more trees and a good deal more of the riverbank on the earlier vases, and the trees here are simply bare winter trees rather than willows. The same design appears, although less commonly, on the snuff dishes that by the Daoguang period seem to have become a standard part of snuff-taking paraphernalia (see under Treasury 6, no. 1110).

The shape of the present bottle is a standard for the Daoguang reign, although not among the most common, and is the usual shape for this subject.

The white enamel of the famille rose palette comes into its own here. Often when white is used it looks a little uncomfortable. It is a thick enamel and tends to stand out, but here it is ideally suited to its role as snow that has settled on branches and banks. For another example of the same subject but with stronger colouring, see Geng Baochang and Zhao Binghua 1992, no. 165.

雪霽人蹤盡絕，釣翁眉目津津

瓷胎無色釉上施琺瑯彩；凸唇、平斂足、突出凸形圈足；繪通體雪溪景色，一人舟中披蓑戴笠，自獨垂釣；底鐵紅書 "道光年製"一篆款；唇、頸內壁、腹內壁皆施釉

景德鎮官窯，1821～1850
高：7.37 厘米
口經/唇經：0.6/1.1 厘米
蓋：珊瑚，描金青銅座
狀態敘述：釣翁右袖脫落了一塊藍色琺瑯，或是燒成過程導致的；此外完善、出窯狀態

來源：
Hugh Moss (HK), Ltd (1994)
文獻﹕
Treasury 6，編號1319

說明：
雪溪垂釣乾隆時期就開始出現在瓷器上，可參見國立故宮博物院1967，第二冊，插圖2、3雄壯的一雙椰圓形花瓶。到了道光年間，這個題材就復興在幾套鼻煙壺上了。本壺的圖畫顯然是那兩花瓶的簡化圖像。道光時期的鼻煙碟時或有同樣的題材。本壺的形式也是道光典型的，有這個題材的煙壺一般也具這個形式。

粉彩的白彩往往來得濃重點，但用它繪積雪，就恰到好處了。相同題材更鮮豔的色彩有耿寶昌、趙炳驊 1992，編號165。