Footnotes

清乾隆 御製茶葉末釉粉彩開光「富貴綿長」雙龍耳瓶 「大清乾隆年製」篆書印款

Provenance 來源:
A distinguished English private collection

英國顯赫私人舊藏

The magnificent famille rose teadust-ground vase is extremely rare and no other example appears to have been published.

The vase is an outstanding example of Qing dynasty innovation and experimentation during the 18th century in form, glaze and decorative design.

The form of the vase, whilst demonstrating boldness and confidence in shape and size, is also a continuation of monochrome vases of the preceding Yongzheng period, which were in turn inspired by bronze archaic vases of the late Spring and Autumn period and Han dynasty (6th to 2nd century BC): see for example a smaller celadon-glazed vase, Yongzheng mark and period, sold at Sotheby's Hong Kong on 8 October 2010, lot 2671. The archaic inspiration of the present vase follows the Qianlong emperor's call to 'restore ancient ways', referring to the view of ancient culture as having intrinsic qualities of sincerity, simplicity and happy exuberance. For this purpose the emperor instructed the court to collect drawings of antiquities, such as the Xi Qing Gu Jian (Catalogue of Xiqing Antiquities), which were then provided to the jade craftsmen for inspiration. See Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50.

Innovative and archaic-inspired porcelain production reached its peak during the Qing dynasty, under the direction of Tang Ying (1682-1756) who was sent by the imperial court to Jingdezhen as Superintendent of the imperial porcelain works, circa 1728-1748. An important element of this innovation was achieved through experimentation in monochrome glazes and the playful simulation using porcelain to imitate a variety of materials such as coral, silver and bronze, wood, lacquer, and bamboo. The glaze on the present vase, known as 'teadust' is a crystallised glaze, which reached its maturity during the Yongzheng and Qianlong periods. Known as Chang guan (Factory glaze) in Qing texts, it is composed of yellow and olive specks resembling the tea dust. Due to varied firing conditions, a diverse range of tones results, with a subsequent flurry of names such as 'eel yellow', 'crab-green', 'snake-skin green' and others.

The combination of teadust monochrome glaze with famille rose decoration is extremely rare. However, for a related example combining a monochrome glaze with famille rose enamelled medallion decoration from the Qing Court Collection, see a large famille rose bronze-brown-ground double gourd vase, Qianlong, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl.138. For another example see a famille rose teadust-ground double gourd vase, Qianlong seal mark and period, produced in 1743, during the superintendence of Tang Ying, now in the National Palace Museum, Taipei, illustrated by Liao Pao Show, Stunning Decorative Porcelain from the Ch'ien-lung Reign, Taipei, 2008, pl.67.

The four circular medallions, one on each side, divided to two pairs each in mirror image of the other, are vibrantly decorated in the famille rose palette with floral blossoms including tree peony, rose, aster, pink and lingzhi fungus. The peony known as the 'King of flowers' represents Spring and the lingzhi fungus the wish for longevity; combined they are symbolic of renewal.

Other than these auspicious meanings, the medallions also appear to establish a 'window' to an idyllic garden scene for the viewer to contemplate. Idealised visions of nature are presented by the flowers and plants growing naturally and unrestrained amidst the rocks, beneath the overhanging branches suspending lanterns swaying gently in the wind. The use of medallions to invite and bring a viewer to 'a world beyond', by depicting miniature landscapes and garden scenes, seemed to have gained exceptional prominence and favour during the Qianlong emperor's reign. There are many examples of Qianlong period famille rose porcelain with landscape medallions in the imperial collections including a pair of ruby-ground bowls and a reticulated ruby-ground vase in the National Palace Museum, Taipei, illustrated by Liao Pao Show, ibid., pls.12 and 69. It is interesting to note that the famille rose medallions on both the present vase and latter example in the National Palace Museum are raised. This would have been another consideration and challenge during the potting process, requiring dexterous and precise craftsmanship.

The unusual harlequin design of the tasselled lanterns can also be seen in the diamond-shaped geometrical elements on a turquoise-ground famille rose pierced-rim dish, Qianlong seal mark and of the period, in the Palace Museum, Taipei, museum no.12703. Compare also the cross-shaped elements on a famille rose gilt ground double-gourd vase, Qianlong seal mark and of the period, in the Jiangxi Province Jingdezhen Pottery and Porcelain Museum, illustrated in China's Jingdezhen Porcelain Through the Ages, Qing Dynasty, Beijing, 1998, nos.194 and 195. See also a rare pair of famille rose yellow-ground moonflasks, Qianlong seal marks and of the period, with harlequin designs and decorated with dragon boats, sold at Sotheby's Hong Kong, 11 April 2008, lot 2821.

The vase of bold proportions, imposing size and complex decorative and technical design, is a manifestation of Qing dynasty opulence and virtuosity achieved by the master-potters during the Qianlong period. Made for the pleasure of the emperor and the imperial court, this vase was very possibly the result of a special, arguably unique, commission.

瓶撇口，長頸，豐肩，圓身，圈足外撇。頸部兩側塑龍耳，瓶身通體施茶葉末釉，瓶身四面作開光並各以粉彩繪山石花卉及牡丹靈芝，牡丹花枝上繫一盤長，盤長下結三流蘇，寓意「富貴綿長」。整器造型端莊而古雅，茶葉末釉配合粉彩裝飾新穎而雅緻，為宮廷器物中極為稀有之例。

此瓶器形呈前朝之風，慕春秋戰國及漢代青銅器之古韻，整體造型秀雅端莊但不失大氣。參見一例尺寸較小的清雍正青釉瓶，售於香港蘇富比，2010年10月8日，編號2671。乾隆皇帝能文善武，嗜古成癖，曾命梁詩正等人纂修《西清古鑑》，記錄清代宮廷所收藏商周至唐代青銅器過千件。因為在藝術風格上乾隆皇帝又追求復古而出新，所以《西清古鑑》中所著錄之古器物對御窯廠的製瓷也給予很大影響。

乾隆一朝之景德鎮御窯廠燒造官窯器，呈前朝之精良推巧思之創新。在負責督理景德鎮窯務的唐英（1682-1756）的督理下，御窯廠為迎合上意不斷試製和創新樣供奉，把雍正時期已有的造型及裝飾方法弘揚並大力慕古和革新，從而出現了一些華麗奇巧的獨特品種。此時御窯廠除了使用不同的單色釉來模仿各種材質例如珊瑚、青銅器甚至是木頭及竹器的紋理以外，亦創燒出鱔魚黃、蟹甲青、蛇皮綠及茶葉末等單色釉品種。此類品種在清代典籍中被稱為「廠官釉」，其中茶葉末釉以其青褐色釉中散佈不規則的黃色星點或絲紋為特點，燒成後色調有深淺之分，清新雅緻。

此類同時以單色茶葉末釉及粉彩開關裝飾的例子極為少見，清宮舊藏中有一件清乾隆粉彩醬地描金開光嬰戲圖葫蘆瓶可供參考，現藏於北京故宮博物院，見《故宮博物院藏文物珍品大系：琺瑯彩、粉彩》，香港，1999年，圖138。另見台北故宮博物院藏一件乾隆八年洋彩廠官釉金花葫蘆轉旋瓶可資參考，見廖寶秀編，《華麗彩瓷：乾隆洋彩》，台北，2008年，圖67。

此瓶瓶身四面開光中粉彩所繪牡丹山石兼揉西方繪畫技法，勾染皴擦，濃淡分水，清新艷麗。牡丹又名「富貴花」，被視為花中之王，而靈芝寓意長壽，牡丹枝上繫盤長，則寓意「長壽富貴」或「富貴綿長」。此瓶上以菱形組合而成的盤纏，亦可於台北故宮博物院藏一件清乾隆綠松地粉彩盤上看到（博物館編號12703）。江西省景德鎮陶瓷博物館藏一件清乾隆粉彩葫蘆瓶上亦有類似的菱形紋飾，見《中國歷代景德鎮瓷器：清卷》，北京，1998，圖194及195。另見一對清乾隆黃地粉彩抱月瓶上所見，見香港蘇富比，2008年4月11日，拍品2821。此瓶器形端莊大方而不失秀雅，裝飾工藝複雜卻一絲不苟，為乾隆御窯廠在前朝基礎上推陳出新所燒製出的難得宮廷佳器。