Footnotes

• 清雍正 白釉模印纏枝花紋尊 青花「大清雍正年製」篆書款
  
  Provenance:
  A Hong Kong private collector, acquired in the 1970s, and thence by descent.
  
  來源：
  香港私人舊藏，購於20世紀70年代，後於家族中流傳至今
  
  The present vase, together with a small group of large Yongzheng vases of this form, was inspired by Qingbai and Longquan prototypes made during the Song and Yuan dynasties. See for example, a Longquan celadon-glazed vase of similar form and relief-decorated design, Yuan dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Monochrome Porcelain, Hong Kong, 1999, no.167. Its complex shape and baluster form were clearly developed from Qingbai wares produced in the Song dynasty; see for example, a vase illustrated by J.Ayers, Chinese Ceramics in the Baur Collection, vol.1, Geneva, 1999, pl.57.
  
  The moulded design on the present vase is precise and crisp, particularly remarkable given its large size. It is beautifully spaced around the surface demonstrating the technical virtuosity achieved by the potters during the Yongzheng reign. The Yongzheng emperor is well known for his personal affinity for antiquity and his admiration for archaic forms. As the aesthetic reference to the monochrome wares of the Song and Yuan dynasties were in line with the emperor's personal taste, designs in imitation of early monochrome wares were submitted to the Imperial Workshops for production subject to the emperor's approval.
  
  Compare a closely-related example of a celadon-glazed relief-decorated vase, Yongzheng mark and period, imitating a Longquan prototype, in the National Palace Museum, Taipei, illustrated in Harmony and Integrity: The Yongzheng Emperor and His Times, Taipei, 2009, no.II-29, p.202. See also another celadon-glazed vase of nearly identical design, Yongzheng mark and period, in the Palace Museum, Beijing, illustrated in Gugong bowuyuan cang qingdai yuyao ciqi, vol.1, Beijing, 2005, no.101. See also a Yongzheng mark and period blue and white vase of similar size and form in the Qing Court Collection, illustrated in The Palace Museum's Collection of Blue and White Porcelains from Yongzheng Period of Qing Dynasty, Beijing, 2017, pl.141.
  
  侈口，粗長頸，豐肩，鼓腹微斂，圈足微撇，器形碩大，端莊秀雅。通體內外施白釉，器身外壁以模印裝飾，口沿外壁弦紋七道，頸部前後飾纏枝花兩組，肩部飾雙弦紋，腹部飾纏枝牡丹花紋一周，足脛部飾細長形仰菊瓣紋。底部以青花書「大清雍正年製」六字楷書款。
  
  此瓶尺寸碩大，造型規整，施釉均勻，釉質熒潤，釉面光澤，模印紋飾清晰，佈局疏密有致，為存世雍正御窯瓷器中慕古創新之佳作。其形制、紋飾及釉色皆為慕仿宋元時期青白瓷及龍泉瓷而來，如清宮舊藏藏一件元代龍泉窯青釉模印凸花尊，現存北京故宮博物院，著錄於《故宮博物院藏文物珍品大系：顏色釉》，香港，1999年，圖167，頁184-185。其鼓腹粗頸的形制亦起源於宋元時期景德鎮青白瓷，如鮑爾基金會收藏一件宋代刻畫鼓腹瓶，著錄於《Chinese Ceramics in the Baur Collection》，卷一，日內瓦，1999年，圖版57。
  
  雍正皇帝在藝術審美上的追求素以「仿古創新」及「文雅淳厚」著稱，在皇家御用器方面，無論模仿自古代文物的器形，或在釉彩及紋樣上融合新舊元素，都直接反映出傳統中創新的藝術風格。宋元時期單色釉在藝術審美上符合雍正皇帝的要求，因此特命景德鎮御窯廠予以仿制。
  
  參看台北故宮博物院藏一件清雍正仿龍泉窯鳳尾尊，形制與此瓶非常接近，唯器身腹部花朵稍有不同，著錄於《雍正：清世宗文物大展》，台北，2009年，圖版II-28。另見北京故宮博物院藏一件清雍正粉清釉暗纏枝蓮紋尊，尺寸、紋飾及花朵樣式皆與此瓶相似，著錄於《故宮博物院藏清代御窯瓷器》卷一下冊，北京，2005年，圖101。與其相近的摹古創新之作可見北京故宮博物院藏清雍正青花纏枝蓮托八寶尊，著錄於 《故宮博物院藏清雍正青花瓷器》，北京，2017年，圖版141。