작품 상세

The vase is superbly potted with hexagonal section elegantly rising from a splayed foot to an angled shoulder, sweeping up to a waisted neck and flared rim, flanked by a pair of tubular lug handles. Its body is deftly carved and moulded on each side with lotus blossoms wreathed in dense radiating foliage, between bands of ruyi heads and stylized lotus petals. The neck is also skillfully carved with upright plantain leaves between bands of florets skirting the shoulder and kui dragon encircling the mouth rim, echoing the similar kui dragons decorated on the handles and the slayed foot. It is applied overall with a pale green glaze thinning to white along the edges and pooling to a darker tone within the incisions. The base is inscribed in underglaze blue with a six-character seal mark. From its fine potting, translucent pale green celadon glaze and crisp lotus scroll and supporting designs, this vase reveals the technical and artistic virtuosity of potters active at the imperial kilns in Jingdezhen during the Qianlong reign. It is truly a porcelain masterpiece that evokes a sense of effortless elegance, despite its design being meticulously executed and conceived in advance. Its decoration and glaze draw from the celebrated ceramic tradition of Longquan in Zhejiang province, and reinterpret it to suit the Qianlong Emperor’s eclectic taste. The brilliant bluish-celadon glazes created at the Longquan kilns had provided much inspiration to the potters of the Jingdezhen imperial kilns since the early Ming dynasty (1368-1644). By lessening the amount of iron in the glaze the Jingdezhen potters were able to create a cool and delicate celadon glaze that when applied on a white porcelain body resembled the translucency and texture of jade. A related hexagonal vase of Yongzheng period covered in a similar celadon-green glaze is illustrated in The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, pl. 204. See another similar example also applied with the moulding technique, sold at our room in Beijing, 8 December 2015, Lot 7379. Further an example with incised pattern was sold in Sotheby’s Hong Kong, 8 October 2013, Lot 3018. 款識：「大清乾隆年製」 此件瓶造型六方，撇口，束頸，折肩，收腹，高圈足；通體及足內均施粉青釉，釉面勻凈雅麗之致，輕逸媚人之風韻撲人眉宇。腹部主題紋飾以凸雕西蕃蓮紋，具有典型的巴洛克風格，輔以夔龍紋、蕉葉紋、如意紋、回紋、變形蓮瓣紋等邊飾。紋飾講究左右對稱，均能達到如鏡影般完全相稱、高度一致。底部滿施粉青釉，中心落「大清乾隆年製」青花六字篆書款。其中口沿及雙耳所雕飾之夔龍工絕殊常，與用彩料繪畫相比又另有一番韻味，反映了當時宮廷藝匠水平之高。減地起陽式的圖案與媚人的粉青釉融為一體，雕纏枝蓮花、夔龍形象隱現於釉層當中。 此式釉下剔刻、淺浮雕工藝清宮舊稱「拱花」，為粉青、冬青釉等摹仿龍泉瓷器唯一使用的裝飾手法。拱花原是晚明以來一種不著墨的印刷方法，以凸出或凹下的線條來表現花紋，根據畫面物像的輪廓在平面木板上陰刻成凹形線條，用宣紙覆蓋於版上，再加上毛氈，以木棍用力壓印或用木槌在毛氈上輕輕敲打，刻版上的花紋就能清晰地凸現在紙面上，因此工藝達到的效果與之類近，故名。在清宮陳設檔與乾隆早期造辦處活計文件的記錄中隨處可見，例如乾隆三年五月初十日下旨燒造一批琢器當中就有「冬青拱花寶月瓶、冬青拱漢文寶月瓶，冬青拱花漢尊」的記載。 本品自上而下多層紋飾裝飾，各不相同，裝飾手法也不同。瓶口剔雕拐子龍紋，雙耳剔雕夔龍紋，雙夔龍鏡像對稱，似有互動。夔龍紋飾清𥇦，存世少見。瓶身頸部雕仰蕉葉紋，蕉葉筋骨團花裝飾，陰晴效果明顯，葉柄筋骨凸起，更增立體效果。在設計上每側葉柄兼顧瓶身棱線，匠心獨到，趣味十足。肩腹之間飾一周剔刻浮雕的梅花紋，兼具裝飾及分隔畫層功能，設計巧妙。腹部六面通雕纏枝蕃蓮紋，花葉翻轉自然更顯功力。足端剔雕拐子龍紋飾，與瓶口裝飾對應，十分講究。整器熟練的雕刻技法，流暢的紋飾，筋骨凸起的趣味，再加上細若凝脂的釉色，以刀代筆，華麗而不失內斂，代表了乾隆一朝顏色釉瓷器的最高水平。 本品以粉青淡恬之柔美配飾六方硬朗之造型，實收剛柔相濟之妙，可見設計者獨具匠心。此式造型清宮舊稱為「雙管六方瓶」，最早見於雍正御窯，凝聚了胤禛超乎常人的審美品味，見於《故宮博物院藏文物珍品全集：單色釉》，香港，2000年，圖版204。有紋飾者甚罕，僅見一例售於北京保利2015年12月8 日，編號7376，腹部為夔龍飾與本品略有差異。尚見一例刻劃菊花紋樣，售於香港蘇富比2013年10月8日，編號3018。 此式器形亦見施青花之例，北京故宮博物館藏一例，器頸及腹部繪纏枝花卉紋，耳部為海水紋，惟不如本品飾夔龍、蕉葉紋及梅花紋精美特殊。此瓶造型的設計甚為講究硬折線條的陽剛之美，並注重瓶體上下各部分之間比例的協調。瓷匠深諳釉色與造型的搭配之道，針對不同器型配以相應釉色。該瓶與此等釉色相配有如天作之合，兩者相得益彰，既襯托出造型古樸端莊，又彰顯出釉色柔潤典雅，整體格調陽剛當中透出陰柔婉約之美。當時，在各式御窯瓶、尊中，尤以此等仿古貫耳瓶最適宜宮廷廳堂陳設及插花。乾隆皇帝政務之餘借以怡情悅性，因而曾有「便不簪花鼻亦馨」的讚句，足見帝王其對此之雅好。