大清乾隆 青花折枝三多瓜果纹梅瓶

Description

大清乾隆 青花折枝三多瓜果纹梅瓶 荔枝，石榴，蟠桃

参考：佳士得
1 10月 2017 | 現場拍賣 14709
古今 | 佳士得
拍品 132
A BLUE AND WHITE ‘NINE PEACHES’ DISH
THE PROPERTY OF A GENTLEMAN
清乾隆 青花九桃盤 六字篆書款
QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

成交價 HKD 325,000
估價 HKD 200,000 – HKD 300,000

細節
清乾隆 青花九桃盤 六字篆書款
10 3/8 in. (26.3 cm.) diam.

來源
香港蘇富比，1977年5月16日，拍品131號

狀況報告
謹請注意，所有拍品均按「現狀」拍賣，閣下或閣下的專業顧問應於拍賣前親自查看拍品以評鑑拍品之狀況。
– 口沿經修復和噴塗，應為至少四條沖之修補；
– 口沿一淺崩，寬約0.4 cm.。

参考：佳士得
7 11月 2016 | 現場拍賣 12249
中國瓷器及工藝精品
拍品 70 清雍正 青花三多纹梅瓶
A MING-STYLE BLUE AND WHITE MEIPING
YONGZHENG PERIOD (1723-1735)

成交價 GBP 52,500
估價 GBP 8,000 – GBP 12,000

A MING-STYLE BLUE AND WHITE MEIPING
YONGZHENG PERIOD (1723-1735)

細節
A MING-STYLE BLUE AND WHITE MEIPING
YONGZHENG PERIOD (1723-1735)
The body is painted with various fruit and flower sprays including lychee, pomegranate, and peach between a band of lotus lappets on the shoulder and upright plantain leaves above the foot. The base is unglazed.
8 ½in. (21.5cm) high

來源
Christie’s Hong Kong, 26 & 27 September 1989, Lot 649

参考：佳士得
31 5月 2016 | 現場拍賣 12555
中國宮廷御製藝術精品
重要中國瓷器及工藝精品
拍品 3222
A VERY RARE FINE AND SUPERBLY PAINTED BLUE AND WHITE MEIPING AND A COVER
THE PROPERTY OF A GENTLEMAN
明永樂 青花瑞果紋梅瓶
YONGLE PERIOD (1403-1425), THE COVER LATE MING DYNASTY

成交價 HKD 50,520,000
估價 HKD 30,000,000 – HKD 40,000,000

明永樂 青花瑞果紋梅瓶
YONGLE PERIOD (1403-1425), THE COVER LATE MING DYNASTY

細節
明永樂 青花瑞果紋梅瓶
小口捲邊，短頸，豐肩，歛腹，淺圈足。通體青花紋飾，肩上繪蓮瓣一周，腹飾上下兩層折枝花果紋飾，上層為桃、石榴、海棠，下層為櫻桃、枇杷、荔枝。近足處飾蕉葉紋，花紋間加青線。青花呈色濃豔，有深藍色結晶斑，線條略為暈散。蓋子為明末製品。
14 7/8 in. (37.8 cm.) high, overall
13 1/2 in. (34.3 cm.) high, vase without cover

來源
倫敦蘇富比，1987年12月15日，拍品142號(梅瓶)
紐約蘇富比，1993年6月2日，拍品382號(蓋)
徐展堂珍藏 (1941-2010)
香港佳士得，1999年11月2日，拍品650號
莊紹绥珍藏

出版
《歷代文物萃珍:敏求精舍三十週年紀念展》，香港，1990年，頁284-5，編號127
《莊紹綏收藏中國瓷器》，香港，2009 年，圖版11號

展覽
香港藝術館，《歷代文物萃珍:敏求精舍三十週年紀念展》，1990年11月30日至1991年2月10日

狀況報告
謹請注意，所有拍品均按「現狀」拍賣，閣下或閣下的專業顧問應于拍賣前親自查看拍品以評鑒拍品之狀況。
梅瓶：
– 整體品相完好；
– 表面可見正常輕微磨損；

蓋子：
– 上蓋沿有一淺崩，大約0.5cm寬；
– 內壁有些開片，可能為燒造時產生；

拍品專文
此件梅瓶為明初青花瓷中的名品。近似例見諸於國內外公私收藏，尺寸由28.5公分至41公分不等。尺寸與此器相近的有三，一曾於1949年費城博物館《Ming Blue-and-White》展出，見圖錄圖版89號，現藏日本松岡美術館；二為墨爾本維多利亞國家藝廊之藏品，曾於1977年《New South Wales Exhibition of Chinese Porcelain》展出，見圖錄圖版52號；三為土耳其托普卡比宮藏品，編號TKS15/3822。托普卡比宮尚藏五件此式樣的梅瓶，兩件29公分高的曾著錄於康蕊君著《Chinese Ceramics in the Topkapi Museum: A Complete Catalogue》第二冊，倫敦，1986年，圖版624號，其一肩部為藍地。阿德比爾寺亦有六件，其一著錄於《Chinese Porcelainsfrom the Ardebil Shrine》，華盛頓，1956年，圖51號。台北故宮藏有二例，著錄於《明瓷名品圖錄：洪武窯、永樂窯、宣德窯》，東京，1977年，圖版12（圖一）及39號，後者帶蓋，器形稍有不同，構圖較緊湊，被定為宣德。北京故宮博物院亦有二例，一載於《中國陶瓷全集》第十二冊，上海，2000年，圖版12，另一載於耿寶昌著《故宮博物院藏明初青花瓷(上)》，北京，2002，圖版76號，定年宣德。明初還有另一組近似的青花瑞果梅瓶，其器形較為豐碩，主紋飾為十組瑞果，整體布局較為緊湊，輔助紋飾亦較為複雜，見北京故宮博物院藏二例，載於故宮博物院藏文物珍品全集《青花釉裏紅(上)》，香港，2000年，圖版29（圖二）、30，及玫茵堂舊藏一例，2011年10月5日於香港蘇富比拍賣，拍品11號。

此類式樣及尺寸的明初梅瓶，公開市場上似僅見此例。曾現身拍賣市場的近似例包括陳玉階先生舊藏一件，28.5公分高，2013年5月29日於香港佳士得拍賣，拍品1930號，及2014年4月8日香港蘇富比拍賣一件，28公分高，拍品3023號。

清代活計檔中有清帝下令為此類器物配座，並發送景德鎮令其仿燒的記載，見乾隆三年六月二十五日：「七品首領薩木哈、催總白世秀來說太監高玉交．．．宣窯青花三果紋梅瓶一件．．．。傳旨：交與燒造磁器處唐英．．．俱照樣燒造送來。燒造完時再將交出原磁器繳回，仍交磁器庫。」此類清代作品，可參考香港佳士得2011年11月30日拍賣的一對乾隆梅瓶，拍品2942號（圖三）。

参考：佳士得
21 6月 2016| 現場拍賣 12689
亞洲藝術
拍品 263 清乾隆 青花三多纹梅瓶 （1736-1795）
RARE VASE EN PORCELAINE BLEU BLANC, MEIPING
PROPERTY FROM A FRENCH PRIVATE COLLECTION
CHINE, DYNASTIE QING, MARQUE A SIX CARACTERES EN CACHET EN BLEU SOUS COUVERTE ET EPOQUE QIANLONG (1736-1795)

成交價 EUR 145,500
估價 EUR 40,000 – EUR 60,000

RARE VASE EN PORCELAINE BLEU BLANC, MEIPING
CHINE, DYNASTIE QING, MARQUE A SIX CARACTERES EN CACHET EN BLEU SOUS COUVERTE ET EPOQUE QIANLONG (1736-1795)

細節
RARE VASE EN PORCELAINE BLEU BLANC, MEIPING
CHINE, DYNASTIE QING, MARQUE A SIX CARACTERES EN CACHET EN BLEU SOUS COUVERTE ET EPOQUE QIANLONG (1736-1795)
The vase is finely painted in the fifteenth century style with peaches, pomegranates and lychees, forming The Three Abundances (‘sanduo’) , growing from leafy stems, and alternating with peony, prunus and lotus sprays, all between a lappet band to the shoulders and stiff leaves to the foot. The elegant waisted neck is painted with four delicate floral scrolls ; small restoration.
13 in. (33 cm.) high

來源
Acquired in the Australian art market,Sydney, in the early 1970s.

A RARE AND FINELY PAINTED MING-STYLE BLUE AND WHITE ‘SANDUO’ VASE, MEIPING
CHINA, QING DYNASTY, QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

拍品專文
This elegant vase is characteristic of the exceptionally fine porcelains made for the Qianlong emperor in the style of early 15th century Ming dynasty wares. Emperor Qianlong greatly admired the imperial porcelains of the early Ming reigns, and the design of this vase was inspired by blue and white meiping of the Ming dynasty Yongle reign (1403-1424) decorated with sprays of fruit and flowers, such as the examples in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum – Blue and White Porcelain with Underglaze Red (I), Hong Kong, 2000, p. 32, no. 30, and the National Palace Museum, Taipei, illustrated in Porcelain of the National Palace Museum, Blue and White Ware of the Ming Dynasty, Book II, part 1, Hong Kong, pl. 1, as well as the Ardebil Shrine in Iran. See J. A. Pope, Chinese Porcelains from the Ardebil Shrine, London, 1981, pl. 51, no. 29.413.

A Qianlong blue and white meiping of the same size as the current vase, and bearing the same decoration, formerly in the collection of Edward T. Chow, is illustrated by M. Beurdeley and G. Raindre in Qing Porcelain, London, 1987, p. 108, no. 153. A slightly smaller Qianlong meiping with the same underglaze blue decoration in the collection of the Palace Museum, Beijing is illustrated in The Complete Collection of Treasures of the Palace Museum – Blue and White Porcelain with Underglaze Red (III), Hong Kong, 2000, p. 131, no. 117. Compare, also, the example sold in Christie’s Paris, 9 June 2015, lot 105.

参考：苏富比
Important Chinese Art
9 October 2020 • 14:00 HKT • Hong Kong
PROPERTY OF A GENTLEMAN 士紳珍藏
3605
A BLUE AND WHITE VASE, MEIPING SEAL MARK AND PERIOD OF QIANLONG
清乾隆 青花折技花果紋梅瓶 《大清乾隆年製》款

Estimate: 6,000,000 – 8,000,000 HKD

Description
Property of a Gentleman
“A BLUE AND WHITE VASE, MEIPING SEAL MARK AND PERIOD OF QIANLONG”
清乾隆 青花折技花果紋梅瓶
《大清乾隆年製》款
the shouldered body decorated in rich cobalt tones with three flowering branches above boughs of peach, pomegranate and lychee, each rising from a sprig of fungus, evenly spaced above a double line and a band of overlapping upright leaves encircling the base, the shoulders with a collar of radiating lotus petal panels and the short narrow waisted neck with florettes and leaves below the lipped rim, the base inscribed with a six-character seal mark

32 cm, 12 ½ in.

Condition Report
The vase is in good condition.
品相良好。

Provenance
Si De Tang collection.
Christie’s Hong Kong, 27th November 2013, lot 3421.
駟德堂收藏
香港佳士得2013年11月27日，編號3421

Catalogue note
Vases of this type represent the technical advances made in porcelain production which provided a canvas on which to recreate celebrated Ming ceramic designs suitable to contemporary taste. The fine porcelain body and the craftsman’s ability to manipulate the pigment are particularly notable in the present vase, as seen in the lucidly painted design which has been rendered in a range of vivid cobalt tones. A closely related example in the Nanjing Museum, Nanjing, is illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 215; and one, from the Edward T. Chow collection, sold in these rooms, 19th May 1981, lot 546, is illustrated in Michel Beurdeley and Guy Raindre, Qing Porcelain, London, 1987, pl. 153. See a third vase published in Chinese Porcelain. The S.C. Ko Tianminlou Collection, Hong Kong, 1987, cat. no. 63, where Julian Thompson discusses this group of Qing blue and white wares as painted with re-designed Yongle motifs and patterns, particularly in the borders and the simulated ‘heaping and piling’ of cobalt blue which further serves to heighten the three-dimensional quality of the design (p. 30).

Further vases of this type include one from the T.Y. Chao collection, included in the exhibition, Ming and Ch’ing Porcelain of the T.Y. Chao Family Foundation, Hong Kong, Museum of Art, Hong Kong, 1978, cat. no. 79, sold as one of a pair in our New York rooms, 24th May 1974, lot 420, and again in these rooms, 19th May 1989, lot 270; another sold twice in these rooms, 20th May 1986, lot 41, and again, 8th October 2010, lot 2635; a third example from the Shorenstein collection, sold twice at Christie’s Hong Kong, 18th March 1991, lot 567, and again, 1st December 2010, lot 2970; and a fourth one, from the collections of Robert Chang and Dr Alice Cheng, sold in these rooms, 9th October 2012, lot 123.

By the Qianlong period, the nonchalant charm of the Ming original had evolved into a crisply organised motif: the form of the meiping, its dramatic silhouette characterised by broad shoulders tapering to a narrow foot, required a reinvention of the early design. Leafy flowering branches extend out around the shoulder, neatly converging at a point in the form of an inverted triangle to complement the swell of the shoulders, while the fruiting branches composed in a diamond form highlight the narrow lower section of the vase.

For the 15th century prototype of this design see a meiping in the National Palace Museum, Taipei, illustrated in Minji meihin zuroku [Illustrated catalogue of important Ming porcelains], vol. 1, Tokyo, 1977, pl. 12; and a larger meiping illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 4, no. 1641, most recently sold in these rooms, 5th October 2011, lot 11.

此類梅瓶器型線條豐腴，與其青花紋飾構圖配置，盡顯協調和美為一特色。以折枝花葉紋蔓生至一底點，作倒三角形構圖修飾瓶肩豐碩線條，瓶腹作菱形構圖折枝花果紋強調斂腰曲線。此瓶尤以清麗畫工，濃艷發色為難得，展現瓷匠之高藝及駕馭藍料之能。 南京博物院藏有一近似作例，錄於《中國清代官窰瓷器》，上海，2003年，頁215。仇焱之舊藏有一瓶，售於香港蘇富比1981年5月19日，編號546，錄於 Michel Beurdeley 和 Guy Raindre，《Qing Porcelain》，倫敦，1987年，圖版153。另一瓶著錄於《天民樓藏瓷》，香港，1987年，編號63，以此作例，朱湯生撰文探討清瓷傚仿永樂青花圖紋，及積釉黑斑特色之作法。

類同瓷瓶可參見趙從衍收藏內一對作例，曾展於《趙從衍家族基金會明清瓷器收藏展》，香港藝術館，香港，1978年，編號79，原售於紐約蘇富比1974年5月24日，編號420，後於1987年5月19日香港蘇富比分售，編號270及271。另一瓶二度售於香港蘇富比，1986年5月20日，編號41，及2010年10月8日，編號2635。Shorenstein 收藏亦有一瓶，二度售於香港佳士得，分別為1991年3月18日，編號567，及2010年12月1日，編號2970。還可參考張宗憲與張永珍博士遞藏之器，售於香港蘇富比2012年10月9日，編號123。

明代雛本，悅目可愛，然清初仿作之品，至乾隆一朝，已演化成型，發展出井然有序之樣式。明代梅瓶，外形線條誇張，肩寬圓，足細小，至清之時，形制略改。上層花紋，枝葉橫伸，作倒置三角形之貌，下層果紋則作菱形狀，以樣飾佈局呼應梅瓶上豐下歛之形。

相類十五世紀青花梅瓶範例，可見台北國立故宮博物院藏品，圖刊於《明瓷名品圖錄》，卷1，東京，1977年，圖版12。玫茵堂舊藏梅瓶，尺寸較大，也可資參考，見康蕊君，《玫茵堂中國陶瓷》，倫敦，1994-2010年，卷4，編號1641，最後一次售於香港蘇富比2011年10月5日，編號11。另可比較一器，二度售於香港蘇富比，分別為1983年11月14日，編號98，及2005年5月2日，編號504。

参考：佳士得
6 11月 2017 | 現場拍賣 13982
中國瓷器及工藝精品
拍品 326
A BLUE AND WHITE ‘NINE PEACHES’ DISH
清乾隆 青花九桃紋盤 六字篆書款
QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

成交價 GBP 21,250
估價 GBP 8,000 – GBP 12,000

清乾隆 青花九桃紋盤 六字篆書款
來源: 英國藏家Francis Golding (1944-1644) 珍藏
10 5/8 in. (27 cm.) diam.

参考：佳士得
拍賣 18244
重要中國瓷器及工藝精品
香港|2020年11月30日
拍品3067|Property From A Hong Kong Collection
清乾隆 青花折枝花果三多紋梅瓶 六字篆書款
QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

估價
HKD 2,800,000 – HKD 3,500,000
(USD 363,044 – USD 453,804)
清乾隆 青花折枝花果三多紋梅瓶 六字篆書款
13 in. (33 cm.) high, box

來源
香港蘇富比，1997年11月5日，拍品1461號

拍品專文
可比較數件同類例子，包括一對2011年11月30日於香港佳士得拍賣，拍品2942號；一件為舒思深伉儷舊藏，2010年12月1日於香港佳士得拍賣，拍品2970號；及一件為仇焱之舊藏，1981年5月19日於香港蘇富比拍賣，拍品546號。

特別通知
拍品前備註
Property From A Hong Kong Collection

参考： 香港蘇富比拍卖有限公司
1995年秋季拍卖会1995-10-31
中国陶瓷、工艺品及玉器雕刻
LOT号： 0465 清乾隆 青花折枝花果纹梅瓶

拍品信息
尺寸 32.3cm
作品分类 陶瓷 清代青花瓷器
创作年代 清乾隆
估价 HKD 　600,000-800,000
成交价 流拍
《大清乾隆年制》款

参考： 苏富比
拍賣編號: HK0751 八寶吉祥 — 仇焱之舊藏明宣德合盌

成交總額 51,287,500港幣

簡介
承春拍宣德青花魚藻紋菱口大盌之佳績，欣呈宣朝合盌，青花艷麗，巧繪纏枝蓮，上托佛教法物八吉祥，弘顯佛智圓滿。合盌曾先後入中國瓷器收藏名家仇焱之（1910–1980年）及趙從衍（1912–1999年）雅蓄，來源有緒，自八十年代經香港蘇富比拍出後，三十年來絕跡藝術市場，如今重現，難能可貴。

明宣德 青花纏枝蓮托八吉祥合盌
《大明宣德年製》款

PROPERTY FROM A DISTINGUISHED ASIAN COLLECTION

明宣德 青花纏枝蓮托八吉祥合盌
《大明宣德年製》款

35,000,000 — 55,000,000港幣
拍品已售 51,287,500 港幣 成交價 (含買家佣金)

拍品詳情
明宣德 青花纏枝蓮托八吉祥合盌
《大明宣德年製》款
宣德合盌胎細色淨，發色濃湛，釉潤如脂。盌深壁，微折腰，凸飾弦紋成雙，口沿外侈。青花揮毫，發色靛藍，弦紋上方妙繪纏枝瑞蓮，鮮妍盛綻，上托佛教法物八吉祥，細畫法輪、法螺、寶幢、寶傘、蓮花、雙魚、寶瓶、盤長，綴以飄帶，並飾延枝捲葉相襯，弘顯佛智圓滿。弦紋下折腰處另添連枝花卉，簡約典雅。圓蓋穹頂，青花滿繪，中心芙蕖，花蕊微凸，環飾蓮托八吉祥，與盌上所畫，兩兩相對。蓋內、盌心各書青花六字楷款對銘，僅後者畫雙圈。澄觀法物，八識涵蘊，佛學會心，恩澤廣施。如此宣德重器，來源有緒，傳世罕見，寥若晨星。

總高 10.7 公分，4 1/4 英寸；徑 17.8 公分，7 英寸

狀況報告
蓋盌整體品相良好，僅盌心內有一小爆釉，或曾輕磨，器面有輕微磨痕，實屬正常。

相關資料
來源
仇焱之（1910-1980年）收藏
香港蘇富比1980年11月25日，編號5
趙從衍（1912-1999年）收藏
香港蘇富比1987年5月19日，編號231

出版
《香港蘇富比二十週年》，香港，1993年，圖版79
《香港蘇富比三十週年》，香港，2003年，圖版231

為宣宗奉酒
康蕊君

青花纏枝蓮托八吉祥合盌，造形殊麗，深蘊佛意，美善至臻，乃宣窰典範，除現存台北故宮博物院之清宮舊藏，無見同例。兩岸故宮藏品之外，與此合盌器形相同且盌蓋仍存者，僅有四例，但紋飾皆與此器相異，其中只有一件尚屬私人收藏。

此類合盌尤為珍稀，中國歷史上少見此類蓋、盌相應器皿，應為特殊用途而設計，於明早期官窰瓷器中佔有舉足輕重之地位。蓋、盌同書年款，識於中心，掀蓋時即映入眼簾，甚是引人注目。類同款識位置，唯見於高足盌、盃，兩者之關聯性，令人推測此設計或因祭祀用途而生。

蓮托八吉祥紋之佛教寓意，更加確認此器的宗教用途，宣德帝尚儒勤政，但延續前朝對佛教之崇信。永樂帝在位時，有藏僧身任朝廷要職，各式器物上均可見藏傳佛教的紋飾圖像。成祖敕命建修多處佛寺僧院，包括南京大報恩寺與琉璃寶塔，始建於永樂朝，直至宣德朝在太監鄭和監造下竣工。宮廷作坊並鑄造鎏金佛像，刻銘當朝年款，記載帝王施供；且詔命恭造佛經，磁青紙泥金敬書，或輔圖印刷，工序繁複；宮廷器物作坊特為佛教祭典打造所需之織錦、瓷器等各項器物，用於宮內儀式，亦布施予宮外寺院。

纏枝蓮托八吉祥紋飾始見於永樂朝，經典雋永，用於綴飾佛教器物，如掐絲琺瑯壇城底座、朱漆描金經板、刺繡絲綢飄帶等（《Defining Yongle. Imperial Art in Early Fifteenth-Century China》，大都會藝術博物館，紐約，2005年，圖版9、22、34）。宣德窰以青花瓷大幅取代前朝佛教祭典使用的單色瓷，並首於瓷器上繪蓮托八吉祥紋，除了此類合盌，亦可見於青花大盌、高圈足盌、高足盃、大盤及罐（《明代宣德官窰菁華特展圖錄》，台北，1998年，編號44、93、116、184；及《故宮博物院藏文物珍品全集．青花釉裏紅（上）》，上海，2000年，圖版107）。

合盌線條優雅，蓋、盌口沿微微外撇柔彎，曲線交接處精準吻合，盡現瓷匠巧技精工。下腹轉折利落，腹壁凸弦紋兩道，透露器形或取思自金屬器雛本，然金銀器多已熔化重鑄，因而難見存世作例。合盌，又作盉盌，既指蓋與盌之相合，又可解作用以盛食物或酒飲的食器。

北京故宮博物院藏《明宣宗宮中行樂圖》記述宣德帝遊獵觀戲等餘閒活動，卷中描繪方桌上陳設儲酒器，可見一合盌，或為金器，見《故宮經典：明永樂宣德文物圖典》，故宮博物院，北京，2012年，圖版92，及展覽圖錄《明：盛世皇朝五十年》，大英博物館，倫敦，2014年，圖127，頁144-7；方桌酒器細部線描圖亦刊載於《景德鎮出土明宣德官窰瓷器》，鴻禧美術館，台北，1998年，頁160，同錄另一食案亦擺滿飲食器。霍吉淑論及此類合盌應用於調製酒液（《Ming Ceramics in the British Museum》，倫敦，2001年，頁131）。行樂圖中，山水案屏前，金黃合盌旁，陳設一大二小金蓋罐連朱漆座、一金執壺、一金瓶、一套金盃及盃托。

據《故宮瓷器錄》，台北，1961-1966年，第2輯（上），頁119-22，故宮博物院藏二十七件青花合盌，其中十三件飾纏枝蓮托八吉祥紋飾，尺寸略異；其中一例展出於博物院的宣德特展，前述出處，1998年，編號52，同錄紋飾相異之青花合盌，如番蓮紋、折枝花卉紋，編號50、51、53，及一件雲龍紋合盌，蓋已佚失，編號54，一件青花礬紅雲龍紋合盌，編號55，與青花釉裏紅龍紋作例，編號56。上述雖未載於台北故宮博物院更早之《明宣德瓷器特展目錄》，但後書卻錄一件晚期民窰摹作，書宣德偽款，編號50。

除兩岸故宮博物院僅存一件宣德青花帶蓋合盌，綴纏枝蓮紋，屬清宮舊藏，刊於《故宮博物院藏文物珍品全集》，前述出處，圖版157，書中並載二件無蓋合盌，繪雲龍紋及花卉紋，圖版155、156；後二者並與另一件番蓮紋無蓋合盌，錄於耿寶昌編，《故宮博物院藏明初青花瓷》，北京，2002年，下卷，圖版151-3。

除兩岸故宮博物院之外，存世僅四例帶蓋合盌：大維德基金會藏一件龍紋作例，現存於大英博物館，載錄於康蕊君及霍吉淑，《大英博物館大維德爵士藏中國陶瓷精選》，倫敦，2009年，中譯版，北京，2013年，圖版30，書中並錄二件無蓋龍紋合盌，其一飾以礬紅，另一飾釉裏紅；大英博物館藏另一件蓮紋合盌，乃博物館先購得盌身，藏家 Oscar Raphael 隨後捐贈盌蓋，見霍吉淑，前述出處，2001年，編號4:19。另一件蓮紋合盌藏於舊金山亞洲藝術博物館，藏品編號B69P18L.a-b，未曾著錄出版。還有一件龍紋合盌，出自 R.H.R. Palmer 伉儷舊藏，現為區百齡所蓄，曾多次展出於東方陶瓷學會特展，如《The Arts of the Ming Dynasty》，倫敦，1957年，編號123，1989年1月17日售於香港佳士得，編號568。

景德鎮明代官窰遺址出土一件器形紋飾均與此例相同之殘器，蓋缺失，展出於《景德鎮出土明宣德官窰瓷器》，鴻禧美術館，台北，1998年，編號18。北京國家博物館藏二件相類合盌，無蓋，刊載於《中國國家博物館館藏文物研究叢書：瓷器卷．明代》，上海，2007年，圖版41。上海博物館也藏一無蓋例，錄於陸明華，《上海博物館藏品研究大系：明代官窰瓷器》，上海，2007年，圖版4-19。

除本器與前述 Palmer 舊藏合盌，歷年拍賣會僅見另二無蓋合盌，其一紋飾與本品相同，1985年12月4日售於紐約蘇富比，編號233；另一綴折枝花卉紋，1981年11月24日售於香港蘇富比，編號84。

雍正一朝，景德鎮御窰廠復燒宋明經典名瓷，包括此類合盌，但添以天雞蓋鈕，見耿寶昌，《明清瓷器鑒定》，香港，1993年，圖414、429。

此件青花合盌曾先後為中國瓷器收藏名家仇焱之（圖一）及趙從衍（圖二）遞藏，並售於香港藝術品拍賣史上最為人稱道的二場拍賣會。仇焱之（1910-1980 年）乃最受尊崇之華人古董商及鑑藏家之一，年幼即入行學藝，攻鑑藏，兼買賣，曾於滬港兩地經商，後移居瑞士，曾輔助許多重要中國藝術收藏家，包括大維德爵士、芭芭拉．赫頓、瑞典國王古斯塔夫六世．阿道夫、胡惠春及安宅英一，助建他們之寶蓄雅藏，如玫茵堂中國藝術品收藏，協其謹思慎擇。仇氏私人所藏，見於1980及1981年共三場拍賣會，釋出大批珍品，轟動業界，於香港藝術市場影響更是深遠悠長。仇焱之舊藏廣得景仰，至今已成中國藝術品最尊貴之來源記錄。

一代船王趙從衍（1912-1999年）長年專注於蒐藏中國藝術，並以書畫、瓷器、玉器為重心，1978年曾於香港藝術館展出其珍藏百件明清瓷器。深知仇氏收藏質精稀珍，趙氏亦為拍賣會的主要競投者之一，為購心頭所好，踴躍出價，明顯以仇氏為楷模，藉此建立典藏。1987年香港蘇富比為趙從衍家族收藏舉辦拍賣專場時，場面之盛，不亞於前。

参考：伊朗国家博物馆
伊斯兰馆—中国青花瓷器

参考：北京保利2018春季拍卖会
禹贡（四）——“乾隆宸翰”宝玺暨御赏珍玩
5199 清乾隆 青花折枝花果纹梅瓶

青花折枝花果纹梅瓶
拍品信息
尺寸 高32.5cm
估价 6,500,000-8,500,000
成交价 RMB 7,475,000
「大清乾隆年制」款

备注
中国嘉德，1995.10.09，Lot678

此件梅瓶器形端正，青花发色青翠亮丽。外壁错落绘折枝桃实、荔枝及石榴等「三多」纹饰，每种花果之间点缀折枝花卉，颈部均饰一周十字花卉纹，肩部及足圈饰蕉叶纹，绘工精细，果实饱满，花盛叶蔓，生机勃勃，其青花翠丽，略有晕散，绘工精细，尚有雍正仿明代「宣青」遗风。底书「大清乾隆年制」六字三行篆书款。三果纹又称三多纹，为传统吉祥纹饰，典故源于《庄子 • 外篇 • 天地》：尧观于华封，华封人曰：请祝圣人，使圣人寿，使圣人福，使圣人多男子。即多寿、多福、多子之意，亦称福寿三多。

梅瓶原是用于盛酒的容器，所以大多有盅形盖，考古学中梅瓶与锡制酒壶、酒杯等一同出现，明代中期后，用途有所改变，成为文人墨客几案上插花的花瓶，《陶雅》中就有「古以瓶贮就，今以瓶插花」一说。故清代梅瓶大多无盖。此类官窑据《乾隆记事档》记载，为乾隆三年（1738）御窑厂奉旨而烧的仿宣窑青花之一。原文为：六月二十五日：七品首领萨木哈、催总白世秀来说，太监高玉交……宣窑青花梅瓶一件，宣窑青花三果梅瓶一件……传旨：交与焼造磁器处唐英照样焼造。后数十年再无烧造青花梅瓶之上旨，可见唐窑承命摹制宣窑梅瓶，为乾隆青花瓷器中上佳之品，是乾隆青花梅瓶的重要代表作品。梅瓶是乾隆朝经典的陈设御瓷，品类多样，装饰丰富，而且量少而质精，其中青花一项多为摹古之作，折枝花果纹为其经典题材。北京故宫博物院藏有一例，著录于《故宫博物院藏文物珍品大系-青花釉里红（下）》，页130。香港张宗宪先生旧藏一件，1993年曾于伦敦佳士得展出，展览目录第86号。

参考: 苏富比
3239 重要中國瓷器及工藝品
2012年4月4日 | 下午 3:30 HKT
香港
清 乾隆 青花缠枝莲纹棱瓶
PROPERTY FROM A PRIVATE COLLECTION
A FINE AND RARE LARGE BLUE AND WHITE HEXAGONAL VASE
SEAL MARK AND PERIOD OF QIANLONG

6,000,000 — 9,000,000港幣
拍品已售 8,420,000 港幣 成交價 (含買家佣金)

拍品詳情
A FINE AND RARE LARGE BLUE AND WHITE HEXAGONAL VASE
SEAL MARK AND PERIOD OF QIANLONG
sturdily potted of hexagonal section, the baluster body with broad and angular shoulders, elegantly sloping up to a waisted neck and a flaring mouth, finely decorated in vivid tones of cobalt blue with a composite scroll extending around the sides bearing numerous large and small stylised blooms including lotus and chrysanthemums, on an acanthus leaf scroll, similarly repeated around the facetted neck, divided by bands of pendent ruyi heads, foliate scroll, key-fret and upright lotus blossoms encircling the shoulders, the mouth collared by a further key-fret band suspending pendent lappets, all raised on a prominent splayed foot with a crashing waves border, the countersunk base inscribed with a six-character reign mark in underglaze blue
68 cm., 26 3/4 in.

狀況報告
The overall condition is very good.

來源
Sotheby’s Hong Kong, 31st October 1995, lot 466.

相關資料
It is rare to find vases of this elegant form decorated with a sumptuous scrolling flower design as seen on this piece. This large hexagonal form was introduced during the preceding Yongzheng period (1723-35) while the flower scroll design that is painted in the ‘heaping and piling’ technique to emulate early fifteenth century blue-and-white wares is firmly rooted in the Ming tradition. Only two other closely related examples appear to be known and were sold separately in these rooms, 5th November 1996, lot 820, and the other, 23rd October 2005, lot 357.

Vases of this form are more commonly known decorated with pendent sprays of fruit and flowers around the body and neck between lotus sprigs and spiky scrolls decorating the edges, such as the Qianlong example in the Nanjing Museum illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, pl. 212; and another sold in these rooms, 5th October 2011, lot 1920. For the Yongzheng prototype see one from the Grandidier collection and now in the Musée Guimet, Paris, included in Oriental Ceramics. The World’s Great Collections, vol. 7, Tokyo, 1981, pl. 164.

参考：苏富比 1920
中國瓷器及工藝品
清 乾隆 青花 三多棱瓶
A FINE BLUE AND WHITE HEXAGONAL VASE
SEAL MARK AND PERIOD OF QIANLONG

7,000,000 — 9,000,000港幣
拍品已售 17,460,000 港幣 成交價 (含買家佣金)

拍品詳情
A FINE BLUE AND WHITE HEXAGONAL VASE
SEAL MARK AND PERIOD OF QIANLONG
of hexagonal section, supported on a splayed foot, set with a waisted trumpet neck of conforming section, the sides well painted in brilliant tones of cobalt blue with simulated ‘heaping and piling’ with boughs of pomegranate, peach and persimmon alternating with flowering branches, decorated with spandrels painted as spiky lotus scrolls, springing from linked trefoils encircling the base and pendant ruyi border around the shoulder, the neck and foot similarly painted with floral sprays divided by matching spandrels, the countersunk base inscribed in underglaze blue with a six-character reign mark
66 cm., 26 in.

狀況報告
The overall condition is excellent. There are just a few minor surface scratches to the glaze.

來源
Sotheby’s Hong Kong, 30th April 1991, lot 73.
A Private Collection, Hong Kong.
A Private Collection, London.

出版
Sotheby’s Hong Kong – Twenty Years, Hong Kong, 1993, pl. 166.

相關資料
Vases of this type are impressive for their large yet elegant form which is finely decorated in attractive clusters of scrolling motifs. The design was first produced in the Yongzheng period (1723-1735) and became one of the the most favoured designs of all the large blue and white vases made for the palaces. A closely related example in the Nanjing Museum is illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, pl. 212; one is published in Selected Masterpieces of the Matsuoka Museum of Art, Tokyo, 1975, pl. 102; another, sold in these rooms, 20th May 1981, lot 764, is included in Geng Baochang, ming Qing ciqi jianding, Hong Kong, 1993, p. 274, pl. 469; and a fourth example, sold at Christie’s Hong Kong, 27th April 1998, lot 724, is published in Julian Thompson, The Alan Chuang Collection of Chinese Porcelain, Hong Kong, 2009, pl. 36. A pair of vases, from the collection of General Field Marshall Alfred, Count von Waldersee, was sold in our London rooms, 12th July 2006, lot 116.

For the Yongzheng prototype of this design, see a vase from the Grandidier collection and now in the Musee Guimet, Paris, illustrated in Oriental Ceramics. The World’s Great Collections, vol. 7, Tokyo, 1981, pl. 164.

The craftsman of this vase has carefully attempted to imitate the mottled ‘heaping and piling’ effect of the celebrated early 15th century blue and white wares through a deliberate application of darker spots to the design. In a display of his proficiency in the cobalt blue medium, the re-creation is particularly subtle and close to the original.

中國瓷器及工藝品
2011年10月5日 | 上午 11:30 HKT
香港

参考：苏富比 SALE SERIES
Hong Kong Spring Auctions
Asia Week 蘇富比
妍澤凝輝：張永珍博士雅藏清瓷選萃
123 清乾隆 青花折技花果紋梅瓶
《大清乾隆年製》款

估價 8,000,000 — 12,000,000 港幣
拍品已售 9,020,000 港幣 成交價 (含買家佣金)

拍品詳情
妍澤凝輝： 張永珍博士雅藏清瓷選萃
2012年10月9日 | 上午 10:30 HKT
香港

清乾隆 青花折技花果紋梅瓶
《大清乾隆年製》款

此為高估價拍賣品。蘇富比可要求有意競投高估價拍賣品的顧客填寫預先登記申請表及交付蘇富比港幣2,500,000元或其他由蘇富比決定之更大金額的訂金及任何財務狀況証明，擔保或／及其他由蘇富比全權酌情決定要求的抵押作為參加蘇富比競投的保障。即投BIDnow網上競投服務並不適用於高估價拍賣品。

梅瓶器形工整穩重，細口圓唇，豐肩流麗，弧腹漸歛。頸綴小花，肩飾蓮瓣。瓶腹妙繪折技花果，有桃實、石榴、荔枝、牡丹、梅及菊，佈局疏朗，現前朝遺風。近足處畫蕉葉紋。底署青花六字篆款。

32.3 公分，12 3/4 英寸

狀況報告
Apart from some very minor surface scratches, the overall condition is extremely good.

來源
張宗憲收藏

相關資料

此類梅瓶器型線條豐腴，與其青花紋飾構圖配置，盡顯協調和美為一特色。以折枝花葉紋蔓生至一底點，作倒三角形構圖修飾瓶肩豐碩線條，瓶腹作菱形構圖折枝花果紋強調斂腰曲線。是瓶尤以清麗畫工，濃艷發色為難得，展現瓷匠之高藝及駕馭藍料之能。南京博物院藏有一近似作例，錄於《中國清代官窰瓷器》，上海，2003年，頁215。仇炎之舊藏有一瓶，售於香港蘇富比1981年5月19日，編號546，錄於 Michel Beurdeley 和 Guy Raindre，《Qing Porcelain》，倫敦，1987年，圖版153。另一瓶著錄於《天民樓藏瓷》，香港，1987年，編號63，以此作例，朱湯生撰文探討清瓷傚仿永樂青花圖紋，及積釉黑斑特色之作法。

類同瓷瓶可參見趙從衍收藏內一對作例，曾展於《趙從衍家族基金會明清瓷器收藏展》，香港藝術館，香港，1978年，編號79，原售於紐約蘇富比1974年5月24日，編號420，後於1987年5月19日香港蘇富比分售，編號270及271。另一瓶二度售於香港蘇富比，1986年5月20日，編號41，及2010年10月8日，編號2635。Shorenstein 收藏亦有一瓶，二度售於香港佳士得，分別為1991年3月18日，編號567，及2010年12月1日，編號2970。

明代雛本，悅目可愛，然清初仿作之品，至乾隆一朝，已演化成型，發展出井然有序之樣式。明代梅瓶，外形線條誇張，肩寬圓，足細小，至清之時，形制略改。上層花紋，枝葉橫伸，作倒置三角形之貌，下層果紋則作菱形狀，以樣飾佈局呼應梅瓶上豐下歛之形。

相類十五世紀青花梅瓶範例，可見台北國立故宮博物院藏品，圖刊於《明瓷名品圖錄》，卷1，東京，1977年，圖版12。玫茵堂舊藏梅瓶，尺寸較大，也可資參考，見康蕊君，《玫茵堂中國陶瓷》，倫敦，1994-2010年，卷4，編號1641，近期售於香港蘇富比2011年10月5日，編號11。另可比較一器，二度售於香港蘇富比，分別為1983年11月14日，編號98，及2005年5月2日，編號504（圖一）。

参考：佳士得拍賣 2178
重要中國瓷器及工藝精品
香港|2004年11月1日
拍品1078 清乾隆 青花三多梅瓶
A FINE MING-STYLE BLUE AND WHITE VASE, MEIPING

成交總額 HKD 4,543,750
估價 HKD 2,800,000 – HKD 3,500,000

A FINE MING-STYLE BLUE AND WHITE VASE, MEIPING
QIANLONG SIX-CHARACTER SEALMARK AND OF THE PERIOD (1736-1795)

The vase is potted with a broad shoulder and waisted neck, the exterior painted in deep shades of blue with simulated ‘heaping and piling’, with six fruit and flower-sprays arranged in two registers, comprising lychee, peach, pomegranate, peony, prunus and lotus, above a band of upright plantain leaves at the foot, ten petal panels below the neck painted with four floral sprays
12 5/8 in. (32 cm.) high, box

文獻及展覽
展覽

An Exhibition of Important Chinese Ceramics from the Robert Chang Collection, Christie’s London, 1993, Catalogue, p. 183, no. 86.

拍品專文
Previously sold at Sotheby’s Hong Kong, 29 October 1991, lot 164.

The inspiration for this shape and pattern originates from examples produced during the early Ming period, such as the 15th century example in the National Palace Museum, Taiwan, illustrated in Blue and White Ware of the Ming Dynasty, Book II (part 1), Hong Kong, 1963, pl. 1; and two other meiping vases illustrated by T. Misugi, The Ardebil Shrine Collection, Hong Kong University Press, 1981, nos. A69 and A70.

A number of these tall, high shouldered vases are published: one formerly from the Edward T. Chow Collection, sold at Sotheby’s Hong Kong, 19 May 1981, lot 546; a vase from the Eugene O. Perkins Collection, sold in our New York Rooms, 2 June 1989, lot 90; and a pair from the T. Y. Chao Collection, exhibited at the Hong Kong Museum of Art, 1978, illustrated in the Catalogue, no. 79, one of which is now in the S. C. Ko Tianminlou Collection, and is illustrated in Blue and White Porcelains in the Collection of Tianminlou Foundation, Hong Kong, 1996, p. 222, no. 94.

参考：佳士得
拍賣 2208
重要中國瓷器
香港|2005年11月28日
拍品1384 清雍正 青花三多梅瓶
A MAGNIFICENT MING-STYLE BLUE AND WHITE VASE, MEIPING

成交總額 HKD 5,160,000
估價 HKD 3,000,000 – HKD 5,000,000

A MAGNIFICENT MING-STYLE BLUE AND WHITE VASE, MEIPING
YONGZHENG PERIOD (1723-1735)

Superbly potted, exquisitely painted in vivid tones of cobalt-blue with simulated ‘heaped and piled’ effect, depicting an upper register of five detached floral sprays and a lower register of five fruiting branches, all between a band of upright plantain leaves around the foot and a band of pendant lappets on the sloping shoulder, the short waisted neck with detached florette sprays under double-circles below the mouth rim
13 1/4 in. (33.6 cm.) high, box

拍品專文
The inspiration for this shape and pattern, ‘flowers and fruits of the Four Seasons’, originates from examples produced during the early Ming period, cf. a meiping dated to the Xuande period in the National Palace Museum, Taipei, illustrated in Blue and White Ware of the Ming Dynasty, Book II (part 1), pl. 1; two early 15th century examples illustrated by T. Misugi, The Ardebil Shrine Collection, nos. A69 and A70; and another example sold in these Rooms, 2 November 1999, lot 650.

The remarkably fine quality of the painting on the present lot is comparable to a meiping of this exact pattern, bearing an apocryphal Xuande six-character reign mark and dated to the Yongzheng period, from the Asian Art Museum of San Francisco, illustrated by He Li, Chinese Ceramics – A New Comprehensive Survey, New York, 1996, p. 290, no. 593. Compare also similar naturalistic rendition of the fruiting branches on a smaller meiping (26 cm. high) from the Sir Harry and Lady Garner collection of the Yongzheng period, sold in these Rooms, 1 November 2004, lot 835. The Garner meiping with its two registers of fruiting branches and an absence of floral sprays, appears sparse in its design compared with both the Asian Art Museum vase and the present example.

This same decorative ‘flower and fruit’ pattern continued into the Qianlong period. A meiping with this design bearing a Qianlong six-character sealmark is illustrated in Blue and White Porcelain with Underglaze Red, part III, The Complete Collection of Treasures of the Palace Museum, Commercial Press Hong Kong, 2000, p. 131, pl. 117. It is recorded in the Qianlong Jishidong, that in the Qianlong wuwu year (1738) instructions were sent to the Imperial kilns requesting the production of ‘Xuande period blue and white fruit spray meiping’, op. cit., Hong Kong, 2000, p. 131. It is interesting to note a related group of Qianlong-marked meiping vases decorated with six clusters of fruit and flowers, as opposed to the five as in the case of the present example. These related vases are normally potted with a broad shoulder and a reduced clusters of fruit and flowers, such as the vase from the Robert Change collection, sold in these Rooms, 1 November 2004, lot 1078; and the pair of vases from the T. Y. Chao collection, exhibited at the Hong Kong Museum of Art, 1978, illustrated in the Catalogue, no. 79. One of the T. Y. Chao vases is now in the S. C. Ko Tianminlou collection, illustrated in Blue and White Porcelains in the Collection of Tianminlou Foundation, Hong Kong, 1996, p. 222, no. 94.

参考：佳士得拍賣 2389
西暎東暉
Hong Kong|2007年11月27日
拍品1686|大清乾隆 青花三多纹梅瓶
THE PROPERTY OF A PRIVATE ASIAN COLLECTOR
A FINE MING-STYLE BLUE AND WHITE VASE, MEIPING

成交總額 HKD 3,367,500
估價 HKD 1,200,000 – HKD 1,500,000

A FINE MING-STYLE BLUE AND WHITE VASE, MEIPING
QIANLONG SIX-CHARACTER SEALMARK AND OF THE PERIOD (1736-1795)

The vase is potted with a broad shoulder and waisted neck, the exterior painted in deep shades of blue with simulated ‘heaping and piling’, with six fruit and flower-sprays in two registers, comprising lychee, peach, pomegranate, peony, prunus and lotus, above a band of stiff leaves at the foot, and ten petal panels below the neck painted with four floral sprays, the glaze has a soft blue tinge and stops at the foot revealing the pale body
12 7/8 in. (32.8 cm.) high, box

拍品專文
Previously sold at Sotheby’s Hong Kong, 29 April, 1992, lot 126.

A number of these tall, high-shouldered vases are published, one formerly from the Edward T. Chow Collection, was sold Sotheby’s Hong Kong, 19 May 1981, lot 546; a vase from the Eugene O. Perkins Collection, sold at Sotheby’s New York Rooms, 2 June 1989, lot 90; and a pair from the T. Y. Chao Collection, exhibited at the Hong Kong Museum of Art, 1978, Catalogue, no. 79, one of this pair of vases is now in the S. C. Ko Tianminlou Collection, and is illustrated in Blue and White Porcelains in the Collection of Tianminlou Foundation, p.222, no.94.

The inspiration for this shape and pattern originates from examples produced during the early Ming period, cf. a 15th century meiping in the National Palace Museum, Taipei, illustrated in Blue and White Ware of the Ming Dyansty, Book II (part I), pl.1.

編製圖錄及詳情
拍品前備註
THE PROPERTY OF A PRIVATE ASIAN COLLECTOR

拍賣 2891
重要中國瓷器及工藝精品 I 及 II
Hong Kong|2011年11月30日
拍品2941|
青花釉裏紅折枝花果紋梅瓶 六字篆書款
清乾隆

成交總額 HKD 46,580,000
估價 HKD 25,000,000 – HKD 30,000,000

瓶小口，短頸，豐肩，斂腹，圈足。通體青花釉裏紅紋飾。頸飾寶相花，肩飾蓮瓣紋，近足處飾蕉葉紋。腹部飾折枝花、果紋各三組，以青花繪枝葉、釉裏紅點花果。底書「大清乾隆年製」篆書款。

北京故宮博物院藏一件紋飾和此器相同的梅瓶，見2000年商務印書館出版之故宮博物院藏文物珍品全集《青花釉裏紅．下》，圖版231號，但目錄中稱之為青花胭脂紅。

此器帶有原裝日本木盒，上貼標籤：「明治四十年十二月十日　清國貝勒溥倫殿下贈進官窰加紫梅瓶一件」。明治四十年即1907年，光緒三十三年。

來源
By repute, given as a gift on the tenth day of the twelfth month in the forty-second year of the Meiji period, corresponding to 1907, by Prince Pulun (1874-1927), the great-great grandson of Emperor Daoguang

文獻及展覽
文獻

Min Shin no Bijutsu, Osaka City Museum of Fine Arts, Japan, 1980, p. 42, fig. 187
Min Shin no Bijutsu, Osaka Shiritsu Bijutsukan hen, Japan, 1982, pl. 168
Shincho Kogei no Bi, Osaka City Museum of Fine Arts, Japan, 1989, p. 43, no. 123

拍品專文：清乾隆青花釉裏紅「三多」紋梅瓶

蘇玫瑰 — 國際亞洲藝術部學術總監

此梅瓶造型典雅端麗，線條雄渾流暢，青花釉裏紅紋飾繪工精湛，是難能可貴的珍品。燒製含銅元素的釉下紅彩，難度極高，必須嚴格控制才能成功。此梅瓶釉下紅彩色澤深邃瑰麗，窰工居功至偉。

十八世紀，清廷明顯對宋明兩代的瓷器特別鍾情，御廠遂費盡心思仿製宋明風格的瓷器。此梅瓶的紋飾主題和疏朗佈局，基本以十五世紀初的梅瓶為藍本，疏朗的佈局不但加強了每組圖案的獨立性，還突顯潔白的胎色和清澈的釉面。伊朗阿德比爾神殿藏所藏青花器中，有一件十五世紀初梅瓶，瓶身飾兩列疏朗的折枝瑞果紋（J.A. Pope, Chinese Porcelains from the Ardebil Shrine, 2nd Edition, London, 1981, pl. 51, no. 29.413）。

北京故宮博物院也有兩件類似的永樂梅瓶，兩列折枝瑞果上下錯落排列（《故宮博物館藏文物珍品全集34．青花釉裏紅（上）》，香港，2000年，頁30-31，圖20-30）（圖一）。 這類十五世紀初的梅瓶，瓶身的折枝花果圖案高度寫實。永樂朝的精美瓷器，不論是盌盤或瓶罐類，常以折枝花果為紋飾主題。當時御製瓷器上所繪的折枝紋樣，特色是折枝處描繪寫實，彷彿真的從樹枝上摘下來似的。這種寫實的紋飾風格，在十五世紀初的青花器屬首見。翔實的繪圖風格和花果並蒂圖案的流行，以及偶爾植物根部的細膩描寫，大概是受當時的草藥書籍如《本草綱目》等的木板刻印插圖所影響。這次拍賣的清十八世紀梅瓶，雖然折枝花果紋的下端被靈芝遮蓋著，其他部位的形態和質感，以及果實的配置，仍然細膩翔實。

北京故宮博物院藏有一件乾隆梅瓶，其造型、大小、紋樣與本拍品完全相同，只是並非青花釉裏紅，而全是青花（《故宮博物館藏文物珍品全集36•青花釉裏紅（下）》，頁131，圖117）。2010年12月１日香港佳士得拍賣的舒思深藏品中，有一件相似的青花梅瓶（拍品2970號）。北京故宮另有一件乾隆梅瓶，紋飾與本拍品很相近，但目錄中說是青花胭脂彩（《故宮博物館藏文物珍品全集36．青花釉裏紅(下)》，頁253，圖231）（圖二）。然而，可能其胭脂彩是描繪於釉裏紅紋飾之上，因為乾隆朝偶爾有此造法。1998年11月，香港蘇富比拍賣出一件乾隆青花釉裏紅梅瓶，瓶身紋樣佈局較密集，兩列折枝瑞果的下端都沒有靈芝紋。汪慶正的《青花釉裏紅》（上海，1987年，圖177）收錄了一件雍正「三多」紋青花釉裏紅梅瓶，瓶身的折枝瑞果紋只有一列，折枝下端的靈芝紋以青花描繪，跟這次拍賣的乾隆梅瓶以釉裏紅描繪靈芝有所不同，乾隆梅瓶上的柿子則換成荔枝。2001年11月13日，倫敦佳士得拍賣出一件相近的雍正青花釉裏紅梅瓶，繪有桃子、石榴和荔枝紋（拍品142號）。

此拍品的主題紋樣稱為「三多」，其中桃子寓意多壽，石榴寓意多子多孫，柿子則寓意多財多金。上列的折枝花和下列的折枝瑞果，折枝處均以靈芝遮蓋，增添多壽的吉祥寓意。「三多」瑞果是十八世紀非常流行的裝飾圖案，見於各種裝飾風格的瓷器。

北京故宮博物院藏有一件乾隆寶石藍地金彩琺瑯燈籠尊，方形開光飾「三多」紋（《故宮博物館藏文物珍品全集39．琺瑯彩•粉彩》香港，1999年，頁151，圖 133）。故宮還有一件雍正青花釉裏紅「三多」瓶，每株花果折枝處同樣以靈芝遮蓋（《故宮博物館藏文物珍品全集36．青花釉裏紅（下）》，頁218，圖199）。

這次拍賣的乾隆青花釉裏紅梅瓶不但精美，而且極為珍罕，相信是清朝貝子溥倫（1874-1926）（圖三）於日本明治四十年（1907）12月10日贈予日本人之物。溥倫是道光帝長子弈緯之嗣孫，是二十世紀一、二十年代中國經歷巨變時的重要政治人物。慈禧太后去世後，慶親王成立內閣，成員以皇族為主，其中貝子溥倫出任農工商大臣。1912年3月，溥倫代表清室出席袁世凱就職中華民國臨時大總統典禮。1913年10月11日，袁世凱就職中華民國第一任大總統，典禮上溥倫宣讀清室頌詞。溥倫曾受命率領擬定憲法大綱，呈交議院審查商議，但後來草擬憲法任務交回議院負責。美國駐華公使芮恩施（P. Samuel Reinsch）1911年的著述對溥倫相當欽佩，認為溥倫與議院交手過程中，「不但表現聰敏，還顯露其性格高尚獨特之處。雖然這位貝子的政治家風範沒有為他賺得什麼實質好處，但其司法情操肯定為他在國內外贏得廣泛好評。」（P. Samuel Reinsch, Intellectual and Political Currents in the Far East, Boston & New York, 1911, p. 253）。溥倫還是中國首位廣泛出訪遠洋的皇家成員，他於1904年率領帝國代表團出席美國聖路易斯城舉行的世界博覽會。會場中展出的中國園林亭台，是仔細仿照其位於北京的倫貝子府的所建造。每次到外國訪遊，他都興趣盎然。駐上海美國公使John Goodnow於1904年9月7日寫給印度安納波利斯參議員A.J. Beveridge的函件，提到溥倫訪問美國時，看到美國教育一視同仁，男女孩接受教育機會均等，令他印象彌深。 由於溥倫到處出訪，有機會接觸到各國的外交人員和高官，本拍品很可能是他贈予某外國政要的禮物。1980年代，日本有三份刊物載錄了這件乾隆青花釉裏紅梅瓶（見附錄之文獻資料）。其中1982年發表的照片，旁邊有一造型相近但紋飾全以青花描繪的梅瓶。這兩件梅瓶於1989年又再同時於日本發表，還加上與該青花梅瓶配對的另一梅瓶。這對青花梅瓶也是這次拍賣的珍品之一（拍品2942號），此三件梅瓶均源自同一藏家。無論是青花抑或青花釉裏紅，這些梅瓶都極為精美，這件乾隆青花釉裏紅梅瓶的燒工和繪工尤其出類拔萃，更加珍罕。 溥倫（1874-1926年），愛新覺羅氏，滿洲鑲紅旗，道光帝嗣曾孫，隱志郡王 奕緯之孫，郡王銜多羅恭勤貝勒載治第四子。滿清宗室，襲封「貝子」爵位，時稱「倫貝子」。溥倫的祖上是乾隆皇帝第十一子成親王永瑆，曾與皇位失之交臂。

A MAGNIFICENT AND VERY RARE SAN DUO MEIPING
ROSEMARY SCOTT
INTERNATIONAL ACADEMIC DIRECTOR, ASIAN ART

This rare and elegant meiping is exceptionally well-potted to produce a strong and balanced outline, while its skilfully painted decoration adeptly combines underglaze cobalt-blue painting with painting in underglaze copper-red. Successful firing of underglaze copper-red requires extremely precise control of the firing process in order to achieve the best colour, and this vase is a credit to the kiln master responsible for its firing, since the red is exactly the desired rich crushed-raspberry colour.

The Chinese court of the 18th century evinced particular admiration for the ceramics of two earlier periods – the Song dynasty and the early Ming dynasty. The imperial kilns were therefore at pains to produce porcelains which recaptured the style of these periods. The decoration on the current vase is closely based upon that seen on meiping of the early 15th century – both in the choice of motifs and the generous spacing of the design, which not only allows each of the motifs to be appreciated as an individual entity, but also draws attention to the pure whiteness of the body material and the clarity of the glaze.

An early 15th century meiping with two well-spaced registers of sprays – in this case both registers have fruiting sprays – can be seen amongst the blue and white vessels from the Ardebil Shrine (illustrated by J.A. Pope, Chinese Porcelains from the Ardebil Shrine, 2nd Edition, London, 1981, pl. 51, no. 29.413). Two more Yongle meiping with two off-set registers of fruiting sprays are preserved in the collection of the Palace Museum, Beijing (illustrated in Blue and White Porcelain with Underglaze Red (I), The Complete Collection of Treasures of the Palace Museum, vol. 34, Hong Kong, 2000, pp. 30-1, nos. 20-30) (fig. 1). These vessels all display the early 15th century fascination with precisely painted fruit and flowers on the branch. In the Yongle reign sprays of fruit on the branch became a very popular decorative theme on both open and vertical forms among the fine quality wares. A distinctive feature of the sprays painted on imperial porcelains of this period was a naturalistic break at the end of the twig – as if each spray had been torn off the branch. This naturalistic approach was a new one on early 15th century blue and white wares, and it is probable that this and the frequent depiction of both flowers and fruit on the same branch, as well as occasionally details of plant roots, were influenced by the woodblock illustrations in materia medica – pharmaceutical literature dealing with plants for their medicinal properties. Although the ends of the twigs are covered by fungus on the current 18th century vase, the same attention to naturalistic detail can be seen in the depiction of the shape and texture of the twigs, and the disposition of the fruit.

A Qianlong meiping of virtually identical shape, size and decoration to the current vase, but with the design executed solely in underglaze blue, rather than blue and red, is in the collection of the Palace Museum, Beijing (Illustrated in Blue and White Porcelain with Underglaze Red (III), The Complete Collection of Treasures of the Palace Museum, vol. 36, Hong Kong, 2000, p. 131, no. 117). A similar underglaze blue decorated meiping was sold at Christie’s Hong Kong on 1st December 2010, lot 2970, from the Shorenstein Collection. Another Qianlong meiping, in the Beijing Palace Collection, has very similar decoration to the current vase, but is described in the catalogue as being decorated in underglaze blue and rouge-red overglaze enamel. It is, however, possible that the rouge enamel has been applied over underglaze copper-red, as was sometimes done in the Qianlong reign. This latter meiping is illustrated ibid., p. 253, no. 231 (fig. 2). A Qianlong marked meiping decorated in underglaze blue and copper-red was sold by Sotheby’s Hong Kong in November 1998. This vase, however, has slightly more crowded decoration and both registers have fruiting sprays without lingzhi fungi. A Yongzheng meiping decorated in underglaze blue and copper red with sprays of san duo is illustrated by Wang Qingzheng in Underglaze Blue and Red – Elegant Decoration on Porcelain of Yuan, Ming and QingHong Kong, 1993, no. 177. It is interesting to note that on this Yongzheng vase there is only a single register of the fruiting sprays, and the lingzhi fungi below them are painted in underglaze blue, rather than the copper-red used on the current Qianlong example. It is also notable that on the Yongzheng vase lychees appear in place of the persimmons depicted on the Qianlong vessels. A Yongzheng meiping with similar underglaze blue and copper-red decoration, depicting peach, pomegranate and lychee, was also sold by Christie’s London, 13 November 2001, lot 142.

The fruit which provide the major decoration on the current vase are known in Chinese as san duo, or the ‘Three Abundances’. The peaches symbolise an abundance of long life; the pomegranates symbolise an abundance of sons and grandsons; while the persimmons symbolise an abundance of wealth, or more precisely gold. A further auspicious wish has been added to both the fruit sprays and the sprays of flowering branches above them. Below each spray is a pair of lingzhi fungi, reinforcing the wish for long life. The ‘Three Abundances’ was a very popular theme in the 18th century and appears on a number of porcelain vessels decorated in various techniques. A Qianlong lantern-shaped vase decorated in overglaze enamels and gilding in the collection of the Palace Museum, Beijing has the ‘Three Abundances’ painted in rectangular panels reserved against a deep blue ground with gold scrolls (illustrated in Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, The Complete Collection of Treasures of the Palace Museum, vol. 39, Hong Kong, 1999, p.151, no. 133). However the Beijing Palace Museum also has a Yongzheng flask, which, like the current vase, has the ‘Three Abundances’ in underglaze blue and copper-red, on which each spray is supported by a lingzhi fungus (illustrated Blue and White Porcelain with Underglaze Red (III), op. cit., p. 218, no. 199.

It is believed that the current magnificent and very rare vase was received as a gift from Prince Pulun (1874-1926)(fig. 3), on the tenth day of the twelfth month in the forty-second year of the Japanese Meiji period (corresponding to AD 1907). Prince Pulun was the grandson of Yiwei, the eldest son of the Daoguang emperor, and was an important political figure in the first two decades of the 20th century, at a time of great change for his country. The Prince served as Minister for Agriculture, Industry and Commerce in the ‘Imperial Family Cabinet’ set up following the death of Empress Dowager Cixi. With Shixu, he represented the Qing at Yuan Shikai’s inauguration as Provisional President in March 1912, while on 11 October 1913 at the inauguration of Yuan Shikai as the first formal President of the Republic of China it was Prince Pulun who read the address from the Emperor. He also headed the committee for drawing up a constitution, to be examined and discussed by the National Assembly, although later the Assembly itself was authorised to draft the constitution. Writing in 1911, P. Samuel Reinsch expressed considerable admiration for the prince saying that his dealings with the assembly were: ‘… indicative not only of quick intelligence but of high and unusual qualities of character. While this statesmanlike conduct may not have earned the Prince official favor, it certainly has gained for his judicial temperament wide admiration in China and elsewhere.’ (P. Samuel Reinsch, Intellectual and Political Currents in the Far East, Boston & New York, 1911, p. 253). Significantly, Prince Pulun was the first member of the Chinese Imperial family to undertake extensive travel abroad. He was President of the Imperial Commission to the 1904 World Exposition in St. Louis, in the United States of America, where the Chinese displays included a pavilion that, apparently accurately, recreated part of Prince Pulun’s own palace in Beijing. The Prince showed considerable interest in the countries he visited and stated that during his visit to America the thing that most impressed him was ‘the universality of the education given both boys and girls’ from a young age (reported in a letter of 7 September, 1904 from John Goodnow of the USA Consular Service in Shanghai to Senator A.J. Beveridge in Indianapolis, Indiana).

The Prince’s travels brought him into contact with diplomats and high-ranking officials from many different nations, and it would be quite possible for him to have presented the current vase as a gift to one of these important persons. The vase was included in three Japanese publications in the 1980s, as noted under ‘Literature’ in this catalogue. It is interesting to note that in the 1982 publication the vase is illustrated next to a similar vase decorated solely in underglaze blue. Both of these vases were illustrated again in 1989; in this publication, the blue and white meiping is published with its companion pair, and now offered in the present sale as lot 2942. Whatever their palette, these are rare and extremely handsome vases, but the current vessel with its combination of underglaze blue and underglaze copper-red is particularly rare and has been painted and fired with exceptional skill.

THE PROPERTY OF A GENTLEMAN

参考：佳士得
拍賣 2891
重要中國瓷器及工藝精品 I 及 II
Hong Kong|2011年11月30日
拍品2942|THE PROPERTY OF A GENTLEMAN
青花折枝花果紋梅瓶一對 六字篆書款
清乾隆

成交總額 HKD 24,180,000
估價 HKD 15,000,000 – HKD 20,000,000

瓶小口，短頸，豐肩，斂腹，圈足。通體青花紋飾。頸飾寶相花，肩飾蓮瓣紋，近足處飾蕉葉紋。腹部飾折枝四季花、瑞果紋各三組。底書「大清乾隆年製」篆書款。

此器造型係仿明宣德青花瓷而作，臺北故宮博物院藏宣德青花折枝花果紋梅瓶，見1963年香港出版《故宮藏瓷．明青花瓷二．宣德上》，圖版1號。

此器1980年於日本大阪市立美術館編《明清の美術》中發表，圖版167號（其中一件）；1989年再次發表，42頁，圖版120號。

文獻及展覽
文獻

Min Shin no Bijutsu, Osaka City Museum of Fine Arts, Japan, 1980, p. 42, fig. 186
Min Shin no Bijutsu, Osaka Shiritsu Bijutsukan hen, Japan, 1982, pl. 167 (one of two illustrated)
Shincho Kogei no Bi, Osaka City Museum of Fine Arts, Japan, 1989, p. 42, no. 120

拍品專文
The inspiration for this shape and pattern originates from examples produced during the early Ming period, such as the 15th century example in the National Palace Museum, Taipei, illustrated in Blue and White Ware of the Ming Dynasty, Book II (part 1), Hong Kong, 1963, pl. 1; and two other meiping vases illustrated by T. Misugi, The Ardebil Shrine Collection, Hong Kong University Press, 1981, nos. A69 and A70.

A number of these tall, high shouldered vases are published: one formerly from the Edward T. Chow Collection, sold at Sotheby’s Hong Kong, 19 May 1981, lot 546; a vase from the Eugene O. Perkins Collection, sold at Christie’s New York, 2 June 1989, lot 90; and a pair from the T. Y. Chao Collection, exhibited at the Hong Kong Museum of Art, 1978, illustrated in the Catalogue, no. 79, one of which is now in the S. C. Ko Tianminlou Collection, and is illustrated in Blue and White Porcelains in the Collection of Tianminlou Foundation, Hong Kong, 1996, p. 222, no. 94. Also, compare two other vases, one formerly from the Robert Chang Collection sold at Christie’s Hong Kong, 1 December 2009, 1888; and the other from the Shorenstein Collection, sold at Christie’s Hong Kong, 1 December 2010, lot 2970.

THE PROPERTY OF A GENTLEMAN

參考：佳士得
拍賣 2831
妙色瑩然 – 舒思深伉儷珍藏宮廷御製藝術精品
香港|2010年12月1日
拍品2970
A MING-STYLE BLUE AND WHITE VASE, MEIPING
QIANLONG SIX-CHARACTER SEALMARK AND OF THE PERIOD (1736-1795)

成交總額 HKD 7,820,000
估價 HKD 2,800,000 – HKD 3,500,000

清乾隆 青花折枝花果紋梅瓶 六字篆書款

瓶小口，短頸，豐肩，歛腹，圈足。通體青花紋飾，頸飾花卉紋，肩環繪蓮瓣紋一周，腹部繪折枝四季花果紋，足牆繪蕉葉紋一周，每層紋飾間以青花弦紋。足圈內青花書「大清乾隆年製」篆書款。

此器造型、紋飾均仿明宣德青花而作。《乾隆記事檔》中有這樣的記載：戊午年（即1738年）六月御窰廠接旨仿燒「宣德青花三果梅瓶」。

此器源自加拿大私人收藏，1991年3月18日於香港佳士得拍賣，拍品567號。

來源
A Canadian private collector, sold at Christie’s Hong Kong, 18 March 1991, lot 567

拍品專文
The inspiration for this shape and pattern originates from examples produced during the early Ming period, such as the 15th century example in the National Palace Museum, Taipei, illustrated in Blue and White Ware of the Ming Dynasty, Book II (part 1), Hong Kong, 1963, pl. 1; and two other meiping vases illustrated by T. Misugi, The Ardebil Shrine Collection, Hong Kong University Press, 1981, nos. A69 and A70.

A number of these tall, high shouldered vases are published: one formerly from the Edward T. Chow Collection, sold at Sotheby’s Hong Kong, 19 May 1981, lot 546; a vase from the Eugene O. Perkins Collection, sold at Christie’s New York, 2 June 1989, lot 90; and a pair from the T. Y. Chao Collection, exhibited at the Hong Kong Museum of Art, 1978, illustrated in the Catalogue, no. 79, one of which is now in the S. C. Ko Tianminlou Collection, and is illustrated in Blue and White Porcelains in the Collection of Tianminlou Foundation, Hong Kong, 1996, p. 222, no. 94. Also, compare with the vase from the Robert Chang Collection sold at Christie’s Hong Kong, 1 November 2004, lot 1078 and sold at again on 1 December 2009, 1888.

参考：佳士得
拍賣 2580重要中國瓷器及工藝精品 (1及2)
紐約|2012年9月13日 – 14日
拍品1459
清乾隆 青花折枝花果紋梅瓶
QIANLONG PERIOD (1736-1795)

成交總額 USD 158,500
估價 USD 20,000 – USD 30,000

來源
Private collection, United States, late 19th/early 20th century, and thence by descent within the family.

狀況報告
We have sought to record changes in the condition of this piece acquired after its initial manufacture.

The center of the base has been drilled through the seal mark and there is associated loss to the surrounding area. There is a hair crack that runs through the foot. There is an approx. 3¾ in. long hair crack in the lower body on one side. There is a tiny ( 1/8 in.) chip to the mouth rim. There is the expected few scratches and abrasion to the surface. Vase is finely potted and finely painted and the blue is of very good tone.

拍品專文
The inspiration for this shape and pattern originates from meiping produced during the early Ming period, such as the Yongle (1403-24) vase in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum – 34 – Blue and White Porcelain with Underglazed Red (I), Hong Kong, 2000, p. 32, no. 30.
A number of these high-shouldered meiping with Qianlong marks have been published including one in the Palace Museum, Beijing, illustrated in The Complete Collection of the Palace Museum – 36 – Blue and White Porcelain with Underglazed Red (III), Hong Kong, 2000, p. 131, no. 117; and a pair from the T.Y. Chao Collection, included in the exhibition at the Hong Kong Museum of Art, 1978, no. 79, one of which is illustrated in Blue and White Porcelains in the Tianminlou Foundation, Hong Kong, 1996, p. 222, no. 94. Several have been sold in our Hong Kong rooms: one formerly from the Robert Chang Collection, 1 December 2009, lot 1888; one from the Shorenstein Collection, 1 December 2010, lot 2970; and a pair, 30 December 2011, lot 2942.

参考：佳士得
拍賣 3263 重要中國瓷器及工藝精品
香港|2013年11月27日
拍品3421|PROPERTY OF THE SI DE TANG COLLECTION
清乾隆 青花三多梅瓶
A BLUE AND WHITE VASE, MEIPING QIANLONG SIX-CHARACTER SEAL MARK AND OF THE PERIOD (1736-1795)

成交總額 HKD 10,840,000
估價 HKD 7,000,000 – HKD 9,000,000

A BLUE AND WHITE VASE, MEIPING
QIANLONG SIX-CHARACTER SEAL MARK AND OF THE PERIOD (1736-1795)

The vase is sturdily potted with a broad shoulder and waisted neck. It is painted around the exterior in deep shades of blue with simulated ‘heaping and piling’ to depict six fruit and flower-sprays arranged in two registers, comprising lychee, peach, pomegranate, peony, prunus and lotus, above a band of upright plantain leaves at the foot and ten petal panels below the neck, painted with four floral-sprays.
12 5/8 in. (32 cm.) high

拍品專文
The inspiration for this shape and pattern originates from examples produced during the early Ming period, such as the 15th century example in the National Palace Museum, Taipei, illustrated in Blue and White Ware of the Ming Dynasty, Book II (part 1), Hong Kong, 1963, pl. 1; and two other meiping vases illustrated by T. Misugi, The Ardebil Shrine Collection, Hong Kong University Press, 1981, nos. A69 and A70.

A number of these tall, high shouldered vases are published: one formerly from the Edward T. Chow Collection, sold at Sotheby’s Hong Kong, 19 May 1981, lot 546; a vase from the Eugene O. Perkins Collection, sold at Christie’s New York, 2 June 1989, lot 90; and a pair from the T. Y. Chao Collection, exhibited at the Hong Kong Museum of Art, 1978, illustrated in the Catalogue, no. 79, one of which is now in the S. C. Ko Tianminlou Collection, and is illustrated in Blue and White Porcelains in the Collection of Tianminlou Foundation, Hong Kong, 1996, p. 222, no. 94. Also, compare with the vase from the Robert Chang Collection sold at Christie’s Hong Kong, 1 December 2009, lot 1888; and the example from the Shorenstein Collection, sold 1 December 2010, lot 2970.

PROPERTY OF THE SI DE TANG COLLECTION

狀況報告
We have sought to record changes in the condition of this piece acquired after its initial manufacture.
– There is a minute nick on the mouth rim but this is not obtrusive.
– Otherwise in good condition.

参考：佳士得
拍卖 4024 亚洲艺术
巴黎|2015年6月9日
拍品105 大清乾隆青花折枝三多瓜果纹梅瓶
VASE EN PORCELAINE BLEU BLANC, MEIPING CHINE, DYNSTIE QING, MARQUE
A SIX CARACTERES EN CACHET EN BLEU SOUS COUVERTE ET EPOQUE QIANLONG (1736-1795)

成交总额 EUR 721,500
估价 EUR 120,000 – EUR 180,000

VASE EN PORCELAINE BLEU BLANC, MEIPING
CHINE, DYNSTIE QING, MARQUE A SIX CARACTERES EN CACHET EN BLEU SOUS COUVERTE ET EPOQUE QIANLONG (1736-1795)
The vase is finely painted in the fifteenth century style with the sanduo, peaches, pomegranates and lychees, forming The Three Abundances, growing from leafy stems, and alternating with peony, prunus and lotus sprays, all between a lappet band to the shoulders and stiff leaves to the foot. The elegant waisted neck is painted with four delicate floral scrolls.
13 in. (33 cm.) high

来源
Property of a Noble European Lady
Collection of a Spanish diplomat, who was based in Shanghai in the 1940s.

拍品专文
The shape and painted design of the current vase derives from early 15th century prototypes. A prime example of this type, dating to the Yongle period (1403-1424) is illustrated in The Complete Collection of Treasures of the Palace Museum – 34 – Blue and White Porcelain with Underglazed Red (I), Hong Kong, 2000, p. 32, no. 30.

An almost identical vase, also with a Qianlong seal mark sold at Christie’s, Hong Kong, 28 October 2002, lot 699. Another example, dating to the Qianlong period but without a mark, sold at Christie’s, New York, 13-14 September, 2012, lot 1459.

编制图录及详情
Post Lot Text
A FINELY PAINTED MING-STYLE BLUE AND WHITE ‘SANDUO’ VASE, MEIPING
CHINA, QING DYNASTY, QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

参考：北京保利十周年秋季拍卖会
宫廷艺术与重要瓷器、玉器、工艺品
清乾隆 青花折枝花果梅瓶

估价：2,600,000-3,600,000 RMB
成交价： 2,645,000 RMB （含买家佣金）
尺寸：高32.3cm

拍品说明：
“大清乾隆年制”款 此件梅瓶小口，短颈，丰肩，敛腹，圈足，通体青花为饰，口沿为折枝花卉纹，颈部为变形莲瓣纹，腹部绘折枝莲花、石榴、桃、柿子等花果纹，足墙绘蕉叶纹一周，每层纹饰间以青花弦纹，外底青花书“大清乾隆年制”六字三行篆书款。此器造型、纹饰均仿明宣德青花而作。此类官窑据《乾隆记事档》记载，为乾隆三年（1738）御窑厂奉旨而烧的仿宣窑青花之一。原文为：六月二十五日：七品首领萨木哈、催总白世秀来说，太监高玉交……宣窑青花梅瓶一件，宣窑青花三果梅瓶一件……传旨：交与烧造磁器处唐英照样烧造。後数十年再无烧造青花梅瓶之上旨，可见唐窑承命摹制宣窑梅瓶，为乾隆青花瓷器中上佳之品，是乾隆青花梅瓶的重要代表作品。梅瓶是乾隆朝经典的陈设御瓷，品类多样，装饰丰富，而且量少而质精，其中青花一项多为摹古之作，折枝花果纹为其经典题材。张宗宪之旧藏一例，1993年曾于伦敦佳士得展出，展览目录第86号。1991年10月29日于香港苏富比拍卖，lot 164。备注：欧洲藏家旧藏

参考：LOT 2970 A MING-STYLE BLUE AND WHITE VASE, MEIPING
QIANLONG SIX-CHARACTER SEALMARK AND OF THE PERIOD (1736-1795)

Price realised HKD 7,820,000
Estimate HKD 2,800,000 – HKD 3,500,000

A MING-STYLE BLUE AND WHITE VASE, MEIPING
QIANLONG SIX-CHARACTER SEALMARK AND OF THE PERIOD (1736-1795)
The vase is sturdily potted with a broad shoulder and waisted neck, the exterior painted in deep shades of blue with simulated ‘heaping and piling’, with six fruit and flower-sprays arranged in two registers, comprising lychee, peach, pomegranate, peony, prunus and lotus, above a band of upright plantain leaves at the foot, ten petal panels below the neck painted with four floral-sprays
12 5/8 in. (32 cm.) high

Provenance
A Canadian private collector, sold at Christie’s Hong Kong, 18 March 1991, lot 567

Lot Essay
The inspiration for this shape and pattern originates from examples produced during the early Ming period, such as the 15th century example in the National Palace Museum, Taipei, illustrated in Blue and White Ware of the Ming Dynasty, Book II (part 1), Hong Kong, 1963, pl. 1; and two other meiping vases illustrated by T. Misugi, The Ardebil Shrine Collection, Hong Kong University Press, 1981, nos. A69 and A70.

A number of these tall, high shouldered vases are published: one formerly from the Edward T. Chow Collection, sold at Sotheby’s Hong Kong, 19 May 1981, lot 546; a vase from the Eugene O. Perkins Collection, sold at Christie’s New York, 2 June 1989, lot 90; and a pair from the T. Y. Chao Collection, exhibited at the Hong Kong Museum of Art, 1978, illustrated in the Catalogue, no. 79, one of which is now in the S. C. Ko Tianminlou Collection, and is illustrated in Blue and White Porcelains in the Collection of Tianminlou Foundation, Hong Kong, 1996, p. 222, no. 94. Also, compare with the vase from the Robert Chang Collection sold at Christie’s Hong Kong, 1 November 2004, lot 1078 and sold at again on 1 December 2009, 1888.

参考：皇朝盛世展风华 宫廷御瓷萃珍专场

Romance of the Primetime of a Dynasty
—Introduction to the Porcelain Lots of China Guardian 2011 Autumn Auction

三、美备庄严—私家珍藏明清官窑选萃

此专场的提供者是一位国内著名资深瓷器藏家，所选多为清代乾隆时期官窑精品，其中几件青花器品相完美，精彩绝伦。

清乾隆 青花瑞果纹梅瓶

梅瓶器形端正，青花发色青翠亮丽。外壁错落绘折枝桃实、佛手及石榴等“三多”纹饰，颈部均饰一周十字花卉纹，肩部及足圈饰蕉叶纹，绘工精细，果实饱满，花盛叶蔓，生机勃勃。底书“大清乾隆年制”六字三行篆书款。三果纹又称三多纹，为传统吉祥纹饰，典故源于《庄子 ·外篇 ·天地》，“尧观于华封，华封人曰：请祝圣人，使圣人寿，使圣人福，使圣人多男子”，即多寿、多福、多子之意，亦称福寿三多。

清乾隆 青花折枝花果纹六方瓶

此系乾隆官窑青花大器。瓶呈六方形，撇口，束颈，折肩，腹下部渐收，圈足。此瓶器形恢宏俊伟，釉质肥厚润泽，青花苍翠欲滴，略有晕散。青花图案配合瓶的六角造型构图，运用角花纹呼应，显得和谐统一。纹饰以肩为界，上部绘折枝花卉纹，下部绘折枝佛手、石榴、寿桃等纹，寓以“福禄寿”三多之意。布局疏密相宜，诸种祥花瑞果穷秀极妍，雍容华贵。底书“大清乾隆年制”六字篆书款。

乾隆一朝瓷业创新甚多，尤其是早期唐英督陶之时，所出之器，新颖别致，精绝无比。六方瓶为乾隆早期的高档式样之一，品种所见有青花、粉彩镂空、单色釉等，均为空前绝后之珍品。南京博物院有藏类似作品。

清乾隆 青花缠枝莲双耳鹿头尊

鹿头尊所见最早出现带年号者为雍正时期，其造型恢弘俊伟，气派大方，甚宜殿堂陈设，故雍正乾隆两朝颇得皇家喜爱，广为流行，是为清宫最尊贵器形之一。北京故宫博物院所藏之“粉彩百鹿图鹿头尊”、“青花釉里红缠枝莲纹鹿头尊”均是旷世名品。此鹿头尊线条优美饱满，青花亮丽雋美，胎釉莹白温润，以夔龙为耳，口沿饰团寿纹一周，主题纹饰为三重缠枝莲花纹，留白得当，构图虽繁缛而不失疏朗，画工细致认真，堪称乾隆御瓷少见之重器。

参考：北京保利国际拍卖有限公司
2015-06-06 北京保利2015春季拍卖会
清乾隆御制紫檀百宝嵌屏风，宫廷艺术与重要瓷器、玉器、工艺品
6463 清乾隆 青花折枝花果梅瓶

拍品信息
尺寸 高32cm
估价 RMB 　5,000,000-8,000,000
成交价 RMB 　6,440,000 HKD 　8,039,950USD 　966,000EUR 　708,400
大清乾隆年制款

说明 此件梅瓶小口，短颈，丰肩，敛腹，圈足，通体青花为饰，口沿为折枝花卉纹，颈部为变形莲瓣纹，腹部绘折枝莲花、石榴、桃、柿子等花果纹，足墙绘蕉叶纹一周，每层纹饰间以青花弦纹，外底青花书大清乾隆年制六字三行篆书款，字体书写略显朴拙，为典型乾隆早期款识写法。与本公司2011年6月5日所售一件清乾隆黄地青花折枝花果梅瓶款识书写方法一致。

清宫内府典藏丰富的宣窑佳作，以致雍干二帝有着常人无法比拟的优势去领略宣窑之风采，从而对宣窑各方面的艺术成就取得深刻的认识，感悟更在古人之上。如此所凝积的美学思想使得他们由钦慕古物转入摹古抒情之际，更具独特的艺术视野，往往撷其最精华之处组合化裁，既保留经典元素，又另见新意。本品当是其中之经典佳例。

此器造型、纹饰均仿明宣德青花而作。此类官窑据《乾隆记事档》记载，为乾隆三年（1738）御窑厂奉旨而烧的仿宣窑青花之一。原文为：六月二十五日：七品首领萨木哈、催总白世秀来说，太监高玉交……宣窑青花梅瓶一件，宣窑青花三果梅瓶一件……传旨：交与焼造磁器处唐英照样焼造。后数十年再无烧造青花梅瓶之上旨，可见唐窑承命摹制宣窑梅瓶，为乾隆青花瓷器中上佳之品，是乾隆青花梅瓶的重要代表作品。梅瓶是乾隆朝经典的陈设御瓷，品类多样，装饰丰富，而且量少而质精，其中青花一项多为摹古之作，折枝花果纹为其经典题材。北京故宫博物院藏有一例，著录于《故宫博物院藏文物珍品大系-青花釉里红（下）》，页130。另一例我张宗宪之旧藏，1993年曾于伦敦佳士得展出，展览目录第86号。1991年10月29日于香港苏富比拍卖，lot 164。

备注：比利时藏家旧藏

参考：中国国家博物馆
清 瓷器藏品赏析青花折枝花果纹梅瓶

清 陈设品
高31.5厘米 口径7.2厘米 足径13.5厘米

瓶小口，短颈，丰肩，长圆腹，圈足。器青花装饰，颈部为花卉纹，肩部为莲瓣纹，腹部为折枝花果纹，呈春华秋实状，有的鲜花绽放，有的果实累累。外底青花书“大清乾隆年制”六字三行篆书款。

此器造型和纹饰均仿明宣德青花器，造型优美，纹饰生动，线条流畅。梅瓶为乾隆时期的典型器，有青花、釉里红等品种。

参考：清乾隆 青花折技花果纹梅瓶

款识：“大清乾隆年制”，高32.3cm

此件梅瓶器形端正，青花发色青翠亮丽。外壁错落绘折枝桃实、荔枝及石榴等“三多”纹饰，每种花果之间点缀折枝花卉，颈部均饰一周十字花卉纹，肩部及足圈饰蕉叶纹，绘工精细，果实饱满，花盛叶蔓，生机勃勃，其青花翠丽，略有晕散，绘工精细，尚有雍正仿明代“宣青”遗风。底书“大清乾隆年製”六字三行篆书款。三果纹又称三多纹，为传统吉祥纹饰，典故源于《庄子 · 外篇 · 天地》：尧观于华封，华封人曰：请祝圣人，使圣人寿，使圣人福，使圣人多男子。即多寿、多福、多子之意，亦称福寿三多。

梅瓶原是用于盛酒的容器，所以大多有盅形盖，考古学中梅瓶与锡製酒壶、酒杯等一同出现，明代中期后，用途有所改变，成为文人墨客几案上插花的花瓶，《陶雅》中就有“古以瓶貯就，今以瓶插花”一说。故清时梅瓶大多无盖。此类官窑据《乾隆记事档》记载，为乾隆三年（1738）御窑厂奉旨而烧的“仿宣窑青花”之一。原文为：“六月二十五日：七品首领萨木哈、催总白世秀来说，太监高玉交……宣窑青花梅瓶一件，宣窑青花三果梅瓶一件……传旨：交与焼造磁器处唐英照样焼造。”后数十年再无烧造青花梅瓶之上旨，可见唐窑承命摹製宣窑梅瓶，为乾隆青花瓷器中上佳之品，是乾隆青花梅瓶的重要代表作品。

梅瓶是乾隆朝经典的陈设御瓷，品类多样，装饰丰富，而且量少而质精，其中青花一项多为摹古之作，折枝花果纹为其经典题材。

参阅：《故宫博物院藏文物珍品大系》青花釉里红（下）P130

备注：张永珍博士藏
RMB 9,020,000

参考：北京翰海拍卖有限公司
2011春季拍卖会 2011-05-19
翰海重要书画古董夜场
2336 清乾隆 青花折枝花果纹梅瓶

尺寸 高32cm
估价 RMB 　8,000,000-12,000,000
成交价 RMB 　23,000,000 HKD 　27,479,092USD 　3,450,000EUR 　2,530,000

“大清乾隆年制”篆书款
说明 竞投本件拍品，需办理特别竞买号牌

参阅
《故宫博物院藏文物珍品大系》青花釉里红（下）P130

此件梅瓶器形端正，青花发色青翠亮丽。外壁错落绘折枝桃实、荔枝及石榴等“三多”纹饰，每种花果之间点缀折枝花卉，颈部均饰一周十字花卉纹，肩部及足圈饰蕉叶纹，绘工精细，果实饱满，花盛叶蔓，生机勃勃，其青花翠丽，略有晕散，绘工精细，尚有雍正仿明代“宣青”遗风。底书“大清乾隆年制”六字三行篆书款。三果纹又称三多纹，为传统吉祥纹饰，典故源于《庄子 · 外篇 · 天地》：尧观于华封，华封人曰：请祝圣人，使圣人寿，使圣人福，使圣人多男子。即多寿、多福、多子之意，亦称福寿三多。

梅瓶原是用于盛酒的容器，所以大多有盅形盖，考古学中梅瓶与锡制酒壶、酒杯等一同出现，明代中期后，用途有所改变，成为文人墨客几案上插花的花瓶，《陶雅》中就有“古以瓶贮就，今以瓶插花”一说。故清时梅瓶大多无盖。此类官窑据《乾隆记事档》记载，为乾隆三年（1738）御窑厂奉旨而烧的“仿宣窑青花”之一。原文为：“六月二十五日：七品首领萨木哈、催总白世秀来说，太监高玉交……宣窑青花梅瓶一件，宣窑青花三果梅瓶一件……传旨：交与焼造磁器处唐英照样焼造。”后数十年再无烧造青花梅瓶之上旨，可见唐窑承命摹制宣窑梅瓶，为乾隆青花瓷器中上佳之品，是乾隆青花梅瓶的重要代表作品。

梅瓶是乾隆朝经典的陈设御瓷，品类多样，装饰丰富，而且量少而质精，其中青花一项多为摹古之作，折枝花果纹为其经典题材。

参考：东京中央（香港）
2017秋季拍卖会
中国重要瓷器及艺术品
清乾隆 青花折枝花果纹梅瓶

估价：6,000,000-8,000,000 HKD
成交价： 7,475,000 HKD （含买家佣金）
尺寸：高32.5cm

拍品说明：
“大清乾隆年制”款 来源：欧洲旧蔵。参阅：《故宫博物院藏文物珍品全集•青花釉里红（下）》，商务印书馆（香港）有限公司，131页，图版117学者许之衡在《饮流斋说瓷》一书中对梅瓶描述到“梅瓶口细而颈短、肩极宽博，至胫稍狭，抵于足微丰，口径之小仅与梅之骨相称，故名梅瓶。”梅瓶最早出现于唐代，宋辽时期较为流行，并出现了许多新品种。到了明清，御窑厂大量制造各式梅瓶，造型越发优美，有的用来盛酒，供皇帝使用，有的成了宫廷陈设品，供人欣赏。此件青花梅瓶器型端庄大气，瓶小口、短颈、丰肩、腹以下渐收敛，圈足。青花色泽青翠靓丽。外壁错落绘折枝桃实、荔枝、石榴等“三多”纹饰。分别寓意多福、多寿、多子。为传统吉祥纹饰。此纹饰源于典故《庄子•外篇•天地》：尧观于华封，华封人曰：请祝圣人，使圣人寿，使圣人福，使圣人多男子。即多寿、多福、多子之意，亦称福寿三多。多为寿桃、石榴、佛手或枇杷等，寿桃寓意“长寿”，石榴寓意“榴开百子”。花果之间皆以折枝花卉纹点缀，颈部饰一周十字花卉纹，颈肩相连处绘莲瓣纹，近足处一周绘蕉叶纹。瓶身所绘果实饱满、绘工精细，各色花卉枝蔓柔美、风姿妙曼，生机勃勃，充分体现了乾隆盛世宫廷之高超技术水准，青花之神韵一览无遗。瓶底心书“大清乾隆年制”六字三行篆书款，工整端庄。

参考：佳士得 拍賣 12249
中國瓷器及工藝精品
倫敦|2016年11月8日
拍品70 大清雍正 明式 青花三多纹梅瓶
A MING-STYLE BLUE AND WHITE MEIPING
YONGZHENG PERIOD (1723-1735)

成交總額 GBP 52,500
估價 GBP 8,000 – GBP 12,000

A MING-STYLE BLUE AND WHITE MEIPING
YONGZHENG PERIOD (1723-1735)
The body is painted with various fruit and flower sprays including lychee, pomegranate, and peach between a band of lotus lappets on the shoulder and upright plantain leaves above the foot. The base is unglazed.
8 ½in. (21.5cm) high

來源
Christie’s Hong Kong, 26 & 27 September 1989, Lot 649