拍賣筆記 vol.108 卡內基博物館：清雍正洋彩胭脂紅地九秋同慶紋小盃，104.41萬美元售出 - Carnegie Museum, A Fine And Extremely Rare Imperial Ruby-Ground 'Yangcai' 'Floral' Cup, Yongzheng Yuzhi Mark And Period

爭奪激烈，傳承顯赫，104.14萬美金售出。

估價

200,000 - 300,000 USD

104.14萬美元售出

384號牌

Diameter 2¾ in., 7 cm

出處

喬治•哈撒韋•泰貝（1859-1940）收藏，1935年之前，此後家族傳承

贈予卡內基美術館，匹茲堡，1955年（館藏編號55.47.7）

展出

《Far Eastern Art, a Memorial Exhibition from the Collection of George H. Taber》，卡內基美術館，匹茲堡，1958年

此盃為雍正御製瓷器中極為稀見且品質卓越的一例，以深紅地彩繪精細的琺瑯花卉紋飾，底署「雍正御製」款識。

「御製」款識最早出現在康熙朝晚期（1662–1722）的北京宮廷琺瑯作坊，表明器物為帝王御用，相較常見的「年製」款而言，透露出器物與宮廷更為密切的關係，因此備受收藏家珍視。康熙、雍正年間琺瑯瓷器上的御製款多以粉彩或藍彩燒製，而此盃款識則極為特殊，以景德鎮燒製的釉下青花書寫。由於有幾乎相同器形及紋飾的瓷碗署釉下青花「年製」款，學界一直對於此類御製款瓷器之燒製地點與製作流程存在爭議。一種觀點認為，此類御製款瓷或許在景德鎮先燒成素胎及款識後，再運往北京進行琺瑯彩繪。然而，更有可能的是，這類瓷器實為景德鎮嘗試直接模仿北京琺瑯器物的一種先鋒之作。Hugh Moss在其經典研究《奉旨琺瑯》（By Imperial Command, 香港，1976年，頁82）中指出，此類器物的琺瑯色調亦支持其景德鎮燒製的可能，因為即使在粉彩（famille rose）已經出現後，景德鎮御窯仍延續了康熙時代的青綠色調風格，直至雍正朝中期仍未改變。

如此精巧尺寸與裝飾風格的杯盞存世極少。不同於雍正朝多數琺瑯瓷的紋飾皆承襲康熙年間既有之圖樣，本盃的設計則顯得獨特且前所未見，堪稱雍正朝獨創的創新之作。可參考臺北國立故宮博物院所藏一對尺寸及裝飾完全相同的杯子，載於《華麗彩瓷：乾隆洋彩》，臺北，2013年，圖錄編號22；另有一例珊瑚紅地相似紋飾的器物，曾於1995年10月30日香港佳士得拍賣，編號717；以及一件近乎完全相同但署「年製」款的杯子，來自趙從衍家族基金會舊藏，曾刊於《趙從衍家族基金會藏明清瓷器》，香港藝術館，1978年，圖錄編號99，先後於1997年4月27日（編號55）與2008年4月11日（編號3022）在佳士得香港拍賣（圖1）。

此外，尚存另一種稍為常見（但仍十分稀有）的變體，以直接取材自康熙時代樣本的花卉紋飾為基礎，雍正年間亦有不同尺寸之例子留存。英國大英博物館藏有一件此類稍大、署御製款的碗，刊於Hugh Moss，同上著錄，圖版5；倫敦維多利亞與艾伯特博物館藏另一件更大尺寸的同類器物，刊於柯玫瑰（Rose Kerr）《中國陶瓷：清代瓷器》，倫敦，1986年，圖版93；而北京故宮博物院則保存有一件康熙御製原型，載於《康熙雍正乾隆故宮珍藏清代瓷器圖錄》，香港，1989年，頁104，圖版87。

PROPERTY FROM CARNEGIE MUSEUM OF ART, SOLD TO BENEFIT THE ACQUISITION FUND

A fine and extremely rare imperial ruby-ground 'yangcai' 'floral' cup, Yongzheng yuzhi mark and period

Estimate

200,000 - 300,000 USD

Description

the base with a four-character yuzhi mark in underglaze blue within a double square

Diameter 2¾ in., 7 cm

Condition Report

Provenance

Collection of George Hathaway Taber (1859-1940), prior to 1935, and thence by descent.

Gifted to the Carnegie Museum of Art, Pittsburgh, 1955 (accession no. 55.47.7).

Exhibited

Far Eastern Art, a Memorial Exhibition from the Collection of George H. Taber, Carnegie Museum of Art, Pittsburgh, 1958.

Catalogue Note

This cup is a rare and exceptionally fine example of a much coveted group of vessels, with delicate floral designs in enamel on dark red grounds, bearing the yuzhi mark of the Yongzheng Emperor.

This mark, indicating a piece was made 'for the imperial use,' was first employed in the imperial enameling workshops of Beijing during the final years of the Kangxi reign (1662–1722). Indicating a closer relationship to the imperial court than the more common nianzhi [made in the years of…] mark, pieces bearing a yuzhi mark are exceedingly rare and coveted by collectors. Unlike the more typical pink or blue enamel yuzhi marks of the Kangxi and Yongzheng reigns, however, the present example has been rendered in underglaze cobalt blue, presumably at the imperial kilns of Jingdezhen. With almost identical bowls attested with underglaze-blue nianzhi marks, the question of these yuzhi pieces continues to be debated in the scholarship. It has been suggested by some that these bowls were first fired with just their mark at Jingdezhen before being sent to Beijing to be enameled. More likely, however, this group simply represents an early cutting-edge attempt to imitate Beijing enamels directly in Jingdezhen. In his seminal work on the topic of painted enamels, Hugh Moss argues that the enamel palette of this group also supports their Jingdezhen origin, as the imperial potteries continued to follow the verdant style of the Kangxi period well into the Yongzheng reign even following the advent of famille rose enamels; see Hugh Moss, By Imperial Command, Hong Kong, 1976, p. 82. 

Cups of this specific decoration and miniature size are extremely rare. Unlike most other enamel designs of this period which closely follow designs already embraced by the Kangxi court, the present design appears to have no antecedent and represents a truly novel Yongzheng innovation. Compare a pair of this size and design, preserved in the National Palace Museum, Taipei, illustrated in Porcelain with Painted Enamels of Qing Yongzheng Period (1723–1735), Taipei, 2013, cat. no. 22; another, featuring the design on a coral ground, sold at Christie’s Hong Kong, 30th October 1995, lot 717; and another almost identical cup but with a nianzhi mark, from the collection of the T. Y. Chao Family Foundation, included in Ming and Ch’ing Porcelain from the Collection of T.Y. Chao Family Foundation, Hong Kong Museum of Art, Hong Kong, 1978, cat. no. 99, sold at Christie’s Hong Kong, 27th April 1997, lot 55, and again in our Hong Kong rooms, 11th April 2008, lot 3022 (Fig. 1).

A slightly more common, though still extremely rare, variation of this floral design – derived directly from a Kangxi prototype – is also attested on Yongzheng period bowls of various sizes. Compare a slightly larger yuzhi-marked bowl of the latter design in the British Museum, London, illustrated in Hugh Moss, op. cit., pl. 5; another, larger still, preserved in the Victoria and Albert Museum, London, illustrated by Rose Kerr in Chinese Ceramics. Porcelain of the Qing Dynasty, London, 1986, pl. 93; and a Kangxi yuzhi prototype in the Palace Museum, Beijing, published in Kangxi, Yongzheng, Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p. 104, pl. 87.