拍賣筆記 vol.167 佳士得香港：清雍正青花波濤九龍紋天球瓶 - A Yongzheng Period Blue And White ‘Nine Dragons’ Vase, Tianqiuping
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此件天球瓶體量碩大，極為罕見，融合明清兩朝御窯青花瓷之精髓。胎體堅實渾厚，青花九龍紋繪飾生動而極富氣勢，彰顯雍正時期之精妙與創意。目前僅見一例類似之作品，即天津博物館所藏之青花九龍紋天球瓶，裝飾風格與構圖方式相近，且口沿下亦有雍正六字橫書款識。
此件雍正年款之天球瓶即為一典例。其裝飾風格承襲十五世紀初期之典雅韻味，又融入清宮的細膩筆法。該器曾為美國外交官舊藏，後於1912年經美國藝術協會（American Art Association）拍賣釋出。瓶身繪有三爪與五爪九龍逐珠，間以火焰流動紋飾。瓶身下方波浪紋奔騰翻涌，瓶頸亦飾有類似的波浪紋。龍鱗層層叠繪，以不同濃淡的青花藍作明暗表現，體現御窯卓越的繪畫工藝。記載之惟一與此相近例為天津博物館藏之青花龍紋天球瓶，可能原與本例為一對，此天球瓶應為流通市場之孤品，極其珍罕。
九龍形態各異，雄健威儀，龍首刻畫得甚為兇猛，象徵皇權威不可犯。 「九龍」 紋飾暗合《易經》 「九五至尊」 之意，皇權震懾之力巧妙凝聚於傳統紋飾之中。
清雍正 青花波濤九龍紋天球瓶 「大清雍正年製」
青花六字橫書款，
雍正本朝（1723-1735）
高：20 3⁄8 吋（51.5 公分）
估價：港元 70,000,000 – 港元 90,000,000
來源：
赫伯特·G·史桂爾（Herbert G. Squiers，1859-1911）舊藏 美
國藝術協會紐約專場拍賣《赫伯特·G·史桂爾遺珍》，1912年4月9-12日，拍品號526
約翰·B·特雷弗（John B. Trevor，1878-1956）舊藏
約翰·B·特雷弗二世（John B. Trevor Jr.，1909-2006）舊藏
美國私人藏家收藏；1990年3月20日佳士得香港拍賣，拍品號593
出版記錄：
《佳士得香港二十年：中國瓷器與工藝精品》，香港，2006年，第134-135頁
此件天球瓶體量碩大，極為罕見，融合明清兩朝御窯青花瓷之精髓。胎體堅實渾厚，青花九龍紋繪飾生動而極富氣勢，彰顯雍正時期之精妙與創意。目前僅見一例類似之作品，即天津博物館所藏之青花九龍紋天球瓶，裝飾風格與構圖方式相近，且口沿下亦有雍正六字橫書款識（圖一）。
此瓶設計明顯汲取明代器形，融合清朝宮廷審美的創新，特別體現在器形與龍紋描繪上。與一般單龍紋球瓶不同，此瓶構圖獨特，四龍三爪，五龍五爪，各具姿態，穿行於烈焰翻騰之波濤間，生動逼真，動感十足。
瓶上某些龍紋可溯源至明代。瓶上具象鼻之三爪龍形象，明顯取法宣德與成化兩朝之龍紋，例如台北展覽之成化鬥彩摩羯龍紋罐可作比較（參見《成化瓷器特展圖錄》，台北，2003年，第127頁，編號113，圖二）。此外，瓶上雙翼龍紋亦可與北京故宮博物院藏成化青花盤中央主紋進行比較（見《故宮博物院藏文物珍品全集：青花釉裡紅（下）》，香港，2000年，第12頁，編號10，圖三）。清宮檔案記載乾隆四十五年八月初五日及嘉慶四年十二月二十八日均有一對仿成化青花九龍紋天球瓶貢入宮廷，現藏品與天津博物館之例極可能即為檔案所記此對器物。
此外，該瓶不僅沿襲明代龍紋，亦體現清初龍紋強健威猛的藝術風格。瓶上昂首騰龍與台北故宮博物院所藏康熙款青花盤（館藏號：中瓷002947N）之龍紋極為相似（圖四）。諸龍神態皆充滿動感，正是雍正時期藝術的典型表現，可參照2023年11月30日佳士得香港拍賣一件雍正款青花礬紅單龍紋天球瓶（拍品號2840，圖五）。
該瓶藝術風格之傳承脈絡更凸顯其歷史價值，並成為後代仿製之典範。據《清檔》記載，乾隆三年（1738年），曾命工匠以康熙、雍正年間御窯精品為範本仿燒，其中即包括一件「宣德樣式青花龍紋天球瓶」。此記載與一件乾隆時期類似青花九龍紋天球瓶實物相符（參見姚永泰及馬丁所著《中國青花瓷》，新加坡，1978年，第34-35頁，圖19，圖六）。
清雍正青花「九龍」天球瓶常見問題
1. 此件雍正「九龍」天球瓶為何極具重要性與價值，其拍賣估價反映了哪些因素？此瓶尺寸宏大，所繪九龍氣勢磅礴、動態十足，風格明顯承襲明代及清初御窯傳統，尤與宣德、成化及康熙朝瓷器風格相互呼應。其來源顯赫，歷經多位重要藏家收藏，且曾錄載於學術出版物之中，進一步彰顯其歷史與藝術價值，因而估價高達港幣七千萬至九千萬元。
2. 此瓶如何展現明清瓷藝風格之融合？器形承襲明代天球瓶的典型式樣，龍紋則展現清代宮廷器物精緻繁麗之風。瓶上數條龍之形象可追溯至明代，如象鼻狀三爪龍及翼龍皆見於宣德、成化時期器物；而其餘龍紋則以氣勢雄健、動感強烈為特色，反映康熙朝御瓷的動態美學，充分體現雍正時期對歷代風格之精煉與再創造。
3. 此瓶龍紋構圖與一般類似天球瓶有何不同？一般天球瓶多飾單龍環繞，此瓶則獨創九龍環繞之複雜構圖，包含四條三爪龍與五條五爪龍。各龍姿態各異，盤旋於火焰與海濤之間，極具律動感與生命力。其豐富變化與多層次布局，遠非一般單龍裝飾可比。
4. 可否具體指出其所承襲之明代龍紋風格？據資料指出，此瓶之三爪象鼻龍可與宣德、成化時期所見龍紋相對應，而翼龍則與成化青花盤所飾龍形頗為相似，顯示雍正御窯工匠有意參考並轉化明代皇室瓷器圖樣，體現其對歷史風格的深刻理解與創新詮釋。
5. 是否有與本瓶相近之例可資比較？據記載，僅天津博物館藏有一件與此瓶極為相近之青花九龍天球瓶，亦為雍正款識。清宮檔案亦記載，乾隆與嘉慶年間曾進呈兩件仿成化風格的青花九龍天球瓶，極有可能即為此瓶與天津所藏者一對。
6. 此瓶之龍紋風格如何體現雍正時期的藝術特質？瓶上群龍姿態靈動、神態威猛，充分展現雍正時期重視細節與動感之審美傾向。其線條流暢，姿勢富於變化，與2023年成交的一件雍正青花礬紅單龍天球瓶有著相似的生動張力，為該時期典型風格之佳例。
7. 此瓶是否曾為後代御瓷之典範？根據清代檔案，乾隆年間曾命匠人依據康熙與雍正朝瓷器製作仿品，其中包括「仿宣德青花放大龍紋天球瓶」，顯示本器之造型與裝飾風格深具典範性。亦有一件乾隆青花九龍天球瓶風格相近，可為其影響後世之實證。
8. 此件九龍天球瓶有何收藏來源？本瓶收藏歷程明確，最早為美國外交官賀伯特·G·斯奎爾（Herbert G. Squiers）所有，1912年於紐約出售，後由約翰·B·特雷弗（John B. Trevor）及其子收藏，之後轉入美國私人收藏家之手，並於1990年於香港佳士得拍賣。此清晰之傳承脈絡，亦大幅提升其歷史價值與市場吸引力。
A FINE AND EXTREMELY RARE LARGE BLUE AND WHITE ‘NINE DRAGONS’ VASE, TIANQIUPING
YONGZHENG SIX-CHARACTER MARK IN UNDERGLAZE BLUE IN A LINE AND OF THE PERIOD (1723-1735)
Estimate
HKD 70,000,000 – HKD 90,000,000
20 3⁄8 in. (51.5 cm.) high
PROVENANCE
Herbert G. Squiers (1859-1911) collection
Sold at The American Art Association, New York, The Noteworthy Collection formed by the late Herbert G. Squiers, 9-12 April 1912, lot 526
John B. Trevor (1878-1956) collection
John B. Trevor Jr. (1909-2006) collection
The property of an American gentleman; sold at Christie’s Hong Kong, 20 March 1990, lot 593
LITERATURE
Christie’s, Christie’s 20 Years in Hong Kong: Chinese Ceramics and Works of Art Highlights, Hong Kong, 2006, pp. 134- 135
This exceptionally rare tianqiuping exemplifies the distinctive characteristics and essence of both Ming and Qing imperial porcelains at its finest, with its robustly potted body and vibrantly painted nine dragons, showcasing the refinement and creativity. Only one other similar tianqiuping is known, also decorated with nine dragons in a comparable style, arrangement and bears a six-character Yongzheng mark on the neck below the mouth rim, is in the collection of the Tianjing Museum, illustrated on its official website (fig. 1).
The present vase draws inspiration from Ming prototypes while integrating stylistic developments and aesthetics of the Qing imperial court, particularly evident in its form and dragon depictions. Unlike typical globular vases featuring a solitary dragon, this vase presents an extraordinary composition of four three-clawed dragons alongside five five-clawed dragons, each with distinct features and dynamic postures writhing amidst flames and crashing waves, emphasising movement and vitality.
The iconography of certain dragons can be traced to Ming precedents. The three-clawed dragon with an elephantine nose on the present vase bears resemblance to dragons from both Xuande and Chenghua periods; see the makara dragon on a Chenghua doucai jar, illustrated in Catalogue of the Special Exhibition of Ch’eng Hua Porcelain Ware, 1465-1487, Taipei, 2003, p. 127, no. 113. (fig. 2). For the two winged dragons, comparison can be made to a Chenghua blue and white dish decorated with a similar dragon in the center as the main motif, illustrated in The Complete Collection of Treasures of the Palace Museum, Blue and White Porcelains with Underglaze Red (II), Hong Kong, 2000, p. 12, no. 10 (fig. 3). Historical records from the Qing court's tribute list indicate that on the 5th day of the 8th month in the 45th year of the Qianlong reign, and again on the 28th day of the 12th month in the 4th year of the Jiaqing reign, a pair of blue and white 'nine-dragon' tianqiuping was sent to the court, described as emulating the Chenghua style of the Ming dynasty. It is highly plausible that the present vase, in conjunction with the Tianjing Museum vase, constitutes this referenced pair.
In addition to its emulation of Ming dragon motifs, the present vase also embodies the strength and power of early Qing dragons. The uprising dragon bears a striking similitudes to one on a Kangxi-marked blue and white dish in the collection of the National Palace Museum, Taipei, collection number: zhongci002947N (fig. 4). The expression of all dragons are imbued with a remarkable dynamism, an emblem of the Yongzheng period. This can be further compared to a Yongzheng-marked tianqiuping decorated in both underglaze blue and iron-red with a single sinuous three-clawed dragons, sold at Christie’s Hong Kong, 30 November 2023, lot 2840 (fig. 5).
Furthermore, the stylistic lineage of the present vase underscores the vase’s importance and served as a canonical model for later emulation. According to Qing Dang (Qing Archives), in the third year of the Qianlong reign (1738), exemplary porcelains of Kangxi and Yongzheng periods were presented to the court- among them, “a single Xuande-style blue and white tianqiuping painted with enlarged dragon motifs” was submitted for the explicit purpose of commissioning similar works. This archival record finds direct corroboration in a closely comparable Qianlong blue and white tianqiuping painted with nine dragons, illustrated by Yeo and Martin, Chinese Blue and White Ceramics, Singapore, 1978, pp. 34-35, fig. 19 (fig. 6).
Frequently Asked Questions: Qing Yongzheng Blue and White 'Nine Dragons' Tianqiuping
1. What makes this Qing Yongzheng 'Nine Dragons' Tianqiuping so significant and valuable, as reflected in its auction estimate? This Tianqiuping is exceptionally rare due to its large size, the impressive and dynamic depiction of nine dragons, and its clear stylistic links to both Ming and early Qing imperial porcelain traditions, particularly the reigns of Xuande, Chenghua, and Kangxi. Its provenance from prominent collections and inclusion in scholarly publications further enhance its historical and artistic value, justifying its high auction estimate of HKD 70,000,000 – HKD 90,000,000.
2. How does this Yongzheng vase showcase a blend of Ming and Qing porcelain characteristics? The vase's form is inspired by Ming dynasty Tianqiuping shapes, while the detailed and vigorous depiction of the dragons reflects the Qing imperial aesthetic. Specifically, certain dragon motifs, such as the three-clawed dragon with an elephantine nose and the winged dragons, can be traced back to Ming periods like Xuande and Chenghua. Simultaneously, the powerful and dynamic posture of other dragons echoes the style seen in early Qing, particularly Kangxi, porcelain.
3. What is unique about the dragon composition on this Tianqiuping compared to other similar vases? Unlike typical globular vases featuring a single dragon, this Tianqiuping displays a complex and unusual arrangement of nine dragons: four with three claws and five with five claws. Each dragon is rendered in a distinct pose, writhing amidst depictions of flames and crashing waves, creating a strong sense of movement and vitality. This composition is notably different from vases with solitary dragon designs.
4. Can the specific Ming dynasty influences on the dragon motifs be identified? Yes, the source explicitly mentions connections to Ming dynasty dragon iconography. The three-clawed dragon with an elephantine nose is likened to dragons from the Xuande and Chenghua periods. Additionally, the depiction of the winged dragons bears resemblance to those found on Chenghua blue and white dishes. These comparisons highlight the Yongzheng potters' deliberate referencing of earlier imperial styles.
5. Does this Tianqiuping have any known counterparts or related examples? The text mentions that only one other similar Tianqiuping with a comparable nine-dragon design and a Yongzheng mark is known, which is housed in the Tianjin Museum. Furthermore, Qing court records suggest that a pair of blue and white 'nine-dragon' Tianqiuping emulating the Chenghua style were presented to the court during the Qianlong and Jiaqing reigns, and it is highly probable that this vase and the Tianjin Museum example constitute that pair.
6. How does the style of the dragons on this vase reflect the artistic trends of the Yongzheng period? The dragons on this Tianqiuping are characterized by their dynamism and expressive postures, which are hallmarks of Yongzheng-era artistic expression. This vitality can be seen in the writhing bodies, fierce expressions, and overall sense of movement. This is further emphasized by comparison to another Yongzheng blue and white and iron-red single dragon Tianqiuping sold in 2023, which shares a similar energetic quality.
7. Did this Yongzheng Tianqiuping serve as a model for later imperial porcelain production? Yes, the source indicates that this vase's artistic style was so influential that it became a model for later emulation. Qing archival records from the Qianlong reign mention that Kangxi and Yongzheng imperial porcelains, including a "Xuande-style blue and white tianqiuping painted with enlarged dragon motifs," were presented to artisans as exemplars for reproduction. A closely related Qianlong blue and white nine-dragon Tianqiuping further supports this evidence of its lasting impact.
8. What is the provenance of this particular 'Nine Dragons' Tianqiuping? This Tianqiuping has a well-documented history of ownership, tracing back to Herbert G. Squiers (American diplomat) whose collection was sold in New York in 1912. It subsequently belonged to John B. Trevor and his son, John B. Trevor Jr., before being acquired by an American private collector. It was later sold at Christie's Hong Kong in 1990. This detailed provenance adds to its historical significance and desirability among collectors.
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