此盃造型曲線柔和溫潤。盃體優雅地倚托於纖巧臥足之上，誘人輕握，其器形與明代成化時期著名的「雞缸盃」頗為近似，後者侈口臥足的精巧造型至今仍令收藏家為之傾心。除上述台北故宮所藏盃型相近之例以外，康𤋮時期此種形制的琺瑯彩盃僮見寥麥數例。
「不勝清宮御器典雅與技藝精湛之絕妙融合，此件琺瑯彩盃堪稱御瓷中絕少且至臻之例。盃底的「康熙御製」刻款昭示其不凡出身，娓娓道來一段交織著卓絕工藝、藝術匠心與皇家情懷的傳奇故事。」
估价
600,000 - 1,200,000 HKD
爭奪激烈，很快到350萬，這件非常罕見，特別是刻款的精細程度，可能是存世唯一。司徒何偉懷疑這類曾經是在實驗上色，無論如何，如此精細的款，讓人深思，也是極具藝術、歷史、研究價值的一件獨特的器物。
620萬的時候，電話要求650被henry再次嚴詞拒絕，650，700一直堅持，這件雖然有v型小修，但是整體的氣質和珍惜程度依然獨特。720萬落槌。
成交：864萬港元
no.144
來源：
芭芭拉 • 赫頓（1912-79年）收藏
香港蘇富比1976年11月29日，編號611
小聽颿樓收藏，香港，此後家族傳承
展覽：
《The Barbara Hutton Collection of Chinese
Porcelain 》，檀香山藝術學院，檀香山，1956年，圖版X
《中國文物集珍：敏求精舍銀禧紀念展覽》，香港藝術
館，香港，1985年，編號169
《鬥彩：明清彩瓷裝飾及涵義》，賽克勒美術館，華盛頓特區，1993年，編號22
出版：
潘祖堯，《現實中的夢想：建築師潘祖堯的心路歷程
1968-1998》，北京，1999年，頁217（左下）
finely potted with deep, gently rounded sides rising from a countersunk base, the exterior exquisitely painted in thick opaque enamels with four exotic peony blooms, the golden yellow petals and leaves delicately shaded in lime green and orange red, the center of flowers further stippled with blue enamel, all reserved on a rich ruby enamel ground, the interior and base glazed white, the latter engraved with a four-character mark reading Kangxi yuzhi ('made by imperial command of the Kangxi emperor')
d. 5.2 cm
PROVENANCE
Collection of Barbara Hutton (1912-79).
Sotheby's Hong Kong, 29th November 1976, lot 611.
The Canton Collection, Hong Kong, and thence by family descent.
EXHIBITED
The Barbara Hutton Collection of Chinese Porcelain, Honolulu Academy of Arts, Honolulu, 1956, pl. XI.
Anthology of Chinese Art: Min Chiu Society Silver Jubilee Exhibition, Hong Kong Museum of Art, Hong Kong, 1985, cat. no. 169.
Joined Colors: Decoration and Meaning in Chinese Porcelain, Ceramics from Collectors in the Min Chiu Society, Hong Kong, Arthur M. Sackler Gallery, Washington, D.C., 1993, cat. no.22
LITERATURE
Ronald Poon, The Dream in Reality: Ronald Poon 1968-1998,
Beijing, 1999, p. 217 (bottom left).
HK$ 600,000-1,200,000
US$ 51,500-154,000
小聽颿樓其他拍品：
御瓷創新
康𤋮早期琺瑯彩盃
不勝清宮御器典雅與技葵精湛之絕妙融合，此件琺瑯彩盃堪稱御瓷中絕少且至臻之例。盃底的「康熙御製」刻款昭示其不凡出身，娓娓道來一段交織著卓絕工藝、藝術匠心與皇家情懷的傳奇故事。
集學者、科學家、與君主為一身的康熙皇帝（1662-1722年在位）乃葵術的篤信擁躉。他不僅大力支持御作坊，更以其卓絕品味、前瞻眼光及不竭創意，推動中國陶瓷藝臻巔峰。「琺瑯」一詞或為「foreign」（外來）之音譯，琺瑯彩最早於十七世紀八十年代初入清廷，時由歐洲傅教士以法國畫琺瑯器為禮物進貢清廷。此類熗於銅胎器上之瑰龎琺瑯彩飾，色澤絢爛，迅即獲得了康熙皇帝的青睞。聖祖遂命宮廷造辦處法仿學照造，尤其運用於御窑瓷器之上，成就別樣風華。
「不勝清宮御器典雅與技藝精湛之絕妙融合，此件琺瑯彩盃堪稱御瓷中絕少且至臻之例。盃底的「康熙御製」刻款昭示其不凡出身，娓娓道來一段交織著卓絕工藝、藝術匠心與皇家情懷的傳奇故事。」
儘管景德鎮官窰在瓷器上使用較為簡單的彩繪裝飾已有數百年歷史，但這些琺瑯彩新技術所呈現出的色彩斑斕、精緻如畫的複雜紋飾，另御窑彩瓷再次革新。1693年，京城內已設立琺瑯作，據傳教士畫家馬國賢 (Matteo Ripa ，1682-1746年）書信所述，至 1716年，該作坊己全面運作（參見 George Loehr • <Missionary-Artists at the Manchu Court) • L&M Transactions of the Oriental Ceramic Societyx ， 卷 34•1962-63年，頁55)
此例小盃從各方面皆堪稱藝術集大成之作，乃景德鎮陶工與清宮造辦處畫師通力合作的真實寫照。初由景德鎮工匠在御窑廠精心製坯成型，並施釉於內壁與盃底，而後送至京城，由造辦處琺瑯作的畫師自行探索，繪以富麗堂皇的牡丹紋樣，並加刻御製款識，於紫禁城之內二次燒製，臻於至善。與景德鎮燒製完成的釉上彩瓷不同，造辦處琺瑯作生產的琺瑯彩瓷皆由少數兼具畫師與煉金術士之技藝的能工巧匠悉心打造，此類存世器物件件皆是令人賞心悦目的逸品傑作，此盃亦不例外。其色彩艷麗，卷草紋飾繁複精妙，足見琺瑯工藝之精。盃身以仗金料發色的紫紅作地，乃清宮作坊早期試驗之典型特色。四朵華麗的牡丹花卉環繞盃身，明黃與橙紅交相輝映，其間點綴清雅綠意。
FIG. 1. AN IMPERIAL YELLOW-GROUND FALANGCAI'LOTUS' CUP, YUZHI MARK AND PERIOD OF KANGXI, H. 4.1 CM, COURTESY OF PALACE MUSEUM, TAIPEI, ACCESSION NO. GU CI 8809 / 圖一 清康熙 黃地琺瑯彩纏枝蓮小盃 《康熙御製》款 高4.1公分 台北故宮博物院 藏品編號：故瓷8809
器底鐫刻「康熙御製」年款，永恆昭示其皇家淵源。此四字款意為「依照康熙皇帝旨意所製」，僅見於約三百件由聖祖康熙皇帝親自密切監督下所製的精品器物之上，足証其不凡出身。此類器物往往具賓驗性質，「御製」款識也常以不同顏色和風格呈現。雖然琺瑯彩瓷上的「御製」款多見以藍料或紅料書於雙方框內，然其中部分最為珍罕的早期作品則有異於此規範。參考台北故宮博物院所藏一件形制幾乎相同的小盃（圖一）•盃身黄地，飾三朵纏枝蓮花，底部僅粗略書款於紅色單方框內，或為不通曉漢字的傳教士所書（圖二）；載於《清代畫琺瑯特展目錄》，台北，1979年，圖版15。另見北京故宮博物院所藏一件紫紅地琺瑯彩瓶，該瓶被公認為此類器物中最早期作品之一，瓶底末施釉並刻有「康熙御製」款;載於《故宮博物院藏文物珍品全集：琺瑯彩．粉彩多，香港，1999年，圖版1。
FIG. 2. AN IMPERIAL RUBY-GROUND FALANGCAI'LOTUS' VASE, ENGRAVED YUZHI MARK AND PERIOD OF KANGXI, H. 13.2 CM, COURTESY OF THE PALACE MUSEUM, BEIJING, ACCESSION NO. GU 148249 / 圖二 清康熙 紫紅地琺瑯彩折枝蓮紋瓶 《康熙御製》刻款 高13.2公分 圖片鳴謝：北京故宮博物院 藏品編號：故148249
「器底鐫刻「康熙御製」年款，永恆昭示其皇家淵源。此四字款意為「依照康熙皇帝旨意所製」，僅見於約三百件由聖祖康熙皇帝親自密切監督下所製的精品器物之上，足証其不凡出身。」
此盃造型曲線柔和溫潤。盃體優雅地倚托於纖巧臥足之上，誘人輕握，其器形與明代成化時期著名的「雞缸盃」頗為近似，後者侈口臥足的精巧造型至今仍令收藏家為之傾心。除上述台北故宮所藏盃型相近之例以外，康𤋮時期此種形制的琺瑯彩盃僮見寥麥數例。參考清宮舊藏一件形制相近的琺瑯彩紅地小酒盃，於三面豆綠地開光內描繪牡丹花卉，戰於《故宮博物院藏文物珍品全集：琺瑯彩 • 粉彩》，香港，1999年，圖版9。
「此盃造型曲線柔和溫潤。盃體優雅地倚托於纖巧臥足之上，誘人輕握，其器形與明代成化時期著名的「雞缸盃」頗為近似，後者侈口臥足的精巧造型至今仍令收藏家為之傾心。」
另有 Russell 舊藏、現存於倫敦大英博物館的兩例，器身微侈，見 《lllustrated Catalogue of Qing Enamelled Wares in the Percival David Foundation of Chinese Art多 ，倫敦，1991年，第二部分，直32：以及一例形制相同的琺瑯彩縉紅地白玻璃盃，「康熙御製」藍料款，乃是此類器物的已知唯一一例，同樣出自赫頓舊藏，並奥本例拍品一同於檀香山藝術學院展出，圖錄圖版xl•後售於倫敦蘇富比，1971年7月7日，編號169，刊於《虹影瑤輝：李景勳藏清代玻璃》，香港中文大學文物館，2000年，圖版144。亦可參照台北故宮所藏一對康熙小盃，與本例形制相同，並施以具賓驗性的胭脂紅釉：其一載於《金成旭映：清雍正琺瑯彩瓷》，台北，2013年，頁 310 •圖版29。
此盃系美國零售帝國伍爾洪斯連鎖百貨公司繼承人、慈善家芭芭拉 •赫頓 (Barbara Hutton，1912.79年，圖三）舊藏。身為一位傾心藝術的收藏家，赫頓在 1934年赴中國旅行之際，被中華藝術之精妙深深折服，後在傳奇古董商仇焱之（1910-80年）之協助下，潛心蒐集清代瓷器，盡蓄珍品。其所藏雅器，於1956 年檀香山葵術學院展出，時至今日，仍為全球最為重要之清瓷珍藏之一。然赫頓於1971 年雖將大部分藏品悉數售出，唯此盃等寥寥數件心愛之物，仍為其珍而不捨，直至其辭世前夕。此盃雖小，卻凝聚皇家氣韻，見證其往昔輝煌。斯盃於掌中賞玩，自是令人心生歡悦，別之亦平添幾分感懷。
IMPERIAL INNOVATION:AN EXCEEDINGLY RARE EARLY KANGXI FALANGCAI CUP
A breathtaking fusion of imperial elegance and technical mastery, this falangcai cup numbers among the rarest, most exquisite examples of imperial porcelain ever produced. Bearing the famed Kangxi yuzhi inscription, pieces of this type tell a spellbinding story of technical vision, artistic creativity and imperial passion.
Scholar, scientist, monarch; the Kangxi Emperor (r. 1662- 1722) was a devoted supporter of the arts. Extending his patronage to the imperial workshops, Kangxi used his exacting taste, forward-thinking outlook and indefatigable creativity to push Chinese ceramics to an unprecedented level. Possibly a direct transliteration of the word ‘foreign,’ falang enamels first entered the Qing court in the 1680s in the form of French enamelled wares brought as gifts by European Jesuits. Painted over copper, these luscious enamel designs of vibrant tone soon captivated the Kangxi Emperor who wished to harness their beauty for himself in the Imperial Workshops and, crucially, on imperial porcelain.
“A breathtaking fusion of imperial elegance and technical mastery, this falangcai cup numbers among the rarest, most exquisite examples of imperial porcelain ever produced.”
Although a simpler form of polychrome enamelling on porcelain had been practised for centuries at the imperial kilns in Jingdezhen, the almost unlimited palette of vivid colours and intricate painterly designs offered by these new techniques proved too hard to resist. By 1693, a falang workshop had been established in Beijing and – according to a letter by the Jesuit painter Matteo Ripa (1682- 1746) – was fully functional by 1716 (see George Loehr, ‘Missionary-Artists at the Manchu Court’, Transactions of the Oriental Ceramic Society, vol. 34, 1962-3, p. 55).
The present cup is, in many ways, the ultimate synthesis of two artistic epicentres; a true collaboration between the potters of Jingdezhen and the painters in Beijing. Once the former had thrown and fired the plain porcelain cup out in Jiangxi – strategically glazing just the inner surface and base – the latter were free to experiment, adding the vivid design of regal stylised peonies and an imperial mark to be fired again to perfection in the heart of the Forbidden City. Unlike the fine wares glazed at Jingdezhen, the enamelled wares of Beijing are each truly bespoke treasures. Made individually to order by a small team of artist-cum-alchemists, each extant piece of this remarkable group is a delight to behold. Emerging from these two master workshops, the present cup is no exception, its bold colouration and intricate scrollwork of rare technical brilliance. Dominated by a deep warm crimson ground, whose varied tone – derived from gold – is typical of the earliest imperial experiments, the cup is adorned with four elaborate blooms, meticulously rendered in bold shades of sunny yellow and orange, accentuated with delicate verdant undertones.
“To the base of this exceptional vessel lies inscribed the famous Kangxi yuzhi mark; an eternal sign of the cup’s imperial origins. Literally 'made by imperial command of the Kangxi emperor,’ this four-character mark appears on just three hundred or so surviving pieces of exceptional quality produced under the close supervision of the emperor himself.”
To the base of this exceptional vessel lies inscribed the famous Kangxi yuzhi mark; an eternal sign of the cup’s imperial origins. Literally ‘made by imperial command of the Kangxi emperor,’ this four-character mark appears on just three hundred or so surviving pieces of exceptional quality produced under the close supervision of the emperor himself. Typical of the experimental nature of these pieces, this grand mark is attested in a number of differing colours and styles. Although falangcai bowls are most commonly found with yuzhi marks enamelled in blue or pink in a double-square cartouche, a number of the most exceptional early pieces differ from this norm. Compare a very closely related cup of almost identical form but with three lotus flowers on a yellow ground (fig. 1), preserved in the Palace Museum, Taipei, with a roughly applied red mark in a single square border, possibly even added by a Jesuit unfamiliar with the Chinese script;
see Qingdai hua falang tezhan mulu [Catalogue of special exhibition of enamel painted wares of the Qing dynasty], Taipei, 1979, cat. no. 15. Reference must also be made to a related vase of deep puce background (fig. 2) in the Palace Museum, Beijing, widely viewed as one of the earliest pieces of this type ever produced and with yuzhi mark incised to its unglazed base; see The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 1.
“Propped up delicately on a narrow base that invites the viewer to holdit, the present form is in many ways akin to the famous ‘chicken cups’of the Chenghua period, whose delicate potting of somewhat broader proportions and recessed base still captivates collectors to this day.”
The gently curving form of the present cup is also exceedingly rare. Propped up delicately on a narrow base that invites the viewer to hold it, the present form is in many ways akin to the famous ‘chicken cups’ of the Chenghua period, whose delicate potting of somewhat broader proportions and recessed base still captivates collectors to this day. Aside from the closely related Taipei cup aforementioned, only a handful of other Kangxi falangcai cups of this form are attested. Compare a very similar cup of red ground, with peony blooms depicted in reserved blue panels, from the Qing court collection, illustrated in The Complete Collection, op. cit., pl. 9; two more from the Russell Collection, of slightly broader proportions, preserved in the British Museum, London, illustrated in Illustrated Catalogue of Qing Enamelled Wares in the Percival David Foundation of Chinese Art, London, 1991, Section 2, p. 32; and a white glass cup of the same form, red ground and yuzhi mark – the only known example of its kind – also from the Hutton Collection, exhibited alongside the present in Honolulu, pl. XII, sold in our London rooms, 7th July 1971, lot 169, and illustrated in Elegance and Radiance: Grandeur in Qing Glass. The Andew K. F. Lee Collection, Art Museum, Chinese University of Hong Kong, Hong Kong, 2000, cat. no. 144. Compare also another pair of Kangxi cups of this form in the Palace Museum, Taipei, glazed in an experimental ruby-pink monochrome, one of which is illustrated in Porcelain with Painted Enamels of Qing Yongzheng Period (1723-1735), Taipei, 2013, p. 310, fig. 29.
Heiress of the Woolworth empire and life-long philanthropist, Barbara Hutton (1912-79, fig. 3) was also a passionate art collector. Travelling to China in 1934, Hutton was struck by the beauty of Chinese art and later enlisted the help of eminent dealer Edward T. Chow (1910-80) in assembling a collection of Qing porcelain. Exhibited at the Honolulu Academy of Arts in 1956, the collection remains one of the most important assemblages of Qing porcelain ever formed. Hutton opted to sell her collection, almost in its entirety, in these rooms in 1971 but, as this cup reveals, chose to hold on to a handful of her most prized pieces until shortly before her death. A unique treasure still whispering of its imperial heritage, this marvellous cup was – and remains – a pleasure to behold and sweet sorrow to part with.
Timeline of Events
This timeline focuses on the creation and ownership of the Kangxi yuzhi ruby-ground falangcai 'peony' cup.
1680s: Falang enamels, likely gifts from European Jesuits, are introduced to the Qing court. The Kangxi Emperor, captivated by their beauty, orders their replication in the Imperial Workshops.
1693: A falang workshop is established in Beijing.
By 1716: The falang workshop in Beijing is fully operational, indicating significant development of the technique.
During the Kangxi period (1662-1722):The cup is initially created in the imperial kilns at Jingdezhen. The interior and base are glazed.
The cup is transported to Beijing.
At the Imperial Workshops in Beijing, artists paint the intricate peony designs and add the "Kangxi yuzhi" mark.
The cup undergoes a second firing in Beijing.
1934: Barbara Hutton travels to China and becomes enamored with Chinese art.
Mid-20th century: Barbara Hutton, aided by dealer Edward T. Chow, acquires the Kangxi yuzhi cup.
1956: The cup, part of the Barbara Hutton Collection, is exhibited at the Honolulu Academy of Arts.
1971: Barbara Hutton sells most of her collection but retains a few select pieces, including this cup.
1976: After Hutton's death, the cup is auctioned at Sotheby's Hong Kong and becomes part of the Canton Collection.
1985: The cup is showcased in the "Anthology of Chinese Art: Min Chiu Society Silver Jubilee Exhibition" at the Hong Kong Museum of Art.
1993: The cup is featured in the "Joined Colors: Decoration and Meaning in Chinese Porcelain" exhibition at the Arthur M. Sackler Gallery in Washington, D.C.
Cast of Characters
Kangxi Emperor (r. 1662-1722): A Qing Dynasty emperor known for his patronage of the arts and his interest in pushing the boundaries of Chinese ceramics. He played a crucial role in developing and promoting falangcai porcelain.
Potters of Jingdezhen: Skilled artisans who crafted the porcelain cup in the imperial kilns at Jingdezhen, following the Emperor's directive.
Painters of the Imperial Workshops: Highly skilled artists in Beijing who painted the elaborate peony design and added the "Kangxi yuzhi" mark to the cup.
Matteo Ripa (1682-1746): A Jesuit painter who documented the establishment and operation of the falang workshop in Beijing.
Barbara Hutton (1912-1979): A prominent American heiress and philanthropist who amassed a renowned collection of Chinese porcelain, including the Kangxi yuzhi cup.
Edward T. Chow (1910-1980): An influential art dealer who assisted Barbara Hutton in building her collection of Chinese art.
An Exceedingly Rare Imperial Ruby-Ground Falangcai 'Peony' Cup / FAQ
1. What makes this falangcai cup so special?
This cup is an exceptional piece of imperial porcelain due to its exquisite craftsmanship, rarity, and historical significance. The cup showcases the technical mastery and artistic creativity of imperial workshops during the Kangxi period, representing a fusion of elegance and technical innovation. It bears the prestigious "Kangxi yuzhi" mark, indicating it was made under the direct supervision of Emperor Kangxi, a testament to its high quality and imperial connection.
2. What is falangcai, and how did it come to be used on Chinese porcelain?
Falangcai, potentially a transliteration of the word "foreign," refers to enamels introduced to the Qing court in the 1680s through gifts from European Jesuits. These vibrant enamels, initially applied on copper, captivated Emperor Kangxi, who sought to incorporate them into imperial porcelain production. By the 1690s, a dedicated falang workshop was established in Beijing, facilitating the creation of these unique pieces.
3. How was this cup created?
The cup's creation involved a collaborative effort between the skilled potters of Jingdezhen and the painters of the imperial workshops in Beijing. The cup was first thrown and fired in Jingdezhen, with only the interior and base glazed. It was then transported to Beijing, where artists at the falang workshop applied the intricate peony design and imperial mark before firing it again within the Forbidden City.
4. What is the significance of the ruby-ground and peony design?
The deep crimson ground, achieved using gold, showcases early experimentation with colors in imperial workshops. The four elaborately painted peonies, rendered in shades of yellow and orange with green undertones, symbolize wealth, prosperity, and nobility, reflecting the imperial context of the cup's creation.
5. What is the meaning of the "Kangxi yuzhi" mark?
The inscription "Kangxi yuzhi" translates to "made by imperial command of the Kangxi Emperor." This mark is found on only around 300 surviving pieces, signifying their exceptional quality and creation under the direct supervision of Emperor Kangxi.
6. Is this cup's form common among falangcai pieces?
The cup's gently curving form, with a narrow base that encourages handling, is quite rare among falangcai pieces. It bears a resemblance to the famous "chicken cups" of the Chenghua period, renowned for their delicate potting and recessed base. Only a handful of Kangxi-era falangcai cups share this specific form.
7. Who was Barbara Hutton, and what is her connection to this cup?
Barbara Hutton, heiress to the Woolworth empire and a prominent philanthropist, was also a passionate art collector. During a trip to China in 1934, she became enamored with Chinese art and, with the help of renowned art dealer Edward T. Chow, amassed an impressive collection of Qing porcelain, including this cup.
8. What happened to Barbara Hutton's collection?
While Hutton sold most of her collection in 1971, she retained a few cherished pieces, including this cup, until shortly before her death. This highlights the personal significance and value she attributed to this particular piece.
盡善與尊榮: 潘氏家族珍藏
OF REVERENCE AND EXCELLENCE:
THE STORY OF THE POON FAMILY COLLECTION
潘氏家族藏珍，承載的不只是個人傳記，而是從十八世紀肇始歷經沉澱的史詩。家族庋藏，由十九世紀初潘有為奠基，經過潘正煒聽颿樓的擴展，傳到潘祖堯 所立的小聽颿樓，集思博識，是累積兩世紀品鑑、學問的結晶。縱歷中國社會興衰變遷，九代傳承至今， 歷史意義無庸置疑。
The Poon family collection carries the imprints of not just one but many fascinating personalities and histories of the same family, stretching from the beginning of the 18th century up to the present day. At the heart of the Poon family collection - pioneered by Pan Youwei in the early 19th century, followed by the Tingfanlou Collection of Pan Zhengwei and the Canton Collection of his descendent Ronald Poon - are treasures curated over two centuries of scholarly interest and refined connoisseurship. The story of how the collections came into existence and evolved in response to the vicissitudes of social changes in China within one single family, over nine generations, is remarkable to historians in its own right.
「余夙有書畫癖;三十年來，每遇名人墨蹟，必購而藏之。」潘正煒 1
“I am addicted to calligraphies and paintings. I have been compelled to acquire all the renowned artists’ works I have ever chanced upon in the past thirty years.”
Pan Zhengwei1
fig. 1. Anon., A portrait of Poankeequa III (1791-1850), hanging scroll, Qing dynasty, 19 Century 圖一 清十九世紀 《潘正煒像》 掛軸
聽颿樓的故事，得從第三代啟官潘正煒(1791-1850 年， 圖一)說起。潘正煒學有所成，授翰林院編修。他又通 法書、擅鑑辨，在潘家大院建聽颿樓庋藏墨蹟、丹青、 銅印等，當中名家書畫罕珍，時人稱絕。莊申列為清末 廣東五家名藏，實不為過。2
fig. 2. A rubbing of the Dingwu-version Orchid Pavilion Preface, Tang dynasty, Taito City Calligraphy Museum, Tokyo 圖二 唐 東晉王羲之《定武蘭亭序》韓珠船本拓片 冊頁 東京台東區立書道博物館
聽颿樓藏珍首推宋仁宗與高宗臨王羲之《蘭亭序》卷 (拍品編號 861)，宸翰稀珍。王羲之《蘭亭序》其文膾炙人口，其書被奉為法書至高經典，歷代書家無不 精研臨摹。宋代第四位君主仁宗，在位時間最長，史評「為人君，止於仁。帝誠無愧焉。」雖然日理萬機，閑暇時寄情筆墨。仁宗法書著錄已稀，傳世作品更罕。趙室四代後，宋朝第十位皇帝高宗，又即南宋開國君主， 也臨《蘭亭》。二帝法書合裝一卷，題跋自南宋至清代道光，跨越七世紀。直至道光年間，宋代宸翰乃與《定武蘭亭唐榻本》共裱一卷(圖二)，但現已分道揚鑣。 3 潘家珍存此卷，從潘正煒聽颿樓到潘祖堯的小聽颿樓， 逾一百七十寒暑。
The story of the Tingfanlou Collection officially began when Pan Zhengwei (also known as Poankeequa III, 1791-1850, fig. 1) built a pavilion in the family compound to house his exceptional collection of calligraphy, paintings and seals. A discerning connoisseur and renaissance man who excelled in literature and calligraphy, Pan Zhengwei was also editor of the Hanlin Academy, an elite group of scholars attached to the imperial court. He named his beloved pavilion Tingfanlou (the mansion for listening to the sails'). The collection contained an impressive array of artworks, including some of the rarest calligraphies and paintings in Chinese art history, and was named by the Chinese art historian Zhuang Shen as one of the top five art collections in Guangdong in the late Oing dynasty. 3
Chief among the treasures in the Tingfanlou Collection was the Preface to the Poems Composed at the Orchid Pavilion after Wang Xizhi by the Song Emperors Renzong and Gaozong (lot 861), an incredibly rare extant scroll of imperial calligraphy. Universally appreciated as a brilliant piece of prose and an unparalleled example of running script, calligraphers through the ages have studied and emulated Wang Xizhi's Preface to the Poems Composed at the Orchid Pavilion. Emperor Renzong, the fourth and longest-reigning emperor of the Song dynasty, is remembered by history as a benevolent leader whose "conduct as an emperor was beyond reproach." When not preoccupied by the myriad affairs of the state, Emperor Renzong devoted himself to the brush and ink. Written descriptions of his
fig. 3. Shitao (1642-after 1707), Most Spectacular Peaks, Qing dynasty. Ink on paper, handscroll. Courtesy of the Palace Museum, Beijing
圖三 清 石濤(1642-1707年後) 《搜盡奇峰圖》卷 紙本水墨 圖片鳴謝:北京故宮博物院
聽颿樓舊藏書畫，還得須提及石濤(1642-1718 年後) 的《搜盡奇峰圖》卷(圖三)，筆墨豪放，峻嶺雄渾，公認乃其頂峰絕作，展中國古代山水繪畫之極至，現藏北京故宮博物院。
潘正煒為所存書畫古物，出版詳細著錄，有《聽颿樓書畫記》、《古銅印匯》 、《聽颿樓集帖》傳世，至今仍 見再版印行，極為難得。前者附價目表，為史家提供了 絕佳的文獻資料，可從中窺視當時廣東文人品味，見證 士紳透過締結姻親、拜師學徒、財政贊助、交朋識友等 組成錯綜複雜的社會網絡。是以藝術史學家官綺雲指， 由文人主導定義的經典，長期向北京和長江下游江南地 區的文化中心傾斜，聽颿樓卻為抗衡此狹隘思路引來一 股重要清流。4
在中國貿易與社會發展的歷史背景下，聽颿樓的故事強調尊榮尚古的傳統。
calligraphic work are incredibly rare, let alone surviving examples. Four generations later, Emperor Gaozong, the tenth emperor of the Song dynasty and the first of the Southern Song, composed his own version of the famed Preface to the Poems Composed at the Orchid Pavilion. The scroll contains inscriptions spanning the Southern Song to the Daoguang era of the Qing dynasty, and before the Daoguang era was in fact mounted together with an ancient rubbing of the Dingwu-version Orchid Pavilion Preface (fig: 2). For more than 170 years the scroll was privately held by the Poon family, from Pan Zhengwei's Tingfanlou Collection to Ronald Poon's Canton Collection.
Another noteworthy masterpiece that passed through the Tingfanlou Collection was Shitao's (1642- after 1718) Most Spectacular Peaks (fig: 3), now in the collection of the Beijing Palace Museum. It is widely considered to be the finest surviving work of the legendary Qing dynasty artist.Rather unusually for the time, Zhengwei authored and published a series of detailed catalogues of the best calligraphies, paintings, and other artworks in his collection. Of these volumes, Tingfanlou shuhua ji [A record of paintings and calligraphy at Tingfanloul, Gu tong yin hui [The collection of ancient bronze seals], and Tingfanlou ji tie [The Tingfanlou collection of calligraphies] survive and are still in print to this day. Importantly for historians, Zhengwei included a price list, which provided insights into elite tastes within the Canton region, as well as the complex networks of social identity formed by marriage, mentorship, patronage and friendship. His collection thus came to represent an important counterweight to the "parochialism of a literati-biased canon that favoured the cultural centres of Beijing and Jiangnan (the Lower Yangtze region)," in the words of the art historian Yeewan Koon.4
潘家原藉福建，正煒屬家族立業廣州、定居番禺後的第三代。他的袓父潘振承(1714-1788 年，圖四)，洋人以啟官稱之，奠定家族基業，功不可 沒。生於福建，振承少時隨父在呂宋從事貿易生意，在馬尼拉信奉基督教、通曉西班牙語。十八世紀中葉，振承返國定居廣州，乘著「一口通商」之利，與丹麥、法國、 英倫多地均有貿易往來，經營絲綢、茶葉等買賣。
The origin story of the Tingfanlou Collection espouses the classical values of filial honour and reverence for the past, amidst the wider historical backdrop of Chinese trade and societal development. Pan Zhengwei was the third Guangzhou-based generation of a Fujian merchant family that settled in Panyu. His grandfather, Pan Zhencheng (1714-1788, fig. 4), also known as Poankeequa I, laid the foundation of this influential Canton merchant house. Born in Fujian, he worked with his father in the trading business in Manila, where he converted to Christianity and became a fluent Spanish speaker. He returned to China in the mid-18th century and settled in Guangzhou, at the time the only port open to foreign trade in the whole of China. There he traded silk, tea and porcelain with countries such as Denmark, France and England.
潘振承促成公行重設，並出任商總，在廣東叱吒風雲。 公行除了管理貿易事務，還得負責徵收關稅，以及保證外國商人與海員在華操守。公行在滿清政府與外商中間 擔當緩衝的角色，有需要時更暫代外交官員，協助處理與歐州各國關係，負起斡旋、簽約之責。1760 年代， 隨著自家商號同文行(圖五)的成立，以及個別洋行退出競爭，潘氏在貿易 76 份額中便佔了 12。
Zhencheng became a prominent figure in Canton, especially in diplomatic relations with European powers. He initiated the re-establishment of and chaired the Co- Hong, a powerful regulatory body that officially engaged in trade management, collected duties and oversaw the conduct of foreign traders and crews. The body also assumed quasi-diplomatic duties, signing contracts on behalf of the Qing government and mediating on its behalf with Western powers. By the 1760s, with the opening of his own company, Tongwen Hang (fig. 5), and the retreat of some of his major competitors, Zhencheng reportedly controlled 12 out of 76 shares into which the trade was divided.
fig. 5. Anon., The Alexander Hume Scroll Painting of Foreign Factories in Canton, 1772, gouache on silk, handscroll, 91.5 by 276.5 cm. Left detail: Tongwen Hang © Copyrights by Hong Kong Maritime Museum, no. HKMM2015.0020.0001 / 圖五 1772年 《廣州十三行洪氏卷軸》 絹本水粉 手卷 91.5 x 276.5 公分 左圖局部乃同文行舊貎 © 香港海事博物館版權所有 編號HKMM2012.0016.0001
到了 1770- 1780 年代，潘振承同文行的生意蒸蒸日上，尤其在絲綢出口及與西班牙的貿易上獨佔鰲頭。5 在清廷出口限制與 歐洲市場需求之間，面對原材料供給不穩、海難損失等， 潘振承總是沉著應對，在滿清官員之間，更是游刃有餘， 深得外商信賴，備受敬重。
By the 1770s-80s Zhencheng was one of the top players in Chinese maritime trade, dominating the silk trade and business with the Spanish in particular." He was well respected by the Europeans as a trustworthy businessman who expertly navigated the Qing court's export restrictions and the surging demands of European markets, whilst formulating solutions to key issues of the day such as the unpredictable supply of raw materials and long-distance sea voyage casualties.
1788 年潘振承辭世，四子潘有度(1755-1820 年，圖六) 繼承父業，接管同文行。潘有度為人低調，但隨著歲月 增長，他成為行商元老，在海上貿易中的地位無庸置疑， 先後兩回出任商總，廣受尊重。6 然正因如此，即使他後來決心辭退職務、結束經營近半世紀的同文行時，滿 清政府迫使潘有度重返商壇。在 1814 年，退休不過七 年後，潘有度以新商號同孚行續營外貿。7
Zhencheng's fourth son Pan Youdu (Poankeequa II, 1755-1820, fig: 6) inherited Tongwen Hang after his passing in1788. Initially reticent about assuming the limelight, he emerged as an influential player in maritime trade in his own right, serving two tenures as the chief merchant of the Co-Hong.' Such was his success that when he decided to retire and close Tongwen Hang after almost half a century in business, the Qing government urged him to return to the trade. Somewhat reluctantly, just seven years after retiring in 1814, Youdu resumed business under the new banner of Tongfu Hang.7
在潘振承的基礎上，潘有度續為家族子嗣的仕學前途籌 謀。受益於父親潘振承的支持，門第溢書香，潘有度多 名弟兄科舉有成，功名既得，供職清廷。有度在番禺的 宅第潘園中設私塾，積極栽培後代。他的兒子潘正煒， 即前述聽颿樓主人，在他辭世後接管同孚行，經營得道， 同受景仰。
Youdu also continued laying the foundations of his family's future. Many of his brothers had benefited from his father's support in the civil examinations, going on to serve the Qing court in various capacities, and Youdu founded a private school within the Panyu family compound to oversee the education of the family's younger members. His son, the aforementioned Pan Zhengwei, inherited the family business after Youdu's passing and became a successful and respected merchant in his own right.
「潘氏以至聽颿樓的源起故事，不是個
別富商的和寡曲高，而是整個家族對
中外事物的好知敏求、孜孜不怠，共
同以書香學養，讓廣州成為不可忽視
的文化樞紐。」
潘氏以至聽颿樓的源起故事，不是個別富商的和寡曲高， 而是整個家族對中外事物的好知敏求、孜孜不怠，共同以書香學養，讓廣州成為不可忽視的文化樞紐。以潘有度兄長潘有為(1743-1821 年)為例，他曾參與校對《四庫全書》。乾隆帝下旨編修《四庫全書》，收錄書目數千， 是中國歷代叢書之最。潘有為辭官後醉心蒐集書畫古物， 藏藝番禺潘園中，收蓄甚豐。潘正煒堂弟仕成(1804- 1873 年)，同樣經營海貿致富，在粵築建海山仙館以藏書畫。
The story of the Poon family and the origins of the Tingfanlou Collection is not one of wealthy, isolated individuals who indulged in esoteric interests, but rather of a family whose innate curiosity in the world within and beyond China fostered a culture of scholarly excellence and reframed the Canton region as a centre of cultural importance. For example, Youdu’s elder brother Youwei (1743-1821) was one of the editors of the Siku Quanshu (“The Complete Library of the Four Treasuries”), a Chinese encyclopedia commissioned by the Qianlong Emperor which forms the largest collection of books in imperial Chinese history, and his retirement residence in the Panyu compound housed a rich collection of calligraphies, paintings and antiquities. Zhengwei’s cousin, Pan Shicheng (1804-1873), who had also experienced enormous financial success through trade, built an enviable collection of paintings and calligraphy that he named Haishan Xianguan (‘The Seamount House of Divinity’).
十九世紀中葉，國運逆轉，但憑著百折不撓的家族精神， 潘氏乘風破浪，奮力進取。隨著清廷與西方列強關係逐步惡化，對外貿易首當其衝。潘正煒身為三代行商，第一次鴉片戰爭前後，多次捐資抗英。但首次鴉片戰爭失敗後，清政府被迫開放其他港口，從此十三行不再壟斷市場，同孚行步向夕陽。清末時勢所逼，潘家各房更是顛沛流離。
This hard-won familial culture of resilience and adaptability was able to withstand the headwinds of ill- fortune. By the mid-19th century, as relations between the Qing court and Western powers deteriorated, foreign trade suffered. Zhengwei provided financial support for the Qing’s defensive campaign against the British during the First Opium War, but their defeat resulted in the forced opening of additional ports in China. The Canton merchants lost their exclusive access to international trade, and the heyday of Tongfu Hang and the Poon family business was over. Further turmoil towards the end of the Qing dynasty displaced many members of the clan.
縱然如此，仗賴前人慧智，奠基立業，潘家人才輩出， 族中多人入仕，或能書、或擅繪。潘正煒四子師徵 (1831-1894 年，圖七)乃國學生，翰林院待詔、登仕佐郎，書法得歐陽詢意韻，擅畫梅花。8 師徵三子寶珩 (1862-1927 年，圖八)，光緒八年(1882 年)中舉從仕，又歷任咨議局、財政局議紳。
辛亥革命後，投資廣州電力公司，出任總理，對粵地電力發展貢獻良多。他又樂善好施，創辦廣東公醫學堂(現廣州中山大學中山 醫學院)、河南仁濟留醫院，澤延後世。9 除了祖傳古物，潘寶珩也嗜好蒐集陶古物，豐富其藏，尤好鈞瓷之雅澤麗彩，蒐集不少絕世禹州佳品，為世傳頌(拍品編號 808、圖九)。
Yet the family continued to flourish from the wisdom and foundations laid by their forefathers. The following generations produced numerous writers, painters and high officials serving the imperial court. For example, Zhengwei’s fourth son, Pan Shizheng (1831-1894, fig. 7), also a scholar of the elite Hanlin Academy, reputedly excelled in painting prunus and writing in the calligraphic style of Ouyang Xun (557-641).8 Shizheng’s third son, Pan Baoheng (1862-1927, fig. 8), served the Qing government in its last days and led the Consultative and Finance Bureaux at the turn of the century. A successful businessman and politician whose investment and involvement in the leadership of the Canton Electric Power were instrumental in developing the region’s infrastructure, he was also a noted philanthropist who founded the Guangdong Public Medical School (now the Sun Yat-sen University Zhongshan School of Medicine) and the Henan Renji Hospital.9 Fascinated by the elegance of ancient works of art, Baoheng expanded the family’s inherited art collection by acquiring some of the finest examples of dazzling blue and purple glazed Jun ceramics (lot 808, fig. 9).
fig. 9. A Junyao purple-splashed dish, Song dynasty. Sotheby’s Hong Kong, 22nd April 2021, lot 16 / 圖九 宋 鈞窰天青釉紫斑折沿盤 香港蘇富比2021 年4月22日，編號16
二十世紀初，部分族人移居香港，心仍緊繫社稷，續寫文化傳承美史。潘寶珩次子恩愷(1912-1973 年)在牛津大學攻讀法律，回港後成為首位華人法官，曾任中央裁判處首席法官，為人尊敬。潘恩愷也以藏物為好，主攻郵票、鼻煙壺。香港淪陷日治期間，悉心存珍，力保家藏器物免受損傷佚失。10
Even as members of the family migrated to Hong Kong in the early 20th century, their sense of public duty and love of their cultural heritage did not waver. Poon Yan Hoi (1912-1973), Baoheng’s second son, studied law at The University of Oxford, became the first Chinese judge in Hong Kong and served as Chief Justice of the Central Magistrate’s Office. A philatelist and a collector of snuff bottles, he managed to safeguard many heirlooms amidst the turbulent years of the Japanese occupation in Hong Kong.10
「收藏的原則只要曾經擁有，不在乎天長地久或留給子孫永享⋯⋯只要有其他藏家接手，那保存古物的使命就得到落實。 潘祖堯"11
“The principle of collecting should be one of transitional ownership and not permanent ownership... As long as there are other collectors to continue the possession of the pieces, the preservation of antiquity will be accomplished.” Ronald Poon11
潘恩愷次子祖堯（1942-2022年，圖十）建築事業有成，且熱心公共事務，對社會貢獻良多。少時因著熱忱，原以藝術家為理想。及後受恩師啟迪，望能對社會所需有更直接的貢獻，決心立志，終成建築名家。歷任多項公共要職，包括香港建築師學會會長、世界華人建築師協會創會會長、亞洲建築師學會第一任會長、香港房屋協會主席、中國全國第八、九、十及十一屆政協委員，在不同崗位惠澤社群。
Yan Hoi’s second son, Ronald Poon (1942-2022, fig. 10), enjoyed a distinguished career in architecture and public service. In his youth, he planned to become an artist as he was passionate about the arts. Yet under a mentor’s inspiration, he eventually became an architect as he believed that through architecture he could do more to positively contribute to the needs of society. Ronald served (among other roles) as President of the Hong Kong Institute of Architects, Founding President of the World Association of Chinese Architects, First Chairman of the Architects Regional Council Asia, Chairman of the Hong Kong Housing Society and 4-term Member of the National Committee of the Chinese People’s Political Consultative Conference (CPPCC).
眼見不少聽颿樓舊物流散，潘祖堯在祖傳瑰寶的基礎上，擴建收藏，命名「小聽颿樓」，以念先恩。受惠於黃寶熙（樂在軒主人，1907-1979年）及其子黃仲方（藝術家、樂常在軒主人，1943-2022年）的指導，祖堯尋珍集雅。又時與知音雅集，如建築師鍾華楠（1931-2018年）、書法家林悦恒（1935年生）、現代畫家如朱屺瞻（1892-1996年）、程十髮（1921-2007年）、黃永玉（1924-2023年）與黃胄（1925-1997年），志同道合，相知相交。祖堯博觀約取，搜羅法書、繪畫、陶瓷、家具等，門類寬廣，精品琳瑯。且又竭誠推廣中國藝術知識，積極提高賞鑑品味，1991-1993年更出任香港收藏家協會敏求精舍主席，對文化事務不遺餘力。
Although many of the Tingfanlou’s treasures had been dispersed over the centuries, Ronald set about assembling a revitalised collection of Chinese art with his inherited heirlooms, which he named the Canton Collection (or Xiaotingfanlou, “Little Tingfanlou”, in Chinese) in honour of his great-great-grandfather. Ronald embarked upon his collecting journey under the guidance of Wong Pao- hsie, master of Lezaixuan (1907-1979) and his son Harold Wong, an artist and master of Lechangzaixuan (1943- 2022). He surrounded himself with like-minded friends, including the architect Chung Hua Nan (1931-2018), calligrapher Lin Yue-hang (b. 1935), and renowned artists such as Zhu Qizhan (1892-1996), Cheng Shifa (1921-2007), Huang Yongyu (1924-2023) and Huang Zhou (1925- 1997). Ronald never sacrificed depth for breadth, building an outstanding collection which ranged from museum- worthy calligraphies and modern Chinese paintings to ceramics and furniture. From 1991 to 1993, he chaired the prestigious Min Chiu Society, the elite Hong Kong collectors’ association, cultivating the understanding and appreciation of Chinese art in his family’s new homeland.
「從潘振承到潘祖堯，作為收藏家，他們以尊古臻善為旨，追求至善至美，勉力不懈。對探索的好奇、對生命的禮贊、對真諦的渴求，正是潘氏家族的故事。」
“From Pan Zhengcheng to Ronald Poon, being a collector reflected their reverence for the past, it was an overflow of their pursuit of splendour and beauty. This intense curiosity to explore. This fascination with the wonders of life. This spiritual thirst to seek deeper truths. This is the story of the Poon family.”
潘氏成就，九代傳承，豈能以一個收藏概之？他們共創的卓犖峻業，是望族的傳奇。他們的文化足跡，猶如其海貿輝煌，永垂青史。從潘振承到潘祖堯，作為收藏家，他們以尊古臻善為旨，追求至善至美，勉力不懈。對探索的好奇、對生命的禮贊、對真諦的渴求，正是潘氏家族的故事。
Over nine generations, the Poon family achieved something more than a collection; they created a legacy of excellence that would leave its mark on the Chinese art world as much as 18th- and 19th-century international maritime trade. From Pan Zhengcheng to Ronald Poon, being a collector reflected their reverence for the past, it was an overflow of their pursuit of splendour and beauty. This intense curiosity to explore. This fascination with the wonders of life. This spiritual thirst to seek deeper truths. This is the story of the Poon family.
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