景德镇制青花瓜瓞绵绵纹刻棱宫碗

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景德镇制青花瓜瓞绵绵纹刻棱碗
绵绵瓜瓞含义绵绵：延续不断的样子；瓞：小瓜。如同连绵不断的藤上结了许多大大小小的瓜一样。引用为祝颂子孙昌盛。

参考：佳士得
14 9月 2017 | 現場拍賣 13751
中國瓷器及工藝精品
拍品 1179 元青花瓜瓞纹梨形玉壶春瓶
A VERY RARE BLUE AND WHITE PEAR-SHAPED BOTTLE VASE, YUHUCHUNPING
YUAN DYNASTY (1279-1368)

成交價 USD 612,500
估價 USD 200,000 – USD 300,000

A VERY RARE BLUE AND WHITE PEAR-SHAPED BOTTLE VASE, YUHUCHUNPING
YUAN DYNASTY (1279-1368)

細節
A VERY RARE BLUE AND WHITE PEAR-SHAPED BOTTLE VASE, YUHUCHUNPING
YUAN DYNASTY (1279-1368)
The elegantly proportioned vase is finely painted in shades of underglaze blue with a fruiting gourd vine beneath a cluster of leafy grapes, and with one cloud cluster on the upper neck and two on the interior of the mouth.
11 ¼ in. (28.6 cm.) high, purple silk stand

來源
Sotheby’s London, 15 April 1980, lot 231.
Mayuyama & Co., Tokyo.

出版
Sekai toji Zenshu, vol. 13, Tokyo, 1955, p. 212, no. 210 (the image shown in the publication is in mirror image).

拍場告示
Please note the provenance should read as follows:
Sotheby’s London, 15 April 1980, lot 231.
Mayuyama & Co., Tokyo.

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

Approximately 1/3 of the mouth rim has been replaced; this area extends approximately 1 ¼ in. down the neck.
Two smaller restored chips on the opposite side of the mouth rim.
Abrasion to the interior of the mouth rim.
Foot rim slightly misshapen.
Some expected surface abrasion, particularly to the lower body.
Some scratching and small slightly-discolored patches of wear to the glaze on the body.
A very minor small glaze gap to one side of the lower body, and a tiny burst bubble.
Glaze becomes a bit greyer in color towards the top from firing.

拍品專文
Goto Shinshudo began his illustrious career in 1951 when he joined the legendary firm Mayuyama and Co., and was appointed to the board in 1976. He enjoyed a long tenure at the firm, and started his own gallery in Kyobashi, Tokyo in 1984, specializing in Chinese, Korean and Japanese ceramics, as well as metalwork and stone sculptures. Building on the reputation he earned at Mayuyama and Co., his own business achieved success, dealing with some of the world’s elite private collectors and important institutions such as the Toguri Museum of Art.

THE PROPERTY OF GOTO SHINSHUDO
Abundant Descendants – A Rare Yuan Dynasty Pear-shaped Vase
Rosemary Scott, Senior International Academic Consultant, Asian Art

This exceptionally rare blue and white vase, which was published in 1981 by Tsugio Mikami in Ceramic Art of the World, vol. 13, Liao, Chin and Yüan Dynasties, pl. 210, dates to the Yuan dynasty and belongs to the finest group of pear-shaped vases, yuhuchunping, from this period. It is finely-potted, has a sinuous S-shaped profile, and a slender neck with widely flaring trumpet mouth, which perfectly balances the lower part of the body. This group may be distinguished from the somewhat more heavily-potted vases of this form, including those which have octagonal bodies. Probably because of their more delicate potting, fewer of these vases appear to have survived than those from the other groups. However, the fine quality of their potting and finishing render this group more suitable for decoration without, or with minimal, minor bands, since there was no need to break up the design in order to mask infelicities of form. The high regard in which these more delicate pear-shaped vases were regarded is reflected in the fact that one of them, unearthed from a Yuan dynasty cellar at Gao’an, Jiangxi province in 1980, was white-glazed and then had dragons in gold foil applied to the surface (illustrated in The Porcelain from the Cellar of the Yuan Dynasty in Gao’an ????????, Beijing, 2006, p. 89). Nevertheless, some of the fine pear-shaped vase group were decorated with banded decoration, such as the pear-shaped vase excavated in 1985 from a Yuan dynasty tomb in Qingzhou, Shandong province (illustrated Blue and White of the Yuan ???, Beijing, 2009, pp. 26-7), which has a three-clawed dragon in its main decorative band, or the vase in the collection of the Capital Museum, Beijing, which has ducks on a lotus pond in its main decorative band (illustrated by Zhu Yuping ??? in Yuandai qinghuaci ?????, Shanghai, 2000, p. 126, no. 5-14) but this was a choice by the decorators of these vases, rather than a necessity.When these fine pear-shaped vases had single theme decoration, it usually took one of two forms. Either the vessels were decorated with narrative scenes from contemporary drama, or they bore well-painted scrolling decoration. Amongst those bearing narrative scenes is the vase, which was excavated in 1956 in Taoyuan county, Changde city, Hunan province, with a scene with Meng Tian (?? d. 210 BC), who was a general of the Qin dynasty and was honoured for his campaigns against the Xiongnu (illustrated in Blue and White of the Yuan, op. cit., p. 31), and the vase excavated in 1986 from a Yuan dynasty tomb at East Wayao village, Beimen, Shangrao, Jiangxi province depicting Zhou Dunyi (??? AD 1017–1073), the Neo-Confucian philosopher and cosmologist, admiring the lotuses which he commemorated in his famous prose work Ai lian shuo (??? ‘On Love of the lotus’) (illustrated in Splendors in Smalt – Art of Yuan Blue-and-white Porcelain ????,????????, Shanghai, 2012, pp. 196-7, no. 67). In addition, a small number of these trumpet-mouthed Yuan dynasty pear-shaped vases bear all-over designs of dragons, such as the small vase from the Osaka Museum of Oriental Ceramics illustrated by Zhu Yuping in Yuandai qinghuaci, op. cit., p. 87, no. 3-45, and the vase depicting a dragon five-clawed dragon amongst clouds in the collection of the Henan Provincial Museum, illustrated in the same volume, p. 101, no. 4-15.

However, Yuan dynasty blue and white pear-shaped vases with all-over scrolling plant designs, like that on the current vase, are particularly rare. One such vase with a design of white peony scrolls against a background of formal, concentric arc, waves is in the collection of the Nelson-Atkins Museum, Kansas City (illustrated by Zhu Yuping in Yuandai qinghuaci, op. cit., p. 274, no. 10-8). A vase in the collection of the British Museum, decorated with a chrysanthemum scroll is illustrated in Splendors in Smalt – Art of Yuan Blue-and-white Porcelain, op. cit., pp. 88-9, no. 15. A further pear-shaped vase now in Shanghai is decorated all-over with a dense peony scroll (illustrated by Xu Ming ?? in Tu’erqi, yi lang guan cang Yuan qinghua kao cha qin li ji ???, ???? ??? ?? ?? ?, Shanghai, 2012, p. 273). No Yuan dynasty blue and white pear-shaped vase decorated solely with fruiting scrolls – either grape vines or melon plants – other than the current example, appears to have been published. A Yuan dynasty blue and white pear-shaped vase with banded decoration, but with the main decorative band containing an unusual design of grape vines was found in Indonesia in the 1960s and is now in the collection of the British Museum (illustrated by J. Harrison-Hall in Ming Ceramics in the British Museum, London, 2001, P. 72, no. 1.28). It is, however, very rare to find grapes or melons appearing alone in the decoration of Yuan dynasty blue and white vessels. The two plants frequently occur in the decoration of large Yuan dynasty dishes, but as part of an ensemble of rocks and plants, suggestive of a garden or landscape but rarely composed in a naturalistic manner, or with realistic proportions. Such ensembles occur on both dishes with bracket lobed rims and those with straight rims. Dishes with this type of design and with bracket lobed rims include those in the Shanghai Museum (illustrated in Splendors in Smalt – Art of Yuan Blue-and-white Porcelain, op. cit., pp. 112-13, no. 27), and the British Museum (illustrated in Tu’erqi, yi lang guan cang Yuan qinghua kao cha qin li ji, op. cit., p. 229). Dishes of this type with straight rims include those in the Topkapi Saray, Istanbul (illustrated in the same volume, p. 20), and two dishes from the Ardebil Shrine (illustrated in the same volume, pp. 168 and 169). The ensemble including grape vines and melon plantss also appears on a small number of Yuan dynasty blue and white large dishes with bracket lobed rims, which include birds in the central roundel. These include a dish in the collection of the Topkapi Saray, Istanbul, which depicts two long-tailed birds, one of which is perched on a balustrade (illustrated by Zhu Yuping, op. cit., p. 178-9, no. 7-7), and the dish which includes a flying phoenix from the collection of the Ardebil Shrine, now in the National Museum of Iran, Tehran (illustrated in Splendors in Smalt – Art of Yuan Blue-and-white Porcelain, op. cit., pp.138-9, no. 39). This latter dish bears the vaqfnameh of Shah ‘Abbas (r. 1588-1629) incised under the rim.

It is significant that these two fruit – grapes and melons – were selected from amongst the various plants which were included in the nature-based ensembles on Yuan dynasty blue and white vessels to appear on the current vase, for it was these two fruits which also went on to appear individually in the central roundels of fine imperial blue and white dishes in the early 15th century, as the interest in fruit as a subject for decoration increased in the Yongle reign. A large dish decorated with grapes on a vine was excavated from the Yongle stratum at the imperial kilns at Zhushan Jingdezhen in 1994 (illustrated in Imperial Hongwu and Yongle Porcelain excavated at Jingdezhen, Taipei, 1996, pp. 166-7, no. 51), while a dish decorated with a melon plant was also excavated at Zhushan in 1994 (illustrated ibid. pp. 156-7, no. 46). Both melons on the vine and grapes on the vine were regarded a symbolic of ceaseless generations of sons and grandsons. In the case of the grapes this was in part because they grow in clusters of many fruit, and in the case of melons it was because they contain many seeds. In addition, the vines and tendrils of these plants – mandai (??) in Chinese – suggest the phrase wandai (??, ‘ten thousand generations’).

In the context of the current vase it is also interesting to note that grapes are not indigenous to China, but are among the plants that are recorded as having been brought to China from Central Asia by Zhang Qian, a returning envoy of Emperor Wudi in 128 BC, and many different varieties of grape were grown in China by the early 15th century. Records show that both green and black grapes were grown by the beginning of the 6th century AD, and Song dynasty texts mention a seedless variety. An extensive illustrated entry on grapes (Chinese putao ??) is included in volume (juan) 23 of the Chongxiu Zhenghe Jingshi Zhenglei Beiying Bencao (Classified and Consolidated Armamentarium Pharmacopoeia of the Zhenghe Reign (AD 1111-1117). The grapes were eaten fresh, as well as dried in the form of raisins, but do not seem to have been widely used to make wine until the Tang dynasty. Grapes rarely appeared as decoration on Chinese art objects of the early period, with the exception of those depicted in relief on pilgrim flasks of the period Six Dynasties-Sui dynasty (AD 6th-7th century), which were influenced by the arts of Central and Western Asia. Grapes became a more popular motif in the Tang dynasty, when, again under western influences, they regularly appeared, for example, as part of the ubiquitous ‘lion and grape’ motif on bronze mirrors. However, grapes do not seem to appear as decorative motifs on painted ceramics until the Yuan dynasty.

The unusual shape of the leaves of the grape vines on the current vase perhaps suggest another link with lands to the west of China’s borders. They are somewhat reminiscent of the palmette and leaf motifs depicted on early Near Eastern ceramics, including those decorated with cobalt blue, especially those from the Samarra area in Iraq in the 9th century (see for example the dish illustrated by D. Talbot Rice in Islamic Art, London, 1977 reprint, p. 39). Inspiration from the West in the decoration on Yuan dynasty blue and white porcelains is not as surprising as it might initially seem, since it is well-documented that many craftsmen from the Islamic West were employed at the Jingdezhen kilns during the Yuan dynasty (see Liu Xinyuan, ‘Yuan Dynasty Official Wares from Jingdezhen’, The Porcelains of Jingdezhen, Rosemary Scott (ed.), Colloquies on Art & Archaeology in Asia, No. 16, London, 1993, p. 36 and Xu Youren (???), Zhizheng Ji (??? Collection from the reign of Zhizheng), juan 9).

This rare vase, therefore, provides references to the sources of inspiration at the Yuan dynasty kilns, as well as presaging the tastes of the Chinese court in the early 15th century.

参考：日本大版东方瓷器博物馆
大明成化青花瓜瓞绵绵纹宫碗

Blue-and-White Bowl with Melon Design, Ming Dynasty, Chenghua Mark and Period, (1465-1487), d.15.5cm. Acc. No. 10682. Gift of SUMITOMO Group, the ATAKA Collection. The Museum of Oriental Ceramics, Osaka.

参考：苏富比
香港區百齡勛爵藏兩件成化宫盌

香港區百齡勛爵藏兩件成化宫盌，一件源自Charles Russell收藏，繪瓜藤紋（圖一），分別於1935年倫敦蘇富比及1994年香港蘇富比拍賣(成交價651萬港元)。

参考：佳士得
14 9月 2011 | 現場拍賣 2463
中國瓷器及工藝精品 I & II
拍品 1198
A FAMILLE ROSE CORAL-RED-GROUND SNUFF BOTTLE
清1840-1900年粉彩珊瑚紅地瓜瓞綿綿紋鼻煙壺

成交價 USD 5,000
估價 USD 3,000 – USD 5,000

清1840-1900年粉彩珊瑚紅地瓜瓞綿綿紋鼻煙壺

來源
Acquired in Hong Kong in the 1960s-70s.

狀況報告
The gilding is rubbed at the mouth rim and there is a small burst glaze bubble at the base. There are two small areas in the iron-red ground where there appear to be fingerprint marks original to manufacture. Some slight wear to enamels.

参考：佳士得拍賣 13751
中國瓷器及工藝精品
紐約|2017年9月14日 – 15日
拍品1179| 拍品1179| 元青花瓜瓞绵绵纹玉壶春瓶
A VERY RARE BLUE AND WHITE PEAR-SHAPED BOTTLE VASE, YUHUCHUNPING
YUAN DYNASTY (1279-1368)

成交總額 USD 612,500
估價 USD 200,000 – USD 300,000

A VERY RARE BLUE AND WHITE PEAR-SHAPED BOTTLE VASE, YUHUCHUNPING
YUAN DYNASTY (1279-1368)
The elegantly proportioned vase is finely painted in shades of underglaze blue with a fruiting gourd vine beneath a cluster of leafy grapes, and with one cloud cluster on the upper neck and two on the interior of the mouth.
11 ¼ in. (28.6 cm.) high, purple silk stand

來源
Sotheby’s London, 15 April 1980, lot 231.
Mayuyama & Co., Tokyo.

文獻及展覽
文獻
Sekai toji Zenshu, vol. 13, Tokyo, 1955, p. 212, no. 210 (the image shown in the publication is in mirror image).

編製圖錄及詳情
拍賣現場通告

Please note the provenance should read as follows:

Sotheby’s London, 15 April 1980, lot 231.
Mayuyama & Co., Tokyo.

拍品前備註

THE PROPERTY OF GOTŌ SHINSHUDŌ

Abundant Descendants – A Rare Yuan Dynasty Pear-shaped Vase
Rosemary Scott, Senior International Academic Consultant, Asian Art

This exceptionally rare blue and white vase, which was published in 1981 by Tsugio Mikami in Ceramic Art of the World, vol. 13, Liao, Chin and Yüan Dynasties, pl. 210, dates to the Yuan dynasty and belongs to the finest group of pear-shaped vases, yuhuchunping, from this period. It is finely-potted, has a sinuous S-shaped profile, and a slender neck with widely flaring trumpet mouth, which perfectly balances the lower part of the body. This group may be distinguished from the somewhat more heavily-potted vases of this form, including those which have octagonal bodies. Probably because of their more delicate potting, fewer of these vases appear to have survived than those from the other groups. However, the fine quality of their potting and finishing render this group more suitable for decoration without, or with minimal, minor bands, since there was no need to break up the design in order to mask infelicities of form. The high regard in which these more delicate pear-shaped vases were regarded is reflected in the fact that one of them, unearthed from a Yuan dynasty cellar at Gao’an, Jiangxi province in 1980, was white-glazed and then had dragons in gold foil applied to the surface (illustrated in The Porcelain from the Cellar of the Yuan Dynasty in Gao’an 高安元代窖藏瓷器, Beijing, 2006, p. 89). Nevertheless, some of the fine pear-shaped vase group were decorated with banded decoration, such as the pear-shaped vase excavated in 1985 from a Yuan dynasty tomb in Qingzhou, Shandong province (illustrated Blue and White of the Yuan 元青花, Beijing, 2009, pp. 26-7), which has a three-clawed dragon in its main decorative band, or the vase in the collection of the Capital Museum, Beijing, which has ducks on a lotus pond in its main decorative band (illustrated by Zhu Yuping 朱裕平 in Yuandai qinghuaci 元代青花瓷, Shanghai, 2000, p. 126, no. 5-14) but this was a choice by the decorators of these vases, rather than a necessity.When these fine pear-shaped vases had single theme decoration, it usually took one of two forms. Either the vessels were decorated with narrative scenes from contemporary drama, or they bore well-painted scrolling decoration. Amongst those bearing narrative scenes is the vase, which was excavated in 1956 in Taoyuan county, Changde city, Hunan province, with a scene with Meng Tian (蒙恬 d. 210 BC), who was a general of the Qin dynasty and was honoured for his campaigns against the Xiongnu (illustrated in Blue and White of the Yuan, op. cit., p. 31), and the vase excavated in 1986 from a Yuan dynasty tomb at East Wayao village, Beimen, Shangrao, Jiangxi province depicting Zhou Dunyi (周敦頤 AD 1017–1073), the Neo-Confucian philosopher and cosmologist, admiring the lotuses which he commemorated in his famous prose work Ai lian shuo (愛蓮說 ‘On Love of the lotus’) (illustrated in Splendors in Smalt – Art of Yuan Blue-and-white Porcelain 幽藍神採,元代青花瓷器特集, Shanghai, 2012, pp. 196-7, no. 67). In addition, a small number of these trumpet-mouthed Yuan dynasty pear-shaped vases bear all-over designs of dragons, such as the small vase from the Osaka Museum of Oriental Ceramics illustrated by Zhu Yuping in Yuandai qinghuaci, op. cit., p. 87, no. 3-45, and the vase depicting a dragon five-clawed dragon amongst clouds in the collection of the Henan Provincial Museum, illustrated in the same volume, p. 101, no. 4-15.

A Yuan dynasty blue and white pear-shaped vase with banded decoration, but with the main decorative band containing an unusual design of grape vines was found in Indonesia in the 1960s and is now in the collection of the British Museum (illustrated by J. Harrison-Hall in Ming Ceramics in the British Museum, London, 2001, P. 72, no. 1.28). It is, however, very rare to find grapes or melons appearing alone in the decoration of Yuan dynasty blue and white vessels. The two plants frequently occur in the decoration of large Yuan dynasty dishes, but as part of an ensemble of rocks and plants, suggestive of a garden or landscape but rarely composed in a naturalistic manner, or with realistic proportions. Such ensembles occur on both dishes with bracket lobed rims and those with straight rims. Dishes with this type of design and with bracket lobed rims include those in the Shanghai Museum (illustrated in Splendors in Smalt – Art of Yuan Blue-and-white Porcelain, op. cit., pp. 112-13, no. 27), and the British Museum (illustrated in Tu’erqi, yi lang guan cang Yuan qinghua kao cha qin li ji, op. cit., p. 229). Dishes of this type with straight rims include those in the Topkapi Saray, Istanbul (illustrated in the same volume, p. 20), and two dishes from the Ardebil Shrine (illustrated in the same volume, pp. 168 and 169). The ensemble including grape vines and melon plantss also appears on a small number of Yuan dynasty blue and white large dishes with bracket lobed rims, which include birds in the central roundel. These include a dish in the collection of the Topkapi Saray, Istanbul, which depicts two long-tailed birds, one of which is perched on a balustrade (illustrated by Zhu Yuping, op. cit., p. 178-9, no. 7-7), and the dish which includes a flying phoenix from the collection of the Ardebil Shrine, now in the National Museum of Iran, Tehran (illustrated in Splendors in Smalt – Art of Yuan Blue-and-white Porcelain, op. cit., pp.138-9, no. 39). This latter dish bears the vaqfnameh of Shah ‘Abbas (r. 1588-1629) incised under the rim.

Both grape vines and melon plants can also be seen on rare large blue and white octagonal double gourd vases in the Yuan period. They tend to appear within the cartouches on the lower part of these vases. Two such double gourd vases are in the collection of the Topkapi Saray, Istanbul – one including birds and insects, and the other including frog, lizard and insects illustrated by J. Ayers and R. Krahl in Chinese Ceramics in the Topkapi Saray Museum Istanbul, vol. II, Yuan and Ming Dynasty Porcelains, London, 1986, pp. 498-500, nos. 576 and 577, respectively. Vines and melons also appear in a cartouche on a meiping in the Topkapi Saray (illustrated ibid., p. 497, no. 575), while grape vines and melons also appear, alongside rocks and bamboo on the interior of a bowl in the same collection (illustrated ibid., p. 497, no. 573).It is significant that these two fruit – grapes and melons – were selected from amongst the various plants which were included in the nature-based ensembles on Yuan dynasty blue and white vessels to appear on the current vase, for it was these two fruits which also went on to appear individually in the central roundels of fine imperial blue and white dishes in the early 15th century, as the interest in fruit as a subject for decoration increased in the Yongle reign. A large dish decorated with grapes on a vine was excavated from the Yongle stratum at the imperial kilns at Zhushan Jingdezhen in 1994 (illustrated in Imperial Hongwu and Yongle Porcelain excavated at Jingdezhen, Taipei, 1996, pp. 166-7, no. 51), while a dish decorated with a melon plant was also excavated at Zhushan in 1994 (illustrated ibid. pp. 156-7, no. 46). Both melons on the vine and grapes on the vine were regarded a symbolic of ceaseless generations of sons and grandsons. In the case of the grapes this was in part because they grow in clusters of many fruit, and in the case of melons it was because they contain many seeds. In addition, the vines and tendrils of these plants – mandai (蔓帶) in Chinese – suggest the phrase wandai (萬代, ‘ten thousand generations’).

Records show that both green and black grapes were grown by the beginning of the 6th century AD, and Song dynasty texts mention a seedless variety. An extensive illustrated entry on grapes (Chinese putao 葡萄) is included in volume (juan) 23 of the Chongxiu Zhenghe Jingshi Zhenglei Beiying Bencao (Classified and Consolidated Armamentarium Pharmacopoeia of the Zhenghe Reign (AD 1111-1117). The grapes were eaten fresh, as well as dried in the form of raisins, but do not seem to have been widely used to make wine until the Tang dynasty. Grapes rarely appeared as decoration on Chinese art objects of the early period, with the exception of those depicted in relief on pilgrim flasks of the period Six Dynasties-Sui dynasty (AD 6th-7th century), which were influenced by the arts of Central and Western Asia. Grapes became a more popular motif in the Tang dynasty, when, again under western influences, they regularly appeared, for example, as part of the ubiquitous ‘lion and grape’ motif on bronze mirrors. However, grapes do not seem to appear as decorative motifs on painted ceramics until the Yuan dynasty.

The unusual shape of the leaves of the grape vines on the current vase perhaps suggest another link with lands to the west of China’s borders. They are somewhat reminiscent of the palmette and leaf motifs depicted on early Near Eastern ceramics, including those decorated with cobalt blue, especially those from the Samarra area in Iraq in the 9th century (see for example the dish illustrated by D. Talbot Rice in Islamic Art, London, 1977 reprint, p. 39). Inspiration from the West in the decoration on Yuan dynasty blue and white porcelains is not as surprising as it might initially seem, since it is well-documented that many craftsmen from the Islamic West were employed at the Jingdezhen kilns during the Yuan dynasty (see Liu Xinyuan, ‘Yuan Dynasty Official Wares from Jingdezhen’, The Porcelains of Jingdezhen, Rosemary Scott (ed.), Colloquies on Art & Archaeology in Asia, No. 16, London, 1993, p. 36 and Xu Youren (許有壬), Zhizheng Ji (至正集 Collection from the reign of Zhizheng), juan 9).

This rare vase, therefore, provides references to the sources of inspiration at the Yuan dynasty kilns, as well as presaging the tastes of the Chinese court in the early 15th century.

参考：参考: 拍卖结果
北京保利2019春季拍卖会
中国古董珍玩Ⅰ
清嘉庆青花葡萄大碗

估价：150,000-200,000 RMB
成交价： 253,000 RMB （含买家佣金）
尺寸：直径22cm

拍品说明：
“大清嘉庆年制”款此一制式为清代官窑传统品种，自康熙时期创始，其后各朝沿袭烧造。惟常见多绘松鼠葡萄，取多子多福之意，似拍品仅满绘葡萄者，极为少见。拍品撇口，深腹，圈足。器形规整，胎体坚实。外壁以青花绘葡萄藤蔓缠绕，叶片宽大，串串饱满的葡萄挂满枝头，一派繁密茂盛之景。釉面肥润光泽，纹饰描绘细致，青花敷色浓厚，并以深浅二色涂饰叶片，以示阴阳向背之别，颇为写实。底书青花“大清嘉庆年制”六字三行篆书款，品相良好。备注：日本关西藏家旧藏

参考：Sothebys
賞心菁華－琵金頓珍藏重要中國工藝精品
2016年4月6日 | 上午 10:00 HKT香港
25 明成化青花瓜瓞綿綿紋宮盌《大明成化年製》款

估價 50,000,000 — 70,000,000 港幣
拍品已售 64,600,000 港幣成交價 (含買家佣金)

明成化青花瓜瓞綿綿紋宮盌《大明成化年製》款
exquisitely potted with smooth rounded sides, gracefully rising from a tapered foot to a slightly flared rim, finely painted in muted washes of cobalt-blue accented with sharp outlines of a deeper hue, the exterior with three large clusters of plump ripe melon vine, all differently rendered with seven or eight fruits, the thin curling tendrils counterbalanced by the thick broad leaves, framed by double-line borders at the rim and foot, the interior left undecorated, thinly veiled overall in a most sensual unctuous glaze, the base inscribed with a six-character reign mark within a double circle
15.4公分，6 1/8 英寸

來源
H.R.N. Norton (卒 1961/62年) 收藏，至1936年
Bluett & Sons Ltd，倫敦，1936年 (£35)
Victor Rienaecker收藏， 1936至1937年 (£52:10)
Bluett & Sons Ltd，倫敦，1937年 (£52:10)
豪活派傑（1866-1945年）收藏，1937至1945年(£52:10)
Bluett & Sons Ltd，倫敦，1945年 (£30)
Herschel V. Johnson（1894-1966年）收藏，1945至1967年(£52:10)
倫敦蘇富比1967年2月21日，編號38 (£5000)
Bluett & Sons Ltd，倫敦，1967 (£5000)
羅傑琵金頓(1928-69年)收藏，自1967年(£5000)
出版
Adrian Joseph，《Ming Porcelains: Their Origins and Development》，London，1971年，封面及編號 38
相關資料

派傑宮盌
康蕊君
成化（1465-87年）御窰燒製之宮盌，嫻雅秀麗，質臻至美，古往今來，無可望其項背。青花瓷以成化宮盌最具代表性，而成化瓷亦為中國御瓷最為珍罕的逸品。成化瓷以宮盌及雞缸盃最為人熟知，於中國瓷器歷史上雖曇花一現，但卻流芳百世。無論博物館及私人收藏，或引收藏宮盌為傲，或夢寐求之。繪瓜瓞紋之宮盌，傳世僅只十二件，本品正屬其一，而同類宮盌，多繪十六瓜果，而本品則瓜果繁多，共繪二十二件，瓜瓞延綿，且紋飾獨特，誠為珍品。

宮盌，乃青花瓷盌，應為宮廷食具，僅製於1480年代，前後共十年。宮盌瓷質上乘，造工精細，後人難及，兼且比例觸覺美感皆無可比擬，紋飾設計含蓄雋秀，筆法寫意，構圖巧妙，引人入勝。

據朱湯生錄，成化珍瓷，無論紋飾風格，仍屬私人收藏者僅二十餘件，見《The Emperor’s Broken China: Reconstructing Chenghua Porcelain》，蘇富比，1995年，頁116-29）。除傳世珍品難得外，殘片亦同樣罕見。成化一朝，品質控制極其嚴謹，較明代各朝更甚，然而江西景德鎮御窰出土成化殘片卻甚為鮮見，未及宣德年（1426-35年）地層出土之一半，而宣德帝祚卻遠較成化年為短。台北故宮博物院，收藏成化瓷器最多，出自清宮舊藏，然而該院並無與本品相近之例，北京故宮博物院及中國其他博物館亦無收藏近例。

成化瓷器，別樹一格，獨特於明代各時期，風格成形於成化朝最後十年。在此之前，成化瓷器大多仿效宣德年製瓷風格。學者大致認為，成化朝出現之新風，主要由萬貴妃（1430-1487年）主導。萬貴妃，較成化帝年長十七，對其影響甚深。此時期所製瓷器品質要求極高，御窰廠耗費龐大，朝廷負擔沉重，1482年，有重臣上書勸說憲宗停止派遣太監至饒州景德鎮監工，後再有朝臣上書勸止燒造瓷器，終止於1486年。

成化御窰瓷器，由朝廷嚴格監管製作。多種瓷盌器型，發展於宣德年間，然而宮盌之形，乃後期創製，曾設計十一款宮盌，其中十款繪花卉紋飾，僅有一款繪果紋。成化瓷器，乍看或似樸實無華，經仔細鑑賞，方顯雅韻，宮盌亦然。此類器並非供遠觀炫示，而應靜心觀賞，方能體會瓷匠之臻藝，瓷質之上乘，觸感之溫潤，白瓷青花之雋秀，及紋飾獨特設計之精妙。

成化紋飾，筆法獨特。御瓷紋飾以精確為典型，成化瓷器則筆法靈動寫意，不為成規所困。如本品之宮盌，盌身瓜瓞紋應均分三組，每組構圖有別，分別繪六、六及四個瓜果，本盌乃唯一例外，三組瓜瓞紋各掛八、七、七只瓜果，然而瓜瓞分佈精巧，乍看之下，各組紋飾似乎構圖相同，整體比例勻稱，和諧一致。宮盌紋飾大致分兩款，繪纏枝秋葵、梔子花及百合紋，錄於朱湯生，出處同上，頁119，編號B 24/25, 26/27 and 28/29，唯無記載如本品之瓜瓞紋宮盌（B31）。

連本盌在內，現知共有十二件瓜瓞紋宮盌傳世，包括一殘片重組例，出土自景德鎮明代御窰遺址，曾展於《成窰遺珍：景德鎮珠山出土成化官窰瓷器》，徐氏藝術館，香港，1993年，編號C82。

大維德爵士舊藏一對瓜瓞紋宮盌例，其一現仍屬此收藏，現存於倫敦大英博物館，同館另藏一例，出自Seligman收藏；前者載於康蕊君及霍吉淑，《大英博物館大維德爵士藏中國陶瓷精選》，倫敦，2009年，編號36，頁72左；後者載於霍吉淑，《Ming Ceramics in the British Museum》，倫敦，2001年，圖版6: 3。大維德爵士舊藏對盌之二載於《International Exhibition of Chinese Art》，英國皇家藝術學院，倫敦，1935-36年，編號1493，售於倫敦蘇富比1968年10月15日，編號97，後入安宅氏名藏，現為大阪東洋陶磁美術館藏，見《東洋陶磁の展開》，大阪，1999年，圖版47。

比較一盌例，出自瑞典斯德哥爾摩東亞博物館 Nora Lundgren 收藏，曾展於《Mostra d’Arte Cinese/Exhibition of Chinese Art》，道奇宮，威尼斯，1954年，編號656；另一例出自 Frederick M. Mayer 收藏，售於倫敦佳士得1974年6月24日，編號98。現為天民樓收藏，載於《天民樓藏瓷》，香港藝術館，香港，1987年，編號31；Charles Russell 亦曾收藏一例，售於倫敦蘇富比1935年6月6日，編號83，後易手於香港蘇富比1994年11月1日，編號40，載於 R.L. Hobson、Bernard Rackham 及 William King，《Chinese Ceramics in Private Collections》，倫敦，1931年，圖314，以及《香港蘇富比三十週年》，香港，2003年，圖版245；現為區百齡珍藏，曾展於《100 Masterpieces of Imperial Chinese Ceramics from the Au Bak Ling Collection》，英國皇家藝術學院，倫敦，1998年。

L.F. Hay 少校收藏一盌例，售於倫敦蘇富比1939年6月16日，編號101；另一例出自R.H.R. Palmer及羅桂祥收藏，圖見 Soame Jenyns，《Ming Pottery and Porcelain》，倫敦， 1953年，圖版63 A，售於倫敦佳士得1982年6月14日，編號79，現藏於茶具文物館，香港，圖見《出藍寶色浮：羅桂祥基金捐贈中國陶瓷》，茶具文物館，香港，1995年，編號24；一例出自徐展堂收藏，《徐氏藝術館》，香港，1991年，圖版73，曾於香港佳士得1990年10月8日，編號424；另一例先後由北京 Zie Soey Koo、R. Wemyss Honeyman、Leandro 及 Cecilia Locsin 以及玫茵堂收藏，圖見康蕊君，《玫茵堂中國陶瓷》，倫敦，1994-2010年，卷2，編號677，與另一例成對售於珀斯 Thomas Love & Sons Ltd，1970年2月24日，後單獨售於香港蘇富比2011年4月7日，編號56。

本盌曾屬F. Howard Paget （1886-1945年）收藏，Paget 為英國德比市 Old Crown Derby China Works（即 King Street Factory，營運於1849至1935年）最後一位主人，自1923年起開始收藏，收羅250多件中式瓷器珍品，直至辭世為止，藏品主要得自倫敦Bluett & Sons。1936年，其父離世，作坊亦告閉業，Paget 贈予倫敦大英博物館近150件西方瓷器，其中以英國瓷器為主，並捐贈位於斯塔福德之十八世紀家族大宅 Elford 予伯明瀚市政府作公共用途（圖一）。1945年，Paget 贈予倫敦大英博物館19件明代珍瓷，其餘在其身後重歸 Bluett & Sons 所有。

Bluett & Sons 後將本盌售予美國外交家 Herschel Vespasian Johnson（1894-1966年），Johnson 為聯合國安全理事會美國代表，亦為1860年美國大選副總統提名人Herschel Vespasian Johnson（1812-1880年，喬治亞州莊遜郡即以其命名）之後裔。其中國瓷器收藏部份捐予北卡羅來納州夏洛特市 Mint Museum。本品曾售於蘇富比，後再度為 Bluett & Sons 購得。本盌收藏於一琥珀色中式錦匣，與仇焱之為曾接觸之藝術品特製之匣相同，故本品或曾屬仇氏典藏。

参考：拍卖结果 > 春秋拍卖会 > 北京保利2016秋季拍卖会 > 色古，香清——雍正御瓷与内廷雅玩 > 青花瓜瓞绵绵小罐

拍品信息
作者 —
尺寸高9cm
作品分类陶瓷>清代青花瓷器
创作年代清雍正
估价 RMB 　450,000-650,000
成交价
RMB 　517,500 HKD 　592,105USD 　77,625EUR 　56,925
专场色古，香清——雍正御瓷与内廷雅玩
拍卖时间 2016-12-05
拍卖公司北京保利国际拍卖有限公司
拍卖会北京保利2016秋季拍卖会
[大清雍正年制]款
说明小罐造型精巧，束颈溜肩，六瓣瓜棱形鼓腹，下腹斜收。白釉光洁莹润，足端露胎处可见胎质细腻，抚之细腻光滑。颈部饰弦纹一周
，近底处弦纹两道，腹部每瓣上饰缠枝瓜果纹，所谓瓜瓞绵延，典出自《诗•大雅•绵》：“绵绵瓜瓞，民之初生，自土沮漆。”瓞
，即小瓜，瓜始生时略小，但其蔓不绝，逐渐长大，绵延滋长。瓜瓞绵延遂成为子孙昌盛、多子多福的象征，瑞意绵绵。整器精致小
巧，文气典雅，青花浓淡相宜，呈色淡雅，如水墨画般勾描渲染，意境独蕴，实为雍正官窑青花的精品之作，彰显出雍正帝对“精”
与“雅”的毕生追求。底心双行六字“大清雍正年制”青花楷书款，书写清秀、规整，为雍正御窑之经典小件佳器。

参考：拍卖首页 > 保利香港拍卖有限公司 > 保利香港2018秋季拍卖会 > 中国古董珍玩专场
LOT号： 3436 王步青花加粉彩寿桃纹缸（一对）

尺寸高48cm；直径53cm
估价 HKD 　600,000-800,000
落锤价 820,000
拍品信息
作者 — 尺寸高48cm；直径53cm
作品分类陶瓷>现当代及其它瓷器创作年代暂无
估价 HKD 　600,000-800,000
成交价
RMB 　843,747 HKD 　967,600USD 　123,853EUR 　96,760
专场中国古董珍玩专场拍卖时间 2018-10-02
拍卖公司保利香港拍卖有限公司拍卖会保利香港2018秋季拍卖会
说明来源
义大利米兰藏家旧藏

拍品唇口，直口，腹下斜收；通体以青花粉彩描绘纹饰，腹部通景绘制寿桃蝴蝶纹样，以青花描绘枝叶，枝叶翻卷形似古式蝙蝠之样，上以粉彩绘制寿桃；可见仙桃粉嫩硕大饱满，青花枝叶点缀，逾显诱人。硕果娇叶在白地衬托下华而不俗，纹样亦有蟠桃献寿之意。粉彩八桃天球瓶是雍正年间顶级陈设彩瓷，本品作品为景德镇窑优秀的陶瓷作品，代表了当时制瓷业的最高工艺水平。此缸作为其继承和发展，为后世仿古、创新中的佼佼品。

王步先生的早期作品以继承传统为主，不断地追求创新，在上世纪二十年代以潘萄宇、汪晓棠先生领导的新粉彩瓷画运动中，我们已看到王步先生早期的粉彩作品，与当时珠山八友、王琦等人的作品相似。但王步先生不拘泥世俗化的新粉彩，选择了既传统又高难度的青花绘画，并对传统的青花绘画之精髓进行了吸收和创新，其艺术风格独树一帜，王步先生无疑是一位将传统青花工艺向纯艺术转化的成功艺术大师。他在康熙青花蓝分五色的基础上绘制出蓝分十几个层次的青花作品，得到国内外行家高度赞誉。尤其是五十年代初王步先生响应毛泽东古为今用、洋为中用的号召，吸取、借鉴了八大山人极简的绘画风格和西方绘画精髓，创造出一批前所未有的青花力作。在他的作品中，王步先生大胆的利用留白，产生了一种庄子提倡的虚白生空的艺术效果，留出的大量留白给人无限想象的空间。

一九五五年始王步先生加盟了中德、中捷技术合作所（景德镇轻工部陶研所前身），与德国艺术家、捷克艺术家交流合作。在1988-1959年期间，该时期王步创烧出一批杰出的优秀青花作品。这件拍品就是他与西方艺术家一起探讨创作的全新青花绘画。这是王步先生一件难得的精品，落款为景德镇制一九五七年。

[临渊阁]天地一家春

景德镇制青花瓜瓞绵绵纹刻棱宫碗

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