清 乾隆 青釉 仿汝釉铺首双耳鹿头尊壶

Description

清 乾隆 青釉铺首双耳鹿头尊壶

仿官釉铺首尊壶

参考：佳士得
17 3月 2016 | 現場拍賣 11928
中國瓷器及工藝精品
拍品 1361
A PAIR OF LARGE BLUE-GLAZED HU-FORM VASES
清光緒 藍釉鋪首啣環耳瓶一對

成交價 USD 8,125
估價 USD 4,000 – USD 6,000

狀況報告
We have sought to record the change in the condition of this piece acquired after its initial manufacture.
one vase: a few restored frits to mouth rim
– a few burst glaze bubbles and a bump under the glaze on the body
– a firing crack below one mask handle
the other vase: a few restored frits to mouth rim
– a restored chip to the mouth rim
– glaze line to one mask-form handle and a few firing cracks to the other mask-form handle

参考：國立故宮博物院
清 「大清雍正年製款」
仿汝釉青瓷獸面銜環瓶

資料識別：中瓷003455N000000000
資料類型：陶瓷器
描述：
侈口短頸，豐肩下斂，撇足，器肩兩側貼飾獸首銜環暗耳。頸肩交界處雙弦紋一週，腹外壁等距雙弦紋兩圈，全器罩施青釉，色澤仿自北宋汝窯，釉質凝潤並有狹長開片，釉薄處略見胎色。圈足露胎褐色汁，足內亦施青釉，書青花「大清雍正年製」三行六字篆款。
日期：1723 A.D.-1735 A.D.
格式：高23.4公分 口徑9.5公分 底徑9.8公分

参考：佳士得
2020 | Live Auction 19038
Sacred and Imperial: The James and Marilynn Alsdorf Collection Part I
Lot 816
A RARE GUAN-TYPE HU-FORM VASE
CHINA, QING DYNASTY, QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

Price realised USD 162,500
Estimate USD 100,000 – USD 150,000

Closed: 23 Sep 2020

A RARE GUAN-TYPE HU-FORM VASE
CHINA, QING DYNASTY, QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

Details
A RARE GUAN-TYPE HU-FORM VASE
CHINA, QING DYNASTY, QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)
The high-shouldered ovoid body tapering to a flared foot, the shoulder applied with a pair of masks suspending fixed-ring handles, covered with a finely cracked, pale bluish-grey glaze, the foot rim covered with a brownish-black dressing
7 ¾ in. (19.6 cm.) high

Provenance
H. R. N. Norton (d. 1961-62) Collection, no. 38.
Sotheby & Co., London, 5 November 1963, lot 196.
Bluett & Sons, London, 11 February 1964.
The James and Marilynn Alsdorf Collection, Chicago.

Lot Essay
The present vase, in both its shape and glaze, reflects the Qianlong Emperor’s fascination with antiques. The shape of this vase is in imitation of a Han dynasty (220 BC-AD 220) bronze wine vessel, hu, examples of which were undoubtedly available in the imperial collections in the 18th century. The crackled glaze recalls the glaze on the Guan wares made for the Southern Song (AD 1127-1279) court, further reinforcing the theme of archaism when used on this vase in the shape of an ancient bronze.
Compare the current vase to a Qianlong-marked Ru-type hu-form vase of the same shape, but of larger size (21 15/16 in.), in the Brooklyn Museum, no. 32.1244, and to another Qianlong period Ru-type vase of slightly larger size (13 3/8 in.) with animal masks on the shoulders, but lacking the rings.

参考:保利香港图录预览
保利香港2019秋季拍卖会
中国古董珍玩专场
3015 清雍正 仿官釉铺首尊

仿官釉铺首尊
拍品信息
LOT号 3015
作品名称 清雍正 仿官釉铺首尊
作者 —
尺寸 高24.2cm
创作年代 清雍正
估价 2,200,000-2,800,000
成交价 RMB 2,568,624

款识：「大清雍正年制」
来源
黄民三博士收藏

本品器型仿汉代之铜壶化裁而成，唇口束颈、宽肩敛腹，底足外侈，造型上下呼应，端庄稳重。器身饰弦纹数周，肩部两侧施铺首衔环耳，除此外别无繁饰，仅以通身仿官釉装饰。仿官釉釉质肥润，简洁有致，大气婉约。

除仿官釉外，相似器型雍正一朝有诸色釉品，相同例如清宫旧藏炉钧釉铺首耳壶，见《故宫陶瓷馆．下编》，页445，图354；另台北故宫博物院入藏茶叶末釉铺首尊，著录《故宫清瓷图录．上卷（康熙窑 雍正窑）》，页152；尚有窑变品，出自大收藏家Hall Family旧藏，曾经著录于《Hall Family Collection inventory no. 441》；另有青花者，造型一致而尺寸和纹饰不同，如南京博物院典藏青花缠枝莲托八吉祥纹尊，《清代官窑瓷器》，页63。尚有一例，录于《宫廷珍藏－中国清代官窑瓷器》，上海文化出版社，2003年，页331
黄民三博士（1896-1986）原名良弼，祖籍广东台山，1896年出生于加拿大，幼年回到广东读书，后在美国结识了孙中山先生，因为拜服于孙中山的三民主义理论，甚至将自己的名字改为「民三」，后来他还在海外帮助孙中山先生筹款。黄民三先生是一位著名的牙医，是牙医国际学院五位中国发起人之一，同时也是香港牙医学会的发起人之一。在专业之余，黄民三最大的爱好便是收藏古玩，1947年，他移居香港，将在海外收藏的所有藏品都带回香港，黄博士在香港仍然致力于收藏，在他去世三十年后，其后人终于将其藏品公诸拍场。

所敷施的仿官釉色幽隽淡恬，散见开片，颇具旧迹，暗合宋人《坦斋笔衡》：「澄泥为范，极其精致。油色莹澈，为世所珍」之评述。其形敦实古拙，深得宋官神韵。对宋官器物的形制来源与审美感受，明人高濂《遵生八笺•燕闲清赏笺》上卷•「论官哥窑器」作如是评述：「论制如商庚鼎、纯素鼎、葱管空足冲耳乳炉、商贯耳弓壶、大兽面花纹周贯耳壶、汉耳环壶、父己尊、祖丁尊，皆法古图式进呈物也。」「故余每得一睹，心目爽朗，神魂为之飞动，顿令腹饱。」

胤禛的感悟和追求最终得以实现有赖于当时唐英榷陶下的御窑厂。彼时唐英秉承圣旨悉心烧造，尤其在仿古方面，超越前代，独步一时。他按照胤禛发来内府典藏的宋官旧物，对照临摹，以求胎釉、气韵一致。雍正十三年乙卯冬月，唐英在其研陶心得《陶成纪事碑》中记「兹举其仿古、采今，宜于大小盘、碗、盅、碟、瓶、罍、尊、彝，岁例贡御者五十七种，开列于后以志大概。一仿铁骨大观釉，有月白、粉青、大绿等三种，俱仿内发宋器色泽。」于此将「大观釉」列于诸类仿古色釉之首，可见重视程度之高。本品底足平扁而饰黑褐之色，以摹铁足之效，观之古意盎然，可知唐英摹古细致入微，对每一处特征皆细加留意。

参考：北京保利2018秋季拍卖会
瑰映如茵Ⅲ—玫茵堂、十面灵璧山居暨海外名藏元明清御窑雅蓄
5496 清乾隆 仿官釉三羊开泰尊

仿官釉三羊开泰尊
拍品信息
LOT号 5496
作品名称 清乾隆 仿官釉三羊开泰尊
作者 —
尺寸 高34.5cm
创作年代 清乾隆
估价 1,800,000-2,500,000
成交价 RMB 2,990,000
出版
《大朴尚简-明清单色釉瓷器菁华展》，北京，2018年，页188-189，编号69.
「大清乾隆年制」款

备注
瑞士玫茵堂收藏

展览
「大朴尚简-明清单色釉瓷器菁华展」，保利艺术博物馆，北京，2018年

尊形仿自上古三代青铜器，于雍正朝开始以瓷烧造。本品尊形壮硕，口沿外撇，器身起弦纹三条，肩部堆塑三羊首为耳，羊首高起，形式古朴。通体所施仿官釉一色，匀净莹亮，细腻肥润，釉色青白，静穆古雅，胎骨细薄坚致，丽质怡人，远视之，宛若佳人玉立，风韵无限。足部铁色圈足形成仿宋官窑“紫口铁足”的特征；底部青花“大清乾隆年制”六字篆书年款。

三羊开泰，因古时“羊”、“阳”通假，亦称“三阳开泰”。《易经》中称：“十月为坤卦，纯阴之象。十一月为复卦，一阳生于下。十二月为临卦，二阳在下。下月为泰卦，三阳大下。”其意为冬去春来，阴消阳长，万物复苏，因此三阳开泰有吉祥之象。此外，中国宗法社会亦有“君为阳”，“父为阳”的思想，故此纹饰在清代受到皇家大力推广，而成为官窑瓷器的经典纹样。

参考： 北京保利2019春季拍卖会 >禹贡Ⅱ——雍正御器厂三希
5553 清雍正 仿官「铁骨大观釉」汉壶式大铺首尊

仿官「铁骨大观釉」汉壶式大铺首尊
拍品信息
LOT号 5553
作品名称 清雍正 仿官「铁骨大观釉」汉壶式大铺首尊
作者 —
尺寸 高59cm
创作年代 清雍正
估价 5,000,000-8,000,000
成交价 RMB 7,935,000

「大清雍正年制」款
备注
日本关西茶道家族旧藏

宋官窑气韵古朴典雅，为宋器之精粹，千百年折服无数钦慕者，为文人雅士首推之佳器，明张谦德《瓶花谱》中赞曰：「尚古莫如铜器，窑则柴、汝最贵而世绝无之，官、哥、宣、定为当今第一珍品。」雍正皇帝艺术品味高雅，精于鉴赏，宋瓷不事雕琢的自然之美深得其青睐，故官窑器物深受影响，仿宋五大名窑釉色成就卓著，以精巧淡雅、清新脱俗著称，流露出浓厚的赵宋遗韵，展现出精雅的帝王意趣。其中对摹造宋官窑瓷器尤为重视，仿宋官窑之数量颇巨，如唐英《陶成纪事碑》中即有载：「兹举其仿古、采今，宜于大小盘、碗、盅、碟、瓶、罍、尊、彝，岁例贡御者五十七种，开列于后以志大概。一仿铁骨大观釉，有月白、粉青、大绿等三种，俱仿内发宋器色泽。」此文中将「大观釉」列于诸类仿古色釉之首，可见宫廷对其厚爱与尊崇。

本品造型仿自汉代铜壶，体量高大，形制饱满，端庄古雅，所施仿官釉色幽隽淡恬，厚若堆脂，温润似玉，散见疏朗的透明开片，益增冰清玉洁之感，当时《陶成纪事碑》中「月白」一色。最为令人称道之处是肩部安贴双兽面铺首，下衔圆环，凸于釉面，乃是对汉铜壶的忠实摹拟，在丰富造型之美的同时，让釉质随之起伏，并于凸起处露出淡淡的胎骨之色，颇见苍雅古朴之美，穆穆透出赵宋旧物之意韵，远观之，古气盎然，扑人眉宇，予人以无限恬静之雅意。足部涂成铁褐色，以仿宋官之「铁足」效果。

对宋哥器物的形制来源与审美感受，明人高濂《遵生八笺•燕闲清赏笺》上卷「论官哥窑器」作如是评述：「论制如商庚鼎、纯素鼎、葱管空足冲耳乳炉、商贯耳弓壶、大兽面花纹周贯耳壶、汉耳环壶、父己尊、祖丁尊，皆法古图式进呈物也。」、「故余每得一睹，心目爽朗，神魂为之飞动，顿令腹饱。」胤禛深谙其妙，特别强调造型之美，追求朴拙之意，本品造型沈稳大气，通高59cm，气势恢弘，遍查资料，未见超过本品高度之铺首尊，当为同类之王。虽其体量撼人，然造型尺度比例严谨，口径、底径均为24cm，线条婉转而富有韵律，配以发色纯美的釉质，达到造型与色彩最佳结合之唯美境界，是为雍正御窑之旷世奇珍，甚为罕见。此式大铺首尊所见多为乾隆窑青花绘莲托八宝，雍正窑见有一例，藏于南京博物院，而施仿官釉者，检视所见资料，仅见南京博物院藏一例属乾隆早期款识者，造型与本品颇为接近，惟体量稍小，高度较本品小近10cm，故本件雍正窑仿官釉汉壶式大铺首尊极有可能为传世孤品，值得格外珍视。

参考：苏富比 1934
中國瓷器及工藝品
清 乾隆 仿汝窑三羊尊
A SUPERB RU-TYPE ‘THREE RAMS’ VASE
SEAL MARK AND PERIOD OF QIANLONG

7,000,000 — 9,000,000港幣
拍品已售 7,220,000 港幣 成交價 (含買家佣金)

拍品詳情
A SUPERB RU-TYPE ‘THREE RAMS’ VASE
SEAL MARK AND PERIOD OF QIANLONG
finely potted, the globular body supported by a flared foot and rising to a thick waisted neck and flared mouth, encircled by two double-raised fillets around the body and another at the base of the neck, and applied with three ram heads at the shoulders, covered overall with a pale blue glaze suffused with a dense network of golden crackles, the base inscribed with the six-character seal mark in underglaze blue, wood stand
34.3 cm., 13 1/2 in.

狀況報告
There is a 3 mm burst air bubble to the unglazed footring. The overall condition is otherwise very good.

相關資料
Vases of this form and design appear to have been introduced in the Yongzheng period; see a line drawing of this form included among Yongzheng shapes in Geng Baochang, Ming Qing ciqi jianding, Hong Kong, 1993, p. 235, fig. 401:13, where it is called sanxicun (‘vase of three beasts of uniform colour’), referring to the kind of animals used in ritual offerings. While a small group of Qianlong examples are known, the present vase is special for its rich opaque glaze after the famous imperial ‘Ru’ wares of the Song dynasty. It is closely comparable to a vase sold in these rooms, 8th April 2007, lot 703.

See two further vases, a Yongzheng and a Qianlong example, with a similar Ru-type glaze in the National Palace Museum, Taipei, the former published in the Illustrated Catalogue of Ch’ing Dynasty Porcelain in the National Palace Museum: K’ang-hsi Ware and Yung-cheng Ware, Tokyo, 1980, pl. 129, the latter included in the Museum’s exhibition Qingdai danseyou ciqi /Special Exhibition of Ch’ing Dynasty Monochrome Porcelains in the National Palace Museum, Taipei, 1989, cat. no. 88. Another Qianlong vase with a Guan-type glaze, in the Walters Art Gallery, Baltimore, is published in S.W. Bushell, Oriental Ceramic Art, London, 1981 (1896), col. pl. LXXVII. For a teadust glazed ‘three ram’ vase of Qianlong mark and period see one from the collections of T.Y. Chao and Ira and Nancy Koger, sold three times in these rooms, 1979, 1986 and 1992, and once in our New York rooms, 1990, illustrated in Sotheby’s. Thirty Years in Hong Kong, Hong Kong, 2003, pl. 157; and a rare celadon-glazed version sold twice in these rooms 8th October 2006, lot 1014, and again, 8th October 2009, lot 1632.

The ram is a traditional emblem of good luck, since the Chinese term for ram (or goat), yang, is a homophone of yang, ‘sun’ and represents the male or positive principle in the yin-yang duality. The Chinese character for ram is also used as a variant for a similar character pronounced xiang, which means happiness. Three rams, san yang, are considered a particularly auspicious symbol, evoking the expression san yang kai tai, the awakening of nature in spring, which signifies good luck and happiness. San yang shen are the three yang spirits in Daoism, the original spirit, ‘the spirit that knows,’ and the ‘real spirit.’

The Qianlong Emperor appears to have been particularly fond of the motif of the three rams (or goats), since during his reign it was frequently represented in two- and three-dimensional form; see, for example, a jade and a glass carving included in the exhibition China. The Three Emperors, 1662 – 1795, Royal Academy of Arts, London, 2005, cat. nos. 298 and 299. A ‘three rams’ vase of meiping form with a Guan-type glaze, also of Qianlong mark and period, from the Qing Court collection and still in Beijing, is published in The Complete Collection of Treasures of the Palace Museum: Monochrome Porcelain, Hong Kong, 1999, pl.208.

中國瓷器及工藝品
2011年10月5日 | 上午 11:30 HKT
香港

参考：佳士得 拍賣 2152
重要中國瓷器及工藝精品
香港|2003年10月27日
拍品697 清 仿汝窑耳瓶
A FINE AND RARE SMALL RU-TYPE VASE

成交總額
HKD 215,100

估價
HKD 120,000 – HKD 150,000

A FINE AND RARE SMALL RU-TYPE VASE
YONGZHENG FOUR-CHARACTER SEAL MARK AND OF THE PERIOD (1723-1735)

The compressed globular body is potted with straight sides and a raised rib below the angled shoulder, surmounted by a tall neck flanked by a pair of zoomorphic handles, and rising to a cup-shaped mouth, covered overall with a pale blue glaze of even tone
5 1/8 in. (13 cm.) high, box

拍品專文
Compare the present lot with three other vases of identical design sold at Sotheby’s, the first in New York, 1 June, 1988, lot 158; a second in London, 8 June 1993, lot 109; and a third also in London, 10 June 2003, lot 180.

Cf. a larger vase (28.6 cm. high) of this form covered in a flambé glaze in the National Palace Museum, illustrated in Monochrome Porcelains of the Ch’ing Dynasty, Taibei, 1970, no. 20.

参考：佳士得 拍賣 2811
中國宮廷御製藝術精品、重要中國瓷器及工藝精品
Hong Kong|2010年5月31日
拍品2010|THE PROPERTY OF A GENTLEMAN
清乾隆 仿汝釉折肩貫耳尊 六字篆書款
A FINE AND RARE LARGE RU-TYPE HU-FORM VASE

成交總額
HKD 1,820,000

估價
HKD 1,500,000 – HKD 2,000,000

清乾隆 仿汝釉折肩貫耳尊 六字篆書款

來源
Previously sold at Sotheby’s Hong Kong, 1 May 2001, lot 525

拍品專文
The glaze on this Qianlong vase is a fine copy of early Ru ware. In the Qianlong reign Song dynasty stonewares, particuarly the crackled wares of Ge, Guan, and Ru-type were highly regarded by the emperor. Not only did the emperor collect Song dynasty examples of Ru wares, he also commissioned new porcelain with a similar glaze from the imperial kilns.

Few vases of this large size and shape are published. However, one of similar size and shape with a Ge-type glaze was sold at Christie’s New York, 21 September 2004, lot 315. Qianlong-marked blue and white vases of this form appear to be more common. A slightly smaller vase of the same form decorated in blue and white was included in the exhibition, The Wonders of the Potter’s Palette: Qing Ceramics from the Collection of the Hong Kong Museum of Art, Hong Kong, 1984, pl. 63; and several sold at auction, two at Christie’s New York, 1 June 1990, lot 247, and another example sold at Christie’s Hong Kong, 4 November 1996, lot 770. Another comparable hu-shaped vase with upright rather than flared mouth rim, decorated with similar floral scrolls, is illustrated in Blue and White Ware of the Ch’ing Dynasty, Book 1, National Palace Museum, Taipei, 1968, pl. 3.

Other vases with Song-type glazes usually have a facetted, hexagonal shape like the Yongzheng vase with Guan-type glaze in the Palace Museum illustrated in Monochrome Porcelain, The Complete Collection of Treasures of the Palace Museum, vol. 37, Hong Kong, 1999, p. 226, no. 204. However, the potter who made the current vase managed to throw and fire the vase successfully without restorting to strengthening vertical joins. It is another archaistic aspect of this vessel’s design that it is based upon a metalwork shape, evidenced by the tubular handles, and also the sharp junction between the shoulder and the body of the vessel. Interestingly, there is a small vase in the Baur Collection, the profile of which shares the current vase’s sharp shoulder junction, which is illustrated by J. Ayers and M. Sato (eds.), Sekai toji zenshu, vol. 15, Qing, Tokyo, 1983, p. 111, no. 121. The Baur Collection vase does not have the tubular handles but has been adapted from that of ancient bronze vessels. The current vase whilst having a shape that refers to ancient bronze forms, is undecorated so as not to detract from its beautiful glaze based on Song dynasty wares.

編製圖錄及詳情
拍品前備註
THE PROPERTY OF A GENTLEMAN

参考：佳士得 拍賣 14802
亞洲藝術 巴黎|2017年12月13日
拍品70|PROPERTY OF A FRENCH NOBLE FAMILY
清雍正 仿汝窯弦紋壺 六字篆書款
來源：法國貴族珍藏，Béarn伯爵夫人 (1869-1939)舊藏，後家族傳承
CHINE, DYNASTIE QING, MARQUE A SIX CARACTERES EN CACHET EN BLEU SOUS COUVERTE ET EPOQUE YONGZHENG (1723-1735)

成交總額
EUR 847,500

估價
EUR 300,000 – EUR 500,000

清雍正 仿汝窯弦紋壺 六字篆書款
來源：法國貴族珍藏，Béarn伯爵夫人 (1869-1939)舊藏，後家族傳承

Hauteur: 59 cm. (23 ¼ in.)

來源
Collection of Martine Marie Pol de Béhague, Comtesse de Béarn (1869-1939), Paris, and thence by descent to the present owner.

The young heiress Martine Marie Pol de Béhague, (1869 – 1939) became Comtesse de Béarn when she married René-Marie-Hector de Galard de Brassac de Béarn in 1890. She inherited from her parents an immense fortune and a beautiful house in Paris which became one of the most elegant places of her times. The Comtesse lived with grand style enjoying the company of artists such as painter Paul Helleu but also writers and musicians: Paul Verlaine, Paul Valery, George Bizet or Gabriel Fauré. She travelled the world collecting art and reunited a very eclectic collection mixing Old Masters with masterpieces by Tiepolo, Guardi, Watteau and also Titien, manuscripts, antiquities and Chinese works of art.

拍品專文
The shape is in imitation of a Han Dynasty bronze hu vase, and archaic bronze vases of this type were undoubtedly available in the Imperial collections in the 18th century. Ru glazes have traditionally been much admired by Chinese connoisseurs, and were copied on porcelain as early as the 15th century. Excavations at the imperial kilns at Jingdezhen have revealed that Ru-type glazes were being made for the Ming imperial court. In 1984 a porcelain bowl with inverted rim and Ru-type glaze was excavated from the Xuande stratum at the imperial kilns published in Imperial Porcelain of the Yongle and Xuande Periods Excavated from the Site of the Ming Imperial Factory at Jingdezhen, Urban Council Hong Kong, 1989, pp. 276-7, no. 97. The imitation of this revered glaze became even more popular at court in the 18th century under the Yongzheng and Qianlong Emperors.
Large Yongzheng-marked vases of this form covered in this glaze are extremely rare. Compare to a slightly smaller ru-glazed fanghu with a Yongzheng seal mark, also from a French collection, sold in Christie’s Hong Kong, 30 November 2016, lot 3316. See a very simlarly decorated but smaller Yongzheng-marked guan-type glazed hu vase, from the Collection of Robert Hatfield Ellsworth, sold in Christie’s New York, 19 March 2015, lot 426.

参考：佳士得拍賣 2811
中國宮廷御製藝術精品、重要中國瓷器及工藝精品
Hong Kong|2010年5月31日
拍品2010 清乾隆 仿汝釉折肩貫耳尊 六字篆書款 |THE PROPERTY OF A GENTLEMAN A FINE AND RARE LARGE RU-TYPE HU-FORM VASE

成交總額
HKD 1,820,000

估價
HKD 1,500,000 – HKD 2,000,000

來源
Previously sold at Sotheby’s Hong Kong, 1 May 2001, lot 525

拍品專文
The glaze on this Qianlong vase is a fine copy of early Ru ware. In the Qianlong reign Song dynasty stonewares, particuarly the crackled wares of Ge, Guan, and Ru-type were highly regarded by the emperor. Not only did the emperor collect Song dynasty examples of Ru wares, he also commissioned new porcelain with a similar glaze from the imperial kilns.

Few vases of this large size and shape are published. However, one of similar size and shape with a Ge-type glaze was sold at Christie’s New York, 21 September 2004, lot 315. Qianlong-marked blue and white vases of this form appear to be more common. A slightly smaller vase of the same form decorated in blue and white was included in the exhibition, The Wonders of the Potter’s Palette: Qing Ceramics from the Collection of the Hong Kong Museum of Art, Hong Kong, 1984, pl. 63; and several sold at auction, two at Christie’s New York, 1 June 1990, lot 247, and another example sold at Christie’s Hong Kong, 4 November 1996, lot 770. Another comparable hu-shaped vase with upright rather than flared mouth rim, decorated with similar floral scrolls, is illustrated in Blue and White Ware of the Ch’ing Dynasty, Book 1, National Palace Museum, Taipei, 1968, pl. 3.

Other vases with Song-type glazes usually have a facetted, hexagonal shape like the Yongzheng vase with Guan-type glaze in the Palace Museum illustrated in Monochrome Porcelain, The Complete Collection of Treasures of the Palace Museum, vol. 37, Hong Kong, 1999, p. 226, no. 204. However, the potter who made the current vase managed to throw and fire the vase successfully without restorting to strengthening vertical joins. It is another archaistic aspect of this vessel’s design that it is based upon a metalwork shape, evidenced by the tubular handles, and also the sharp junction between the shoulder and the body of the vessel. Interestingly, there is a small vase in the Baur Collection, the profile of which shares the current vase’s sharp shoulder junction, which is illustrated by J. Ayers and M. Sato (eds.), Sekai toji zenshu, vol. 15, Qing, Tokyo, 1983, p. 111, no. 121. The Baur Collection vase does not have the tubular handles but has been adapted from that of ancient bronze vessels. The current vase whilst having a shape that refers to ancient bronze forms, is undecorated so as not to detract from its beautiful glaze based on Song dynasty wares.

編製圖錄及詳情
拍品前備註
THE PROPERTY OF A GENTLEMAN

参考：中国国家博物馆 战国 中期 嵌铜鸟兽纹壶

1957年河南陕县后川出土
通高43厘米 口径12.2厘米 足径14.5厘米
器侈口，长颈，铺首衔环耳，深鼓腹，圈足。盖略上拱，缘置四环纽。器通体铸纹槽，以铜嵌入，装饰五层花纹。每层纹带均由四组对称走兽构成，形态各异。各层纹带之间均以“工”字状纹间隔，每对走兽之间除第四层以饕餮纹间隔外，其余也均以“工”字状纹间隔。圈足嵌饰“工”字状纹带。器盖嵌饰内外两周卷云纹，一纵一横。（撰稿人：黄一）

相关展览： 中国古代青铜器艺术

参考：中国国家博物馆 汉 西汉 波纹双系青釉硬陶壶

盛酒器或盛水器
1977年浙江省杭州市玉泉出土
高21.2厘米、口径9厘米、底径10厘米
汉代在长江以南包括今广东、广西、湖南、江西、福建、浙江和江苏南部等地广泛流行硬釉陶器，用当地一种密度较大、粘性较强的粘土制成，与灰陶相比烧成温度更高，陶质更坚硬。有的硬陶上往往有一层薄薄的釉，或黄或绿，烧成温度很高，属于青釉的系统。这件陶壶，颈上刻一圈水波纹，腹部有两圈凸雕弦纹，其身上涂有青黄色釉，是一件当时较典型的南方硬釉陶器。

参考：北京保利> 2019春季拍卖会> 禹贡Ⅱ——雍正御器厂三希> 清雍正 仿官「铁骨大观釉」汉壶式大铺首尊

估价：5,000,000-8,000,000 RMB
成交价： 7,935,000 RMB （含买家佣金）
尺寸：
高59cm

备注： 日本关西茶道家族旧藏

宋官窑气韵古朴典雅，为宋器之精粹，雍正皇帝艺术品味高雅，精于鉴赏，宋瓷不事雕琢的自然之美深得其青睐，故官窑器物深受影响，仿宋五大名窑釉色成就卓著，以精巧淡雅、清新脱俗著称，流露出浓厚的赵宋遗韵，展现出精雅的帝王意趣。

此拍品造型仿自汉代铜壶，气势恢宏，体量高大，形制饱满，端庄古雅，所施仿官釉色幽隽淡恬，厚若堆脂，温润似玉，散见疏朗的透明开片，益增冰清玉洁之感。最为令人称道之处是肩部安贴双兽面铺首，下衔圆环，凸于釉面，乃是对汉铜壶的忠实摹拟，在丰富造型之美的同时，让釉质随之起伏，并于凸起处露出淡淡的胎骨之色，颇见苍雅古朴之美，穆穆透出赵宋旧物之意韵，远观之，古气盎然，扑人眉宇，予人以无限恬静之雅意。足部涂成铁褐色，以仿宋官之“铁足”效果。

拍卖信息
拍品名称： 清雍正 仿官「铁骨大观釉」汉壶式大铺首尊
图录号： 5553 年代： 清雍正 艺术家： — 材质：
作品分类：
尺寸： 高59cm
估价： RMB 　5,000,000-8,000,000
拍卖公司： 北京保利
拍卖会名称： 2019春季拍卖会
专场名称： 禹贡Ⅱ——雍正御器厂三希
拍卖时间： 2019年06月03日-06日
备注： 「大清雍正年制」款
声 明： 备注日本关西茶道家族旧藏宋官窑气韵古朴典雅，为宋器之精粹，千百年折服无数钦慕者，为文人雅士首推之佳器，明张谦德《瓶花谱》中赞曰：「尚古莫如铜器，窑则柴、汝最贵而世绝无之，官、哥、宣、定为当今第一珍品。」雍正皇帝艺术品味高雅，精于鉴赏，宋瓷不事雕琢的自然之美深得其青睐，故官窑器物深受影响，仿宋五大名窑釉色成就卓著，以精巧淡雅、清新脱俗著称，流露出浓厚的赵宋遗韵，展现出精雅的帝王意趣。其中对摹造宋官窑瓷器尤为重视，仿宋官窑之数量颇巨，如唐英《陶成纪事碑》中即有载：「兹举其仿古、采今，宜于大小盘、碗、盅、碟、瓶、罍、尊、彝，岁例贡御者五十七种，开列于后以志大概。一仿铁骨大观釉，有月白、粉青、大绿等三种，俱仿内发宋器色泽。」此文中将「大观釉」列于诸类仿古色釉之首，可见宫廷对其厚爱与尊崇。本品造型仿自汉代铜壶，体量高大，形制饱满，端庄古雅，所施仿官釉色幽隽淡恬，厚若堆脂，温润似玉，散见疏朗的透明开片，益增冰清玉洁之感，当时《陶成纪事碑》中「月白」一色。最为令人称道之处是肩部安贴双兽面铺首，下衔圆环，凸于釉面，乃是对汉铜壶的忠实摹拟，在丰富造型之美的同时，让釉质随之起伏，并于凸起处露出淡淡的胎骨之色，颇见苍雅古朴之美，穆穆透出赵宋旧物之意韵，远观之，古气盎然，扑人眉宇，予人以无限恬静之雅意。足部涂成铁褐色，以仿宋官之「铁足」效果。对宋哥器物的形制来源与审美感受，明人高濂《遵生八笺•燕闲清赏笺》上卷「论官哥窑器」作如是评述：「论制如商庚鼎、纯素鼎、葱管空足冲耳乳炉、商贯耳弓壶、大兽面花纹周贯耳壶、汉耳环壶、父己尊、祖丁尊，皆法古图式进呈物也。」、「故余每得一睹，心目爽朗，神魂为之飞动，顿令腹饱。」胤禛深谙其妙，特别强调造型之美，追求朴拙之意，本品造型沈稳大气，通高59cm，气势恢弘，遍查资料，未见超过本品高度之铺首尊，当为同类之王。虽其体量撼人，然造型尺度比例严谨，口径、底径均为24cm，线条婉转而富有韵律，配以发色纯美的釉质，达到造型与色彩最佳结合之唯美境界，是为雍正御窑之旷世奇珍，甚为罕见。此式大铺首尊所见多为乾隆窑青花绘莲托八宝，雍正窑见有一例，藏于南京博物院，而施仿官釉者，检视所见资料，仅见南京博物院藏一例属乾隆早期款识者，造型与本品颇为接近，惟体量稍小，高度较本品小近10cm，故本件雍正窑仿官釉汉壶式大铺首尊极有可能为传世孤品，值得格外珍视。

参考：A LARGE OF CELADON GLAZED HU-SHAPED VASE

Estimate $2,500 – $3,500
Mar 22, 2015
Qing Dynasty

The vase is globular-shaped. The exterior is decorated with celadon glazed color tone. The dual handles on the side are decorated with imperial ruyi designs.

11 9/16 in. (29.3 cm) tall.
CONDITION
Age discolored, pits in glaze.

参考： 北京翰海拍卖有限公司 > 2014春季拍卖会 > 中国古董珍玩（二）
LOT号： *3759 清乾隆 仿汝釉鱼篓尊

拍品信息
作者 — 尺寸 高29.8cm
作品分类 陶瓷>清代单色釉瓷器 创作年代 清乾隆
估价 RMB 　16,000,000-26,000,000
成交价
RMB 　19,550,000 HKD 　24,315,920USD 　2,932,500EUR 　2,150,500
专场 中国古董珍玩（二） 拍卖时间 2014-05-11
拍卖公司 北京翰海拍卖有限公司 拍卖会 2014春季拍卖会
“大清乾隆年制”篆书款
说明 备注：北京翰海2010年秋拍《北京市文物公司五十周年庆典夜场》Lot2317。
来源：北京市文物公司旧藏。
参阅：故宫博物院藏文物珍品大系《颜色釉》，第103页。香港商务印书馆出版社
雨过天青—鱼篓尊
皇家制器刻意掇取民间用器，尤喜渔农之夫的形象与用具，以表亲民近俗。
此器取鱼蒌造型，口沿微侈，束颈，硬肩，腹微鼓，线条的曲折变化，力摹竹篾的韧与劲的体势。其通体施仿汝窑天青色釉，有细碎片纹。外底青花书“大清乾隆年制”篆书款。
北宋汝窑器的釉色，天青色为主，釉面匀净滋润，开细小纹片，以之清淡含蓄，传为神话地为后世推崇。明清两朝的景德镇御窑厂，相承以继地仿制汝窑器。宣德御窑的摹制，仅仿汝釉，造型取本朝常见的器物。清代雍乾时期汝器的仿制水平，青出于蓝，釉色造型乃致细节的精微，几近乱真。其修胎规整，胎灰泛褐，似宋器的“香灰胎”。唐英《陶成纪事碑》称这“仿铜骨鱼子纹汝釉”。 雍乾仿宋汝窑器，一类不署本朝款识，器型、釉色、开片，刻意模仿宋汝窑器；另一类署本朝款识，釉色仿汝，式样丰富，造型多为本朝典型器。
此器造型简略，不事装饰，专肖意象，在一个百工逐华尚巧的盛世，鱼蒌尊特立地返相归真，实为难得之器。
人类造器，实用为本。
择色之美，必选周边。
社会发展，必然升华。
一、鱼篓尊之萌生
人类造器，实用为本。
上古之人类，萌生之初，自必是捡取最为方便的食物为生了。以渔猎为食，自必选那些能叉走兽、游鱼之树杈为具，则必选那能穿系鱼虾猎物的草木竹条，后来进化到编篓为盛归后，则或生、或熟、或烧、或煮而食之，以继生命之香火，人类之繁衍。于是乎，用于生活、生产之工具，用于械斗征战之刀叉剑戟、抢棒斧钺等兵器、应用而生。亿万年以来，由于人们对鱼鲜的生存依赖，鱼叉、鱼钩、渔网、鱼篓等等捕鱼工具，至今依然是不同民族与地域的生产工具。
择色之美，必选周边。
在元青花大量出现以前，除了唐代偶现的唐三彩之外，中国的瓷器基本上是单色釉一统天下。到了明代中晚期，三彩、五彩渐渐涌现，瓷器方才出现了缤纷世界，发展到乾隆时期，粉彩的华资汪洋，发展到登峰造极，奢靡夸张……可唯有“鱼篓尊”一器，依然矜持着自家那份清高至尊，淡看红尘的高贵，以至于古往今来的瓷器藏赏，至今依然继承着宋代以降的那份尊贵，高享着帝王们的高屋建瓴，独步于浩如烟海的瓷器藏界。此等“雨后天晴”样的瓷色抉择，表面上看来，好像逸出于宋代，其实在战汉以前的人类早期，就以定夺。远古的地球，天是蓝色，水是天色，身边的一切柴蕃草木，也都是绿的，此等环宇一体，融合为青，人类对于自然界的大同认知，必然源出于身边事物。选择瓷色、玉色等造器，以天青色为上，也就不言而喻了。
社会发展，必然升华。
千百年后，随着人类社会之发展，人类文明之进步，伊始的器物，在实践中得到改进，早先所有的实用对象，统统升华，鱼篓尊便怡然登堂入室，演化为陈设赏玩的至尊之器。
二、鱼篓尊之演变发展，大约经过三个历史时期；
一是战汉以前，人类由懵懂的枝条串系，经过漫长的实践与创新，将串系之柳竹枝条编制成筐篓，以便装盛更多渔猎之物。此际，我们回顾如今被人们淡忘的上古陶器，似鱼篓尊之器物者，比比皆是，有带纹饰者、带色彩者、全素器者等等，原始的考古价值虽然不菲，只可惜经济商业有限，以至于无有多少问津。然，此等器物在上古时期，却是极为普遍，在《诗经》或《山海经》诸多典籍中有些记载。
二是自战汉以降，直至唐宋时节，在柳竹串鱼与鱼篓并存之际，人类以陶制成鱼篓模样。此际人类发明了“釉”，在“陶”器外面，涂 “釉”以烧，现今考古称之为“陶挂釉”。到了汉代，南方发现了“高岭土”，将之涂上釉，“瓷器”横空出世，成为举世闻名的“caina”，中国因此而昂立于世界的大国。瓷器“鱼篓尊”到了此际，则较为普遍生产，在实用器之基础上，发生了材质与使用方面的变化，以至于宋代的“柴、汝、官、哥、定”、民间的“耀州窑，磁州窑、巩县窑、龙泉窑、洪州窑、吉州窑”等等，皆有大量生产，且成为皇家赏用之器。皇家以此等亲民倾向，掇取民间用器，渔农之夫的形象与用具，倒也着实体现了与民同乐之趋向。就目前遗存的器具以对，当可以成为论断。在南北各个瓷窑遗址出土器，各个博物馆展出的实物，历来拍卖与收藏家处，所见甚多。
三是元明清以降，瓷器制作的鱼篓尊更是普遍，尤以清代康熙、雍正、乾隆最为精贵。又以雍正、乾隆时期的最为代表，只是雍正一朝崇尚节俭，器物尤少，体积尚小巧精美。乾隆时期则以豪华大气，既继承了宋代单色釉之高洁至尊，且以汝窑的天青釉色最为崇贵，即所谓“雨过天青色”，以本次拍卖的“乾隆仿汝窑天青釉鱼篓尊”，堪为代表，且多为藏家求得为快。
三、鱼篓尊纹饰
鱼篓尊除造型大体相同之外，于纹饰方面则多有不同。诸如：仿柳编者、仿竹编者、开片冰裂者、平滑一体者云云……
四、结语
此等鱼篓尊造型，既承就于上古实用例，宋人之赏陈求精之窑例，亦弘扬于雍正、乾隆之创新窑法，方能造就此等上佳高器。本器釉面开片，裂纹细致精妙，均匀满布如织，口沿圆润窈窕，足端铁褐色沉，通体线条流畅，饱满而鉴古高贵，和谐且并蓄张扬，极显宋代清高风貌，尽得乾隆盛世王气。其造型与工艺和胡惠春暂得楼藏品极同，（记载于《暂得楼清代官窑单色釉瓷器》，香港中文大学博物馆，香港，2005年，编号31。）
另有两例，尺寸有别，同属胡惠春所藏，售于纽约苏富比1985年6月4日，编号60、61。也可比较一件乾隆仿汝窑双色花囊，收录于耿宝昌，《明清瓷器鉴定》，香港，1993年，图456，另有线绘示意图，见于同页265，图452：4。作者于书中提及（见页267）。另一件为清雍正类例，器形无异，饰茶叶末釉，载于耿宝昌编著《故宫博物院藏清代御窑瓷器》，北京，2005，卷1（下册），图版13。
此器形，雍正是多具圈足，乾隆时期，亦见天青釉例，亦多粉彩成器，甚至于描金综艺，奢华极致。诸如拍卖的乾隆朝粉彩鱼篓尊。至于民国时节仿造者，则品貌俱差，胎厚粗苯，形体欠雅，釉面粗疏，自无佳器，当不足论理了。
刘锡荣 甲午年春日于荣斋

参考：保利厦门2017秋季拍卖会 > 玄览—重要古董器物专场 > 清雍正 仿汝釉弦纹尊

估价：2,800,000-3,800,000 RMB
成交价： 3,220,000 RMB （含买家佣金）
尺寸：
高32.5cm

拍品说明：
「大清雍正年制」六字三行篆书款 汝瓷自宋起便引世人垂涎，也许如传言那般因其色太美而令宋徽宗念起雨过天晴时的那抹亮色，亦或如故事所述因赵佶梦中偶见雨后天色视之绝美便拟令烧制，总归汝窑所出从此便拥有了一个空灵静谧的名称——天青色。本品敞口，长颈，圆鼓腹，圈足，颈底、肩下、下腹均饰双道凸起弦纹，简洁而臻美。此瓶通体施仿汝釉，釉色素洁，清雅宜人，釉层丰腴明润，古朴雅致，釉面光洁莹润，釉水于线条起伏处流淌积聚，极富玻璃质感，别有韵致。底落「大清雍正年制」六字三行篆书款，圈足露胎仿宋瓷「铁足」之意。清代帝王为汝瓷深撼故下令摹烧，而历代仿汝达到空前水平者首推雍正时期。一方面汝瓷的清灵净雅与雍正帝轻巧隽秀、素净大方之审美喜好相合，另一方面经过前朝对制瓷技术的投入与发展，至雍正年间瓷器烧造已经达到较高水平，在此仿古风潮的影响下，景德镇御窑厂仿烧前朝作品达到高潮，尤以仿烧宋代五大名窑最具水平。《陶雅》曾赞：「天青一种，以康雍官窑为最美。」《陶成纪事碑记》对仿汝也有记述「仿铜骨鱼子纹汝釉，仿内发宋器色泽」。宋汝窑器物多小件，而清代仿汝造型多为瓶罐尊等大件。乾隆帝曾赋诗称赞「官汝称名品，新瓶制更嘉」。可见清代仿汝窑其独特的艺术价值及收藏价值。此尊造型源自宋代弦纹贯耳瓶，而与台北故宫博物院藏雍正仿汝窑弦纹壶相类，均仿战国青铜四兽文壶而制，挺拔俊雅。流畅的造型与静穆的釉色，尽显此瓶的古雅气息。翻阅公私典藏，传世品中三羊尊数量远多于弦纹尊，仅见台北故宫博物院馆藏一例雍正仿汝窑弦纹壶与拍品相类，可资比较。此类器形均仿战国青铜四兽文壶而制，至汉代仍有类似器型青铜器，惟肩部饰有双铺首衔环耳，造型大气优美，端庄稳重。拍品釉色器型俱佳，气韵悠然，雅意袭人，实为雍正仿古瓷精品。来源东京中央拍卖，2012年9月07日，Lot.1915

参考：佳士得 拍賣 6052
佳士得家居精品
倫敦南肯辛頓|2012年5月16日
拍品514 清 天青釉 壶
A CHINESE PALE BLUE-GLAZED VASE, HU
19TH CENTURY

成交總額
GBP 2,000

估價
GBP 500 – GBP 800

A CHINESE PALE BLUE-GLAZED VASE, HU
19TH CENTURY
Decorated with two moulded fixed-ring mask handles and bands across the body, apocryphal Qianlong underglaze blue sqaure seal mark to the base
10 in. (25.5 cm.) high

参考：Extraordinary Quing Dynasty Wine PotOFFERED BY MICHAEL DEL PIERO GOOD DESIGN

$1,800

Absolutely stunning Chinese Quing Dynasty wine pot from the Qiang Long period, late 18th century. This pot has a gorgeous, icy glaze that can appear gray, blue or eve green depending on the light. Interesting flecks of brown in the glaze add character. This vessel was used to store rice wine, and brought out only on special celebratory occasions, when a ladle was used to serve wine from the wide mouth. A superb example!
PLACE OF ORIGIN:China
DATE OF MANUFACTURE:1750-1793
PERIOD:18th Century and Earlier
MATERIALS AND TECHNIQUES:CeramicMATERIALS
NOTES:Glazed ceramic, hand thrownCONDITION:Excellent. Small chip to bottom edge, overall roughness to bottom edge from use. .
HEIGHT:14.5 in. (37 cm)
DIAMETER:12.5 in. (32 cm)