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拍品專文
Previously sold, Sotheby's Hong Kong, 27 April 1993, lot 208.
During the Yongzheng reign, the porcelain enamellers were encouraged to experiment with ways of producing interesting decorative schemes that teased the eye, by creating ceramic objects that looked like other materials. They were able to imitate almost any material, including lacquer, cloisonne enamel, bronze, hardstone, jade and wood, as in the case of the present brushpot. An unusually elaborate and successful copy of a wooden bitong, it demonstrates the virtuosity of the ceramic painter and his skill in the way that he has carefully emulated the grain and patina of wood on the borders and on the interior.
The landscape is painted in the manner of a handscroll, using traditional painterly techniques to create a sense of depth and retreating perspective on an object that was particularly difficult, given that it has a round surface rather than a flat one.
Closely related brushpots with faux-bois borders continuing into the interior are known. A Yongzheng example in the Palace Museum, Beijing, centred by a sepia and grisaille landscape, is illustrated in Kangxi, Yongzheng, Qianlong, 1989, p. 239, no. 68; and another was sold in Hong Kong, 2 May 1995, lot 150. A brushpot with a famille rose landscape and a Yongzheng reign mark, from the Victoria and Albert Museum is illustrated in Sekai Toji Zenshu, vol. 15, no. 197. A slightly larger one in the Shanghai Museum might have been painted by the decorator of the present brushpot.
(US$32,000-45,000)
During the Yongzheng reign, the porcelain enamellers were encouraged to experiment with ways of producing interesting decorative schemes that teased the eye, by creating ceramic objects that looked like other materials. They were able to imitate almost any material, including lacquer, cloisonne enamel, bronze, hardstone, jade and wood, as in the case of the present brushpot. An unusually elaborate and successful copy of a wooden bitong, it demonstrates the virtuosity of the ceramic painter and his skill in the way that he has carefully emulated the grain and patina of wood on the borders and on the interior.
The landscape is painted in the manner of a handscroll, using traditional painterly techniques to create a sense of depth and retreating perspective on an object that was particularly difficult, given that it has a round surface rather than a flat one.
Closely related brushpots with faux-bois borders continuing into the interior are known. A Yongzheng example in the Palace Museum, Beijing, centred by a sepia and grisaille landscape, is illustrated in Kangxi, Yongzheng, Qianlong, 1989, p. 239, no. 68; and another was sold in Hong Kong, 2 May 1995, lot 150. A brushpot with a famille rose landscape and a Yongzheng reign mark, from the Victoria and Albert Museum is illustrated in Sekai Toji Zenshu, vol. 15, no. 197. A slightly larger one in the Shanghai Museum might have been painted by the decorator of the present brushpot.
(US$32,000-45,000)