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拍品專文
The present Qianlong poem is entitled 'Sanqing Tea' in which the Emperor compared the three essential requirements for tea-making; comparing the colour, fragrance and taste to the qualities of the prunus flower, finger citron and pine.
The same poem was applied to other media such as ceramic and lacquer bowls. Cf. two lacquer bowls both dated to the same cyclical Bingyin year, the first is in the collection of the Victoria and Albert Museum, illustrated by Sir Harry Garner, Chinese Lacquer, London, 1979, pl. 93; and another is in the Asian Art Museum, San Francisco, illustrated in Hai-Wai Yi-Chen, Chinese Art in Overseas Collections, 'Lacquerware', Taipei, 1987, no. 171. Two ceramic examples were included in the exhibition, Empty Vessels, Replenished Minds: The Culture, Practice, and Art of Tea, National Palace Museum, 2002, and illustrated in the Catalogue, p. 152, no. 129 (an iron-red decorated bowl), and p. 153, no. 130 (blue and white bowl).
The same poem was applied to other media such as ceramic and lacquer bowls. Cf. two lacquer bowls both dated to the same cyclical Bingyin year, the first is in the collection of the Victoria and Albert Museum, illustrated by Sir Harry Garner, Chinese Lacquer, London, 1979, pl. 93; and another is in the Asian Art Museum, San Francisco, illustrated in Hai-Wai Yi-Chen, Chinese Art in Overseas Collections, 'Lacquerware', Taipei, 1987, no. 171. Two ceramic examples were included in the exhibition, Empty Vessels, Replenished Minds: The Culture, Practice, and Art of Tea, National Palace Museum, 2002, and illustrated in the Catalogue, p. 152, no. 129 (an iron-red decorated bowl), and p. 153, no. 130 (blue and white bowl).