A MAGNIFICENT IMPERIAL CLOISONNE ENAMEL ARCHAISTIC VESSEL AND COVER, FANGDING
A MAGNIFICENT IMPERIAL CLOISONNE ENAMEL ARCHAISTIC VESSEL AND COVER, FANGDING
A MAGNIFICENT IMPERIAL CLOISONNE ENAMEL ARCHAISTIC VESSEL AND COVER, FANGDING
A MAGNIFICENT IMPERIAL CLOISONNE ENAMEL ARCHAISTIC VESSEL AND COVER, FANGDING
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清乾隆 掐絲琺瑯文王鼎 《乾隆年製》楷書款

QIANLONG FOUR-CHARACTER MARK AND OF THE PERIOD (1736-1795)

細節
清乾隆 掐絲琺瑯文王鼎 《乾隆年製》楷書款

鼎方唇,雙衝耳,長方形歛腹,平底,下承四飛龍腳。通體綠琺瑯釉為地,掐絲琺瑯紋飾。鼎有蓋,頂飾鎏金臥獅鈕,鈕下環飾蓮瓣紋一周,蓮瓣外至蓋面四角出四組棱脊,棱脊間飾雲龍紋,輔以祥雲、雜寶,蓋邊飾海浪紋。器腹四角和腹部中間出棱脊,上腹飾夔龍紋一周,下腹飾饕餮紋。飛龍腳外面飾鳳凰紋,腳內及器底飾纏枝花卉紋,底掐絲方框內填琺瑯「乾隆年製」楷書款。

此器造型古樸端莊,掐絲細膩流暢,釉色華麗。結合掐絲和鏨花的工藝,體現了乾隆時期掐絲琺瑯製作工藝已向多種技法發展的傾向。

乾隆皇帝是一個很有眼光的鑒賞家和收藏家,他既崇尚復古,亦勇於創新。內府所藏殷、周、漢的古青銅器甚多,對喜歡的會用各類材質加以仿造,如玉器、瓷器等,並加入他自己創新的元素。

「文王鼎」是三代青銅器的經典款式,明高濂在《遵生八箋》評古銅器時說:「方者以飛龍腳文王鼎為上賞」。此器正是仿文王鼎而作,上面的夔龍紋、饕餮紋甚至器形均來自文王鼎的原型,而蓋鈕上的獅子、足上的纏枝花卉紋和鳳紋,則帶著乾隆朝濃厚的宮廷特色。

據清檔記載,乾隆在三年、十五年、四十年和四十三年分別下旨製造掐絲琺瑯文王鼎,並親自審閱圖樣。此外,地方官員進貢掐絲琺瑯文王鼎在檔案中也很常見,可見乾隆皇帝非常喜歡這種款式。

此器1985年10月2日於紐約蘇富比拍賣,拍品346號;曾於美國佛羅里達州棕櫚灘諾頓美術館2011至2012年舉辦《The Emperor’s Orders: Designs from the Qianlong Imperial Workshop(1736-1795)》展覽中展出。
來源
Sotheby's New York, 2 October 1985, lot 346
展覽
Norton Museum of Art, The Emperor's Orders: Designs from the Qianlong Imperial Workshop (1736-1795), Palm Beach, Florida, 22 October 2011-19 February 2012

榮譽呈獻

Angela Kung
Angela Kung

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拍品專文

The shape of this censer is clearly based upon ancient bronze vessels. The blade-shaped legs, loop handles and flanges, along with the motifs of kui dragons below the rim and wide spreading taotie masks, all have their prototypes in Zhou dynasty bronzes, many of which are illustrated in Xiqing gujian, Xiqing Mirror of Antiquities, the catalogues of ancient bronzes in the Qing Court Collection compiled under the authorization of the Qianlong emperor in 1755.

Curiously there are no archaistic references on the cover and the legs. They are both decorated with the 17th/18th century motifs of the Buddhist lions and the floral scrolls. The phoenix and the dragon are also later references and of imperial significance.

Compare a similar example from the Clague Collection, illustrated by C. Brown, Chinese Cloisonne - The Clague Collection, Phoenix Art Museum, 1980, pp. 84-85, pl. 34. The author of the book comments this kind of juxtaposition of archaic and contemporary motifs shows that the craftsman felt free to improvise in the decoration of parts which did not exist in the late Shang dynasty original. These additions prevent the work from becoming "a lifeless copy of the antique model", ibid., p. 84.

The present lot is a very rare large example which includes the reign mark, indicating its importance to the Qianlong Emperor who particularly favoured this fangding design, known as the 'Wenwang ding', the ding of the Zhou dynasty King Wen. According to Qing court archives, the Qianlong Emperor issued edicts during the 3rd, 15th, 40th and 43rd year of his reign, for the production of the Wenwang ding in cloisonne enamel. In addition to these, a number of similar pieces were tributed by the local officials.

A smaller example (40 cm. high) with a cast four-character mark was included in the exhibition Die Ware aus dem Teufelsland, Museum fur Kunsthandwerk, Frankfurt, 1981, Catalogue, p. 148, cat. no. 79. Another smaller vessel (33.8 cm. high) bearing an enamelled six-character mark is in the collection of the National Palace Museum, Taipei, illustrated in Enamel Ware in the Ming and Ch'ing Dynasties, Taipei, 1999, pl. 59.

更多來自 華彩熠然 - 文德爾伉儷珍藏掐絲琺瑯器

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