A MAGNIFICENT IMPERIAL CLOISONNE ENAMEL DOUBLE-VASE AND COVER
A MAGNIFICENT IMPERIAL CLOISONNE ENAMEL DOUBLE-VASE AND COVER
A MAGNIFICENT IMPERIAL CLOISONNE ENAMEL DOUBLE-VASE AND COVER
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清乾隆 掐絲琺瑯鳳穿牡丹紋雙連蓋瓶

QIANLONG PERIOD (1736-1795)

細節
瓶雙梅瓶式,撇口,束頸,豐肩,腹下漸歛,寬足外撇。通體淺藍地掐絲琺瑯裝飾,主體飾鳳穿牡丹紋,鳳身施寶藍釉,牡丹以白、黃、紫、粉紅釉裝飾,間以綠釉填纏枝葉紋。肩部、足座環飾鎏金蓮瓣紋。頸部飾夔鳳蓮花紋。蓋面紋飾與頸部一致,雙寶珠鈕鏨松果紋。

本瓶器形碩大,紋飾富麗,為獨一無二的宮廷掐絲琺瑯器,未見其他相近例子的著錄。此器體現了乾隆朝的皇家品味,雙連瓶蘊含成雙及圓滿之意,鳳凰牡丹紋則象徵富貴吉祥。此器鳳紋與北京故宮珍藏一件清中期帶蓋梅瓶非常近似,見2002年河北出版中國美術分類全集《中國金銀玻璃琺瑯器全集.6.琺瑯器二》,圖版87號(圖一)。掐絲琺瑯連體瓶另見二例的著錄,紐約大都會博物館藏一件雙連葫蘆瓶,以及美國鳳凰城美術博物館所藏的三連瓶。

雙連瓶又稱合歡瓶,其形制仿照唐代金銀器,參考一件仿金銀器的唐三彩雙鳳紋扁壺,見1989年上海博物館出版《胡恵春先生.王華雲女士捐贈瓷器精品選》,圖版3號。雙連瓶至雍正朝多體現於單色釉器,Alsdorf、張宗憲先後珍藏一件仿官粉青釉四連瓶,1999 年11+H113月2日於香港佳士得拍賣,拍品524號;另Bernat、張宗憲分別舊藏一件粉青釉雙連瓶,2000 年10 月31 日於香港佳士得拍賣,拍品825 號。

此造型至乾隆朝流行於宮廷工藝品,包括一些乾隆款彩繪瓷器、銅胎畫琺瑯器、料器。臺北故宮博物院藏一件青花龍鳳紋雙連瓶(圖二),其形制、紋飾亦與本器相若。另東京永青文庫珍藏一件琺瑯彩西洋人物相連瓶,見1983年東京出版《世界陶磁全集.15.清》,圖112114。銅胎畫琺瑯器例子有臺北故宮博物院藏黃地纏枝蓮紋雙連蓋罐,見1999年台北出版《明清琺瑯器展覽圖錄》,圖版124號。料器例子有清宮舊藏一件白套紅料夔龍蓮紋雙合蓋瓶,見2005 年北京出版《光凝秋水—清宮造辦處玻璃器》,圖版53 號。

本瓶的松果形蓋鈕亦甚有特色,應為仿宮廷陳設的西洋藝術品裝飾,見一件十八世紀倫敦製造木樓嵌銅日曆三針鐘,鐘頂置大小松果鈕五顆,與此器所飾相近,載於2004 年澳門出版《日升月恆—故宮珍藏鐘錶文物 》,圖版38 號。
來源
The Oriental Art Gallery, London, 1995, no. 121
Offered at Christie's Hong Kong, 27 April 1997, lot 18
拍場告示
Please note that the additional provenance should read:
The present lot was from the collection of His Excellence Ilhamy Hussein Pasha (1908-1992), Villa Baia dei Fiori, St Jean-Cap-Ferrat, France, and sold by Tajan in 1993.
The Pasha was a Turkish nobleman who acquired an Egyptian palace and the title of Pasha by marrying Princess Chevekiar, King Farouk's stepmother.

拍品專文

The present lot is very rare. No other example of this exact double-vase shape decorated in cloisonné enamel appears to be published, although the archaistic phoenix motifs on the body are closely related to a covered meiping vase in the Beijing Palace Museum Collection, illustrated in Zhongguo jinyin boli falangqi quanji, Hebei meishu chubanshe, 2002, p. 65, no. 87 (fig. 1). The current vase belongs to a small group of cloisonné enamelled vessels that are designed with a multiple body such as the vase formed by a pair of double-gourds, a gift of Edward G. Kennedy, now in in the Metropolitan Museum of Art, New York (museum no. 29.110.72), illustrated in Cloisonné - Chinese Enamels from the Yuan, Ming, and Qing Dynasties, New York, 2011, p. 121. fig. 6.33. Another similar comparison is in triple-form, created by the joining of three globular vases, which was a gift from Robert H. Clague and now in the Phoenix Art Museum, Arizona (museum no. 1982.220), illustrated ibid., p. 282, pl. 116.

Conjoined forms, incorporating sections of two or more shapes to create a single vessel, were a visual innovation widely propergated among a number of monochrome ceramic shapes of Yongzheng period (1723-1735). Compare for example to the Guan-type quadruple vase from the Alsdorf and Robert Chang Collections, sold at Christie's Hong Kong, 2 November 1999, lot 524; and the celadon-glazed double-bottle vase in the Bernat and Robert Chang Collections, sold at Christie's Hong Kong, 31 October 2000, lot 825. The production of conjoined vessels continued into the subsequent Qianlong reign. A blue and white coupled vase with archaistic dragon and phoenix motifs on the main body relates extremely closely to the present cloisonné enamel vase in both their shapes and decoration (fig. 2). The same form was also adopted in ceramics with falangcai enamels such as the exceptionally unusual vase in the Eisei Bunko Museum Collection with its two sides decorated with European figures from Greek mythology, illustrated in Sekai Toji Zenshu, vol. 15, Tokyo, 1983, pp. 102-103, figs. 112-114.

The present two-vase form was also embraced by enamelled metalwork and glass wares. For an example of a Beijing enamelled vase designed with scrolling flowers on a yellow-ground, see Enamelled Wares in the Ming and Ch'ing Dynasties, The National Palace Museum, Taipei, 1999, p. 239, no. 124. For a glass example, see a Qianlong-marked overlay red glass double-vase in the Beijing Palace Museum Collection, illustrated by Zhang Rong, Luster of Autumn Water: Glass of Qing Imperial Workshop, Beijing, 2005, pl. 53. The author mentioned that the double-vase form originated from the Tang dynasty metal wares and the shape was popularly adopted by the imperial workshops during the Qianlong period. The form not only represented the Emperor's aesthetic taste but it was also to symbolise a wish for a perfect companion and harmony, op. cit., p. 198. For a Tang dynasty sancai double-vase prototype, which probably took its shape from a contemporaneous metalwork example that had been moulded with two phoenixes on both sides, see Selected Ceramics from the Collection of Mr. & Mrs. J.M. Hu, Shanghai Musuem, 1989, pl. 3.

The phoenix is highly regarded in Chinese mythology. As a king of birds, legend has it that this creature appears only at the time of peace and prosperity. The combination of the phoenix and peony flowers are commonly known to symbolise fugue jixiang, 'May there be wealth, rank and good fortune'. An interesting point of note is that this vase not only survived with its cover but the European style pine-cone finials surmounting the cover. The pine-cone form was probably an adaption from contemporary European decorative objects amassed by the Qianlong Emperor. Similar finials are seen on a wood and copper clock imported from London in the 18th century, illustrated in Moments of Eternity: Timepieces Collection from the Palace Museum, Macau, 2004, pl. 38.

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