3560 清乾隆  檸檬黄釉菊瓣盤 「大清乾隆年製」 A FINE LEMON YELLOW-GLAZED CHRYSANTHEMUM DISH MARK AND PERIOD OF QIANLONG D 17.5cm PROVENANCE 1. Collection of J. Lionberger Davis, St. Louis 來源 2. Property of G. Vietor and Maude O. Davis, Jr. 1. J. Lionberger Davis收藏，聖路易斯 3. The Meiyintang Collection 2. G. Vietor 及 Maude O. Davis, Jr. 遺產 3. 玫茵堂，瑞士 EXHIBITION 1. St. Louis Art Museum, St. Louis (on loan) 展覽 2. Pure and Natural: Special Exhibition of Ming and Qing 1. 借展於圣路易斯藝術博物館 Monochrome Porcelains, Poly Art Museum, Beijing, 2018 2. 《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博 物館，北京，2018年 LITERATURE Regina Krahl, Chinese Ceramics from the Meiyintang 出版 Collection, vol. 4(2), London, 1994-2010, p.393, no.1832 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦， 1994-2010年，頁393，編號1832 HK$ 450,000 - 650,000 US$ 58,000 - 84,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫 敦，1994-2010年，頁393，編號1832 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4(2), London, 1994-2010, p.393, no.1832 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 38  瑰映如茵：玫茵堂藏元明清御窯雅蓄

(side view 側面) 本品呈菊瓣形，侈口弧壁，下承圈足，形制秀美，胎質細 The dish is delicately potted and the shallow sides are 白。盤內外壁均施檸檬黃釉，色澤勻淨嬌艷，瑩潤光亮。 crisply molded with forty-four fluted petals radiating from 圈足內施白釉，釉色與形制搭配相宜，遠望如素菊靜放， the slightly sunken well to form a foliate rim. It is lobed 令人心曠神怡。圈足修胎精細，胎體堅質細膩，外底所施 on the exterior, continuing to the footrim, and is applied 白釉清透滋潤，內書青花雙圈「大清乾隆年製」六字雙行 overall in an even bright lemon-yellow glaze. The base 楷書款。 is left white with a six-character Qianlong mark within a double circle. 康熙晚期，內務府琺瑯作引進銻黃釉，用於琺瑯彩瓷的燒 造。因其淡雅可人，深受皇室喜愛，故御窯於雍正朝研製 Chrysanthemum-shaped dishes with slender petals, like 出此類黃釉，習稱「西洋黃」。督陶官唐英在雍正十三年 those on this dish, were made in both the Yongzheng and 所寫《陶成記事碑記》中就列有「西洋黃色器皿」一條。 the Qianlong reigns, but those made for the Yongzheng 因其為「本朝新製」，故在御窯所造的眾多釉水中脫穎而 Emperor have petals with slightly more pointed ends. 出，為所列「歲例貢御者五十七種」之一，要求每年進 Palace records for the 27th day of the 12th month of the 貢，可見皇室及督陶官對此種釉色的珍視，直至影響乾隆 11th year of Yongzheng’s reign (1733) note an order from 御窯的生產。儘管「西洋黃色器皿」每年都貢與皇宮，但 the emperor to the director at the imperial kilns requesting 總體燒造數量並不大，乾隆御窯菊瓣盤則更是少之又少。 twelve chrysanthemum-shaped dishes in different colours. 整器造型規矩，毫無髺墾之態，菊瓣較雍正窯更為圓潤， 與雍正御窯菊瓣盤之型略有化裁而來，亦具雋美高雅之 A similar example is included in the complete set of 態。除本品外，乾隆窯菊瓣盤釉彩亦有見如白釉、醬釉、 twelve colours at the Palace Museum, Beijing, illustrated 灑藍釉、松綠、粉青、胭脂紅釉等，而檸檬黃釉者，僅見 in Monochrome Porcelain, The Complete Collection of 此例。 Treasures of the Palace Museum, Hong Kong, 1999, pp. 282-283, no. 257. 查閱公私收藏，幾不見同類器物可參，僅見香港佳士得 1999年釋出一例，可以資對比。倫敦埃斯肯納齊藏一篆 書款例，後為北美十面靈璧山居雅蓄，售於北京保利， 2019年6月5日，編號5392。 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 40  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3561 清雍正  胭脂紫釉菊瓣盤 「大清雍正年製」 A RUBY-GLAZED CHRYSANTHEMUM DISH MARK AND PERIOD OF YONGZHENG D 17.5cm PROVENANCE 1. Christie’s Hong Kong, 30 May 2005, lot 1484 來源 2. Eskenazi Ltd, London 1. 香港佳士得，2005年5月30日，編號1484 3. The Meiyintang Collection 2. Eskenazi Ltd，倫敦 3. 玫茵堂，瑞士 EXHIBITION Pure and Natural: Special Exhibition of Ming and Qing 展覽 Monochrome Porcelains, Poly Art Museum, Beijing, 2018 《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博物 館，北京，2018年 LITERATURE 1. Eskenazi, A Dealer's Hand: The Chinese Art World 出版 Through the Eyes of Giuseppe Eskenazi, London, p. 339, pl. 1.Eskenazi，《A Dealer's Hand: The Chinese Art World 406 Through the Eyes of Giuseppe Eskenazi》，倫敦，2012 2. Pure and Natural: Special Exhibition of Ming and Qing 年，頁339，圖版406 Monochrome Porcelains, Poly Art Museum, Beijing, 2018, 2.《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博 p.282, no.108 物館，北京，2018年，頁282，編號108 HK$ 1,200,000 - 1,800,000 US$ 154,000 - 230,000 款識 出版於Eskenazi，《A Dealer's Hand: The Chinese Art World Through the Eyes of Giuseppe Eskenazi》，倫敦，2012年，頁 339，圖版406 Published in Eskenazi, A Dealer's Hand: The Chinese Art World Through the Eyes of Giuseppe Eskenazi , London, p. 339, pl. 406 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 42  瑰映如茵：玫茵堂藏元明清御窯雅蓄

(side view 側面) 本品呈菊瓣形，弧壁，圈足。盤內外施胭脂紫釉。此盤造 The dish is potted with the shallow rounded sides 型源自宋代漆器，擬取秋菊之形，盤壁呈盛開的菊花瓣 superbly and moulded in the form of slender fluted petals 狀，線條俊秀優美，胎質細緻堅密，胎體輕薄，通體施胭 radiating from a slightly recessed flat centre simulating 脂紫釉，釉光鮮亮細潤，圈足外撇，足圈內施白釉，底青 a chrysanthemum bloom. It is supported on a foot of 花雙圈內書「大清雍正年製」雙行六字楷書款。 corresponding form and is covered overall in a rich red glaze. The base is left white and is inscribed with a six- 胭脂紫釉是清宮顏色釉瓷器的新品種，名貴無比而著稱， character reign mark in underglaze blue. 以「紅若赤霞，赧如羞女」而獨步瓷壇。胭脂紫釉是 1650年荷蘭人卡西亞（Cassias）發明，屬於低溫色釉， The Yongzheng Emperor is recorded to have commissioned 1680年開始應用於瓷器繪畫，直到1682年（康熙二十一 Nian Xiyao, Supervisor of the imperial kilns at Jingdezhen, 年）才開始在景德鎮使用。康熙時期署有「辛丑年製」款 to produce chrysanthemum dishes in twelve colours, 的胭脂釉器，為早期的器物。陳瀏《陶雅》謂之「華貴中 forty pieces of each. However, no original complete set of 之佚麗者也。勻淨明艷，殆亡倫比。紫晶遜其鮮妍，玫瑰 twelve dishes is preserved and chrysanthemum dishes 無其嬌麗」。其以黃金為著色劑，釉汁細膩，光潤勻淨， of the Yongzheng period are known to have more than 色如胭脂，故名。在薄胎製品上，內施白釉，外施胭脂 twelve colours. The Palace Museum, Beijing, has indeed 水，紅白相映，瑰麗非凡。 published dishes covered in thirteen different tones, which have been assembled from different sources, and at least 此類雍正款胭脂紫釉菊瓣盤存世極少，僅見Carl Kempe six further colours are recorded elsewhere. 博士收藏一例，編號1230，Eskenazi Ltd遞藏，並於2013 年香港蘇富比釋出，可資對比。歐州藏家卡特萊特 （The Cartwright Collection） 舊藏一例乾隆胭脂紅菊瓣盤例， 售於倫敦蘇富比，2011年11月9日，編號65。另市場流通 一例，可見香港蘇富比，2007年4月8日，編號704。公私 收藏中，可見數例乾隆款胭脂紅菊瓣盤，唯雍正例極為少 有。 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 44  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3562 清乾隆  米黄釉菊瓣盤 「大清乾隆年製」 A FINE CAFE-AU-LAIT-GLAZED CHRYSANTHEMUM DISH SEAL MARK AND PERIOD OF QIANLONG D 18 cm PROVENANCE The Meiyintang Collection 來源 玫茵堂，瑞士 EXHIBITION Pure and Natural: Special Exhibition of Ming and Qing 展覽 Monochrome Porcelains, Poly Art Museum, Beijing, 2018 《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博物 館，北京，2018年 LITERATURE Regina Krahl, Chinese Ceramics from the Meiyintang 出版 Collection, vol. 2, London, 1994-2010, p.174, no.815 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁174，編號815 HK$ 650,000 - 950,000 US$ 84,000 - 122,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦， 1994-2010年，頁174，編號815 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, p.174, no.815 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 46  瑰映如茵：玫茵堂藏元明清御窯雅蓄

(side view 側面) 本品呈菊瓣形，侈口弧壁，下承圈足，形制秀美，胎質細 The dish is potted with the sides finely moulded with forty- 白。盤內外壁均施米黃釉，色澤勻淨嬌艷，瑩潤光亮。圈 four fluted petals radiating from a slightly recessed flat 足內施白釉，釉色與形制搭配相宜，遠望如素菊靜放，令 centre to form a foliate rim. It is supported on a straight 人心曠神怡。圈足修胎精細，胎體堅質細膩，外底所施白 foot of conforming shape and is covered overall in a pale 釉清透滋潤，內書青花雙圈「大清乾隆年製」六字雙行篆 brown glaze. The base is left white with a six-character 書款。 Qianlong seal mark. 本品之米黃釉甚為珍罕。米黃釉創燒於康熙時期，是一種 A Yongzheng-marked dish of this rare form, but covered 以氧化鐵為呈色劑的高溫黃釉，釉色淡雅，黃中泛白，類 with a lemon-yellow glaze, is illustrated in The Baur 似小米顏色，故名。因其淡雅可人，深受皇室喜愛。儘管 Collection, Geneva, 1999, vol. 2, p. 222, no. 327. See, 此類品種每年都貢與皇宮，但總體燒造數量並不大，乾隆 also, a pink-glazed pair of the same form with Yongzheng 御窯菊瓣盤則更是少之又少。整器造型規矩，毫無髺墾之 marks from the Ranney School, Tinton Falls, New Jersey, 態，菊瓣較雍正窯更為圓潤，與雍正御窯菊瓣盤之型略有 sold at Christie’s New York, 2 June 1989, lot 206. 化裁而來，亦具雋美高雅之態。除本品外，乾隆窯菊瓣盤 釉彩亦有見如白釉、醬釉、灑藍釉、松綠、粉青、胭脂紅 釉等，而米黃釉者，僅見此例。 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 48  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3563 清乾隆  蛇皮綠釉玉壺春瓶 「大清乾隆年製」 A GREEN-GLAZED VASE, YUHUCHUNPING SEAL MARK AND PERIOD OF QIANLONG 玉壺春瓶為乾隆時期官窯之標準器形，侈口，束頸，斜 PROVENANCE 肩，鼓腹下垂，圈足，胎質堅硬細膩，修胎工整，線條流 The Meiyintang Collection 暢優美，瓶內施白釉，白如凝脂，瓶外通體施蛇皮釉，此 種顏色釉作品極為罕有；釉色純正均勻，鮮艷俊朗，內白 LITERATURE 釉與外蛇皮綠釉相映生輝，雖無任何紋飾，但純正俊朗、 Regina Krahl, Chinese Ceramics from the Meiyintang 古樸大方。底部施白釉，正中落「大清乾隆年製」六字三 Collection, vol. 2, London, 1994-2010, p.225, no.884 行篆書款。 The vase is potted with pear-shaped body elegantly rising 此類釉驟看酷似烏金釉，色黑，但在光線照射下，釉色為 from a short straight foot to a slender waisted neck and 帶有絲縷狀的墨綠色，釉面泛五彩蛤蜊光暈。由於燒造成 everted rim. It is covered overall with an even glossy and 本高，技術難度大，遺存作品極為寥寥，均為海外藏家所 unctuous deep green glaze, pooling below the wide belly 藏。偶有一例見於1992年日本電視放送網主辦巡回日本 and near the foot and stopping neatly above the footrim. 七大城市的「中國名陶展」，定名為「雍正黑釉碗」，參 The interior and base are left white and the latter is 見《中國名陶展—中國陶瓷2000年的精華》，圖124，其 inscribed with six-character Qianlong reign mark. 釉色與本品甚為相近。 H 30.3cm 來源 玫茵堂，瑞士 出版 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁225，編號884 HK$ 1,000,000 - 1,200,000 US$ 128,000 - 154,000 款識 清雍正 蛇皮綠釉撇口瓶 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦， © 故宮博物院 1994-2010年，頁225，編號884 Published in Regina Krahl, Chinese Ceramics from the A green glaze vase, mark and Meiyintang Collection, vol. 2, London, 1994-2010, p.225, no.884 period of Yongzheng © The Palace Museum, Beijing A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 50  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3564 清乾隆  仿官釉貫耳瓶一對 「大清乾隆年製」 A PAIR OF SMALL GUAN-TYPE VASES SEAL MARKS AND PERIOD OF QIANLONG 本品整體呈八方形，兩側各飾一貫耳，腹部微鼓，下承圈 PROVENANCE 足。瓶內外壁通施仿官釉，釉色天青，釉面肥厚，其上散 The Meiyintang Collection 落空靈開片，端莊素雅，超凡脫俗，器物足端平切，塗褐 色護胎釉，以仿宋器「鐵足」之意，底心青花書「大清乾 LITERATURE 隆年製」六字三行篆書款。 Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, p.216, no.874 H 14.5cm The well-potted pear-shaped vase rises from the flaring 來源 foot towards the everted rim, and is decorated by a pair of 玫茵堂，瑞士 lug-handles. The vase is covered allover in a lustrous pale bluish-green glaze suffused with a fine, clear crackle in 出版 imitation the style of Ru-ware as an expression of nostalgia 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- while inscribed with an imperial reign mark. 2010年，頁216，編號874 HK$ 800,000 - 1,200,000 US$ 103,000 - 154,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁216，編號874 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 2, London, 1994-2010, p.216, no.874 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 52  瑰映如茵：玫茵堂藏元明清御窯雅蓄

貫耳瓶造型源於上古青銅器，宋代官窯首先將其運 用於瓷器之中。清代貫耳瓶器形多樣，有圓、方之 分、大小之別。如本品式樣八方貫耳瓶，常見有兩 種，一類高度為14公分的小尺寸貫耳瓶，一類高 度為30至40公分的杏圓貫耳方瓶，本品即為小尺 寸者，手可盈握把玩，查閱各大博物館館藏及近年 拍賣市場資料，不過寥寥數例。 據《陶成紀事碑》載，仿汝釉器乃按照清宮所發宋 代器物而製的記載相合。「廠內所造各種釉水、款 項甚多，不能備載。茲舉其仿古、採今，宜於大 小盤、杯、盅、碟、瓶、罍、罇、彝，歲例貢御者 五十七種，開列與後，以志大概」台北故宮博物院 藏兩件造型及尺寸相若之仿汝釉與仿官釉製品，分 別於器底題刻乾隆皇帝御題詩，其中「簪花勝酒 斟」、「擷芳攜取供吟興」兩句，表明是為花器之 用，可見於《得佳趣—乾隆皇帝的陶瓷品味》，台 北，2012，頁188、189，圖85、86。 Guan-type vases were first found in the Song dynasty. In the Qing dynasty, Guan-type vases developed into various forms including round-shapes, square-shapes, and an array of different sizes. Two popular styles of this pear-shaped vase were found, one with a taller height of 30 – 40 cm resembling the shape of a peach, and the other one with a height of 14 cm. This pair of small Guan-type Vases are the smaller style and are suitable for carrying around. Further information and images could be found in Obtaining Refined Enjoyment: The Qianlong Emperor's Taste In Ceramics, p.188, 189, images 85 and 86. A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 54  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3565 清雍正  粉青釉暗刻靈芝紋盤一對 「大清雍正年製」 A PAIR OF INCISED CELADON-GLAZED 'LINGZHI' DISHES MARKS AND PERIOD OF YONGZHENG 此對盤撇口，弧腹，圈足，外施青釉，微微泛藍綠色，釉 PROVENANCE 色古雅，猶如玉質。內壁光素無紋，外壁暗刻靈芝紋為 The Meiyintang Collection 飾，寓意吉祥長壽。底青花雙圈內落「大清雍正年製」六 字款。 LITERATURE Regina Krahl, Chinese Ceramics from the Meiyintang 本品秉承雍正器形之雋永簡約，內外敷施粉青釉，質地厚 Collection, vol. 2, London, 1994-2010, p.207, no.861 潤清幽，正合古人「類玉」之美稱，觀之有如青山遠黛之 美感，外壁剔刻靈芝青竹圖，其竹影挺秀，橫欹有致，深 The exterior of the dishes is lightly incised with a 具宋人小景畫之意趣。其下方飾以靈芝圖案，寓意吉祥長 continuous scroll bearing lingzhi fungus amidst rocks and 壽。刻工嫺熟，刀法流暢，氣脈連貫。其色碧翠怡人，素 is covered in a soft sea-green glaze pooling to a slightly 樸自然，所彰顯的是雍正御窯一色純淨的另一番唯美境 darker tone in the incised decoration. The interiors and 界。 bases are left white and the base is inscribed with six- character Yongzheng mark in double circles. 參考一例，為仇焱之舊藏，售於香港蘇富比，1980年11 月25日，編號97。 A similar dish is illustrated by Peter Y. K. Lam in Shimmering Colours - Monochromes of the Yuan to Qing D 11.6cm Periods: The Zhuyuetang Collection, Hong Kong, 2005, p. 157, no. 86; and another is illustrated by Laurence 來源 C. S. Tam in Monochrome Ceramics of Ming and Ch'ing 玫茵堂，瑞士 Dynasties, Min Chiu Society and The Urban Council, Hong Kong Museum of Art, 1977, p. 70, no. 74. 出版 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁207，編號861 HK$ 480,000 - 650,000 US$ 62,000 - 84,000 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁207，編號861 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 2, London, 1994-2010, p.207, no.861 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 56  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3566 清雍正  霽藍釉暗刻海水龍紋盤 「大清雍正年製」 A CARVED BLUE-GLAZED 'DRAGON' DISH MARK AND PERIOD OF YONGZHENG 本品盤形規整，內施白釉，外飾霽藍釉，自口沿向下漸 PROVENANCE 深，釉面光潔瑩潤，色如藍寶，明艷照人；內施白釉，並 The Meiyintang Collection 於盤心在素胎之上暗刻海水龍紋，龍細頸，五爪，作昂首 翻騰狀，外壁施以霽藍釉，甚為特殊，為雍正時期霽藍釉 LITERATURE 之精品，頗為少見難得。底施白釉，並署「大清雍正年 Regina Krahl, Chinese Ceramics from the Meiyintang 製」六字雙行楷書款。 Collection, vol. 2, London, 1994-2010, p.197, no.848 D 18.8cm Inscribed clawed dragon in flight amidst wispy clouds and waves, the exterior applied with a cobalt-blue glaze 來源 stopping neatly at the foot, the interior and the base are 玫茵堂，瑞士 dressed in creamy white glaze. This design of dragon vividly depicted in a powerful posture with prominent jaws 出版 and distinctive features leaping amidst flaming pearls 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- above waves and was carved in advance on the body 2010年，頁197，編號848 before covered by the glaze. The base inscribed with a six- character reign mark within a double-circle. HK$ 320,000 - 480,000 US$ 41,000 - 62,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁197，編號848 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 2, London, 1994-2010, p.197, no.848 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 58  瑰映如茵：玫茵堂藏元明清御窯雅蓄

(side view 側面)

3567 清乾隆  茄皮紫釉大碗 「大清乾隆年製」 A LARGE AUBERGINE-GLAZED BOWL MARK AND PERIOD OF QIANLONG 敞口，弧腹，圈足，碗形周正。通體施茄皮紫釉，釉色均 PROVENANCE 勻純正，肥潤亮麗，碗外壁暗刻花卉紋。碗底內亦滿施茄 The Meiyintang Collection 皮紫釉，底書刻「大清乾隆年製」六字楷書款。 LITERATURE 本品具有乾隆早期御瓷風格，古樸秀麗，典雅非凡，且完 Regina Krahl, Chinese Ceramics from the Meiyintang 整保存，實為珍貴難得的單色釉佳品。茄皮紫釉創燒於弘 Collection, vol. 4(2), London, 1994-2010, p.357, no.1807 治時期，為景德鎮窯所創燒的低溫釉，真正形成較為純正 美麗的色澤則要至康雍年間，傳世品稀少，僅見小盤、小 The bowl is potted with the deep rounded sides supported 碗和小瓶等，造型均小巧秀麗。清藍浦《景德鎮陶錄》卷 on a straight foot and rising to an elegantly everted rim. It is 三載：「紫色釉，黑鉛粉末加石子青、石末合成。」讚頌 glazed overall in a rich translucent purplish-indigo stopping 其釉質肥厚光潤，紫中閃藍，色彩絢麗，誠如本品。 just above the foot, draining evenly from the rim and pooling to a deeper tone at the well. The recessed base D 23.8cm is glazed purple too and is inscribed with a six-character Qianlong mark in underglaze blue within a double circle. 來源 玫茵堂，瑞士 出版 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦， 1994-2010年，頁357，編號1807 HK$ 150,000 - 250,000 US$ 20,000 - 32,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫 敦，1994-2010年，頁357，編號1807 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4(2), London, 1994-2010, p.357, no.1807 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 60  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3568 清道光  霽藍釉碗 「大清道光年製」 A FINE BLUE-GLAZED BOWL SEAL MARK AND PERIOD OF DAOGUANG 口沿微撇，深腹圈足。外壁通體施霽藍釉。底落「大清道 PROVENANCE 光年製」青花篆書款。釉色純正。碗型端莊大氣，胎體厚 The Meiyintang Collection 重，器形規整，腹部曲線自然、秀美，施釉肥厚，色澤深 沈、穩定，色藍如海。此碗乃清代官窯仿宣窯寶石藍釉碗 LITERATURE 式樣，釉色瑩潤勻淨，靜穆雅致，賞心悅目。 Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, pp.190-191, D 14.9cm no.841 來源 The bowl is delicately potted with the deep rounded sides 玫茵堂，瑞士 rising from a short tapered foot to a slightly flared rim. The exterior is covered in a deep and even sacrificial-blue glaze 出版 thinning to white at the rim. The interior and base are 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- reserved in white. The base is inscribed with a six-character 2010年，頁190-191，編號841 seal mark in underglaze blue. HK$ 80,000 - 120,000 US$ 11,000 - 16,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁190-191，編號841 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 2, London, 1994-2010, pp.190- 191, no.841 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 62  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3569 清雍正  瓜皮綠釉暗刻龍紋碗 「大清雍正年製」 A CARVED GREEN-GLAZED 'DRAGON' BOWL MARK AND PERIOD OF YONGZHENG 碗敞口，深腹，圈足，造型端正，胎釉淨白。碗內外壁通 PROVENANCE 施瓜綠釉，釉層勻淨剔透，釉色鮮嫩欲滴。外壁腹部暗刻 1. Bluett & Sons, London 二龍趕珠紋，龍於雲際，神妙入微。近足處描繪海水江崖 2. The Meiyitang Collection 紋，喻表江山永固。碗底心雙圈內青花書「大清雍正年 製」六字雙行楷書款。 EXHIBITION Evolution to Perfection: Chinese Ceramics from the 雍正皇帝在位十三年，一直對單色釉瓷器青睞有加，本品 Meiyintang Collection , Sporting d'Hiver, Monte Carlo, 之所飾瓜綠釉為此時極為罕有的釉色品種，其色澤淡雅， 1996, no.157 艷而不俗，是雍正帝個人審美的極佳體現。瓜綠釉，古稱 澆綠釉，是以氧化銅為呈色劑，以氧化鉛為助熔劑的低溫 LITERATURE 釉，需要二次燒造方成，與漢之綠釉不同，其釉質瑩透， Regina Krahl, Chinese Ceramics from the Meiyintang 色澤翠綠，予人鮮妍明快之感。查閱《清宮檔案》，雍正 Collection, vol. 2, London, 1994-2010, pp.226-27, no.886 顏色釉品種佔有相當大的比例，可見雍正皇帝對顏色釉瓷 器偏愛有加。然本件作品所施瓜皮綠釉，於雍正一朝異彩 The bowl is well potted with deep rounded sides rising from 紛呈之顏色釉作品中亦屬少見。 a short foot to flared rim. The exterior is brilliantly applied with a vibrant green glaze over an incised continuous D 11.3cm scene depicting a pair of scaly five-clawed dragons chasing the flaming pearls amidst flames and above tempestuous 來源 waves and mountain. The interior is also covered with 1. Bluett & Sons，倫敦 green glaze and similarly decorated with dragon pattern. 2. 玫茵堂，瑞士 The base is inscribed in underglaze blue with a six- character Yongzheng reign mark inside a double-circle. 展覽 《Evolution to Perfection: Chinese Ceramics from the A closely related bowl produced in Kangxi Period, Meiyintang Collection》，Sporting d’Hiver，蒙地卡 currently in the Palace Museum, Beijing, is illustrated in 羅，1996年，編號157 The Compendium of Collections in the Palace Museum. Ceramics, vol. 23, Shunzhi and Kangxi Periods of Qing 出版 Dynasty (III), Beijing, 2013, pl. 110. 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁226-227，編號886 HK$ 150,000 - 250,000 US$ 20,000 - 32,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦， 1994-2010年，頁226-227，編號886 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, pp.226- 27, no.886 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 64  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3570 清乾隆  黄釉暗刻團花紋碗 「大清乾隆年製」 A CARVED YELLOW-GLAZED 'FLORAL' BOWL SEAL MARK AND PERIOD OF QIANLONG 碗敞口，弧腹，圈足，碗心與外壁皆於黃釉地上，內壁正 PROVENANCE 中雙圈內飾五瓣皮毬花；外壁下部周身飾蓮花瓣，上托皮 The Meiyintang Collection 毬花四朵，間飾捲雲升騰紋，寓意祥瑞連連。足內以青花 寫「大清乾隆年製」六字三行篆書款。 LITERATURE Regina Krahl, Chinese Ceramics from the Meiyintang 內外黃釉的器皿，被稱為「黃器」或「殿器」， 黃色有 Collection, vol. 4(2), London, 1994-2010, p.380, no.1821 龍紋的瓷器當為天子用器，黃色無紋的瓷器大多為皇太 子、皇后用器，皇貴妃只能用里白外黃的器皿，這一制度 The bowl is finely potted with deep rounded sides rising 從清初一直延續至清末。皮毬花紋也稱皮球錦紋，由絲織 from a short straight foot to a slightly everted rim. The 品的圖案演化而來，在雍正朝之後的瓷器上經常看到。 exterior is incised with four stylised flower heads divided by 此類皮毬花制碗存世較為稀有，同類可見香港徐展堂舊 ruyi clouds, all above a lappet band. The interior is similarly 藏，售於紐約佳士得靜觀堂專場，1997年9月18日，編號 incised with a flower head inside a medallion at the 161。 centre. The bowl is overall applied with an egg-yolk yellow glaze. The recessed base is inscribed with a six-character H 6.1cm Qianlong seal mark. 來源 玫茵堂，瑞士 出版 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦， 1994-2010年，頁380，編號1821 HK$ 220,000 - 280,000 US$ 29,000 - 36,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫 敦，1994-2010年，頁380，編號1821 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4(2), London, 1994-2010, p.380, no.1821 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 66  瑰映如茵：玫茵堂藏元明清御窯雅蓄

(side view 側面)

3571 清乾隆  哥釉葵口碗 「乾隆年製」 A GE-TYPE FOLIATE BOWL SEAL MARK AND PERIOD OF QIANLONG 此碗六瓣葵口，深斜壁，下承圈足，足內以青花書「乾隆 PROVENANCE 年製」四字篆書款。胎骨堅實，色帶灰白，釉色青朗，腴 The Meiyintang Collection 潤如脂，器表雙色紋片縱橫，飄逸流暢，深淺不一，紫口 鐵足，凜冽自然，酥潤含蓄，靈秀典雅，是清代官窯仿官 LITERATURE 窯精品之作。 Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, p.220, no.879 D 12cm The small bowl is potted with gently curved sides divided 來源 into six facets, rising from a short tapered foot to a foliate 玫茵堂，瑞士 rim. It is applied overall with a greyish-blue glaze thinning brown at the rim, suffused with a network of attractive 出版 black and faint russet crackle. The glaze stops neatly 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- above the footring revealing the brown body. The recessed 2010年，頁220，編號879 base is inscribed with a four-character seal mark. HK$ 180,000 - 250,000 US$ 23,000 - 32,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦， 1994-2010年，頁220，編號879 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 2, London, 1994-2010, p.220, no.879 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 68  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3572 清乾隆  白釉暗刻夔龍紋花觚 「大清乾隆年製」 A CARVED WHITE-GLAZED 'DRAGON' GU-SHAPED VASE SEAL MARK AND PERIOD OF QIANLONG 本品作喇叭型口，長頸，圓鼓腹，足脛外撇，通體施以仿 PROVENANCE 定白釉，其上散落開片，口頸及足脛皆暗刻仰俯蕉葉紋， The Meiyintang Collection 腹部上下刻回紋一周，相映成趣，腹部飾仿古夔龍紋，上 下均起雙弦紋，底部正中暗刻「大清乾隆年製」六字三行 LITERATURE 篆書款。 Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 4(2), London, 1994-2010, pp.324-325, H 23cm no.1783 來源 The vessel covered in milky-white glaze is potted in the 玫茵堂，瑞士 form of an archaic ritual vessel, Gu, commonly found in Shang Dynasty. The slim body decorated in low relief with 出版 archaistic dragon between two keyfret bands, rising from 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦， the wide foot supported on a short stepped footring to a 1994-2010年，頁324-325，編號1783 superbly wide mouthrim. The upper and the lower sections are both decorated with long plantain leaves. The base is HK$ 350,000 - 450,000 impressed with a six-character seal mark. US$ 45,000 - 58,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫 敦，1994-2010年，頁324-325，編號1783 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4(2), London, 1994-2010, pp.324-325, no.1783 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 70  瑰映如茵：玫茵堂藏元明清御窯雅蓄

本品為清代雍正時期仿照商周時期青銅觚而燒製的一 件單色釉精品。青銅觚是商周時期一種飲酒器。《論 語．雍也》：「觚不觚。」《集釋》引馬融注云： 「觚，禮器也。」《說文．角部》：「觚，鄉飲酒之 爵也。」據上海博物館原館長馬承源研究，青銅觚根 據器形可分為十餘式，其中以上海博物館藏商晚期臣 父乙觚為代表的低體鼓腹式，與本品在器形上最為接 近。清三代帝王在瓷器審美上推崇摹古，這一時期景 德鎮官窯生產有大量瓷質觚。公私收藏中多見雍乾時 期單色釉素面之例，而飾有模印仿青銅紋飾者罕見。 見南京博物院藏清雍正仿定白釉印花蕉葉紋觚，錄於 《南京博物院珍藏大系：清代官窯瓷器》，江蘇美術 出版社，2013年，頁83。 This vessel is a Qing dynasty impression of the Shang and Zhou dynasty Bronze Ware. The Bronze Ware is a drinking apparatus in the Shang and Zhou dynasty, often used for wine. According to Dr. Ma Chengyuan of Shanghai Museum, Bronze Ware styles may be divided into over ten distinct types. The Bronze Ware archived at the Shanghai Museum belongs to the late Shang dynasty and features a flared bottom similar to this Gu-shaped Vase. A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 72  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3573 明永樂  白釉暗刻纏枝花卉紋碗 A FINE INCISED WHITE-GLAZED 'FLORAL' BOWL YONGLE PERIOD, 1403-1424 碗敞口，深弧壁，圈足。通體施白釉，盤心光素無紋，外 PROVENANCE 壁暗刻纏枝蓮紋，若隱若現。釉質緻密細膩，釉色恬靜 The Meiyintang Collection 溫潤，純若凝脂，素猶積雪，甚適於心。整體造型端莊 典雅，釉色潔素瑩然，釉面橘皮紋清晰可見，紋飾流暢 LITERATURE 舒展，佈局清疏自然，工藝精緻細膩，充分彰顯甜白釉之 Regina Krahl, Chinese Ceramics from the Meiyintang 純美，甚愜心賞，當為十五世紀早期瓷器之珍品，彌足珍 Collection, vol. 2, London, 1994-2010, p.33, no.649 貴。 The bowl is potted with deep rounded sides rising from 本品與台北故宮博物院藏此類白釉劃花花卉蓮子大碗可 a straight circular foot and the exterior is incised with a 比，著錄於《明代初年瓷器特展目錄》，圖58。故宮博物 continuous leafy scroll bearing lotus blossoms under a 院藏一例，明永樂甜白釉暗花菊瓣紋碗，著錄於《孫瀛洲 keyfret band at the rim. It is overall covered with an even 的陶瓷世界》，頁74，圖32，器型、紋飾與本品相類， sugar-white glaze. 可資比較。大英博物館館藏一例同類，載於《Oriental Ceramics：The World's Great Collections》，卷5，東 京，1981年，圖版150。另一例與本品極似，亦無款者， 著錄於《東方陶瓷學會會刊》，1948-1949年，頁25，編 號108。 D 27cm 來源 玫茵堂，瑞士 出版 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁33，編號649 HK$ 1,200,000 - 1,800,000 US$ 154,000 - 230,000 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- (細部 detail) 2010年，頁33，編號649 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 2, London, 1994-2010, p.33, no.649 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 74  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3574 明弘治  白釉碗 「大明弘治年製」 A WHITE-GLAZED BOWL MARK AND PERIOD OF HONGZHI 此碗形制規矩，敞口，深弧腹，下承圈足。通體罩施白 PROVENANCE 釉，僅底足處可見胎質細潤瑩白，釉質白皙柔和，胎體薄 The Meiyintang Collection 透堅致，釉面勻淨，通體光素無紋，展現天然釉質之美。 其色如美玉，「瑩然素潔」直追永樂之甜白。底心書「大 LITERATURE 明弘治年製」青花雙圈六字二行楷書款。字體端莊工整， Regina Krahl, Chinese Ceramics from the Meiyintang 青花色澤明艷，頗具時代特徵。白釉瓷器於明代可被用作 Collection, vol. 4(1), London, 1994-2010, p.150, no.1675 祭祀月壇用瓷。按照明代祭祀制度，據《大明會典》卷 二百一記載：「（洪武）二年定，祭器皆用瓷。……（洪 The bowl is finely potted with deep rounded sides rising 武）九年，定四郊各陵瓷器。圓丘青色，方丘黃色，日壇 from a short slightly tapered foot to a gently flared rim. It is 赤色，月壇白色……」因而被賦予了至高無上的地位，民 applied overall with a rich transparent glaze to show the 間令行禁止使用。 white body, leaving the footring unglazed. The recessed base is inscribed with a six-character Hongzhi mark in D 20.3cm underglaze blue within a double circle. 來源 玫茵堂，瑞士 出版 康蕊君，《玫茵堂藏中國陶瓷》，卷四（一），倫敦， 1994-2010年，頁150，編號1675 HK$ 1,000,000 - 1,800,000 US$ 128,000 - 230,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（一），倫 敦，1994-2010年，頁150，編號1675 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4(1), London, 1994-2010, p.150, no.1675 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 76  瑰映如茵：玫茵堂藏元明清御窯雅蓄

(side view 側面)

同類藏品可見伊朗巴斯坦博物館入藏一件弘治白釉碗，見 《Chinese Porcelains from the Ardebil Shrine》1956年 出版，John A.Pope著，圖114號。另故宮博物院及上海 博物館亦有同類藏品入藏，參見《故宮博物院藏文物珍品 大系——顏色釉》，第114頁，編號104；《上海博物館 藏品研究大系．明代官窯瓷器》，頁147。另比一例現藏 大英博物館，參見《大英博物館藏中國明代陶瓷》，倫 敦，2001年，頁177，編號7:1；整器裡外皆麗質非凡， 比例協調，造型端莊，胎體輕盈，釉質潤白，給人以溫柔 恬靜之感，其工藝上乘，貴氣內斂，當屬明弘治一朝饒州 白釉官窯之精品。 Relatively few Hongzhi pieces were made during the short reign period since porcelain production at the imperial kilns at Jingdezhen in Jiangxi province was deliberately kept low in light of Hongzhi’s economic policy. Three bowls of this size from the Ardabil Shrine collection are now in the Iran Bastan Museum in Teheran. All three are inscribed with a dedicatory inscription of Shah Abbas, King of Persia from 1571 to 1629. One of these bowls is illustrated in John Alexander Pope, Chinese Porcelains from the Ardabil Shrine , Washington D.C., 1956, pl. 114, no. 29.714. Pope, ibid, p. 146. 明弘治 白釉碗 © 故宮博物院 A white glazed cup, mark and period of Hongzhi © The Palace Museum, Beijing A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 78  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3575 明正德  白釉露胎劃刻雲龍紋盤 「大明正德年製」 A BISCUIT-DECORATED WHITE-GLAZED 'DRAGON' DISH MARK AND PERIOD OF ZHENGDE 此拍品釉色青白，造型秀美優雅，清秀、圓潤、靈巧，釉 PROVENANCE 面肥厚；內壁盤心飾露胎暗刻龍紋，外壁釉下暗刻海水波 The Meiyintang Collection 濤紋，兩條龍紋裝飾其間，胎質細膩潤滑，胎色潔白；全 器色彩以釉青、胎白二色為主，色彩雅麗，為明代此類龍 LITERATURE 紋器之經典品類；對比突出，紋飾樸著，有良好的視覺效 Regina Krahl, Chinese Ceramics from the Meiyintang 果。這種做法流行於明代中期成化、弘治、正德三朝，多 Collection, vol. 2, London, 1994-2010, p.78, no.692 為盤類器物。盤底青花雙圈內楷書「大明正德年製」款 識。 The dish is potted with shallow rounded sides rising from a short slightly tapered foot to an everted rim. It is applied D 20.9cm overall with a rich transparent glaze slightly tinged to light green, saving for a five-clawed dragon incised on the 來源 interior writhing among stylised clouds within a central 玫茵堂，瑞士 medallion on the interior. The dragon head, scaly body and limbs are all reserved on the biscuit and fired pale 出版 orange. The exterior is similarly decorated with two five- 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- clawed dragons striding above crashing waves and rocks 2010年，頁78，編號692 incised and reserved on the biscuit. The base is inscribed in underglaze blue with a six-character reign mark within HK$ 320,000 - 480,000 double circles. US$ 41,000 - 62,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁78，編號692 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, p.78, no.692 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 80  瑰映如茵：玫茵堂藏元明清御窯雅蓄

此類龍紋器皿為明代創燒品種，而暗刻紋飾者為其中 工藝最為複雜的類別。其製作，需先錐拱暗刻紋飾 於瓷胎上，再在紋飾外施加釉高溫燒成單色釉並露澀 胎紋飾的品種，此件拍品為露素胎龍紋，亦有更加複 雜的此類龍盤的品種，其露胎龍紋處要覆加彩填繪紋 飾，第二次低溫烘烤，方可成器；可參考出光美術館 收藏一例白磁刻花龍紋缽，錄於《東洋的白瓷》，編 號66。 Dishes of this type include one in the National Palace Museum, published in Porcelain of the National Palace Museum. Monochrome Ware of the Ming Dynasty, Book 2, Hong Kong, 1968, pl. 2; another in the British Museum, London, illustrated in Jessica Harrison-Hall, Ming Ceramics, London, 2001, pl. 7:3; and a third in the Metropolitan Museum of Art, New York, included in Suzanne G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 155.

3576 元  釉裡紅荷塘鴛鴦紋匜 AN UNDERGLAZE-RED 'MANDARIN DUCKS' POURING VESSEL YUAN DYNASTY, 1271-1368 本品形制規整，圓腹，呈淺鉢形，平底無釉。口沿一側有 PROVENANCE 較寬的流，下有小圓系。因系覆燒，唇面露胎並顯火石紅 The Meiyintang Collection 色。白地釉色微泛青，器心飾紅地白線波浪紋一圈，內畫 一蒼鷺傲立荷葉在側，左方伴飾枝葉，筆觸灑脫，色澤殷 EXHIBITION 紅深沈。其波浪表現尤為獨特，先以銅紅釉色平塗後再以 Chinese Ceramics from the Meiyintang Collection, The 尖銳工具輕輕加以剔刻，去除呈色釉料後再施釉，作出留 British Museum, London, 1994 白效果。 LITERATURE L 17.5cm Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, p.13, no.632 來源 玫茵堂，瑞士 This vessel is potted with the rounded sides supported on a flat base, rising to a straight rim incised with a single 展覽 line border and set with an outward flaring spout above 《玫茵堂藏中國陶瓷》，大英博物館，倫敦，1994年 a fine coiled band of clay attached as a lug underneath. It is painted on the interior in vivid strokes of underglaze 出版 copper-red with a crane on an uneven ground under a tall 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- leafy plant and in front of a single lotus leaf on a long stalk. 2010年，頁13，編號632 All the patterns are enclosed within a red border incised with wavy lines reserved in white. The red color varies in HK$ 280,000 - 450,000 shades from a vivid purplish tone to a dark reddish-grey. US$ 36,000 - 58,000 The glaze is tinged to pale blue while the unglazed rim and base are fired respectively to orange-red and cream-yellow. 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- (side view 側面) 2010年，頁13，編號632 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 2, London, 1994-2010, p.13, no.632 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 84  瑰映如茵：玫茵堂藏元明清御窯雅蓄

匜最早為先秦禮器之一，用於沃盥之禮，為客人洗手 所用。至周朝，所用水器由盤、盉演變為盤、匜。 至元代，匜又開始流行，除了瓷器質地亦還有銀、銅 質。亦有根據元代「蒲城墓葬壁畫」而認為是酒器， 從壁畫中可知，匜在元代可與玉壺春瓶及盤盞一起搭 配使用。 鷺鷥歷來被譽為「吉祥之鳥」，與蓮花、蘆葦合繪， 寓意「一路連科」，祝福科舉仕途順利，乃古時科舉 士子求功名時最為喜愛之題材，寓意甚是美好。皇慶 二年（1313年）元仁宗下詔恢復科舉，「世祖章皇帝 設官分職，徵用儒雅，崇學校為育材之地，議科舉為 取士之方。取士各有科目，要其本未，舉人宜以德行 為首，試藝則以經術為先，辭章次之，浮華過實，朕 所不取」。 The Pouring Vessel yi was first used in the Qin dynasty as a ceremonial tool for hand-washing rituals. Since the Zhou dynasty, water containers have transformed from the plate, to the he, then the bowl, and finally the yi. Yi became prevalent during the Yuan dynasty. Other than porcelain, silver-made and bronze-made Yi were also found. The heron bird symbolizes auspiciousness. When in combination with lotus flowers and weeds, the imagery signifies desirable academic results. Thus, such imagery was largely popular among academics. 元 蒲城墓葬壁畫 元 青花人物圖匜 Fresco of tomb excavated in Pucheng Shaan Xi, Yuan Dynasty © 西安市文物保護考古研究院 A blue and white 'figure' pouring vessel, Yuan Dynasty © Cultural Heritage Conservation and Archaeology, Xi'an/ Xi'an Shi wen wu bao hu kao gu yan jiu yuan A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 86  瑰映如茵：玫茵堂藏元明清御窯雅蓄