Lot 110 清康熙 德化五彩觀音立像 | A WUCAI DECORATED DEHUA FIGURE OF GUANYIN

清康熙 德化五彩觀音立像 | A WUCAI DECORATED DEHUA FIGURE OF GUANYIN

Kangxi

HKD 80,000

HKD 80000 - 120000

未知

未知

Kangxi
Modelled standing in a graceful, poised posture, her face sculpted with a serene, compassionate expression with softly downcast eyes and a subtle smile framed by long pendulous earlobes, her hair gathered high into a bun behind an ornate diadem beneath a hooded cowl enamelled in a vibrant green hue, her chest open to reveal a delicate beaded necklace, clad in voluminous, long-sleeved robes falling in soft, fluid folds over an undergarment enamelled in yellow, green, and aubergine tones, the white-glazed outer drapery painted with floral roundels, the reverse impressed with an indecipherable seal mark, all supported atop a domed base deeply sculpted with swirling wave scrolls, fitted box.
44.5cm (17 1/2in) high (2).
Footnotes
清康熙 德化五彩觀音立像
Provenance:
An English private collection
Bonhams London, 8 November 2004, lot 348
來源：
英國私人收藏
倫敦邦翰斯，2004年11月8日，拍品編號348
The application of overglaze enamels to Dehua porcelain represents a distinctive sub-category of Chinese ceramics. While the vast majority of Dehua figures were celebrated for their pristine, monochrome ivory-white glazes, a select group was decorated with palettes featuring copper green, iron red, and aubergine enamels. As Ye Peilan noted in , Shanghai, 2005, p. 285-286, polychrome-enamelled Dehua wares likely originated in the late Ming dynasty and continued through the Qing period, employing decoration methods closely aligned with contemporary Jingdezhen production during the Kangxi reign (1662–1722). Whilst existing examples spanning utilitarian and scholar's objects—such as bowls, vases, and brush pots—are more commonly known, Buddhist sculptures executed in this technique remain exceptionally scarce. The present Guanyin thus marks a rare existence of a -decorated Dehua figure, where the execution of traditional floral scrolls and auspicious cloud motifs skilfully elevates the deity's sacred iconographic presence through vivid colour contrast, while fully preserving the refined underlying sculptural modelling of the Dehua body.
德化瓷施釉上彩之工，為中國陶瓷體系中別開生面之獨類。歷來德化窯造像，多以瑩潤純淨之象牙白單色釉名世，唯少數珍器，敷施五彩彩料，綴以銅綠、鐵紅、茄皮諸色，工致絕倫。據葉佩蘭《中國彩瓷》（上海，2005年，頁285至286）考述，德化加彩瓷器濫觴於晚明，綿延有清一代。其彩飾技法，與清康熙年間（1662–1722）景德鎮官民窯制式一脈相承。傳世德化彩瓷多見盞碗、瓶尊、筆筒等文房日用之器，然以此五彩工藝塑製佛造像者，世所罕覯、至為珍稀。此尊觀音立像，即為存世極罕之德化五彩造像佳構。器身繪纏枝瑞花、祥雲吉紋，設色雅麗、層次分明，以絢彩對映襯聖容端嚴，盡顯法相莊穆。同時全然承襲德化窯本源精妙之塑工，面相圓潤、形制雋雅，塑造功底爐火純青。