Lot 218 清乾隆　銅胎畫琺瑯花卉圖水盂或鳥食罐 | A MINIATURE BEIJING PAINTED ENAMEL WATERPOT OR BIRD-FEEDER

清乾隆　銅胎畫琺瑯花卉圖水盂或鳥食罐 | A MINIATURE BEIJING PAINTED ENAMEL WATERPOT OR BIRD-FEEDER

Qianlong four-character mark and of the period

HKD 200,000

HKD 200000 - 300000

未知

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Qianlong four-character mark and of the period
Elegantly cast with a compressed globular body rising to a sloping shoulder and lipped mouth rim, exquisitely painted around the exterior with large vibrant lotus blossoms issuing from craggy rocks against a dappled blue ground.
4cm (1 1/2in) wide.
Footnotes
清乾隆　銅胎畫琺瑯花卉圖水盂或鳥食罐
「乾隆年製」楷書款
Painted enamel wares produced in the Beijing Palace Workshops represent the highest level of technical and artistic achievement in Qing Court craftsmanship. Introduced during the Kangxi period and perfected under the Yongzheng and Qianlong Emperors, these wares were created under close Imperial supervision and are distinguished from Canton enamels by their refined palette, subtle tonal gradations, and highly painterly execution.
Small scholar's objects, such as waterpots, were particularly suited to this medium, allowing for exceptionally delicate brushwork and experimental surface effects. The present example is notable for its dappled, stippled background, applied in a highly painterly manner reminiscent of pointillist texture, which creates a sense of depth and atmospheric softness. This technique enhances the naturalistic rendering of the peonies, whose modelling and volumetric treatment suggest an awareness of Western pictorial conventions circulating at the Qianlong Court.
In this respect, the decoration may be understood as reflecting the broader influence of Giuseppe Castiglione (Lang Shining, 1688–1766) and other Jesuit artists active within the Imperial workshops, whose synthesis of European realism and Chinese aesthetic sensibility had a lasting impact on Court painting and decorative arts. The presence of a four-character Qianlong reign mark, together with the refined enamelling and painterly sophistication, supports attribution to the Beijing Palace Workshops, where such mark and period examples were produced in limited numbers for Imperial use.
Compare with a related painted enamel wine cup, Qianlong four-character mark and of the period, from the Beijing Palace Worshops, in the British Museum, London, illustrated by H.Moss, , Hong Kong, 1976, pl.24. See also a related small painted enamel wine cup, painted with rocks and narcissus on a pale turquoise ground, Qianlong mark, illustrated by M.Gillingham, , Oxford, 1978, p.71, where the author notes that 'this delicately painted cup is a Palace piece of the highest quality'.
斂口，圓腹。器表粉青地繪花卉圖，底白地書藍彩「乾隆年製」楷書款。本拍品玲瓏雅致，畫藝精湛，為案頭雅器。
北京宮廷作坊所製畫琺瑯器，代表清代宮廷工藝技術與藝術成就之巔峰。此藝始於康熙朝，至雍正、乾隆時期臻於成熟，製作過程受皇帝直接監督，其釉色雅緻、層次細膩、筆意濃厚，與廣東畫琺瑯有別。
水盂等文房小件尤宜畫琺瑯，以展現極精細筆觸與豐富畫面。器表點染背景，筆法靈動，具點描質感，營造深邃柔和之氛圍，使牡丹之自然寫實更為突出，其立體感與明暗處理，或受乾隆朝宮廷中西繪畫技法之影響。此種裝飾風格，或反映郎世寧（Giuseppe Castiglione，1688–1766）及其他耶穌會傳教士畫家於宮廷作坊之影響，其融合歐洲寫實技法與中國審美趣味，對宮廷繪畫與裝飾藝術影響深遠。器底書「乾隆年製」四字楷款，結合精緻畫琺瑯工藝，足證本品為北京宮廷作坊所製之御用文房佳器。此類款識與工藝兼備之器，當時產量有限，專供宮廷使用。
比較大英博物館藏一件乾隆四字款畫琺瑯酒杯，出自北京宮廷作坊，著錄於莫士撝，《御製》，香港，1976年，圖版24。另見一件乾隆款畫琺瑯小杯，其淡松石綠地繪湖石水仙，載於M.Gillingham，《Chinese Painted Enamels》，牛津，1978年，頁71，作者評該杯畫工精細，為宮廷畫琺瑯中之極品。