Lot 58 清雍正/乾隆早期　掐絲琺瑯錦地團花天球瓶 | A RARE CLOISONNÉ ENAMEL BOTTLE VASE

清雍正/乾隆早期　掐絲琺瑯錦地團花天球瓶 | A RARE CLOISONNÉ ENAMEL BOTTLE VASE

Yongzheng to early Qianlong

HKD 300,000

HKD 300000 - 400000

未知

未知

Yongzheng to early Qianlong
The globular body surmounted by a tall cylindrical neck with lipped rim, vibrantly decorated in blue, turquoise, red, pink, yellow and purple enamels within bold gilt-bronze outlines, depicting medallions separately and jointly enclosing floral motifs and stylised chilong, reserved on a honeycomb diaper ground and florets, fitted box.
22.5cm (8 7/8in) high. (2).
Footnotes
清雍正/乾隆早期　掐絲琺瑯錦地團花天球瓶
Provenance:
Roger Keverne Ltd., London
Bonhams Hong Kong, 1 December 2020, lot 140
來源：
倫敦古董商 Roger Keverne Ltd.
香港邦瀚斯，2020年12月1日，拍品編號140
The Yongzheng Emperor stands as a paragon of refined taste and artistic vision, guiding his Court into a period marked by remarkable innovation in both design and craftsmanship. Deeply rooted in the Chinese scholarly traditions, yet ever receptive to the allure of distant cultures, the Yongzheng Emperor developed a particular admiration for Japanese works of art, most notably lacquerware. Through his patronage, these exotic influences were adopted in the Imperial artistic repertoire. The medallion motif of the present vase embodies this spirit of cultural influence: the distinctive ball-flower design, favoured by the Emperor, is thought to draw inspiration from Japanese family crests, or , and became a prominent motif within the Imperial workshops. This aesthetic, first endorsed under Yongzheng, continued to flourish during the Qianlong era, where it was further elevated through a pursuit of intricacy and refinement.
Compare the medallion design on a mid-Qing cloisonné enamel meiping vase, illustrated in , Beijing, 2011, no.96 (acc.no.Gu119790).
Similar designs of scattered roundels can be found in gilt-decorated black lacquer wares from the Yongzheng reign and subsequent mid-Qing reigns: a mid-Qing rectangular box with embossed lacquer designs of roundels and floral motifs from the Qing Court collection, illustrated in , Hong Kong, 2006, p.197, no.148, together with another cinnabar lacquer case with roundel design, also from the Qing Court collection, p.76, no.52.
Designs of floral roundels were also often seen on Beijing-painted enamel wares during the Qianlong period. See several examples from the Qing Court Collection and now in the Palace Museum, Beijing, illustrated in , Beijing, 2011, nos.57-59 (acc.nos.Gu116732, Gu116446, Gu117912).
瓶方口翻唇，頸朝下漸展，瓶身球形收於矮小圈足，瓶以銅為胎，瓶身以細絲掐出菱花錦地圖案，再填以紅、綠、藍、黃、白色諸料，錦地之間再掐飾多邊形、花邊形、球形團花圖案，看似繁亂，實則兩兩相對，兩對成組。
雍正一朝，皇帝對藝術砥礪熱忱，御器的題材、工藝不斷創新，然而並不常在器物身上留下款識。其子乾隆帝則不然，幾乎每每留款。乾隆在位逾一甲子，御製藝術亦多有創見，卻總不出雍正一朝所創的框架，多在細節上繁複而已。
團花紋是倭漆常見紋樣，雍正時期內廷大量仿製日本蒔繪漆器，團花紋由此在御用器物上開始流行。參見北京故宮藏兩件漆器，一件清中期識紋描金仙莊載詠長方盒，便是蒔繪風格的作品，其團花紋內部亦描繪花草，一如本件掐絲琺瑯之團花；另有一件清中期剔紅團花書函式匣，其錦地團花紋樣，便是本件紋飾之同脈，見《故宮博物院藏文物珍品全集：清代漆器》，上海，2006年，圖版52及148，頁76及197。
掐絲琺瑯團花瓶可比較一件北京故宮藏清中期掐絲琺瑯團花紋梅瓶，其團花與本件頗似，惟非錦地，見《故宮博物院藏品大系琺瑯篇》，卷三，北京，2011年，圖版96，頁131。乾隆時期團花紋主要出現在銅胎畫琺瑯器物上，參考數件北京故宮藏乾隆畫琺瑯團花紋瓶，見前書，卷五，圖版57-59，頁90-92。