A superb imperial white jade 'prunus' teapot and cover, Qing dynasty, Yongzheng period | 清雍正 御製白玉雕梅花紋蓋壺

Sotheby's Hong Kong, 25th April 2004, lot 52.

香港蘇富比2004年4月25日，編號52

Naturalistically crafted jade vessels such as the present teapot and cover are amongst the most impressive and eye-catching objects in the imperial collections, for the luxurious use of the precious jade stone, the exquisite and elegant forms and accomplished carving. The delicacy of the curling branches laden with blossoms elegantly wrapping around the smoothly carved and evenly toned body imitating gnarled prunus tree trunk is a masterful demonstration of the finesse and sensitivity of the jade lapidary artists.

From as early as the Han dynasty, vessels used for food and drinks that were made of jade were already considered extremely valuable treasures due to the great expense and waste of precious jade required to produce them. According to Ming Wilson in Chinese Jades, London, 2004, p. 38 which records an anecdote from the Song dynasty Emperor Huizong expressing concern about using jade cups, fearing it would be viewed as extravagant. However, a cunning courtier suggested that such use was an important symbol of his power in comparison to the rival Qidan dynasty. The author also notes that "of all food and wine vessels, the ewer is the most difficult to make.... [such pieces] would this have been more valuable and rarer than porcelain ones...', see ibid., p. 44.

The naturalistic design of the teapot and cover in the form of a prunus trunk applied with blossoms and buds, and the spout and handle in the form of branches, is reminiscent of ceramic versions made in the southeastern manufacturing centres of Yixing and Dehua. Yixing teapots of related shape, the body in the form of a prunus tree trunk applied with blossoms and buds, and the spout and handle in the form of branches, are illustrated in Patrice Valfré, Yixing Teapots for Europe, Poligny, 2000, pls 247 and 249. For applied prunus design on Dehua wares, see a set of jars illustrated in P.J. Donnelly, Blanc de Chine, London, 1969, pl. 66A.

The naturalism of the carving on this teapot is characteristic of early 18th century imperial jades, as jades carved in the latter part of the century, during the reign of Qianlong, display an increasing formalism. The way the prunus branches have been carved is reminiscent of two jade vases in the Palace Museum, Beijing, illustrated in Zhongguo yuqi quanji [Complete collection of Chinese jades], vol. 6, Shijiazhuang, 1993, pls 237 and 238. Compare another teapot also carved with prunus flowers, however in lower relief and very possibly carved a few decades later than the present piece, sold at Christie's Hong Kong, October 30th, 2001, lot 704.

白玉略泛青，玉質溫潤，壺身為梅樹樁式，壺流、柄、蓋皆為樹枝狀，壺身凸雕梅枝、梅花、流與壺身間亦以梅花相連。此壺以梅為主題，工藝精美，造型優雅，藝術性極強。

清宮有大量玉雕器皿以供皇帝在各種場合玩賞及使用，但執壺的數量相對少很多。玉雕飲食器皿，因雕刻多費玉料，自漢代起就稀世如珍。劉明倩指出：「宋徽宗嗜愛以玉杯飲酒，視其為權利象徵，以震懾契丹。玉雕器皿製作艱難，其價值多勝於瓷製品。」見 Ming Wilson，《Chinese Jades》，倫敦，2004年，頁38-44。

此執壺風格自然仿生，此類以梅樁仿生的作品在宜興紫砂壺或德化白瓷中常有所見，而以之入題玉雕水注者十分罕見。類似的宜興窰茶壺一例，見 Patrice Valfré，《Yixing Teapots for Europe》，波利尼，2000年，圖版247及249。另見德化白瓷一組，著錄於 P.J. Donnelly，《Blanc de Chine》，倫敦，1969年，圖版66A。

此執壺雕工惟妙惟肖，神形完備，頗有明至清初遺風，比之乾隆以後更為公式化的玉雕作品更得天趣。類似以梅樹樁及梅花為主題的清宮玉雕，見北京故宮博物院藏兩例，著錄於《中國玉器全集：卷6》，石家莊，1993年，圖版237及238。另見香港佳士得曾售出一例玉雕梅花執壺，然為淺浮雕工藝，製作時間或較本壺遲數十載，2001年10月30日，編號704。