A fine teadust-glazed three-handled vase, meiping, Seal mark and period of Qianlong | 清乾隆　茶葉末釉弦紋三繫梅瓶　《大清乾隆年製》款

Kosetsuken.

Kosetsuken zohin nyusatsu mokuroku [Auction catalogue of Kosetsuken collection], Osaka Art Club, Osaka, 24th January 1937, lot 169.

Hakutsuru Fine Art Museum, Kobe.

Daibi meihin ten: Osaka bijutsu kurabu soritsu hyaku shunen kinen [Osaka Art Club centenary exhibition of masterpieces], Osaka Art Club, Osaka, 2010, cat. no. 105.

Sekai Toji Zenshu [Ceramic Art of the World], vol. 12: Qing, Tokyo, 1956, pl. 99.

Gakuji Hasebe, Toki Zenshu [The Complete Works of Ceramics], vol. 16: Shincho no kanyo [Imperial kiln in Qing], Tokyo, 1958, pl. 59.

Sato Masahiko, Toki Koza [Lecture of Ceramics], vol. 12: China IV. Qing dynasty, Tokyo, 1975, pl. 114.

The design of the vase appears to be inspired by archaic bronze vessels. The combination of three sets of concentric raised rings on the body and three loop handles on the shoulder is frequently found on archaic bronze vessels, although the loop handles are more often on the cover instead. See an archaic bronze wine vessel of the Warring States period from the Sir Joseph Hotung Collection, sold in these rooms, 1st June 2023, lot 302.

Identical teadust-glazed examples are very rare, and only one example is recorded at the Idemitsu Museum. See Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, pl. 963. A few examples in other glazes and sizes were sold in these rooms: a taller Yongzheng celadon example sold on 7th May 2002, lot 510; a smaller Qianlong Guan-type example sold on 27th April 2003, lot 160; another Qianlong Guan-type vase with shorter neck and wider shoulder from the T.Y. Chao Collection, sold on 19th May 1987; and a Jiaqing Guan-type vase sold on 8th April 2007, lot 717.

A few other examples can be seen in museums, including a Qianlong celadon-glazed vase in the Beijing Palace Museum, published in Life in the Forbidden City of the Qing Dynasty, Classic of Forbidden City, Beijing, 2007, pp. 148, pl. 221; another pair of Qianlong celadon examples from the Taipei Palace Museum, accession nos zhongci-740 and 741; a Yongzheng robin’s-egg glazed meiping from the Nanjing Museum, illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 203.

來源

香雪軒收藏

《香雪軒蔵品入札目録》，大阪美術俱樂部，大阪，1937年1月24日，編號169

白鶴美術館，神戶

展覽

《大美名品展：大阪美術倶楽部創立百周年記念》，大阪美術俱樂部，大阪，2010年，編號105

出版

《世界陶瓷全集》，卷12：清，東京，1956年，圖版99

長谷部楽爾，《陶器全集》，卷16：清朝の官窯，東京，1958年，圖版59

佐藤雅彦，《陶器講座》，卷12：中國IV．清，東京，1975年，圖版114

本品紋飾構思顯係取法上古青銅器。其腹部飾三組同心凸起弦紋，肩部置三枚鋪首銜環耳，此種組合常見於戰國至漢代青銅器。然青銅原型之環耳多置於器蓋之上，本品則移飾於肩部。可參照何鴻卿爵士舊藏的一件戰國青銅酒器，其環耳佈局與本品意匠相近，該器售於香港蘇富比2023年6月1日，編號302。

與本品完全一致的茶葉末釉例極為稀少。目前僅見日本出光美術館藏有一例，著錄於《出光美術館藏中國陶瓷》，東京，1987年，圖版963。香港蘇富比曾售數件同器型但釉色、尺寸相異者：雍正青釉，器身較高，2002年5月7日，編號510；乾隆官釉，器型略小，2003年4月27日，編號160；趙從衍舊藏乾隆官釉，頸部較短、肩部較寬，1987年5月19日售出；嘉慶官釉，2007年4月8日，編號717。

北京故宮博物院藏有一件乾隆青釉同型瓶，見《清宮生活圖典》，2007年，頁148，圖版221。台北故宮博物院藏有一對乾隆青釉同型瓶，館藏編號中瓷-740、741。南京博物院藏有一件雍正爐鈞釉梅瓶，雖釉色不同，但器型比例與仿古弦紋風格可資對照，錄於《中國清代官窰瓷器》，上海，2003年，頁203。