清雍正 青花「纏枝卷葉」紋梅瓶 《大清雍正年製》款

the rounded sides elegantly rising from a slightly bulging rounded base and a straight foot to a short waisted neck below a lipped rim, deftly painted around the exterior in shades of cobalt with large undulating foliate stems issuing serrate leaves, furled amid a dense network of smaller curling twigs and scrolls, all between a double line border repeated under the mouth rim, the base inscribed with a six-character mark within double circles in underglaze blue

香港蘇富比1996年11月5日，編號805

The vase is in extremely good condition with only a few light scratches to the surface glaze.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

此梅瓶優雅器形，反映雍正帝對古典風格之熱愛、對當朝樣式之高妙品味、以及對卓越品質之追求。雍正帝對於御製器物，尤其是景德鎮御窰作，興趣甚濃，御作風尚，往往反映出雍正帝之個人品味及偏好。雍正造瓷，藉由修飾器形，追求比例的勻稱和諧，且發展出優雅秀美之圖紋，以古為模，尊先溯源，加上督陶官唐英之督造，成就其特有風格，並達到它朝無可比擬之精美洗鍊。

此梅瓶繪以一般作輔紋而非主要裝飾之纏枝卷葉紋，彷若與著名的明代鬪彩纏枝紋瓶相呼應。清宮舊藏一前朝作例，現仍存北京故宮，雖為梨形，也可比擬，見《故宮博物院藏文物珍品全集‧五彩‧鬪彩》，香港，1999年，圖版60。雍正朝瓷匠於纏枝紋中，加入西洋羽狀複葉，實乃當朝中西文化藝術交流之特徵。一件近似作例，出自Shorenstein收藏，曾三度售於香港蘇富比，最近一次又售於香港佳士得2010年12月1日，編號2966。另一件作例於1990年5月15日由香港蘇富比售出，編號138。還有一件作例，黃地青花，著錄於 John Ayers，《Chinese Ceramics in the Baur Collection》，日內瓦，1999年，圖版209。

一件雍正長頸撇口瓶，通體以鬪彩五色祥雲紋飾之，於2010年4月8日香港蘇富比售出，編號1862，康蕊君曾評之「特殊而幾乎完全抽象的圖案風格，與雍正皇帝本人的獨特人格緊密相連」（頁212）。