清雍正 鬪彩雞缸盌 《大清雍正年製》款

the deep rounded sides rising from a slightly tapered foot to a gently flared rim, brightly painted in delicate shades of enamels and underglaze blue with an exterior scene depicting two cockerels with red hackle and black feathers, each accompanied by a yellow hen and their four or five chicks coloured aubergine or yellow, standing or bending down searching for food in a meadow, the continuous landscape interrupted by two large rock formations issuing foliate sprays of iron-red roses and blue-petalled asters, with a lush plantain tree on one side and two windmill palms on the other, all between double blue lines at the rim and foot, the interior similarly decorated with a medallion of a red cockerel and a yellow hen perching on rocks, among sprays of asters and roses below a plantain tree, the base inscribed with a six-character mark within double circles in underglaze blue

The bowl is in overall very good condition. The enamels are well preserved.
"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."

此盌題材源自成化雞缸盃，然其圖紋盡顯雍正朝對明時原型之重新詮釋。此品盌身提供較大空間，容讓藝匠揮灑繪畫，而成化圖紋原本的小巧雅致氣息，於此則演化為更具戲劇張力的構圖。畫匠於原本的庭院景致中，加入更多植栽，包括翠菊、紙莎草與芭蕉樹，構圖和諧，巧妙運用紅黑二色，引領觀者目光漫遊其中。此盌圖紋描繪植栽、公雞及母雞，自然優雅，昂然之姿，豐茂尾羽，儼然為此庭院一景之主，而非無意散遊其間，反映出雍正一朝特有的文雅風格。

台北鴻禧美術館有一相類作例，刊錄於《中國歷代陶瓷選集》，台北，1990年，圖版139；一對近似瓷盌藏於東京梅澤記念館，曾展於《清朝陶磁》，MOA美術館，熱海，1984年，編號38；另一對則售於倫敦佳士得2009年5月12日，編號166；還有一器，三度售於拍賣，分別為倫敦蘇富比1966年7月12日，編號311，紐約蘇富比1988年6月1日，編號172，及香港佳士得1995年10月30日，編號748。成化雞缸盃作例，可見兩件台北國立故宮博物院藏例，曾展於《明成化瓷器特展》，1976年，編號1及29；另兩件藏於北京故宮博物院，著錄於《陶磁大系》，卷43，東京，1973年，頁94，圖15及16；另一件屬仇炎之舊藏，於1981年5月19日香港蘇富比售出，編號429，現歸區百齡雅蓄。

子母雞圖題材可見於宋畫之中，然直至明成化一朝，始將其繪於瓷上。此復行之畫雞風尚，可能與彥哲陳白沙倡導之說有關。陳氏曾獲舉薦，得成化帝特召。陳氏強調簡約樂觀，對人生態度須真誠感念。子母雞圖所現之恬淡樸實，恰如此同，或因此於滿清時，蒙君主垂青。

鬪彩瓷以釉下青花描畫圖紋輪廓，後於釉上施彩填入輪廓內，技法取自明代掐絲琺瑯工藝。鬪彩燒造，研發於成化一朝，作例可見成化雞缸盃與高足盌。鬪彩瓷之內斂美感，及其與成化造瓷之關聯，於清代備受愛戴推崇，並深得雍正與乾隆二帝鍾愛。