清乾隆 紅釉梅瓶 《大清乾隆年製》款

robustly potted with a tapered body sweeping up to broad shoulders, all surmounted by a waisted neck and a slightly flared lipped rim, the exterior applied overall with a lustrous deep red glaze thinning at the mouth, the base inscribed in underglaze blue with a six-character seal mark

"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."

乾隆紅釉梅瓶向來珍稀，此瓶猶以器大為罕。紅釉瓷燒造自十五、十六世紀晚期至十七世紀早期漸為衰退，復燒於康熙時期。清代紅釉瓷以明朝祭紅釉為本，然數量上超越前朝。Nigel Wood，《Chinese Glazes》，倫敦，1999年，頁180，提及法國傳教士殷弘緒（1664－1741），曾於書信中詳細描述景德鎮紅釉瓷之燒造，其釉藥銅紅之來源、釉藥配方、即窰址。殷氏深知銅紅釉燒造之礙難，也肯定景德鎮匠人之技高藝能。比較北京故宮藏一件康熙紅釉梅瓶，刊載於《故宮博物院藏文物珍品全集 顏色釉》，香港，1999年，圖版21，同錄一件雍正作例，圖版24。