清乾隆 粉青釉浮雕纏枝蕃蓮紋如意耳葫蘆尊 《大清乾隆年製》款

the elegantly potted body with a globular lower bulb rising up to a waisted neck and a small compressed upper bulb, carved with stylised scrolls of lotus blossoms and covered overall with a pale sea-green glaze, flanked by a pair of elegantly curved handles moulded with a ruyi-head at each end, the neck encircled with a raised rib between two bands of horizontal elongated petal lappets, the recessed base inscribed in underglaze-blue with a six-character seal mark

《細川護貞コレクション展 II：清の磁器．波斯の陶器》，熊本縣立美術館，熊本市，1993年，編號65

《世界陶磁全集．卷12：清朝編附安南．タイ》，東京，1956年，圖版92
杉村勇造，《陶磁大系．卷46：清の官窯》，東京，1973年，圖版70
細川護貞，《目迷五色：清朝磁器》，東京，1992年，編號13

The mouthrim has a couple of small burst bubbles and a short firing crack which is only visible on the interior. There is a small area of glaze shrinkage with burst bubbles beneath one of the handles. The foot also has an area of glaze shrinkage with kiln grits. The catalogue illustration is slightly more yellowish.
"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."

此瓶瑰麗悅目，器形秀雅，粉青釉下隱現浮雕紋飾，乃傳統製瓷中見創新巧思。此器形紋飾源自早明時期之青花纏枝蓮紋扁壺，雍正一朝又見流行，並延續燒造至乾隆年間。華光艸堂藏一件乾隆天藍釉葫蘆尊，曾展於《華光艸堂珍藏清代瓷器》，香港中文大學文物館，香港，1974年，編號15；還有一件售於倫敦佳士得1989年6月12日，編號35A。此款瓷瓶之雍正朝原型，可參考北京故宮博物院藏一瓶，亦雕作纏枝蓮紋，載於《中國陶瓷全集》，卷14，上海，1999年，圖版212，同錄還有一件鬪彩作例，圖版183。

此瓶之粉青釉色澤鮮亮，反映出乾隆帝對於歷代名瓷及宋代龍泉青瓷之仰慕，而為傳統青瓷帶入更多新意。十八世紀的景德鎮御窰廠，造瓷技術之進步與豐沛原料供給下，終能發展出數種深淺不一之青瓷釉色，而最受當朝鑑賞家傾慕的，一為明亮海青色的豆青釉，另一即為此瓶之粉青釉，柔和泛藍的淡青色。施釉於器身浮雕紋飾上，凹凸之間，釉藥流敞，呈現厚薄濃淡之變化，自然柔美。

乾隆時期發展出多樣造型之葫蘆尊；可參考一件平底青花纏枝花卉紋作例，曾展於《趙從衍基金會藏明清陶瓷》，香港藝術館，香港，1978年，編號88。胡惠春珍藏亦有一件茶葉末釉葫蘆尊，2012年10月2日售於香港蘇富比，編號107。亦可參考一件青釉浮雕仿古紋作例，下部廣足平底，曾展於《雲海閣》重要中國瓷器．張宗憲珍藏展，倫敦，1993年，編號71。