清乾隆 北京銅胎畫琺瑯黃地花卉團鳳紋龍耳蓋罐 《乾隆年製》款

the vessel comprising two compartments and decorated vibrantly with bright enamels against a yellow ground, the lower body with rounded sides tapering to a short foot, the exterior painted with a frieze enclosing four blue coiled phoenix medallions alternating with four stylised floral scrolls, above bands of aster scrolls and upright petal lappets, the footrim skirted with a key-fret band, the upper tier with a gilt-bronze scrollwork band, below an enamelled frieze of phoenix medallions and elaborately rendered floral scrolls, further decorated with four evenly spaced gilt-bronze archaistic scroll handles with everted flanges extending over the lower tier, the rounded stepped cover detailed with bands of ruyi blooms, soaring kui dragons, flowering blossoms and key-fret designs, all surrounding a central gilt-bronze finial cast in the form of a stylised lotus bud, the interior of the vessel enamelled turquoise, the white base centred with a blue four-character reign mark within a double square, all supported on a stand with a lobed top resting on a constricted waist and a swelling cusped apron extending into four cabriole legs atop a circular stretcher, the top picked out with a stylised floral scroll and bordered with a key-fret band on the straight sides, the constricted waist with a delicate classic scroll border, all above the apron with large lotus blooms borne on meandering leafy stems, the base enamelled turquoise

Paavo Juho Hynninen（1883-1960年）收藏，他曾先後出任駐外領事及芬蘭外交部部長

The set is in overall good condition. There are small areas of restoration, including a restored area of approx. 2.5 cm above a few short restored cracks to the cover, another restored area of approx. 1 by 1.7 cm to the upper compartment with flanges (far right of the main view), and a further retouched vertical stripe near one phoenix roundel of the bottom compartment (to the left of the main view). The turquoise enamel on the undersides of the vessel shows typical shrinkage, with some retouching. There are also some expected wear to the gilding and minor dents to the extremities.
"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."

十八世紀，金屬胎畫琺瑯技術到達顛峰，展現乾隆崇尚富貴華麗之審美，亦反映清宮造辦處琺瑯作畫師的高度水平。此件蓋罐紋飾精妙細緻，腰部鑄浮雕卷草紋，花式器座，器身綴纏枝洋蓮簇擁團鳳，端麗而珍稀。

金屬器可塑性高，器形及紋飾變化更較瓷器豐富多樣，紋飾搭配黃彩，創新仍顯尊貴非凡。花卉紋枝葉蜷曲，受西式繪畫風格影響，與鎏金紋飾相互輝映，別富異趣，近似清宮西洋式建築內陳設品。比較二件套盌，繪類同纏枝花卉紋，分層綴多樣花鳥紋，掐絲琺瑯底座造形與此拍品相似，書乾隆年款，刊載於《故宮博物院藏品大系．琺瑯編5．清畫琺瑯》，北京，2011年，圖版150、151，同錄一件西洋題材畫琺瑯蓋瓶，圖版148。

參考一件風格相近乾隆北京畫琺瑯黃地蓋盃，售於香港蘇富比2002年10月30日，編號208，及香港佳士得2007年11月27日，編號1699。北京故宮博物院藏畫琺瑯盃及盃托，也可資比較，前述出處，圖版83、85-86、188-190，還有一件蓋盌及花口盌托，圖版124。

此件龍耳蓋罐，成功融會傳統中式風格與西洋裝飾技法及色彩，應屬食器，或為御製，宮中雅用或儀禮齋供皆宜。纏枝蓮紋、螭龍、團鳳，屬最具代表性之中國紋飾語彙，結合蜷曲羽葉，展現西洋美學影響。歐洲傳教士傳入白彩，更添琺瑯色調，得以調出淡雅檸檬黃，黃為皇族之色，鵝黃釉多施於祭祀用瓷器，檸檬黃彩則多見於宮廷日常用器。檸檬黃首見於康熙金屬胎畫琺瑯器，雍正窰始見類同釉彩之瓷器。

1684年海禁解除，歐洲傳教士將金屬胎畫琺瑯技術傳入廣州，身處通商口岸使廣州工匠得以比北京造辦處更快接觸歐洲進口畫琺瑯器，康熙五十八年（1719年），廣東督撫命法國傳教士 Jean-Baptiste Gravereau，又名陳宗信，赴京傳授造辦處匠師燒琺瑯工藝（見展覽圖錄《清代廣東貢品》，香港中文大學文物館，香港，1987年，頁54）。乾隆一朝，大量廣東工匠受聘燒造宮用琺瑯器，可證君主對如此媒材之青睞。宮廷檔案記載，乾隆皇曾命工匠各繪一鼻煙壺，以斷匠師才能是否合適入列造辦處（見楊伯達，〈The Palace Workshops and Imperial Kilns. Snuff Bottles of Emperor Qianlong〉，《Arts of Asia》，卷26，第5號，1996年，頁66）。