清乾隆 粉彩描金夔龍紋蓮花口供器一對 《大清乾隆年製》款

each skilfully potted with a baluster body rising from a short splayed foot to a tall neck with a shapely statuesque profile, the neck with elaborate contours flaring out and curving inwards and surmounted by a large hemispherical mouth enamelled with three registers of upright lotus petals below a speckled green band, the neck and upper shoulder decorated with six bands of floral scrolls, four against a vibrant yellow ground and three against a pastel pink ground, all above a wide frieze encircling the body and picked out in blue and gilding with a dense pattern of intertwining kui dragons and foliate scrolls, the foot skirted by a further yellow-ground border enclosing a floral scroll, the interior and base enamelled turquoise, the base further centred with a blue enamel seal mark within a white cartouche

美國私人收藏
紐約佳士得2009年3月19日，編號761

Both vases are in overall good condition, with the exception of minute enamel flakes and surface wear. The original covers/top are missing. One vase with a repaired shallow flake (1cm wide) at the bulbous neck where the galleried top is attached.
"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."

本器是景德鎮御窰燒厰燒製最富創造力器物之一，雖爲孤品，但與乾隆皇帝的宗教信仰以及當朝所製具有藏傳佛教風格的瓷器、藝術品有密不可分的關係。乾隆皇帝信奉藏傳佛教，並熱心參與藏傳佛教風格瓷器製作，在他一朝，御窰燒製藏傳佛教風格瓷器無數，且精美之極，冠絕一世。

此器樣式應仿藏式金屬法器，如故宮藏一銀鏨花賁巴壺，即為宮中佛堂所用之法器，圖刊於《清宮藏傳佛教文物》，北京，1992年，圖版146，然本器器形更爲繁複。

本器也從彩瓷品中得靈感，這也是它們的獨特之處。金屬材質缺乏柔性，在設計樣式上有所規限，然瓷器塑造性高，通過窰匠超卓技藝，能燒造出較爲複雜的器形。此器器口，與始燒於康熙朝琺瑯彩蓮花盌如出一撤，見清宮舊藏例，錄於《故宮博物院藏品大系．琺瑯器編》，卷5，北京，2011年，圖版25。一帶乾隆年款琺瑯彩蓮花蓋盌，曾展於《清代康雍乾官窰瓷器．望星樓藏瓷》，明尼阿波利斯藝術學院，明尼阿波利斯，2004年，編號59。

描金口及亮麗釉彩同見於琺瑯器，器腹天青地上飾夔龍紋，以描金勾勒輪廓，高雅柔和，與口部明亮粉及黃色形成强力對比。北京故宮博物院藏一釉色相仿夔龍供壽紋大瓶，錄於《故宮博物院藏品大系．琺瑯器編》，卷5，北京，2011年，圖版203。

帶藍料款及器形複雜之器物，被認爲是乾隆朝晚期作品。見林業強，〈Towards a Dating Framework for Qianlong Imperial Porcelain〉，《東方瓷器學會彙刊》，卷74，2009-10年，頁1-33，筆者認爲器底書六字款者，應爲乾隆五十年（1785年）後所製。六字藍料款甚爲罕見，林業強認爲器底施松石綠釉，書四字藍料款者，應仿琺瑯器而作。雖然乾隆皇帝在登基後第二年（1737年）已下旨統一落款樣式，但仍有料款試驗樣品的存在。