清乾隆 洋彩月白地錦上添花開光籃花圖茶盌 《大清乾隆年製》款

finely potted with deep rounded sides rising from a short splayed foot to an everted rim, the exterior meticulously decorated with three ruyi-shaped cartouches, each with a foliate border enclosing a basket picked out in sepia wash bearing luxuriant stylised floral blooms, the cartouches interrupted by undulating floral scrolls bearing leaves and tendrils, all against a pastel blue ground embellished in blue enamel with curling fronds in the sgraffiato technique, all between a gilt mouthrim and footring, the base enamelled turquoise save for a central white cartouche inscribed with an underglaze-blue six-character seal mark

Caid Osman 收藏，法國，此後家族傳承
Cabinet Portier & Associés，巴黎，2013年11月29日，編號106

There are four minor restored flakes at the rim, the two largest measuring approx. 0.6 cm (at approx. the 4, 5.30 and 11 and 12.30 o'clock positions of the mark). The enamels are very 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."

洋彩月白地籃花圖茶盌，巧工精繪，華麗典雅，屬乾隆朝早期珍稀洋彩瓷。乾隆帝鍾愛洋彩瓷，多數珍藏陳列於紫禁城內廷乾清宮及圓明園的歐式宮殿中。盌身開光卷草紋及籃花紋周圍，巧妙施以淡雅褐彩，增添立體感並顯暖金光澤。

著錄未見與此件茶盌相同之例，然其紋飾風格近似於乾隆六年至十年間燒造之洋彩瓷，現藏台北故宮博物院，展出於2008年特展《華麗彩瓷．乾隆洋彩》。展覽呈現出乾隆窰釉彩之創新，並汲取西洋審美融合中國傳統。此件茶盌或屬檔案記載乾隆七年（1741年）八月進呈六十九件洋彩瓷之一，類同紋飾可見於數件展品，如一對藍地錦上添花開光籃花圖膽瓶，編號47。相似開光卷葉紋，如一件藍地茶鍾及描金錦地蒜頭瓶，編號3、38。比較一對粉藍地錦上添花紙槌瓶，錦地環繞如意式開光，內綴花卉紋，編號30。如上列清宮舊藏洋彩瓷，多造於乾隆七年。

洋彩瓷燒造技術與色彩發展，當屬雍正朝及乾隆朝初年景德鎮御窰廠督陶官唐英之功。廖寶秀，〈乾隆磁胎洋彩綜述〉，《華麗彩瓷．乾隆洋彩》，國立故宮博物院，台北，2008年，頁36，提及高宗曾於奏摺硃批為何乾隆五年以前所燒瓷器遠遜於雍正年間所製者，經此嚴厲責問，洋彩燒造突飛猛進，乾隆六年後唐窰所造之器，已臻完美。

洋彩瓷取材西洋裝飾技法，融入中國傳統紋飾，需高超工藝且精準施作，成品新穎異趣，繁美雅麗，然寥若晨星，極是珍罕。「洋彩」意指色彩摹傚西洋繪畫，常以白料相調。此盌紋飾以粉藍、粉青、粉紅等西洋色調為主，搭配源自明初的濃豔礬紅彩，並師法西洋光影技巧，繪如意式開光卷葉紋、花籃編織紋路與花瓣枝葉。籃花象徵八仙之藍采和，意味富饒，多福，並祝高壽。

康熙朝以降，由歐洲傳教士傳入工藝，作於內廷造辦處之畫琺瑯器，亦深遠影響洋彩瓷作。如同此盌之月白地可見於金屬胎畫琺瑯器，然瓷例者甚稀。口沿描金更似京造畫琺瑯風格。參考一件康熙畫琺瑯粉藍地牡丹紋盌，現藏北京故宮博物院，刊於《故宮博物院藏品大系．琺瑯器》，卷5，清畫琺瑯，北京，2011年，圖版26。

月白地上以針錐剔刻卷葉紋，連綿不絕，細巧繁工，屬唐英開創之「錦上添花」技法。月白錦地托襯嬌蕊卷葉，宛若當朝由傳教士及廣東歐洲商隊傳入清廷的法國洛可可式織錦。