清乾隆 綠松石浮雕歲寒三友蓋瓶 |

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我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您向其他專業修復人員索取諮詢，以獲得更詳盡、專業之報告。

準買家應該檢查每款拍品以確認其狀況，蘇富比所作的任何陳述均為專業主觀看法而非事實陳述。準買家應參考有關該拍賣的重要通知（見圖錄）。

雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。

Known as lüsongshi, or ‘green pine stone’ in Chinese, turquoise is a porous and fairly soft material that can be scratched with a knife. As such, this treasured material was more often included in accessories for court dress than as stand-alone pieces. Varying in colour from greenish tones to a sky-blue, they are often suffused with a matrix, thus requiring extraordinary imagination and technical virtuosity to successfully marry an auspicious subject with the unusual stone.

Surviving turquoise vessels of this size are rare, and the present piece perfectly embodies the craftsman’s ability to create a sense of harmony between the Three Friends of Winter (bamboo, pine and prunus trees) and the heavily matrixed stone. It captures a sense of archaism and mystery; the crackled surface a reminder of both the temporal and immortal.

Compare a vase of this type carved with birds and water lilies on a slender body, sold in our Rome rooms, 13th January 1973, lot 141; another carved with birds perched amidst floral branches on a flattened body, sold in our London rooms, 7th/8th May 1973, lot 68; and a third example with a Guanyin and a small boy standing on a rock, sold at Christie’s London, 21st February 1968, lot 151. For another turquoise carving, see a figure of Xi Shi, sold twice in our London rooms, 20th October 1958, lot 93 and 15th December 1970, lot 8, and a third time at Christie’s New York, 21st September 1995, lot 391, from the Spencer-Churchill collection, illustrated in Soames Jenyns, Chinese Art III, New York, 1965, pl. 160; and a figure of He Xiangu, sold at Christie’s Hong Kong, 27th September 1989, lot 1627.

Turquoise mines in Xinjiang province especially provided access to resources of turquoise after 1759. Treasured by Tibetans for its association with the wisdom of the earth and sky in Buddhism, it was embraced by the Qing court, evidenced in items such as the Qianlong Emperor’s turquoise necklace he wore for ceremonies at the Altar of the Moon.