清雍正 青花趕珠龍紋折腰盌一對 《大清雍正年製》款 |

null
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。

It is extremely rare to find a pair of such bowls from the Yongzheng period. However, a closely related pair of bowls was included in the exhibition Ch’ing Porcelain from the Wah Kwong Collection, Art Gallery, Chinese University of Hong Kong, Hong Kong, 1973, cat. no. 59. For single examples, see one, in the Scheinman Collection, illustrated in Born of Earth and Fire, The Baltimore Museum of Art, Baltimore, 1992, cat. no. 88, and sold at Christie’s New York, 23rd March 1995, lot 115; another from the Rolf Heiniger Collection, sold in our London rooms, 9th November 2005, lot 318; and one sold twice in these rooms, 5th November 1996, lot 811, and 5th October 2016, lot 3695. The dragon on the present piece has been rendered in a Ming style, and its placement against a plain white ground, sometimes interspersed with clouds or scrolls, appears to have been a motif that gained popularity from its inception in the Xuande period; for example see a meiping, with a Xuande reign mark and of the period, included in the exhibition Imperial Porcelain of the Yongle and Xuande Periods Excavated from the Site of the Ming Imperial Factory at Jingdezhen, Hong Kong Museum of Art, Hong Kong, 1989, cat. no. 88. Later designs that were probably inspired by the Xuande original include two related Wanli mark and period meiping, in the Shanghai Museum, Shanghai, illustrated in Lu Minghua, Mingdai guanyo ciqi [Ming imperial porcelain], Shanghai, 2007, pls 3-97 and 3-98; another was sold in our London rooms, 13th May 2015, lot 118; and an ovoid jar with cover, with a Kangxi mark and of the period, in the Palace Museum, Beijing, published in Gugong Bowuyuan cang Qingdai yuyao ciqi [Porcelains from the Qing dynasty imperial kilns in the Palace Museum collection], vol. 1, pt. I, Beijing, 2005, pl. 45.