LOT 108
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AN EXCEPTIONALLY RARE AND IMPORTANT ROBIN'S-EGG GLAZED VASE, TIANQIUPING Qianlong seal mark and of the period (2)
作品估价：HKD 7,000,000-12,000,000
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图录号：
108
拍品名称：
AN EXCEPTIONALLY RARE AND IMPORTANT ROBIN'S-EGG GLAZED VASE, TIANQIUPING Qianlong seal mark and of the period (2)
拍品描述：
Qianlong seal mark and of the period
Superbly potted, of impressive size and globular form rising to the high shoulders, set with a tall cylindrical neck, the exterior covered with vibrant robin's-egg glaze suffused overall with overlapping varying turquoise and purple splashes, also to the interior of the neck and base with the incised seal mark, box.
54.3cm (21 3/8in) high (2).
清乾隆 爐鈞釉天球瓶
「大清乾隆年製」篆書款
, Published and Illustrated:
The Min Chiu Society and Hong Kong Museum of Art, the Urban Council, Monochrome Ceramics of Ming and Ch'ing Dynasties, Hong Kong, 1977, p.101, no.110
展覽著錄：
敏求精舍及香港市政局香港藝術館，《明清一色釉瓷》，香港，1977年，頁101，圖錄編號110
The Hu Family robin's-egg tianqiuping, Qianlong seal mark and period, is arguably the rarest of all forms utilising the attractive robin's-egg glaze. Variously shaped robin's egg-glazed examples of the Qianlong period can be found in other forms, such as 'lantern', double-gourd, hu, gu, cong, meiping, and others. See, for example, a robin's-egg cong vase, Qianlong seal mark and period, in the Qing Court Collection, illustrated in Ceramics Gallery of the Palace Museum: Part II, Beijing, 2010, p.476, no.380. See also a robin's-egg tripod incense burner, Qianlong seal mark and period, in the Qing Court Collection, illustrated in Selected Porcelain of the Flourishing Qing Dynasty at the Palace Museum, Hong Kong, 1994, p.356, no.93.
The robin's-egg glaze was first introduced during the Yongzheng reign. It is a lead-based glaze, coloured with copper, and opacified with arsenic. It has been suggested that the Qing robin's-egg glaze may have been inspired by the Ming dynasty's Xuande period's 'speckled blue' or 'snowflake-blue' glaze; compare a 'speckled-blue' glazed bowl, Xuande mark and period, from the Sir Percival David Collection, the British Museum, London, illustrated in R.Krahl and J.Harrison-Hall, Chinese Ceramics: Highlights of the Sir Percival David Collection, London, 2009, pl.34. It has also been suggested that the robin's-egg glaze was a Yongzheng innovation of the Song and Ming dynasty's Jun glaze. The Taocheng jishi bei ('Commemorative Stele on Ceramic Production'), written in 1735 by Tang Ying, the Superintendent of the Imperial porcelain works in Jingdezhen, lists the 'robin's-egg' glaze first in a list of the nineteen most popular types of wares for the Imperial Court. Similarly, the tianqiuping form of the present vase, was also inspired by vessels produced during the Yongle and Xuande reigns, who themselves were influenced by Persian metal-wares; see an example, which was sold at Christie's New York, 19 September 2006, lot 242.
The present vase is also important for having been produced early in the Qianlong reign as demonstrated in the particular style of the incised seal mark. As noted by Huang Qinghua in his essay 'Harmonious Blue and Crimson: Imperial Grandeur Across the Four Seas' written for the blue and white and copper-red 'dragon amongst clouds' tianqiuping, Qianlong seal mark and period, which was sold at Bonhams New York, 17 March 2025, lot 24, which shares the same type of seal mark: according to the Imperial Archives, this 'round' seal script mark appeared primarily around the eighth year of the Qianlong reign (1743), and was used predominantly on monochrome wares, as shown in the present vase. According to Huang, based on preliminary survey, there are only about 30 known surviving pieces bearing this mark in both public and private collections, making the present tianqiuping, exceedingly rare. These porcelains were often produced in pairs. He concludes by saying that all pieces bearing this 'round' seal script mark share outstanding craftsmanship, with meticulous attention paid to both exterior and interior details. For additional examples of vases bearing this type of early 'round' seal mark see: a yellow-ground Yangcai floral square vase, Qianlong seal mark and period, in the Qing Court Collection, Palace Museum, Taipei, acc.no.: guci005104; a carved celadon-glazed vase, Qianlong seal mark and period, from the J.M. Hu collection, Shanghai Museum, is illustrated in Qing Imperial Monochromes: The Zande Lou Collection, Hong Kong, 2005, pl.44.
A robin's-egg glazed moonflask of ovoid form, Qianlong seal mark and period, was sold at Sotheby's Hong Kong, 7 April 2015, lot 3627.
天球瓶，圓口，直長頸，圓鼓腹，平底內凹成足。器表施爐鈞釉，發色艷麗豐富，呈現深淺不一之綠、藍、紫色調，變化自然。此器碩大渾厚，造型流暢，紋理層次有致，整體氣勢莊重，盡顯乾隆時期瓷器燒製工藝之卓越成就。
爐鈞釉盛行於乾隆朝，可見於各種造型的器物，如燈籠瓶、葫蘆瓶、壺、觚、琮式瓶、梅瓶等。參考清宮舊藏一件乾隆款的爐鈞釉琮式瓶，著錄於《故宮陶瓷館·下編》，北京，2010年，頁476，編號380；參考另一件清宮舊藏乾隆款爐鈞釉三足爐，著錄於《故宮博物院藏清盛世瓷選粹》，香港，1994年，頁356，編號93。如本拍品般，施爐鈞釉的天球瓶則極為罕見，應為孤品。
爐鈞釉始燒於雍正朝，學界推測其或受明代宣德的「灑藍釉」或「雪花藍釉」啟發，比較倫敦大維德基金會藏一件宣德款灑藍釉碗，見柯玫瑰、霍吉淑著，《大維德爵士藏中國陶瓷精選》，倫敦，2009年，圖版34；亦有學者認為爐鈞釉為雍正帝命御窯模仿宋代鈞釉創製。據雍正十三年（1735年）唐英所作《陶成紀事碑》中稱，爐鈞釉位列宮廷最受歡迎的十九種釉色之首。而本拍品的器型，則源自永宣時期受波斯金屬器影響製作的同類器物，比如一例售於紐約佳士得，2006年9月19日，拍品編號242。
值得留意的是，此天球瓶之寫款為罕見之「軟篆體」，故其應為乾隆早期御製。學者黃清華指出此類「軟篆體」，據清宮檔案記載，主要出現於乾隆八年（1743年）前後，應用品類以顔色釉器物為主；其研究顯示，目前公私收藏中帶此類款識的傳世品僅約三十件，可見本品彌足珍貴。此外，這類瓷器通常成對燒造，凡帶此款者皆為匠心獨運之作，細節處理一絲不苟，工藝超凡。相關討論見〈青絳凝瑞 四海昇平：解讀清乾隆青花釉裏紅雲龍圖天球瓶的帝皇摹古情懷〉，此專文為黃氏對紐約邦瀚斯所售一件清乾隆青花釉裏紅雲龍圖天球瓶（2025年3月17日，拍品編號24）之研究，其乾隆篆書款與本品之寫款屬同類。其他帶「軟篆體」款的早期例子，參考台北故宮藏一件乾隆款黃地洋彩洋花紋方瓶，館藏編號：故瓷005104；暫得樓舊藏一件乾隆款青釉暗刻古銅器紋大壺，現藏於上海博物館，見《暫得樓清代官窯單色釉瓷器》，香港，2005年，圖版44。
其他乾隆朝的爐鈞釉例子，參考一件爐鈞釉如意耳扁壺，售於香港蘇富比，2015年4月7日，拍品編號3627。
Superbly potted, of impressive size and globular form rising to the high shoulders, set with a tall cylindrical neck, the exterior covered with vibrant robin's-egg glaze suffused overall with overlapping varying turquoise and purple splashes, also to the interior of the neck and base with the incised seal mark, box.
54.3cm (21 3/8in) high (2).
清乾隆 爐鈞釉天球瓶
「大清乾隆年製」篆書款
, Published and Illustrated:
The Min Chiu Society and Hong Kong Museum of Art, the Urban Council, Monochrome Ceramics of Ming and Ch'ing Dynasties, Hong Kong, 1977, p.101, no.110
展覽著錄：
敏求精舍及香港市政局香港藝術館，《明清一色釉瓷》，香港，1977年，頁101，圖錄編號110
The Hu Family robin's-egg tianqiuping, Qianlong seal mark and period, is arguably the rarest of all forms utilising the attractive robin's-egg glaze. Variously shaped robin's egg-glazed examples of the Qianlong period can be found in other forms, such as 'lantern', double-gourd, hu, gu, cong, meiping, and others. See, for example, a robin's-egg cong vase, Qianlong seal mark and period, in the Qing Court Collection, illustrated in Ceramics Gallery of the Palace Museum: Part II, Beijing, 2010, p.476, no.380. See also a robin's-egg tripod incense burner, Qianlong seal mark and period, in the Qing Court Collection, illustrated in Selected Porcelain of the Flourishing Qing Dynasty at the Palace Museum, Hong Kong, 1994, p.356, no.93.
The robin's-egg glaze was first introduced during the Yongzheng reign. It is a lead-based glaze, coloured with copper, and opacified with arsenic. It has been suggested that the Qing robin's-egg glaze may have been inspired by the Ming dynasty's Xuande period's 'speckled blue' or 'snowflake-blue' glaze; compare a 'speckled-blue' glazed bowl, Xuande mark and period, from the Sir Percival David Collection, the British Museum, London, illustrated in R.Krahl and J.Harrison-Hall, Chinese Ceramics: Highlights of the Sir Percival David Collection, London, 2009, pl.34. It has also been suggested that the robin's-egg glaze was a Yongzheng innovation of the Song and Ming dynasty's Jun glaze. The Taocheng jishi bei ('Commemorative Stele on Ceramic Production'), written in 1735 by Tang Ying, the Superintendent of the Imperial porcelain works in Jingdezhen, lists the 'robin's-egg' glaze first in a list of the nineteen most popular types of wares for the Imperial Court. Similarly, the tianqiuping form of the present vase, was also inspired by vessels produced during the Yongle and Xuande reigns, who themselves were influenced by Persian metal-wares; see an example, which was sold at Christie's New York, 19 September 2006, lot 242.
The present vase is also important for having been produced early in the Qianlong reign as demonstrated in the particular style of the incised seal mark. As noted by Huang Qinghua in his essay 'Harmonious Blue and Crimson: Imperial Grandeur Across the Four Seas' written for the blue and white and copper-red 'dragon amongst clouds' tianqiuping, Qianlong seal mark and period, which was sold at Bonhams New York, 17 March 2025, lot 24, which shares the same type of seal mark: according to the Imperial Archives, this 'round' seal script mark appeared primarily around the eighth year of the Qianlong reign (1743), and was used predominantly on monochrome wares, as shown in the present vase. According to Huang, based on preliminary survey, there are only about 30 known surviving pieces bearing this mark in both public and private collections, making the present tianqiuping, exceedingly rare. These porcelains were often produced in pairs. He concludes by saying that all pieces bearing this 'round' seal script mark share outstanding craftsmanship, with meticulous attention paid to both exterior and interior details. For additional examples of vases bearing this type of early 'round' seal mark see: a yellow-ground Yangcai floral square vase, Qianlong seal mark and period, in the Qing Court Collection, Palace Museum, Taipei, acc.no.: guci005104; a carved celadon-glazed vase, Qianlong seal mark and period, from the J.M. Hu collection, Shanghai Museum, is illustrated in Qing Imperial Monochromes: The Zande Lou Collection, Hong Kong, 2005, pl.44.
A robin's-egg glazed moonflask of ovoid form, Qianlong seal mark and period, was sold at Sotheby's Hong Kong, 7 April 2015, lot 3627.
天球瓶，圓口，直長頸，圓鼓腹，平底內凹成足。器表施爐鈞釉，發色艷麗豐富，呈現深淺不一之綠、藍、紫色調，變化自然。此器碩大渾厚，造型流暢，紋理層次有致，整體氣勢莊重，盡顯乾隆時期瓷器燒製工藝之卓越成就。
爐鈞釉盛行於乾隆朝，可見於各種造型的器物，如燈籠瓶、葫蘆瓶、壺、觚、琮式瓶、梅瓶等。參考清宮舊藏一件乾隆款的爐鈞釉琮式瓶，著錄於《故宮陶瓷館·下編》，北京，2010年，頁476，編號380；參考另一件清宮舊藏乾隆款爐鈞釉三足爐，著錄於《故宮博物院藏清盛世瓷選粹》，香港，1994年，頁356，編號93。如本拍品般，施爐鈞釉的天球瓶則極為罕見，應為孤品。
爐鈞釉始燒於雍正朝，學界推測其或受明代宣德的「灑藍釉」或「雪花藍釉」啟發，比較倫敦大維德基金會藏一件宣德款灑藍釉碗，見柯玫瑰、霍吉淑著，《大維德爵士藏中國陶瓷精選》，倫敦，2009年，圖版34；亦有學者認為爐鈞釉為雍正帝命御窯模仿宋代鈞釉創製。據雍正十三年（1735年）唐英所作《陶成紀事碑》中稱，爐鈞釉位列宮廷最受歡迎的十九種釉色之首。而本拍品的器型，則源自永宣時期受波斯金屬器影響製作的同類器物，比如一例售於紐約佳士得，2006年9月19日，拍品編號242。
值得留意的是，此天球瓶之寫款為罕見之「軟篆體」，故其應為乾隆早期御製。學者黃清華指出此類「軟篆體」，據清宮檔案記載，主要出現於乾隆八年（1743年）前後，應用品類以顔色釉器物為主；其研究顯示，目前公私收藏中帶此類款識的傳世品僅約三十件，可見本品彌足珍貴。此外，這類瓷器通常成對燒造，凡帶此款者皆為匠心獨運之作，細節處理一絲不苟，工藝超凡。相關討論見〈青絳凝瑞 四海昇平：解讀清乾隆青花釉裏紅雲龍圖天球瓶的帝皇摹古情懷〉，此專文為黃氏對紐約邦瀚斯所售一件清乾隆青花釉裏紅雲龍圖天球瓶（2025年3月17日，拍品編號24）之研究，其乾隆篆書款與本品之寫款屬同類。其他帶「軟篆體」款的早期例子，參考台北故宮藏一件乾隆款黃地洋彩洋花紋方瓶，館藏編號：故瓷005104；暫得樓舊藏一件乾隆款青釉暗刻古銅器紋大壺，現藏於上海博物館，見《暫得樓清代官窯單色釉瓷器》，香港，2005年，圖版44。
其他乾隆朝的爐鈞釉例子，參考一件爐鈞釉如意耳扁壺，售於香港蘇富比，2015年4月7日，拍品編號3627。