LOT 213
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A GILT AND GRISAILLE-DECORATED FAMILLE-ROSE HANDLED BOWL Kangxi (3)
作品估价：HKD 80,000-120,000
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成交状态：待拍
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28%
图录号：
213
拍品名称：
A GILT AND GRISAILLE-DECORATED FAMILLE-ROSE HANDLED BOWL Kangxi (3)
拍品描述：
Kangxi
Vibrantly decorated to the interior with a central roundel enclosing a basket of blooming flowers and fruits, the cavetto further decorated with alternating flower sprigs and birds, all bordered by wavy lines, the underside similarly decorated with leafy sprig of flowers, the exterior further painted with scrolling feathers within the foliated panels, flanked by a pair of C-shaped handles, wood stand and fitted box.
13.4cm (5 1/4in) diam. (3).
清康熙 墨彩粉彩描金花卉紋雙耳碗
Sze Tak Tong Collection
來源：
世德堂藏品
The present remarkable bowl, brilliantly enamelled with lush blossoms and succulent fruits, elegantly adorned with rich gilt, exemplifies the distinctive influence of Limoges enamelware during the Kangxi period, reflecting its form, design, and vibrant colors.
The Kangxi Emperor is distinguished for his receptiveness to Western knowledge and technology, which facilitated the inclusion of Jesuit missionaries at his court. These missionaries, often proficient artisans and scientists, played a pivotal role in the transmission of Western techniques and artistic styles to China. Notably, Jean-Baptiste Gravereau (1690-1757), a French Jesuit skilled in multiple artistic disciplines, including enameling, significantly contributed to the establishment of enamel workshops in China. These workshops primarily produced items for the Imperial court, including painted enamel, referred to as falangcai. This collaboration encouraged a remarkable synthesis of styles, enhancing both the craftsmanship and artistic quality of the works. Under the patronage of Kangxi, these workshops flourished, yielding a style that mirrored the emperor's admiration for Western art while simultaneously highlighting the rich tradition of Chinese craftsmanship.
The present bowl was influenced by a Limoges enamel style that was introduced by Jacques I Laudin (c. 1627–1695). See a pair of wucai 'flower and fruit' handled cups, Kangxi period, that are almost identical to the present lot, in the Guimet Museum, Paris, accession no.: G4551a,b. They followed the form and style of Limoges enamelware, including the monogram 'IL'(referring to Jacques I Laudin) inscribed on the bowl. One of them (G4551b) was exhibited in the West Encounters East: A Cultural Conversation Between Chinese and European Ceramics, co-organized by the Shanghai Museum and the Guimet Museum, and is included in the exhibition catalogue, 2021, p.289, no.202. The Guimet's example is also illustrated in Geng Baochang, Ming Qing ciqi jianding (Appraisal of Ming and Qing Porcelains), Hong Kong, 1993, p.215, fig.376; and Nakazawa Fujio, Chinese Ceramicss, vol.11, 'Qing imperial kiln', 1996, no.16.
敞口，雙耳，圈足。碗心繪花果提籃，周飾開光花卉紋，碧葉卷舒有致，間以朱紅、靛藍及赭色妍花。外壁環飾卷草紋，施以金彩增輝，足底繪折枝花卉。其形制頗類十七世紀法國利摩日琺瑯器，設色、紋飾尤似其風韻。
康熙帝對西方知識和技術有著強烈興趣，熱衷於學習西方新知，故不少耶穌會傳教士受邀進京協助朝廷。這些傳教士通常也是知識淵博的匠師和科學家，對西方技術和藝術風格引入中國發揮了至關重要的作用。當中有耶穌會士陳忠信（1690-1757），其兼通科學與工藝，又精於畫琺瑯，直接促成清宮造辦處琺瑯作之設立與發展。這些作坊專司宮廷器用製作，尤以琺瑯彩器為要。此番中西工藝的交融，不僅成就了風格上的卓越創新，更將作品的工藝水平與藝術價值推向巔峰。在康熙皇帝的鼎力支持下，此類作坊得以蓬勃發展，其作品既折射出帝王對西方藝術的深刻鑑賞，又完美承續了中國工藝美學的深厚傳統，形成獨具特色的中西合璧風格。
本拍品應為當時工匠仿效利摩日琺瑯而製，此風格之佼佼者為雅克（一世）·洛丹（約1627-1695）。參考一對與本拍品極為相似之清康熙五彩花果紋雙耳杯，現藏於巴黎吉美博物館，館藏編號：G4551a,b。工匠還模仿了當時雅克·洛丹工坊的簽名，在碗内寫上「IL」。其一（G4551b）曾展於上海博物館與吉美博物館合辦之《東西匯融：中歐陶瓷與文化交流特展》，載於展覽圖錄，2021 年，頁289，編號202。吉美博物館之例亦收錄於耿寶昌，《明清瓷器鑒定》，香港，1993年，頁215，圖376；以及中沢富士雄，《中國の陶磁》，卷十一，〈清の官窯〉，1996年，編號16。
Vibrantly decorated to the interior with a central roundel enclosing a basket of blooming flowers and fruits, the cavetto further decorated with alternating flower sprigs and birds, all bordered by wavy lines, the underside similarly decorated with leafy sprig of flowers, the exterior further painted with scrolling feathers within the foliated panels, flanked by a pair of C-shaped handles, wood stand and fitted box.
13.4cm (5 1/4in) diam. (3).
清康熙 墨彩粉彩描金花卉紋雙耳碗
Sze Tak Tong Collection
來源：
世德堂藏品
The present remarkable bowl, brilliantly enamelled with lush blossoms and succulent fruits, elegantly adorned with rich gilt, exemplifies the distinctive influence of Limoges enamelware during the Kangxi period, reflecting its form, design, and vibrant colors.
The Kangxi Emperor is distinguished for his receptiveness to Western knowledge and technology, which facilitated the inclusion of Jesuit missionaries at his court. These missionaries, often proficient artisans and scientists, played a pivotal role in the transmission of Western techniques and artistic styles to China. Notably, Jean-Baptiste Gravereau (1690-1757), a French Jesuit skilled in multiple artistic disciplines, including enameling, significantly contributed to the establishment of enamel workshops in China. These workshops primarily produced items for the Imperial court, including painted enamel, referred to as falangcai. This collaboration encouraged a remarkable synthesis of styles, enhancing both the craftsmanship and artistic quality of the works. Under the patronage of Kangxi, these workshops flourished, yielding a style that mirrored the emperor's admiration for Western art while simultaneously highlighting the rich tradition of Chinese craftsmanship.
The present bowl was influenced by a Limoges enamel style that was introduced by Jacques I Laudin (c. 1627–1695). See a pair of wucai 'flower and fruit' handled cups, Kangxi period, that are almost identical to the present lot, in the Guimet Museum, Paris, accession no.: G4551a,b. They followed the form and style of Limoges enamelware, including the monogram 'IL'(referring to Jacques I Laudin) inscribed on the bowl. One of them (G4551b) was exhibited in the West Encounters East: A Cultural Conversation Between Chinese and European Ceramics, co-organized by the Shanghai Museum and the Guimet Museum, and is included in the exhibition catalogue, 2021, p.289, no.202. The Guimet's example is also illustrated in Geng Baochang, Ming Qing ciqi jianding (Appraisal of Ming and Qing Porcelains), Hong Kong, 1993, p.215, fig.376; and Nakazawa Fujio, Chinese Ceramicss, vol.11, 'Qing imperial kiln', 1996, no.16.
敞口，雙耳，圈足。碗心繪花果提籃，周飾開光花卉紋，碧葉卷舒有致，間以朱紅、靛藍及赭色妍花。外壁環飾卷草紋，施以金彩增輝，足底繪折枝花卉。其形制頗類十七世紀法國利摩日琺瑯器，設色、紋飾尤似其風韻。
康熙帝對西方知識和技術有著強烈興趣，熱衷於學習西方新知，故不少耶穌會傳教士受邀進京協助朝廷。這些傳教士通常也是知識淵博的匠師和科學家，對西方技術和藝術風格引入中國發揮了至關重要的作用。當中有耶穌會士陳忠信（1690-1757），其兼通科學與工藝，又精於畫琺瑯，直接促成清宮造辦處琺瑯作之設立與發展。這些作坊專司宮廷器用製作，尤以琺瑯彩器為要。此番中西工藝的交融，不僅成就了風格上的卓越創新，更將作品的工藝水平與藝術價值推向巔峰。在康熙皇帝的鼎力支持下，此類作坊得以蓬勃發展，其作品既折射出帝王對西方藝術的深刻鑑賞，又完美承續了中國工藝美學的深厚傳統，形成獨具特色的中西合璧風格。
本拍品應為當時工匠仿效利摩日琺瑯而製，此風格之佼佼者為雅克（一世）·洛丹（約1627-1695）。參考一對與本拍品極為相似之清康熙五彩花果紋雙耳杯，現藏於巴黎吉美博物館，館藏編號：G4551a,b。工匠還模仿了當時雅克·洛丹工坊的簽名，在碗内寫上「IL」。其一（G4551b）曾展於上海博物館與吉美博物館合辦之《東西匯融：中歐陶瓷與文化交流特展》，載於展覽圖錄，2021 年，頁289，編號202。吉美博物館之例亦收錄於耿寶昌，《明清瓷器鑒定》，香港，1993年，頁215，圖376；以及中沢富士雄，《中國の陶磁》，卷十一，〈清の官窯〉，1996年，編號16。