A very rare pair of celadon-glazed 'bat' bowls, Marks and period of Yongzheng | 清雍正 粉青釉五福盌一對 《大清雍正年製》款

Acquired from Edward T. Chow (1910-80) in the late 1960s.

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1960年代末購自仇焱之（1910-80年）

Exquisitely decorated with silhouettes of bats against a luminous celadon ground, these monochrome bowls exude an understated elegance that reflects the sophisticated aesthetic sensibilities of the Yongzheng Emperor and his penchant for celebrated Song dynasty wares. The five bats (wufu) so delicately rendered on each bowl exemplify not only the remarkable technical developments achieved at the imperial kilns to cater to the Emperor's exacting standards but also convey portents of good fortune as they represent the five blessings of longevity, wealth, health, love of virtue, and a peaceful passing.

In the Yongzheng period, the production of celadon wares was greatly expanded and many different glaze tones were created with absolute precision. According to the Taocheng shiyi jishi beiji [Commemorative stele on ceramic production], compiled in 1735 by the celebrated supervisor of the imperial factory, Tang Ying (1682-1756), several varieties of celadon glazes were experimented with at the time (see Stephen W. Bushell, Oriental Ceramic Art. Illustrated by Examples from the Collection of W.T. Walters, New York, 1896; reprint London, 1981, p. 197). Under Tang Ying's supervision, the finest ceramics of the Song and Ming dynasties were studied in detail in order to understand the physical qualities and craftsmanship. This knowledge was then applied to redesigned, modern versions produced at the imperial kilns and the current pair of bowls testify to the proficiency required in understanding the chemical compositions and the firing of such deceptively simple monochrome wares.

For comparable examples of this considerably rare design, see one in the Victoria and Albert Museum, London, accession no. 588-1907, another illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 4, no. 855. See also a pair from the collection of Marcus Ezekiel, included in the International Exhibition of Chinese Art, Royal Academy of Arts, London, 1935-1936, cat. nos 2223 and 2225, later sold in our London rooms, 21st May 1946, lot 122; and another pair sold in our London rooms, 12th June 2003, lot 173.

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兩盌成對，釉面素潔明潤，粉青清恬典雅，雍正帝意趣高遠，尤愛宋瓷，此對盡顯其好。粉青地上各模印五只蝙蝠，諧音「五福」，靈動妙肖，既見御窰精工卓藝，又頌壽、富、康寧、攸好德、考終命等五種福益。

青釉工藝於雍正一朝已臻化境，燒出多種深淺不一的青綠色調，所成之器精細典雅，品種豐富。1735年，景德鎮督陶官唐英集成《陶成紀事碑記》，載述試燒青釉若干種（詳見卜士禮，《Oriental Ceramic Art. Illustrated by Examples from the Collection of W.T. Walters》，紐約，1896年，倫敦，1981年再版，頁197），所記成就之一便是鑽研宋、明瓷珍以明晰青釉質地與工藝。憑此心得，御窰廠改弦更張，擷取前朝精華用於時下新器，此對粉青釉盌便可鑑證陶匠已深諳粉青單色釉之配比及火力。

此對紋飾頗罕，可比一例，藏倫敦維多利亞與艾爾伯特博物館，藏品編號588-1907，及一例，錄康蕊君，《玫茵堂中國陶瓷》，倫敦，1994-2010年，卷四，編號855。另比一對，Marcus Ezekiel 舊藏，曾展於《中國藝術國際展覽會》，皇家藝術研究院，倫敦，1935至1936年，編號2223及2225，後售於倫敦蘇富比1946年5月21日，編號122；仍有一對，售於倫敦蘇富比2003年6月12日，編號173。