清雍正 青花纏枝花卉紋如意耳扁壺 《大清雍正年製》款

of globular form, the flattened body of oval section surmounted by a narrow cylindrical neck with two silkworm-like handles ending in 'S'-scrolls terminals, superbly painted on each side with an all-over pattern of composite floral scroll, the neck decorated with a formal scroll pattern incorporating pomegranates and peaches below a 'classic' scroll band around the lip, divided by double-line borders, the handles decorated with chrysanthemum scroll, all in deep underglaze-blue with contrived 'heaping and piling', the base inscribed with a six-character seal mark

倫敦佳士得1980年10月6日，編號229
香港蘇富比1981年5月20日，編號758

《香港蘇富比二十週年》，香港，1993年，編號175

There is some fritting to the surface glaze at the bottom tips of the handles, more pronounced on one handle (partly showing at the bottom of the left handle on the catalogue photo). There are two thin hairlines in the glaze on the interior of the mouthrim, with the longest measuring approx. 3 cm. There is a approx. 1.5 by 0.5 cm iron spot to one side of the body. The biscuit footrim has a few firing lines. The vase is otherwise in overall good condition. The tone of the cobalt blue is deep, although slightly less dense compared to the catalogue illustration.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

本品紋飾華麗，造型富明初名瓷之風，然此類圖紋組合極為少見，現知有著錄者僅一件近類作例，尺寸較小，藏於北京故宮博物館，刊錄於《清代御窰瓷器》，卷1（下），北京，2005年，圖版41。另一件尺寸略小之品，無年款，定為雍正年製，售於倫敦蘇富比1998年6月16日，編號251。此款扁瓶常於頸部作仰蕉葉紋，參考牛津阿什莫林博物館藏一例，展出於《Memorial Exhibition of Eastern Ceramics and Other Works of Art from the Collection of Gerald Reitlinger》特展，1981年，編號122。 Ira and Nancy Koger 亦珍藏一瓶，售於紐約蘇富比1990年11月27日，編號20。倫敦蘇富比曾售出另外二例，其一出自 Riesco 珍藏，售於1984年12月11日，編號407，另一件售於1976年7月6日，編號204。

雍正循作前朝名瓷，以彰顯輝煌歷史。在著名督陶官唐英（1682-1756）領導之下，景德鎮御窰廠瓷匠，取兩宋名窰及明代官窰名瓷為典範，力求燒造出相同水平之器。此時所造之器，並非直接模仿前朝雛本，而是以當時的審美標準，重新詮釋古器形及圖紋。唐氏十六歲入造辦處，康熙年間任職於養心殿，習宮廷珍藏之詩文書畫、戲曲及各式文人藝術，並從中擷取精華，於督陶任內，監製燒造出各式創新精美的瓷器。

本品器形源自永樂扁瓶，如台北故宮藏一例，展出於《故宮藏瓷：明青花瓷》，冊1，香港，1963年，圖版4。本件扁瓶之器形及紋飾佈局，均慎循明代雛本，於器腹、頸及雙耳綴纏枝花卉紋，以點染積釉技法點飾圖紋，以傚明初青花之結晶黑斑，如此巧藝熟技地運用青花，也使本品復顯十五世紀名瓷之美。

本件扁瓶之器形及圖紋均依照胤禎品味微作調整，相對於壺身，頸部略顯修長，雙耳綴蓮紋，並捨去永樂扁瓶之矮圈足，使器形線條更顯流線。紋飾分佈更為繁密，細節精緻，器頸飾纏枝蓮紋，展現雍正造瓷一貫之優雅特質。