清乾隆 剔紅雕漆「羲之愛鵝」圖筆筒

of cylindrical form, fitted with a lacquer base raised on four short ruyi feet, skilfully carved around the exterior in various levels of relief with a continuous figural landscape arboured with verdant vegetation against a diaper ground, Wang Xizhi, the greatest of calligraphers, resting in a pavilion retreat next to a pond and looking out at six geese swimming towards jagged rockwork while a boy crosses a low bridge from across the river near a hut set amidst large wutong trees, the pedestal decorated with a floral diaper ground, the interior and base lacquered black

Thomas Navatril 收藏，日內瓦
倫敦Spink & Son，1983年，編號10
倫敦 Sydney L. Moss Ltd.，1999年

Paul Moss, 《Escape From The Dusty World: Chinese Paintings and Literati Works of Art》, Sydney L. Moss Ltd., 倫敦,1999年, 頁218, 圖版59

Overall good condition, with just minor surface wear and shrinkage at the rims. The upper rim of the brush pot has been relacquered in the past, and this relacquering has slightly faded to a lighter orange-red. The colour of the lacquer is a slightly darker red than in the catalogue photo.
"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."

此筆筒乃為《髹飾錄》中謂之「剔紅雕漆器」。乾隆時期的雕漆器，在雕刻刀法上大體有兩種風格，一種是有既有元末明初渾厚圓潤的特點，又具明晚纖巧細膩、刀鋒顯露的風格，往往一器之上既有磨工又見刀鋒，多根據物體和紋飾的不同，採用不同的刀法。另一種是前所未見的嶄新風貌，據檔案記載，乾隆初年，弘曆命在造辦處「牙作當差的刻竹名匠從事雕漆，乾隆「三年十月十四日，傳旨：雕漆盒若漆得時，交牙匠雕刻，欽此。」以刻竹技法雕刻漆器，自然把竹刻那種奇峭清新、精緻纖密的風格帶到雕漆中來，影響所及，使乾隆雕漆立刻呈現出刀鋒犀利精密，稜線深峻有刃，表現出鋒稜之美的嶄新風貌，所製雕刻之精，幾乎無懈可擊。

此器為圓筒形，包口沿及圈足。內壁及底髹黑漆。外壁以紅漆打底雕羲之賞鵝紋飾，漆質細潔，色澤亮麗，通體滿雕，佈局緊密。雕刻刀法流暢圓潤，人物刻劃細膩，各具姿態，生動傳神。整個畫面通體相連，猶如立體畫捲。從刀法和風格上看，不僅具備元末明初渾厚圓潤的特點，在細節的處理上，奇峭清新、精緻纖密，表現出乾隆雕漆新的時代風貌，堪稱傳統與創新相結合的典範。另外傳世的剔紅器中，多見盤、盒、瓶等器型，筆筒較少見，尤其以羲之賞鵝題材作主題雕漆筆筒更是罕見。

「羲之愛鵝」被作為文人雅士情趣生活的體現，以表現文士高士風雅清逸，迥出塵俗超然情操。如此器同主題雕漆筆筒存世甚少，北京故宮博物院藏一例，圖見《中國美術全集工藝美術編》，卷8：漆器，北京，1989年，編號187（圖一）。本品雕工及精巧程度均出類拔萃，是一件耐人尋味充滿文人氣息之文房稀珍精品。