清雍正 水晶葵口筆洗 配原「福山壽海」圖蒔繪座

of oval section, the transparent quartz with straight sides tapering towards the base, the rim evenly divided into ten lobes, all supported on a short straight footring, the oval-sectioned reticulated stand lacquered dark brown, after Japanese maki-e lacquer of the period, the flat-top enclosing a dramatic scene of a sun rising in the horizon behind tempestuous waves, the scene accentuated with tall jagged rockwork and ruyi-shaped cloud swirls, bordered by a stylised wave border, the sides exquisitely decorated with peony scrolls, the underside centred with a large hibiscus bloom wreathed by foliate scrolls with long meandering vines, all the detail picked out in precise detail with gilt, silver and paint

Brushwasher: several minute chips to the base and foot (largest 0.1cm); 2cm faint scratch to the interior. Lacquer stand: two insignificant age cracks to the underside, otherwise good condition.
"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."

雍正帝向來重視內廷漆作製品素質，且尤青睞日本漆器特有美感風格，宮內檔案記載其對日本朝貢漆物之賞愛，詔命仿製。漆作描金源於中國，後盛行於日本。此類日本風格蒔繪，以描金作飾，被稱為「洋漆」。

朱家溍於專文〈Yongzheng lacquerware in the Palace Museum, Beijing〉，《Orientations》，1988年3月，頁32，引述：「雍正十年四月十七日，首領太監薩本哈持出洋漆包袱式盒二件，說宫殿監督領侍陳福傳旨：此盒式樣其好，照樣將黑漆红漆的盒做些。畫花卉漆盒亦做些。欽此。」

同年另一道聖諭頒於視察其中一件洋漆盒時，清楚記載雍正帝對於漆作品質的仔細要求：「此盒花纹甚好，嗣後造辦處如做漆盒，可照此花紋，不必獨照此盒款式。再爾等進的漆盒，其漆水雖好但花紋不能入骨，可使匠役小心加工仿做，務期入骨。欽此。」

朱氏並述，過去文物鑑定領域多將此類無款漆作歸為乾隆造，然通過檔案印證，應是雍正年製，乾隆年間造辦處檔案未有相關記載。

北京故宮博物院藏有數件日式風格漆作，出自清宮舊藏，而如現例，仍有原相配之水晶洗者，極為珍稀。一件蒔繪四層漆盒，泥金光燦華麗，框架造形近似本件漆座，錄於Evelyn S. Rawski 及 Jessica Rawson 編，《盛世華章》，英國皇家藝術學院，倫敦，2005年，編號176。雍正年造無款蒔繪漆作，見一黑漆暖手爐，及一件包袱式漆盒，刊於《雍正：清世宗文物大展》，國立故宮博物院，台北，2009年，編號II-97、II-98。故宮藏暖手爐上泥金山水紋飾，與現例漆座類同，濃淡層疊，精彩表現紋飾的立體感，漆座頂面之卷雲浪濤紋，與暖手爐上描繪的風拂枝葉，雖異曲而同工，力度萬千且精細入裏。漆座周身之牡丹紋，樣式大方雅麗，亦與暖手爐鏤空頂蓋的側邊紋飾，極為相近。

漆座福山壽海圖，海水驚濤洶湧，旭日冉冉耀昇，象徵帝王領導之下，帝國蓬勃興盛，如意式雲紋及飛蝠，則更加強調此景之祥氣瑞色。

水晶筆洗質精妙工，葵口器形精巧細緻，與漆座完美吻合，無疑為原配對器。水晶質地無瑕，純淨如玻璃，水晶礦乃十八世紀初奢華珍稀之物，屆時新疆未平，仍無穩定水晶礦材之供應。水晶筆洗質高，蒔繪漆座豐潤多采，應為雍正帝御用之物。