清乾隆 料胎畫琺瑯彩雉雞錦上添花圖長頸小瓶 《乾隆年製》藍料款

the ovoid body surmounted by a tall and gently waisted neck and everted rim, the body exquisitely enamelled with a continuous scene depicting a pair of pheasants amidst lush and verdant vegetation, the male pheasant perched on a bamboo shoot whilst looking at the other pheasant on pierced jagged rockwork, the male portrayed with fiery iron-red plumage terminating in a long tail, the wing feathers finely rendered and accentuated with blue enamel, the breast picked out with yellow enamel, all below a pale blue crest atop its head, the other bird with a puce-enamelled breast, framed by finely incised green feathers, the scene further picked out with varying flowering blooms, including large pink peonies and small pink, purple and blue asters with yellow stamens, further accentuated with long bamboo shoots extending upward across the shoulder and neck of the vessel, all below a stylised band with foliate, ruyi and circular motifs encircling the mouthrim, the countersunk base inscribed in a characteristic greyish-blue enamel with a four-character reign mark

香港蘇富比2008年4月11日，編號2846

The vase is very slightly warped, but otherwise it is in very good condition overall, with only minute expected losses to the enamel.
"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."

此錦上添花小瓶，器形優雅、繪彩流麗、造工精緻，底署「乾隆年製」款，誠乾隆年間造辦處秀逸的代表作品，乃作坊內的玻璃作和琺瑯作相互協力下的精心傑作。造辦處的製作均依循御旨之特別訂製和指示，絕少作大量或重複生產。因此每一件成品都是獨一無二的。

清朝養心殿造辦處玻璃作成立於康熙三十五年（1696年），雖然最初的功能是以仿作白玉和寶石為主，作坊成立以來一直受到歷代皇帝的重視和愛顧，且不斷壯大。作坊的技術主導由引進者的西方耶穌會傳教士藝匠擔當，指導由山東和廣州等地徵集的華洋工藝師及技術人員作生產。自雍正年間起，玻璃作和琺瑯作就開始合作製造料胎畫琺瑯器。至乾隆時，此技藝發展到達頂峰。乾隆年間的料器比康熙、雍正年間的作品更有光澤且無暇，產量亦較前二朝大大增加。當時最著名的兩位西洋耶穌會傳教士分別是湯執中（Pierre d’Incarville）和紀文（Gabriel-Leonard de Brossard），一起負責管理玻璃作的運營。宮中最著名的西洋傳教士畫師郎世寧則負責提供料器上的彩繪設計。對於當時的料器工藝，中國歷史學家張榮有下列的見解：

「始創於康熙朝的玻璃畫琺瑯，在乾隆朝發展至巔峰，製作數量開始增多，以鼻煙壺為主。玻璃胎畫琺瑯器皿主要是在造辦處琺瑯作製作完成的。故宮藏玻璃胎畫琺瑯器二十件左右，幾乎件件是精品。玻璃胎畫琺瑯器是清代玻璃中製作工藝難度大，又具有較高藝術性的作品，是玻璃、琺瑯、繪畫藝術的集合品。」

紐約的康寧玻璃博物館現存一對清乾隆料胎畫琺瑯瓶，器身繪有錦雞和牡丹花，底帶四字款，見 Emily Byrne Curtis 編，《Pure Brightness Shines Everywhere, The Glass of China》，Burlington，2004年，圖版9.10。另一件繪有花鳥圖的花瓶則收錄於《光凝秋水：清宮造辦處玻璃器》，北京，2005年，圖版84。此外，一件繪有百合等花卉紋飾的料器瓶亦於同圖錄刊載，圖版85。

花鳥繪畫主題始於宋朝。藏於山西博物館的王淵（1280-1350年）的《桃竹錦雞圖》，就是典型結合花與鳥的例子，見《Orientations》，1994年12月號，頁40，圖29。現藏台北故宮博物院的郎世寧《錦春圖》更把此繪畫主題進一步發揚光大，圖見 Cecile and Michel Beurdeley， 《Castiglione, Peintre Jesuite a la Cour de Chine》，弗里堡，1971年，圖版130。此瓶上妙繪錦雞、華葩、嫩葉，描寫細膩，與題材相同之瓷胎畫琺瑯瓶上的色彩運用極為類似。現存的例子可見倫敦蘇富比1971年6月2日售出之瓶，編號263，原屬 Charles Russell 收藏，又見於 R.L. Hobson，《Chinese Ceramics in Private Collections》，倫敦，1931年，彩圖版28。另有一例，藏於法國巴黎吉美國立亞洲藝術博物館，刊於 Soame Jenyns，《Later Chinese Porcelain》，倫敦，1951年，圖版LXXVIII。天津博物館也有藏瓶，可資比較，見《天津市藝術博物館藏集》，香港，1993年，圖版169-170。