清康熙 五彩加粉彩五倫圖棒槌瓶

with a cylindrical body surmounted by a constricted neck and galleried rim, the body finely enamelled in the rose-verte palette with a lavish and vibrant continuous scene depicting a pair of phoenix perched on green jagged rocks, each of the mythical birds rendered with its stylised ruyi-crested head turned over its back to face the other, the verdant setting populated with several pairs of birds, including a pair of magpies in the branches of a magnolia tree, above a pair of mandarin ducks swimming in a pond accentuated with pink and blue lotus blooms and green lily pads, the reverse of the vibrant design with a pair of cranes perched on a gnarled tree trunk emerging from dense clusters of multi-coloured floral blooms picked out in yellow, pink, red and blue, including mallow, iris and large peony blooms, further decorated with a pair of sparrows portrayed in flight near a butterfly, all below a frieze encircling the neck with cartouches of crabs and shrimp, separated by yellow chrysanthemum blooms borne on stylised and floral scrolls on a stippled green ground, the cylindrical neck with a pair of kingfishers amidst bright pink lotus and large green lily leaves, all below a key-fret band encircling the rim, the base with an underglaze-blue double circle

聖塔巴巴拉藝術博物館，加州聖塔巴巴拉

The vase is in unusually good condition for its size, with just insignificant condition issues including a restored chip of 0.5 by 1.8 cm and a 0.4 cm shallow glaze flake at the rim, and characteristic firing imperfections and fritting to the body, including an approx. 0.5 cm patch above one of the black magpies, and other minor surface wear and glaze flakes.
"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."

本品工藝始於清初，尺寸碩大，紋飾富麗，彰顯十八世紀早期製瓷工藝之卓絕，對新進釉色之探索推陳出新，在五彩基礎上添飾粉紅，屬當時創燒雛例。

相類大尺寸且紋飾相近瓶例不為多見，但可比較一例，屬艾雷島 Margadale 勛爵舊藏，售於倫敦佳士得1965年5月31日，編號67，後售於香港蘇富比1977年5月16日，編號216，後又於摩納哥蘇富比1987年6月22日，編號1465。另可參考一尺寸器形相近之例，繪五彩花鳥紋，藏紐約大都會藝術博物館，載於《東洋陶磁大觀》，卷11，紐約，1982年，圖版131。另有一例兩度售於倫敦佳士得，分別於1970年5月4日，編號23，及1985年7月9日，編號202。第三例則售於摩納哥蘇富比1992年2月29日，編號440。

此瓶見粉紅彩、釉上藍彩及綠彩暈染，乃屬康熙晚期製作，時五彩漸為粉彩所替，其遂得名五彩加粉彩。關於清代引入粉紅彩之來源及深遠影響，以及不透明白、黃色彩之發展，歷來學者討論頗多。諸上種種，使得景德鎮所製瓷器面貌發生顯著改變。學者 Nigel Wood 對此類彩化學成分進行研究，認爲此類不透明白、黃彩或源於琺瑯器，而粉紅彩則可能從歐洲經天主教傳教士進入中國。德國薩克森之麥森瓷廠約於1718年已有採用以金發色之粉紅彩，彩料成份與景德鎮粉紅彩同樣含有微量熔金（參見Nigel Wood，《Chinese Glazes》，香港，1999年，頁341-343）。

釉上藍彩則首現於1720年代，較粉紅彩略早，深刻影響後期同類器物燒造。首例創於康熙年間，此藍彩之發明，簡化五彩瓷窰燒工藝，器身可飾以繁複紋飾。明代五彩須先於成形素胎施青花鈷藍料勾繪圖案輪廓，經高溫燒製成釉下青花，後填釉上彩繪紋飾細節，經二次低溫燒製，最終成型。清代釉上藍取代釉下鈷藍，與其他彩料繪於白胎之上，因而可繪細節入微。天主教傳教士殷弘緒書信中曾有提及，釉上藍彩，採藍色玻璃磨粉，混以樹膠及魚膠而成，以釉上藍繪製尤顯花卉層次，遂特別用於繪製翎羽，以使其更顯惟妙惟肖。

此瓶題材寓意深長，鳳凰尊百鳥之王，百鳥環繞，取其「百鳥朝凰、百鳥朝鳳」之美意。鳳凰僅見於太平盛世，鳥中之長，意指君王，臨天下，尊攝百官，寓君臣之義。圖中鳥雀各類，代表「五倫」之道，鳳示君臣，鶴示父子，鴛鴦示夫妻，鶺鴒示兄弟，黃鶯示朋友。