清乾隆 粉彩雙螭耳百鹿尊 《大清乾隆年製》款

robustly potted of archaistic hu form, the generously rounded sides sweeping up to a tapering neck flanked by a pair of iron-red handles modelled in the form of dragons and detailed with gilt highlights, the body finely painted with a continuous scene depicting a herd of deer in a verdant mountainous landscape, the stags, bucks, doe and fawns dynamically rendered in white, red and brown, some with spotted fur, the animals portrayed prancing and grazing, all amidst fruiting peach trees, lingzhi blooms, twisted pine trees and jagged rockwork, the base inscribed with a six-character seal mark in underglaze blue

日本私人收藏

The vase is in exceptionally good condition, and the enamels are extremely well preserved, with just minute characteristic flakes, principally to the blue rockwork (maximum 0.1 cm), as a result of the characteristic over-firing of the blue 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."

粉彩百鹿尊富麗宏偉，氣勢浩然，屬清代景德鎮御窰廠所造最精采之作，細觀可見乾隆帝其人與治國之道。如此華美大器甚為珍罕，僅製於雍正至乾隆初年督陶官唐英領導下之御窰，後不復現。

器身環繪山林通景，宛若一幅設色畫卷，百鹿穿梭其間，寓意吉祥。鹿音同「祿」，松樹桃枝象徵長壽，意即百祿高壽，祥瑞滿溢。

行獵之事，始於康熙，乾隆三年恢復祖父所立慣例，定期於京城東北，近承德熱河處設御用木蘭圍場。該處山林蔥鬱，野鹿成群，乾隆喜於木蘭圍場避暑，視之如夏宮，常於皇帳中接見外使。

朝廷常命宮廷畫師至木蘭圍場，記錄皇族狩獵情景及圍場山林之美，百鹿尊紋飾正屬此類風景畫作。意大利籍傳教士郎世寧（1688-1766年）曾繪數幅狩獵圖，如《乾隆皇帝射獵圖》、《畫弘曆圍獵聚餐圖》。畫作構圖嚴謹，描繪動物自然逼真，圍場美景如詩，筆法寫實精準，具學院派風格，對繪瓷匠師影響深刻。

據歷史檔案記載，此類瓷尊於乾隆即位初年已有燒製，或為恢復宮廷狩獵習俗而特製。廖寶秀於其書中曾引用乾隆三年六月造辦處活計檔，其中提及洋彩百祿雙耳尊，並見上諭著「照樣燒造，不要耳子」等記錄，詳見《華麗彩瓷－乾隆洋彩》，台北，2008年，圖版51，書中同錄台北故宮博物院所藏一對百鹿尊，耳施藍彩，斷代乾隆三年（1738年），紋飾取意「百祿」，並述所繪群鹿「神態各異，或佇立、或奔跑、或嬉戲、或覓食、汲水」。

無耳百鹿尊，現僅知一例，故當時或為試作，後即棄之。該例現藏東京靜嘉堂文庫美術館，圖見《靜嘉堂藏清朝陶磁景德鎮官窰の美》，靜嘉堂文庫美術館，東京，2006年，頁69，編號59，同錄一對雙耳尊例，耳為藍彩，頁68，編號58。

百鹿尊多綴以礬紅彩耳，本品即為一例。上海博物館收藏一例，器形紋飾相近，載於《中國陶瓷全集》，上海，1999年，卷15，圖版17，並刊於該書封面。清宮舊藏另見一尊，現藏於北京故宮博物院，錄於《故宮博物院藏文物珍品大系．琺瑯彩．粉彩》，香港，1999年，圖版85。吉美博物館 Grandidier 舊藏一件礬紅耳百鹿尊，載於《東洋陶磁大観》，卷7，東京，1981年，編號190。另一例出自 Stevenson Burke 收藏，售於香港蘇富比1980年5月8日，編號248，曾展出於《100 Masterpieces of Imperial Chinese Ceramics from the Au Bak Ling Collection》，英國皇家藝術學院，倫敦，1998年。還有一尊於紐約蘇富比2016年3月16日售出，編號321。另可參考一藍耳例，現藏北京故宮博物院，刊於《故宮珍藏康雍乾瓷器圖錄》，香港，1989年，頁338，圖版19。