- 505
清康熙 豇豆紅釉暗刻團龍紋太白尊 《大清康熙年製》款 |
估價
80,000 - 120,000 USD
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招標截止
描述
- 《大清康熙年製》款
- Porcelain
來源
John Sparks Ltd.，倫敦
Sidney T. Cook (1910-1964) 收藏，此後家族傳承
Sidney T. Cook (1910-1964) 收藏，此後家族傳承
Condition
整體品相良好，帶窰燒微瑕，如底足分佈淺磕。
我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您徵詢其他專業修復人員，以獲得更詳盡、專業之報告。
準買家應該檢查每件拍品以確認其狀況，蘇富比所作的任何陳述均為主觀看法而非事實陳述。雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。
我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您徵詢其他專業修復人員，以獲得更詳盡、專業之報告。
準買家應該檢查每件拍品以確認其狀況，蘇富比所作的任何陳述均為主觀看法而非事實陳述。雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。
拍品資料及來源
The present piece is a particularly successful example of peachbloom glaze as evidenced by the vibrant copper-red that evenly covers the surface. Notoriously difficult to achieve due to the temperamental nature of the copper pigment, the attractive blushing glaze is only found on the eight prescribed vessels made for the scholar's table, one of the most iconic groups of porcelain created under the Kangxi Emperor.
Copper-red glazes had been largely abandoned at Jingdezhen since the early Ming dynasty and were revived and drastically improved only during the Kangxi reign. Recent research conducted by Peter Lam and other leading scholars indicate that the famous 'peachbloom' group was produced during the early years of the Kangxi period under the supervision of the skilled Zang Yingxuan, who was sent to Jingdezhen in 1681 to oversee the rebuilding of the kilns and serve as imperial supervisor. To manage the fugitive copper-lime pigment, it is believed to have been sprayed via a long bamboo tube onto a layer of transparent glaze and then fixed with another layer, so as to be sandwiched between two layers of clear glaze.
A waterpot of this type in the Palace Museum, Beijing, is illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pl. 125; one in the Shanghai Museum, Shanghai, is published in Wang Qingzheng, ed., Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pl. 206; another from the Sir Percival David Collection, now in the British Museum, London, is published in Margaret Medley, Ming and Qing Monochrome Wares in the Percival David Foundation of Chinese Art, London, 1989, pl. 580; and a further example of slightly smaller size, in the Metropolitan Museum of Art, New York, is illustrated in Suzanne G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 234.
These waterpots are known as taibai zun after the Tang dynasty poet Li Taibai, who is often depicted leaning against a large wine jar of similar form; for example see a porcelain sculpture, which shows the poet seated with closed eyes and a cup in hand, published in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, op. cit., pl. 89. They are also referred to as jizhao zun, because their shape resembles that of a chicken coop.
Copper-red glazes had been largely abandoned at Jingdezhen since the early Ming dynasty and were revived and drastically improved only during the Kangxi reign. Recent research conducted by Peter Lam and other leading scholars indicate that the famous 'peachbloom' group was produced during the early years of the Kangxi period under the supervision of the skilled Zang Yingxuan, who was sent to Jingdezhen in 1681 to oversee the rebuilding of the kilns and serve as imperial supervisor. To manage the fugitive copper-lime pigment, it is believed to have been sprayed via a long bamboo tube onto a layer of transparent glaze and then fixed with another layer, so as to be sandwiched between two layers of clear glaze.
A waterpot of this type in the Palace Museum, Beijing, is illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pl. 125; one in the Shanghai Museum, Shanghai, is published in Wang Qingzheng, ed., Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pl. 206; another from the Sir Percival David Collection, now in the British Museum, London, is published in Margaret Medley, Ming and Qing Monochrome Wares in the Percival David Foundation of Chinese Art, London, 1989, pl. 580; and a further example of slightly smaller size, in the Metropolitan Museum of Art, New York, is illustrated in Suzanne G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 234.
These waterpots are known as taibai zun after the Tang dynasty poet Li Taibai, who is often depicted leaning against a large wine jar of similar form; for example see a porcelain sculpture, which shows the poet seated with closed eyes and a cup in hand, published in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, op. cit., pl. 89. They are also referred to as jizhao zun, because their shape resembles that of a chicken coop.