清康熙 五彩山隱湖居圖瓶 |

倫敦蘇富比1996年5月14日，編號67
The Chinese Porcelain Company, Ltd.，紐約，1997年

《The Art of the Qing Potter, Important Chinese Export Porcelain》，The Chinese Porcelain Company，紐約，1997年，編號13

《The Chinese Porcelain Company, A Dealer's Record 1985-2000》，紐約，2000年，頁117
Jeffrey P. Stamen、Cynthia Volk 及倪亦斌，《文采卓然：潔蕊堂藏康熙盛世瓷》，布呂赫，2017年，圖版48

整體品相良好。見極細微磨損及輕微窰燒瑕疵。圈足見一小磕及一微小胎體瑕疵。
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。

The bold linear style of painting on the present vase is a superb example of late ‘Master of the Rocks’ style. Initially produced in underglaze blue, this later iteration in overglaze enamels retains the angularity but refrains from the pronounced linearity and the dots and stippling used to depict foliage. The style cannot be attributed to any single artist or studio but reflects the profound influence of certain late Ming dynasty painters such as Dong Qichang, Li Shida, Gu Tianchi, Yang Wencong, and Wang Jianzhang. The jagged quality of the rockwork is softened by the rounder, more delicate strokes used for the foliage and the pale washes forming water and sky. The tiny habitations convey the longing for scholarly retreat far from the pressures of dynastic change and bureaucratic demands. For more on the topic see Stephen Little, ‘Seventeenth Century Landscape Painting and the Decoration of Chinese Ceramics’, Chinese Porcelains of the Seventeenth Century, China Institute Gallery, New York, 1995, pp. 35-41.

A pair of vases of similar form, but with integral porcelain stands, in the collection of Anthony Gustav de Rothschild is illustrated in Regina Krahl, The Anthony de Rothschild Collection of Chinese Ceramics, vol. 2, London, 1996, cat. no. 151.