Poly Auction Hong Kong | Spring Auctions 2021 | The Duchange Collection of Important Chinese Art I

DUC Ho f Ai mNGE FA M I LY por t a nt Ch i nese a r t

The col lect ion

懷藏日月：法國杜尚家族藏重要中國藝術珍品 Part 1·第一部分 Hong Kong 21 April 2021 | 香港 2021 年 4 月 21 日

A LIFETIME PASSION FOR CHINESE ART 與中國藝術結緣的一生

Along with my law studies at the end of the 1950s, I developed a keen interest in Chinese Art. At that time, I was lucky to have two family members who were active in the art market. So, it was quite naturally that, upon the completion of my Law degree, I began to travel around Europe in search of rare and curious Chinese porcelains and works of art.

In London, I had the opportunity to converse with some of the best antique dealers of that time, and was introduced to imperial porcelains. These antique dealers were generous to share with me their passion and knowledge about crucial details to look for when studying a work of art. It was in the 1960s, and there were only a few who took a genuine interest in these astounding pieces at that time. The time I was in London and Paris, I frequented dealers and collectors including Bluett, Spinks and Sparks, C.T. Loo, Langweil and L. Wannieck. I am still immensely grateful for their tremendous help and encouragement until this day.

1964, I opened my first gallery in rue de Beaune in Paris, which moved to rue du Faubourg Saint-Honoré in 1998. Since then, I have been collecting some of the best Chinese antiques with my daughter, Anne.

These years, I have had the opportunity to donate and loan my collections to the British Museum, the Ashmolean Museum at Oxford, the Cleveland Museum of Art and the Tsui Museum of Art in Hong Kong.

Mr. Tsui is a great connoisseur and collector who was very kind to consider me as one of the top antique dealers alongside Giuseppe Eskenazi, J.J. Lally and Richard Marchant in an interview with Orientations in 1989 (quoted again in Orientations in 2010). As an anecdote, whenever Mr. Tsui visited Paris, my family and I would welcome him to our home. Our mutual interest in Chinese art led to endless joyful conversations of knowledge exchange.

For many years, I was an expert of Chinese art at the Biennale in Paris and the Brafa Art Fair in Brussels (Belgium). Today, I am an active member at the Belgian Institute of Higher Chinese Studies. Anne and I currently maintain privileged relations with the Guimet Museum in Paris. We are major donors and regularly lend our collections for exhibitions at the museum. In 2019, our collections were featured in Guimet Museum’s exhibition, titled A Porcelain Firmament, from China to Europe.

I will soon be turning 85 this year. All my life, nothing has made me happier than studying China, its values, cultures and art. I hope that I can share with you my passion with my collection that has remained close and precious to my for over 40 years.

Michel Duchange, 2021

米歇爾．杜尚與徐展堂合影於其巴黎大宅中 Photo taken in Michel Duchange's apartment in Paris with T. T. Tsui

50年代末我正在修讀法律，同時也開始培養出對中國藝術的濃厚興趣。那時候我 家裡有兩位親人從事藝術品交易行業，因此，完成學業以後，我隨即周遊歐洲尋 找稀有、有趣的中國藝術品。我有幸在倫敦認識當地資深的古董商人，向他們虛 心請教，漸漸學者帶有底款的御製官窯瓷器。這些古董商人毫不吝嗇，熱心地向 我分享他們的知識，亦教導我辨別瓷器的技巧。可知道在60年代，有興趣研究官 窯瓷器的人寥寥可數。我經常到拜訪倫敦頂級的中國藝術品收藏家Bluett和Spinks and Sparks 等，以及巴黎的盧芹齋、朗威爾夫人和L. Wannieck夫人。現在，我仍 然很感激這些良朋益友，他們曾經為我提供過無數的幫助和鼓勵，讓我在之後的 收藏之路上有著莫大裨益。 1964年，我在巴黎博納大街開設了自己的中國藝術畫廊，直到1998年搬到聖奧 諾雷市郊路。自此，我和女兒安妮積極地收集頂級的中國藝術品。這些年來，我 有機會向大英博物館、牛津的阿什莫林博物館、克利夫蘭藝術博物館和香港的 徐氏藝術博物館出售重要的作品。徐展堂先生是一位偉大的鑒賞家和收藏家。 徐展堂先生在1989年接受《Orientations》的訪問時，他把我與朱塞佩．埃斯肯 納齊（Giuseppe Eskenazi）、藍理捷（J.J. Lally）及理查．馬錢特（Richard Marchant）並列，我實在愧不敢當 （引自《Orientations》2010）。還記得徐展 堂先生當年每次到訪巴黎，必定到我家作客，我們對中國藝術品有著同樣奔放的 熱情，總是有著談不完的話題。 多年來，我有幸擔任巴黎雙年展（Biennale）、比利時藝術和古董展覽會（Brafa Art Fair）的專家。現在，我是比利時高等漢學研究院（Belgian Institute of Higher Chinese Studies）的成員，和女兒一直都與巴黎吉美國立亞洲藝術博物館保持 聯絡，定期出借家族藏品。我們最近一次參與的項目，是2019年《A Porcelain Firmament, from China to Europe》的展覽。 我今年將85歲，在這一生裡，沒有什麼比漢學研究能讓我感到如此快樂的了。我 希望這次透過這批收藏了40年多的藏品，可以與你們分享我的熱誠。

米歇爾．杜尚，2021年

3301

A FINE IMPERIAL ENAMELLED GILT-DECORATED PEACH-FORMED GLASS SNUFF BOTTLE QING DYNASTY, YONGZHENG PERIOD

仿翠鈕涅白料金地琺瑯彩福壽紋桃形鼻煙壺

清雍正

A snuff bottle in the form of a peach. Predominant use of gilt on the surface that gradually reaches the ripened end painted with rubyred enamel. Overall with a ‘sanduo ’ design scheme that composes of the peach, embodied by the form of the vessel, the loquat and pomegranate that are painted on the surface of the body alongside bat motifs.

H 5.2cm HK$ 500,000 - 800,000 US$ 64,200 - 102,600

PROVENANCE 1. Collection of Mr. Gérard Wahl-Boyer, Paris, France, 1994 2. Duchange family collection, Paris, France

來源 1. Gérard Wahl-Boyer先生收藏，法國巴黎，1994年 2. 杜尚家族收藏，法國巴黎

A white jade peach-formed snuff bottle, Qianlong period The National Palace Museum, Taipei 清乾隆 玉福壽桃寶形煙盒 臺北故宮博物院藏

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

A enamelled glass snuff bottle, mark and period of Qianlong The National Palace Museum, Taipei 清乾隆 玻璃胎琺瑯彩福壽鼻煙壺 臺北故宮博物院藏

Pipa , also known as the loquat fruit is shaped like a lute and has a vibrant golden-yellow coat, symbolizing affluence and auspiciousness. Whereas the pomegranate often indicates a wish for plentiful offsprings, and the peach is a popular allegory for a good long life.

The present lot is likely made to be used, or for an imperial birthday celebration.

Meticulous details signify a novel advancement in the porcelain industry during the Qianlong reign. It is extremely difficult to find a similar item. For reference, see a jade snuff box in the form of a peach, a collection in the National Palace Museum, Taipei, exhibited in Lifting the Spirit and Body: The Art and Culture of Snuff Bottles , National Palace Museum, Taipei, 2012, p. 230, no. IV-007. See another example from the collection of Sakamoto Goro, sold in Sotheby’s Hong Kong, 27 May 2014, lot 123.

Similar motifs of loquat and pomegranate painted in enamels could be found on Yixing wares and porcelains, including several pieces of Yixing tea bowls in the National Palace Museum, Taipei, specifically a Yixing tea bowl with fruits and flowers painted in enamels, Kangxi period. Also, a pair of famille-rose ‘sanduo’ cups, Yongzheng period, from the collection of E. T. Chow, sold at Poly Beijing, 19 October 2019, lot 5037.

鼻煙壺以涅白料為材，仿生巧製為桃形，壺形略扁，小巧玲瓏。鼻煙壺 以料仿生雕枝幹，以金彩為地，琺瑯彩裝飾，鼻煙壺底部以胭脂紅點染 出深淺濃淡的斑點，以致外表由淡黃漸至粉紅，從而使果實甘熟欲滴的 質感彰顯無遺。自壺口生長枝葉，配枝幹形蓋鈕，枝蔓繁茂蜿蜒，一面 自口沿生長出石榴枝葉，並於口部長出熟透的石榴果實，及未開放的石 榴花朵。另一面石榴花枝茂盛。更見數蝙蝠點綴其上，穿梭於碩大綠葉 之間，雙凝而視。蓋鈕以仿翠料器為材，取枝幹之形，與壽桃造型相迎 而合。 石榴多子，象徵多子多孫，子孫興旺；壽桃相傳為西王母所賜，集三千 年日月精華才花開結果，食者延年益壽，故壽桃代表長壽，壺身飛舞的 紅蝠，代表「多福」之意，因此此盈手可玩的小巧之物暗含「多壽、多 子、多福」之美好寓意。

A Yixing tea bowl with fruits and flowers painted in enamels, Kangxi period The National Palace Museum, Taipei 清康熙 宜興紫砂胎畫琺瑯三花三果紋碗 臺北故宮博物院藏

此鼻煙壺構思巧妙，將多種美好寓意通過造型、紋飾完美的融合為一 體，十分少見。器身所用的琺瑯彩裝飾又是清宮如意館中的技巧。此琺 瑯彩用彩明快，料中油膩感十足，紋飾及造型仿生極為準確。從石榴果 實的立體效果來看，與康熙雍正本朝的瓷胎琺瑯彩紋飾十分相似，當時 甚有可能有西洋畫師的參與。 本品之工，即見乾隆官作之巔峰技藝。本品或用作祝壽之用。檢閱各大 公私收藏，可比之例不多，參考台北故宮博物院藏二例，壽桃形玉鼻煙 盒，雕壽桃蝙蝠，展覽於《通嚏輕揚：鼻煙壺文化特展》，臺北故宮博 物院，台北，2012年，頁230，編號IV-007；玻璃胎亦飾琺瑯彩福壽鼻煙 壺，錄於《故宮鼻煙壺》，臺北故宮博物院，台北，1992年，編號31。 另見坂本五郎珍藏一琥珀之例，售於香港蘇富比，2014年5月27日，編號 123。 本品所繪紋飾為如意館畫琺瑯，陰暗透視極強，亦可見康熙、雍正其他 材質作品。臺北故宮藏有數件清康熙宜興紫砂胎琺瑯彩；其中一隻清康 熙宜興胎畫琺瑯三花三果紋碗中石榴、壽桃畫法與本件類似，可作參 考。另參考仇焱之舊藏清雍正粉彩三多紋杯一對，售於北京保利，2020 年10月19日，編號5037。其畫法經過層層渲染，效果立體，與本品可相 比擬。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

One of a pair of famille-rose 'san duo' cups, mark and period of Yongzheng Collection of E. T. Chow, sold at Poly Beijing, 19 October 2020, lot 5037 清雍正 粉彩三多紋杯一對（其一） 仇焱之舊藏 北京保利，2020年10月19日，編號5037

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3302

A FINE IMPERIAL ENAMELLED GLASS ‘ARCHAIC’ WATER POT MARK AND PERIOD OF YONGZHENG

「雍正年製」

涅白料畫琺瑯繩紋開光夔龍紋小水丞

清雍正

A globular-shaped water pot with a flat base, rounded shoulders and a slightly flattened top. An opaque white ground with enamel overlays all on top of a glass surface. The surface area meticulously arranged to accommodate a unique design scheme, which consists of interlocking rope knots and small dragon-shaped plaques in antiquarian style. A four-character Yongzheng reign mark inscribed in a ruyishaped frame.

D 3.6cm H 2cm HK$ 1,200,000 - 1,500,000 US$ 154,000 - 193,000

PROVENANCE 1. Collection of Mr. Gérard Wahl-Boyer, Paris, France, 1994 2. Duchange family collection, Paris, France

來源 1. Gérard Wahl-Boyer先生收藏，法國巴黎，1994年 2. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

Similar Yongzheng period enamelled glass pieces are uncommon, with a ‘chilong ’ themed water pot as an exception, sold in Poly Beijing, 7 June 2015, lot 776. The present lot is a true masterpiece which exemplifies stylistic features that are consistent with works from the Yongzheng reign as inscribed.

Glass wares were deeply favoured by emperors Kangxi and Yongzheng. In the past, the German Jesuit missionary, Father Kilian Stumpf (1655-1720) was appointed by Emperor Kangxi to supervise the establishment of the Imperial Glassworks. The bureau was responsible for the production, maintenance and collection of imperial glass ware. Workshops under the Imperial Glassworks were initially located in the Hall of Mental Cultivation, Yangxindian , and was later relocated to the Palace of Compassion and Tranquility, Cininggong , and the Garden of Perfect Brightness, Yuanmingyuan respectively.

The Imperial Glassworks operated continuously during the Qianlong period and through the successive reigns until the fall of the Qing court, when it finally ceased operation. Particularly, works made in the Yongzhong period such as the present lot are known for their articulate details.

Application of an enamel overlay on top of a glass surface is inspired by the process of filling enamel on bronze surfaces. The demanding nature of this process is further heightened when executed on a glass surface, which is why the technology was only reserved for imperial workshops. Design drafts were first drawn by court artists, they were then presented to the emperor for approval, then, sent to imperial workshops for the object to be made. The production process of enamelled glass ware was unprecedentedly intricate that only precision could be accommodated. Especially the temperature that the piece was fired in must be moderated accurately. Therefore, it is extremely challenging to produce any enamelled glass ware, even more so, to find a piece as impeccable as the present lot.

水丞扁圓形，溜肩鼓腹平底，涅白料胎上繪琺瑯彩。玻璃胎光滑亮潔， 溫潤如玉，繪畫筆法細膩傳神。器身以琺瑯彩畫繩紋開光，外壁飾上下 部分仿繩紋，做工細緻逼真，繩紋交織成銅錢形繩結，細微處頗見匠心 巧思。開光內見紅、藍、綠彩所繪成的仿古夔龍紋。器底以藍彩繪六瓣 式如意形團花紋，中央紅彩書「雍正年製」四字雙行楷書款。 器身各色夔龍首尾交接，互相交融，圓轉綿延。夔龍皆頭部碩大，眼若 銅鈴，鼻如山巒，威風凜凜。姿態各異，氣韻交疊，層次豐富，顏色耀 目奪人，為典型的雍正時期琺瑯料色彩，給審視者以氣勢磅礡，英氣 逼人之感。雍正朝玻璃的藝術風格以精細為其特色，兼具康熙朝玻璃之 「渾樸簡古」風格。 雍正一朝的料製琺瑯器甚為罕見，翻閱公私收藏記錄，僅見一例售於北 京保利，2015年6月7日，編號7768。本品不單帶有雍正年款，且紋飾、 藝術風格及琺瑯用色均與雍正一朝相呼應，足見本品是極為重要的雍正 料器琺瑯彩代表物，真絕罕見。 康、雍二帝都喜歡玻璃，康熙帝命日爾曼傳教士紀里安神父指導創建蠶 池口玻璃廠，該玻璃廠如其他御用作坊一樣，由內務府造辦處管轄，負 責製作、維修、保管皇家器物。內務府為清代最大的政府機構，轄下造 辦處的主要作坊最初設於養心殿，1691年大部份遷到慈甯宮後，仍沿用 舊稱「養心殿造辦處」。雍正帝將蠶池口玻璃廠遷至圓明園六所，然而 蠶池口的玻璃廠並沒有停產，直至乾隆朝1758年以後。 玻璃料胎畫琺瑯是由銅胎畫琺瑯發展而來，但比銅胎或瓷胎琺瑯來說， 技術要求極高，是宮廷作坊獨有的技術，而產品非皇家不能擁有。宮廷 畫家和設計師做好設計圖案後先要呈交皇上批閱，待皇帝首肯後方能交 內府琺瑯廠燒製。玻璃熔點比琺瑯低，要將琺瑯裝飾熔貼在玻璃器表需 要極豐富的經驗和技巧。溫度太低，琺瑯紋飾無法熔貼，溫度過高，不 但玻璃熱熔，顏色也會燒焦，琺瑯還會有氣泡。要使得料胎琺瑯器紋飾 極盡精美，圖案精細，顏色自然淡雅，是無數經驗累積的成果。 內廷玻璃廠自康熙朝成立至雍正末年的五十年間是興盛期。本品玻璃胎 潤白如玉，器上的琺瑯彩展現了清雍正發展出來的豐富顏色系列，圖案 構圖巧妙，畫功純熟，筆觸細膩精確，正是雍正宮廷玻璃製作顛峰時期 的體現。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

An enamelled glass 'dragons' water pot, Yongzheng/ Qianlong period Poly Beijing, 7 June 2015, Lot 7768 清雍正至乾隆 白料胎畫琺瑯蟠螭紋水丞 北京保利，2015年6月7日，編號7768

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3303

A YELLOW GLASS TRIPOD INCENSE BURNER MARK AND PERIOD OF QIANLONG

「乾隆年製」

嬌黃料橋耳爐

清乾隆

Beautifully potted with a rotund body, two handles pointed upwards and is supported by a tripod base. The burner is of a vivid yellow tone with no additional adornments. At the base is a four-character Qianlong reign mark written in standard script enclosed in a set of two squares. Based on the quality of material used and the finesse of the burner, this could be easily recognized as an imperial ware.

W 7.9cm H 7.5cm HK$ 420,000 - 600,000 US$ 53,900 - 77,000

PROVENANCE 1. Collection of Mme. Lucien Thenlot, Paris, France, 1994 2. Duchange family collection, Paris, France

來源 1. Lucien Thenlot夫人收藏，法國巴黎，1994年 2. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

A realgar-imitation glass tripod incense burner mark and period of Qianlong sold at Sotheby's Hong Kong, 3 October 2017, lot 3009 清乾隆 仿雄黃料雙耳三足爐 香港蘇富比，2017年10月3日，編號3009

The present lot was initially part of a set of three items alongside a vase and a box, and was used as an incense burner in the court. Yellow glass wares were strictly reserved for the royal household and there are only very few existing.

An incense burner with a pair of peculiarly shaped handles are particularly outstanding. See a similar example sold in Sotheby’s Hong Kong, 28 April 1998, lot 907; a realgar-imitation glass one sold in Sotheby’s Hong Kong, 3 October 2017, lot 3009.

A similar yellow glass incense burner in the Andrew K.F. Lee collection, included in the exhibition Elegance and Radiance. Grandeur of Qing Glass , Art Museum, The Chinese University of Hong Kong, Hong Kong, 2000, cat. no.54. Similar glass vessels from the Qing Court collection, illustrated by Zhang Rong, Lustre of Autumn Water. Glass of the Qing Imperial Workshop , Beijing, 2005.

爐扁圓腹，朝天耳，下呈三乳釘足。通體嬌黃料，光素無紋飾，打磨精 細。底雙方框內刻「乾隆年製」楷書款，單刀切線，用刀乾脆爽利。表 面光潔亮麗，瑩潤悅目，華麗美觀。極為罕見，屬宮廷之物無疑。 此爐本應為爐瓶盒三式之一，於宮中作燒香之用。此器造型規整，顏色 均勻純正。黃色料器為皇室御用器，存世品不多，如此器造形的橋耳爐 更是稀罕，同類者見香港蘇富比，1998年4月28日，編號907；一仿雄黃 料例，售於香港蘇富比，2017年10月3日，編號3009。另有一黃料爐， 展於《虹影瑤輝──李景勳藏清代玻璃》，香港中文大學文物館，香 港，2000年，圖版54。另有一例見於香港蘇富比，2017年10月3日，清 乾隆仿雄黃料雙耳三足爐，編號3009。亦見松綠、藍、紅、白料。另見 一例北京故宮博物院收藏，粉料戧金一套爐瓶盒，錄於《光凝秋水—— 清宮造辦處玻璃器》，北京，2005年。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3304

A BAMBOO-VENEER 'DRAGON' AND 'ANBAXIAN' BOX AND COVER QING DYNASTY, QIANLONG PERIOD

貼竹簧嵌銅鎏金靈芝紋扣暗八仙海水雲龍紋書盒

清乾隆

Rectangular box with a layer of bamboo-veneer on all sides completed with a gilt-bronze plate and lock. A scene of waves and cliffs finely carved on the bamboo-veneer in low relief, the plate and the lock incised with lingzhi and floral motifs. The front and the back with anbaxian [the eight immortals’ symbols], the overall design further embellished with auspicious clouds all throughout. Waves and cliffs designs are typically seen in collections of the Qing imperial court, but the two dragons parallel against each other show that the decorative scheme is of the highest ranking even within the court.

W 30.5cm L 16.2cm H 7cm HK$ 200,000 - 300,000 US$ 25,700 - 38,500

PROVENANCE 1. Collection of Dr. Vernay, Enghien les Bains, France, 1985 2. Duchange family collection, Paris, France

來源 1. Vernay醫師收藏，法國昂吉安萊班，1985年 2. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

Made specifically to store album leaves for Emperor Qianlong, the intricate designs are made from carving and attaching pieces of bamboo onto a wooden body. A bottom layer with a softer and lighter tone, and a dyed top carved in relief. Altogether heightening the sense of reality from the relief and the use of light and shades.

Bamboo-veneer is more commonly seen on smaller objects because of its high production cost. From processing the raw material to executing design drafts onto the surface, it was a time-consuming process that required a lot of manpower. At that time, only the imperial court could afford a luxurious craft of this quality.

The bamboo-veneer originated in early Qing dynasty, by the siblings, Shi Xueting and Shi Jue . The first step to making bamboo-veneer is to harvest the yellowish inner skin of a bamboo. Afterwards, the skin is soaked in water, then flattened, and is eventually adhered onto a wooden or bamboo surface to be carved in low or high relief. After the Shi siblings, the craft was inherited by seven consecutive generations within the Shi family who was eager to seek new inspirations endlessly.

此件貼竹簧書盒為乾隆時期宮廷內專門用於存貯冊頁的套盒，呈長方 形，折頁開合。通體木胎包鑲竹簧為飾，以淺色層為底，上以染作深色 之竹簧片嵌粘雕刻，構成紋飾，紋飾上又施以陰刻，形成了典型的三層 花的裝飾。盒面為清代宮廷常見的海水江崖，其上有雙龍盤旋，立於海 水之上。這是清代御用之物中等級最高的紋飾。書盒正面正中嵌有銅鎏 金及背面嵌有檔板，其上暗刻靈芝及卷草紋。盒身四面同樣貼竹簧裝 飾，正面及背面刻劃暗八仙，側面裝飾雲福紋。 整器造型方正，線條勻細流暢，刻工精緻，深棕色的竹簧色澤與淺黃色 木色相互映襯，增加了盒身的裝飾效果。 竹黃器物傳世的多為小件，像本品這樣大件的書盒類較為罕見。由於竹 黃對工藝的苛刻要求，以及對時間、勞力、財力等多方面的消耗都很 大，故只有皇家造辦處才能承辦此類器物。這件百寶匣完美地詮釋了匠 人獨到的構思及製作工藝，充分彰顯出了皇家氣韻。 竹黃，又稱「貼簧」或「文竹器」，因其將竹材內壁中的竹簧翻轉過來 進行雕刻，故又有「翻簧」或「反簧」之稱。大約創於清代早期，時學 庭、時珏兄弟開創「貼簧」，製作工藝複雜，把竹筠割下，浸泡燙平， 貼在器物上，然後在竹簧上作淺刻、深刻、浮雕。時家竹刻技藝傳承至 七代，十分罕見。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

The literati class was particularly fond of bamboo-veneer items. Not only because they were elegant adornments that are pragmatic in the scholar’s studio, more importantly, the bamboo resonates with virtues of the resilient Confucian scholar. During the reign of Qianlong, the craft flourished. Local gazetteers noted the prevalence of the craft in scholars’ studios, and the politician and philosopher Ji Xiaolan (1724-1805) even dedicated an ode to the beauty of the bamboo-veneer craft.

Bamboos of various qualities were all potential materials to make quality bamboo-veneer. In fact, during the Qing dynasty, bamboos were locally sourced by craftsman in the area and the craft was sought by many in the local market.

The Qianlong emperor’s enthusiasm in the crafts encouraged the production of bamboo-veneer boxes, jars as well as imitations of archaic bronze ding and gu food and wine vessels. These are the best quality works with the most innovation. Ensuing the Qianlong reign, the imperial court workshops dominated the production of bamboo-veneers and the quality and quantity of the craft eventually declined. As a result, bamboo-veneers are not frequently seen in the art market and are often highly prized. Based on the articulated reliefs and the overall sophisticated composition, the present lot was likely used as a storage box within the palace.

貼竹簧較受文人墨客的青睞，作為文房清供，不僅可欣賞具有象牙黃般 的古樸典雅，還以竹子般孤傲清冷來明志。至乾隆時期，竹簧工藝發展 到了高峰，據乾隆時期的《虎丘志》稱，竹刻「從嘉定轉徙於山塘， 凡筆筒、界方、墨床之類，為文房雅玩，多以鐵筆雕刻書畫，有以竹里 為之者，名曰翻簧。」又據《竹雲錄》跋云：「清季道咸以後，漸尚貼 簧。」紀曉嵐詩曰：「憑君熨貼平，展出分明看；本自汗青材，裁為幾 上器；周旋翰墨間，猶得近文字」。 竹簧工藝，將竹節內壁約3毫米厚的黃色皮層，切割下來，經蒸煮軟化後 翻轉壓平，粘貼於木製器物胎骨上，再經磨光並雕刻花紋，其風格光潔清 雅，格調接近象牙雕刻，且能不受竹材的局限，製作各種類型的器物，故 自清初興起以後，在主要產地，如福建上杭、四川江安、湖南邵陽、浙江 黃岩及嘉定等地，日漸流行，甚至有取代傳統竹雕工藝的趨勢。這種工藝 製品自然也曾進入宮中，而且還得到了乾隆皇帝的喜愛，並加以提倡。宮 中檔案一般稱其為「文竹」，以標舉其較之普通地方竹雕品更高的審美品 位。從今天傳世作品看來，當時的宮廷文竹製作包括了形狀不一的盒、 罐、盤及仿生器具、仿古鼎、觚及各式文具、陳設等品類，其工藝水平之 高，遠遠超過地方產品。而這個製作高峰持續時間卻並不長，乾隆朝以後 由宮廷主導的文竹製作似乎很快即陷於低潮，因此這類作品傳世數量不 多，且大都收藏於故宮等大型博物館中，其精品在市場上難得一見。而此 盒就風格、水準等方面看來，應為清中期由宮廷定制或地方進獻的高檔文 竹器物。像這樣器形規整而形體較大，工藝精美而保存完好，紋飾細膩而 又處處不失規矩的作品，實在是難能可貴。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3305

A TURQUOISE-GROUND FAMILLE-ROSE 'POMEGRANATE BLOSSOM' OVAL DISH HAO REN TANG MARK, DAOGUANG PERIOD

「浩然堂製」

松石綠地粉彩雙色石榴花紋腰圓洗

清道光

A shallow basin with a central pomegranate blossom motif and a floral decorative rim painted on turquoise-glazed ground. The edge of the rim delicately lined with gold and the base inscribed with a four-character 'Haorantang zhi [made by Haorantang]' mark in iron-red glaze.

L 16.7cm H 9.8cm with stand HK$ 300,000 - 400,000 US$ 38,500 - 51,300

PROVENANCE 1. The Fonthill Heirlooms, no.452/7 (according to label) 2. Collection of Mr. Jacques Couque, Paris, France, 1988 3. Duchange family collection, Paris, France

來源 1. 放山居，艾弗瑞．莫里森 (1821-1897年) 收藏，編號 452/7（根據標籤） 2. Jacques Couque先生收藏，法國巴黎，1988年 3. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

The present famille-rose oval dish is extremely rare for its unusual combination with elegant proportions, delicate enamelling and the Haoran Tang mark.See a closely related one sold in Bonhams London, 19 June 2018, lot 268; compare a famille-rose pink-ground quatrefoil tray from the collection of James E. Breece III, sold at Christie's New York, on 18 September 2003, lot 380.

The Fonthill Heirlooms remains one of the most facinating groups of Imperial Qing porcelain and works of art formed by a European in the 19th Century.

It was originally collected by Alfred Morrison, the London-based Member of Parliament, who was an active purchaser during the last decades of the 19th Century, when Chinese and Japanese art were both culturally very much at the forefront of aesthetic tastes as pioneered by artistic taste-formers like James Whistler and Oscar Wilde, and also available in rather larger quantities than previously. The Fonthill Heirlooms became particularly well-known because Alfred Morrison was apparently able to buy a substantial quantity of Chinese art from Lord Loch of Drylaw.

洗心白釉為地，飾以粉彩雙色石榴花紋，花蕊瑰麗飽滿，枝蔓婉轉舒 暢，內外壁皆以松石綠釉為地，以纏枝西番蓮紋裝飾，口沿兩道金彩弦 紋，尤顯富麗堂皇，華美雍容之感盡顯其間。底心以礬紅彩書「浩然堂 製」四字雙行楷書款。帶影木座。 本品為嘉慶、道光朝堂名款彩瓷佳作，應為宮廷王府定燒上品，敷彩華 麗，色澤鮮明，宮廷氣息濃厚，彩釉細膩，紋飾華美，洋彩意味濃厚， 極具宮廷氣息。「浩然堂製」款瓷器傳世有一定數量，但多數為單色 釉及青花器，彩繪作品較為罕見，如本品般具有宮廷洋彩風格者尤為少 見，彌足珍罕，殊堪寶藏。 見一近例售於倫敦邦翰斯，2018年6月19日，編號268。類似花紋洗，亦 見於James E. Breece 三世舊藏，售於紐約佳士得專拍，2003年9月18 日，編號380。 「放山居」(Fonthill House)位於英格蘭西南部的威爾特郡，毗鄰聞名遐 邇的放山修道院(Fonthill Abbey)，至今已經有超過150年的歷史。這裏原 本是19世紀英國首富詹姆斯．莫里森(James Morrison)的一座鄉村私邸。 當中大部分藏品都是莫里森的次子阿爾弗雷得(Alfred Morrison)所購藏。 性格閑逸的阿爾弗雷得尤其熱愛中國藝術品，並特意聘請了當時國際知 名的建築師琼斯(Owen Jones)在Fonthill Heirlooms專門設計了一間「中 國房」，用於陳列中國藝術品。「放山居」舊藏只要在市場出現，均會 引起熱烈的關注。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3306

A TURQUOISE-GROUND FAMILLE-ROSE TROMPE L'OEIL VASE MARK AND PERIOD OF QIANLONG

「大清乾隆年製」

松石綠地洋彩描金寶相花紋如意口包袱花觚

清乾隆

The rim of the vase is carefully sculpted to resemble the form of the ruyi which was painted rhythmically to encircle the mouth. A slender neck extends elegantly towards the foot ring, halfway meeting what appears to be a piece of fabric wrapped around the vase. A prominent decoration on the vase that models the form of a ribbon-tied pouch and is brilliantly recreated on a porcelain surface. Throughout the surface are floral motifs in fencai glaze painted on a turquoise-glazed ground. A six-character Qianlong reign mark is inscribed at the base.

Based on the scarcity of similar works, vases like the present lot are highly prized and are of monumental significance.

H 30.5cm HK$ 1,000,000 - 1,500,000 US$ 129,000 - 193,000

PROVENANCE 1. Collection of Mme. Lucien Thenlot, Paris, France, 1992 2. Duchange family collection, Paris, France

來源 1. Lucien Thenlot夫人收藏，法國巴黎，1992年 2. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

The present lot is akin to the type of vessels recorded by Tang Ying ’s successor, Ilingga (?-1795), in a list of items to be sent to Chunhuaxuan in Yuanmingyuan .

In fact, prior to Ilingga , the superintendent Tang Ying (1682-1756) had already spoken of incorporating enamel, Western artistic features and subject matters onto the surface of the Chinese porcelain. Porcelains that exhibit these features are categorized as yangcai porcelains. Decorations on the present lot exemplify these European artistic features, particularly with the use of light and shadow that clearly resembles the chiaroscuro painting technique.

Similar works are hardly found in the art market or in museum collections.

A very close example was sold in Poly Beijing, 5 June 2019, lot 5412. See a turquoise-ground example in the collection of The Palace Museum in Beijing, illustrated in Selected Porcelain of the Flourishing Qing Dynasty at the Palace Museum, the Palace Museum , Beijing, 1994, no. 23. And one other sold in Christie’s London, 15 June 1999, lot 100.

A green ground famille-rose vase with cloth wrapper, zun, mark and period of Qianlong The Palace Museum, Beijing 清乾隆 綠地粉彩勾蓮紋包袱尊 北京故宮博物院藏

花觚以如意雲頭紋作口，束頸，直身，圈足。周身及足部松石綠釉為 地，粉彩飾纏枝蓮，瓶腹勾勒繪有一包袱結帶，極為罕見。整體紋飾間 以洋彩勾勒，金彩描邊，近足處亦以如意頭紋，呈現出富貴祥和的氣 派。描繪筆觸細膩，設色精研，製作極為精美。底部松石綠釉地上金彩 書「大清乾隆年製」六字三行篆書款。 據乾隆三十七年四月二十六日九江關監督伊齡阿進單中所載「交淳化軒 洋彩綠地吉慶一統尊成對」，應屬同類器物。本品繪西洋花卉，且枝葉 表現出陰陽光影，賦有立體感，受西方紋飾、繪畫技法影響，屬於「洋 彩」瓷器。清代曾為雍正、乾隆兩朝皇帝燒製瓷器的督陶官唐英曾這樣 表述：「洋彩器皿，本朝新仿西洋琺瑯畫法，圓琢白器，五彩繪畫，摹 仿西洋，故曰洋彩。人物、山水、花卉、翎毛無不精細入神，所用顏料 與琺瑯色同。」清宮檔案《活計檔》將瓷胎洋彩與瓷胎畫琺瑯同時歸入 「清宮琺瑯器皿」，《陳設檔》則將瓷胎洋彩與瓷胎畫琺瑯同時歸入 「乾隆款瓷胎」項下，這也說明了二者的關係密切。 翻閱資料，各大館藏及市場流通藏品，幾難遇見相似作品。乾隆年製之 包袱紋瓷器，異常罕見，論器形、紋飾，僅知一例售於北京保利，2019 年6月5日，編號5412。相類飾有包袱紋之品，可參見北京故宮博物院收 藏一松石綠地例，錄於《故宮博物院藏清盛世瓷選粹》，故宮博物院， 北京，1994年，編號23。另有一例，售於倫敦佳士得1999年6月15日， 編號100。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

A turquoise-ground famille-rose trompe l'oeil vase, mark and period of Qianlong Poly Beijing, 5 June 2019, lot 5412 清乾隆 洋彩松綠地加金寶相花如意口包袱花觚 北京保利，2019年6月5日，編號5412

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3307

AN EXCEPTIONAL YANGCAI 'PHOENIX AND SUN' 'LANDSCAPE' BASIN MARK AND PERIOD OF QIANLONG

「大清乾隆年製」

洋彩花蝶開光丹鳳朝陽山水庭廓圖折沿洗

清乾隆

The present lot is exceptionally well-potted with a foot that rises to a flat everted rim. Encircling the rim is a narrow decorative band which consists of lotus flowers on a pale turquoise background. The rim is delicately adorned with twenty-two flowers and twelve butterflies, each with unique designs. Further towards the center is a band of flowers on pink ground that surrounds the landscape scenery painted in the middle. The base is left unglazed, a six-character Qianlong reign mark is inscribed in gilt.

D 39cm HK$ 1,000,000 - 1,500,000 US$ 129,000 - 193,000

PROVENANCE 1. Collection of Mr. Sapjo, Monte-Carlo, 1982 2. Duchange family collection, Paris, France

來源 1. Sapjo先生收藏，摩洛哥蒙地卡羅，1982年 2. 杜尚家族收藏，法國巴黎

A magnificient yangcai 'landscape' two-handled vase, mark and period of Qianlong sold at Poly Beijing, 8 December 2018, lot 5421. 清乾隆 粉彩山水樓閣如意萬代耳琵琶尊 晚清內務府慶寬家族藏 北京保利2018年12月8日，編號5421

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

The brilliantly painted interior indicates that imperial kilns at that time have reached a new height in terms of craftsmanship and innovation. Painted from the perspective of the ‘bird’s eye view’, the scene is richly depicted with pavilions, mountains and streams. Roofs of pavilions emerge from within the misty mountains and are articulately drawn. Travelers are seen dwelling by the pond, in the pavilion, and along the mountain path. In the pond, a fisherman sails. Craftsmen have successfully transcribed conventional landscape painting styles onto a new, porcelain medium.

Under the supervision of Tang Ying (1682-1756), a unique batch of porcelains adorned with elaborate natural landscapes with pavilions and mountains were introduced. There are approximately only twenty similar works in the forms of bowls, vases, dishes and jars in the National Palace Museum in Taipei and The Palace Museum in Beijing. Qianlong Emperor’s enthusiasm in material culture also played a crucial role in facilitating innovative designs on porcelains.

Designs were often inspired by antiquity and European decorative elements, and later painted with a variety of imported glazes. A landscape with mountains and waters resonates with what Tang Ying alluded in Tao Cheng Jishi Beiji as an “imitation of the brush stroke [in landscape paintings].”

This lot is considered as an exemplary representative among similar styles of porcelains. Architectural elements are drawn to precision with the assistance of drawing tools. They are further adorned with vibrant glazes which completes the overall design. Rooftops of the pavilions in the painting reveal that the portrayed elements are in fact, palatial architecture. Painting techniques and styles demonstrated on this porcelain work show possible influence from the court painter Yuan Jiang (1671-1746), who was known for his jiehua paintings [also known as ruled-lined paintings or boundary paintings]. An example could be drawn from Yuan Jiang ’s painting titled The Summer Rain Longs to Arrive and the Four Scenes of Yangzhou album.

A famille-rose inscribed 'landscape' lantern vase, mark and period of Qianlong Collection of Paul and Helen Bernat, sold and illustrated in Sotheby's Hong Kong Twenty Years , Hong Kong, 1993, pl. 294. 清乾隆 粉彩山水題詩燈籠瓶 Paul及Helen Bernat 伉儷收藏，香港蘇富 比，1988年11月15日，編號52 《香港蘇富比二十週年(1973-1993年》，香 港蘇富比，香港，編號294

本品為乾隆官窯之中堪稱別致的彩繪佳器，其形尊貴典雅，裝飾雍容華 麗，為乾隆朝高端精細御瓷琢器之顯著標誌。盤折沿，折沿白地，上面 以洋彩繪花蝶紋，十二隻色彩斑斕、紋飾不一的彩蝶於花叢間翩翩起 舞，盤內壁以粉紅彩為軋道，繪西洋風格的纏枝卷草花紋，間飾開光丹 鳳朝陽紋，兩隻夔鳳雙凝而視，氣勢非凡。盤心繪「山水庭廓」圖，畫 風細膩，構圖虛實相生，令人嘆為觀止。盤外壁白釉，底光素，底心方 框內暗刻「大清乾隆年製」六字三行篆書，留有描金。 本品盤心畫風堪稱乾隆御窯之巔峰，所繪山水庭院之景，畫中遠處宮闕聳 立，飛簷翹角，蒼松翠柏環繞，宛若仙境，雄偉神奇，如雲的寶塔傲立山峰 之顛遙望長空，湖闊雲天，群山聳峙。湖岸漁舟唱晚，叢林中茅屋數間，遠 山雲漫霧嶂，似有萬里之遙。其構圖虛實相生，筆墨疏秀清潤，山石尤稱佳 妙，淡皴濃苔，毫鋒穎脫，墨法精微，令人歎止。施彩清薄妍美，設色淡雅 雋永，益見蒼雅深厚之感，觀之彷如宋人之青綠山水翰墨，構建出乾隆御製 詩句「輕舟浮水面，芳徑引山家」之境。 山水樓閣是乾隆御瓷稀有的裝飾題材，僅僅集中在乾隆早期唐英榷陶期 間所造的高端御瓷之中，例如兩岸故宮博物院所藏開光山水碗、盤、 瓶、罐，至今所見尚有二十餘例。乾隆御窯在唐英和駐廠協理老格的主 持下，彩瓷的發展，博古採今，兼且引入西洋新顏料和裝飾風格，堪稱 中國陶瓷發展之巔峰，本品即為一例。盤心的洋彩山水，正是唐英《陶 成記事碑記》中的「新製山水、人物、花卉、翎毛，仿筆墨濃淡之意。 本品堪稱代表乾隆粉彩山水樓閣御瓷之典型風格，其時代氣息濃厚，繪畫 特點鮮明。畫中殿宇、亭閣、小橋部分皆用細筆界畫，異常規整，結構精 微，氣勢雄偉，設色豐富鮮妍，表現建築的莊嚴和富麗，而建築的形制絕 非民間風格，洋溢著濃厚而鮮明的宮廷氣息，往往似取景於某處皇家園 林。其技法和藝術風格完全深受雍乾之際「界畫大師」袁江之影響，多是 宮廷畫師臨摹袁氏畫作化裁而成。例如本品之畫意、構圖與北京故宮博物 館典藏袁江《山雨欲來圖立軸》，《揚州四景冊頁》頗為相近。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

An extremely rare and superbly enamelled imperially inscribed yangcai 'landscape' vase, mark and period of Qianlong sold at Christie's Hong Kong, 28 November, lot 2802. 清乾隆 磁胎洋彩錦上添花御題詩描金「玉 泉山」圖瓶 香港佳士得，2018年11月28日，編號2802

The delicately painted flowers and butterflies on the rim are special and uncommon, compare to a pair of famille-rose ‘butterfly’ double-gourd vases, sold at Christie’s London, 9 May 2017, lot 99. It is also unusual to see motif of ‘phoenix and sun’ decorated in pink-enamel on the interior.

The emergence of landscape themes on porcelains exemplifies yet another achievement of the porcelain industry. In the past when there was only a simple selection of painting materials and resources, Chinese cultural elements could only be transcribed onto the porcelain medium to a limited extent. In fact, the porcelain innovation which features architectural landscapes is associated with the character of Tang Ying . Tang Ying was an educated elite himself, and was familiar with the arts of the literati. He was keen to promote literati culture within the porcelain industry and had eventually integrated the two, as exemplified by the present lot.

Compare a late Qing yangcai ‘landscape’ two-handled vase from the collection of the Qing Kuan family, sold in Poly Auction Beijing, 8 December 2018, lot 5421. Compare a pair of pink-ground famille-rose ‘landscape’ vases from the collection of J.T. Tai, sold in Sotheby’s Hong Kong, 7 October 2010, lot 2130.

One other example of a ‘landscape’ themed porcelain made in Tang Ying ’s time was in the collections of Wong Kai Zu, Charles Russel, Paul and Helen Bernat, and now in the collection of Alan Chuang. The same piece was illustrated in Julian Thompson’s The Alan Chuang Collection of Chinese Porcelain , Hong Kong, 2009, pl. 101, sold in Sotheby’s London, 25 June 1946, lot 79, then in Sotheby’s Hong Kong, 5 November 1988, lot 52, and Christie’s Hong Kong, 29 April 2001, lot 516. Illustrated in Sotheby’s Hong Kong Twenty Years , Hong Kong, 1993, pl. 294. Another example that is a brush pot was exhibited in Oriental Ceramics Society, China Without Dragons , Sotheby’s London, 2016, no. 205, also on the cover.

Landscape decorations on porcelains resemble landscape paintings of the contemporaneous age. Compare a collection in The Palace Museum in Beijing which depicts an autumnal scenery, illustrated in Peter Y.K. Lam, “Tang Ying [1682-1756]. The Imperial Factory Superintendent at Jingdezhen,” Transactions of the Oriental Ceramic Society , vol. 63, 1998-1999, p. 75, fig. 9.

界畫山水樓閣題材的出現是瓷器繪畫藝術與中國傳統繪畫技法又一次成 功深入結合的結果，是文人意蘊於瓷藝上日益增強的標誌。在此以前， 由於繪畫材質、顏料所限，瓷畫技法只是有限地借鑒和融入中國傳統繪 畫的部分，界畫的引入得益於唐英的努力嘗試和宣導。唐英才情四溢， 精通書畫翰墨之事，榷陶期間力求文人之雅與瓷藝完美結合，相互輝 映。本品繪畫題材與技法使用皆蕩漾出濃厚的文人意蘊，折射出唐英榷 陶以後景德鎮瓷壇藝術的深刻轉變。 參考晚清內務府慶寬家族舊藏一例，清乾隆粉彩山水樓閣如意萬代耳琵 琶尊，售於北京保利2018年12月8日，編號5421；戴潤齋舊藏一例，清 乾隆粉紅地「錦上添花」粉彩通景「山水庭廓」圖雙耳撇口瓶一對，售 於香港蘇富比2010年10月7日，編號2130。 其他唐英製山水紋器例，其一曾屬Wong Kai Zu、Charles Russell、Paul 及Helen Bernat伉儷收藏，錄於《香港蘇富比二十年》，香港，1993 年，圖版294。莊紹綏曾雅蓄一例，展於朱湯生，《中國瓷器—莊紹綏收 藏》，香港，2009年，編號101，售於香港佳士得2018年11月28日，編 號2802；另見一筆筒例，曾展於東方陶瓷學會，《龍隱：東方陶瓷學會 會員稀珍藏品展》，倫敦蘇富比，2016年，編號205，亦見封面。 此類山水紋飾畫風與唐英山水畫作遙遙呼應，比較北京故宮博物院收 藏一例，描繪秋景，圖載於林業強，〈Tang Ying [1682-1756]. The Imperial Factory Superintendent at Jingdezhen〉，《Transactions of the Oriental Ceramic Society》，期63，1998-9年，頁75，圖9。 此外，本品折沿之上所繪十二隻形態各不相同的蝴蝶，所用技法亦可參考一 對清乾隆洋彩如意耳蝴蝶瓶，售於倫敦佳士得2017年5月9日，編號99。盤 沿所繪紋飾亦較為特別，以胭脂紅彩軋道裝飾為地飾番蓮紋，內開光以胭脂 紅繪夔鳳逐日，是乾隆御宮中少見的裝飾，見其級別之高。紋飾層次分明， 點綴夔鳳，可以推測此盤應為後宮佳器。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

One of a pair of famille rose 'butterfly' doublegourd vases, mark and period of Qianlong sold at Christie's London, 9 May 2017, lot 99 清乾隆 粉彩花蝶紋如意耳葫蘆尊一對之一 倫敦佳士得，2017年5月9日，編號99

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

懷藏日月， 八面玲瓏

〇 3308

A FINE AND EXTREMELY RARE IMPERIAL DOUCAI AND FAMILLE-ROSE 'ANBAXIAN' OCTAGONAL VASE MARK AND PERIOD OF QIANLONG

「大清乾隆年製」

御製鬥彩加粉彩暗八仙福壽紋八方盤口大瓶

清乾隆

An octagonal vase with a splayed foot and a galleried mouth rim. An articulately proportioned body that gradually rises to a slightly rounded shoulder and further extends to the neck to reach the rim. The vase is divided into six sections that are connected with rounded protruding horizontal bands. Six sets of doucai and fencai decorative schemes fill the surface of the vase. The rim painted in gilt, the adjacent surface decorated with floral motifs accompanied by multiple ‘shou (longevity)’ medallions. Floral motifs then extend downwards to the neck which is adorned with five bats on clouds, lingzhi and peaches.

Symbols for the ‘Eight Immortals’ occupy the middle area that is vertically divided into eight sections. These symbols are depicted alongside the floral ground. They include Han Zhongli ’s fan, Zhang Guolao ’s fish drum, He Xiangu ’s lotus flower, Lan Caihe ’s flower basket, Li Tieguai ’s gourd, Cao Guojiu ’s castanets, Lu Dongbin ’s sword and Han Xiangzi ’s flute. Floral decorative elements continue towards the foot, and the turquoise-glazed base is inscribed with a six-character Qianlong reign mark in iron-red glaze. The present lot is a richly adorned vase that encompasses auspicious messages of longevity and fortune.

The vase is of superb quality and is likely personally designed by the superintendent Tang Ying (1682-1756) for the celebration of Wanshoujie in the palace. Currently, there is no known piece alike. Porcelains made under the supervision of Tang Ying can be classified into three categories. Most of the works designed by Tang Ying belong to the first category which consists of porcelains produced specifically for use within the imperial palace. The second category are porcelains made for rituals and worship. The third, items gifted to friends and for Tang Ying’s personal use. Usually, the most outstanding works are found to be used within the imperial palace, particularly larger sized objects such as the vase in discussion, are mainly put on display.

H 43.8cm Estimate upon request 估價待詢

PROVENANCE 1. Collection of Jean Nicolier, Paris, France, late 1920s 2. Collection of Héliot family, Paris, France, 1955 3. Duchange family collection, Paris, France

來源 1. Jean Nicolier 收藏，法國巴黎，1920年代末 2. Héliot家族收藏，法國巴黎，1955年 3. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

Majority of Qianlong duocai porcelains are comparatively more petite in scale and often take the forms of dishes, bowls and jars. Doucai vases occupy a minority of Qianlong imperial wares and octagonal vases are rarely available.

The present lot is a quintessence of Qianlong imperial ware. A Qianlong ‘Eight Immortals’ Vase from the Shanghai Museum is closely associated with the present lot, illustrated in Gems from the Collection of Shanghai Museum , Shanghai Museum, Shanghai, 2004, fig. 132. There is an undeniable resemblance between the shape, size and structure of the two works, with the exception of stylistic discrepancies on the painted images and colours of glazes used. The vase from the museum collection depicts the ‘eight immortals’ as human figures, whereas the ‘eight immortals’ are represented by their respective treasures on the present lot. Symbolic parallels presented by the two vases suggest a close production date or a common source of inspiration.

The ‘eight immortals’ symbols encompass the wish for longevity. Qianlong period porcelains with the ‘eight immortals’ symbols are more often found in dishs. Vases are not commonly ornamented with these emblems, but a Qianlong tianqiuping with an identical symbolic motif from the Philbrook Museum of Art in Oklahoma was sold in Christie’s Hong Kong, 30 May 2018, lot 8888 at 130 million HKD. Symbols of the ‘eight immortals’ are more often found with wares in other forms, one example is a Daoguang ‘Eight Immortals’ dish that was made deliberately for the Wanshoujie Festival that celebrates longevity. See Zhao Congyue, Porcelains with Inscription of Shendetang Collected by the Palace Museum , Beijing, 2014, pl. 2.

The present lot is outstanding for its meticulous design. The design scheme consists of secondary decorative elements such as the ‘shou ’ characters, lotuses, peaches, bats, and auspicious clouds that are in dialogue with the central ‘Eight Immortals’ theme. These symbols complement each other and accentuate the implied wishes for a pleasant and a long life.

乾隆帝，論鑒寶藏古、好物興藝，堪稱歷代國君之冠。 此瓶成於景德鎮 御窯廠，器型恢宏，鬥彩巧綴粉彩，錦上添花，祥瑞滿溢，應為唐英給 乾隆萬壽節賀壽所製。未見它例有錄，疑為傳世孤品。 本品當為雍乾時期督陶官唐英所督製。但凡講起中國御窯瓷器的燒造歷 史，就不得不提到其中最重要的人物—唐英。唐英字俊公，號蝸居老 人、陶成居士，堂號陶成堂，瀋陽人，漢軍正白旗，生於康熙二十一年 （1682年），卒於乾隆二十一年（1756年），自雍正六年（1728年）佐 理窯務，先後榷窯二十餘年，是御窯廠歷史上督窯時間最長、成就最高 的督陶官，督陶所制史稱「唐窯」。 唐英在景德鎮督窯期間監督燒造的器物可分三類：第一類即是大宗供御瓷 器，每年由唐英監督燒造上供宮廷。按清檔記載，其中不乏唐英親自設計 的創新品種，如八方瓶、轉心瓶、甲子萬年筆筒等。第二類是唐英供奉廟 宇神靈的供器，由爐、花觚、燭台組成五供成套使用，皆為青花作品。第 三類是唐英自用或為友人訂燒的作品。此三類中最為矚目者，當屬此類陳 設大器，工藝水平極高，燒制難度極大，實為唐英時期炫技之作。 乾隆年間燒製的鬥彩瓷器多為盤、碗、罐等小件，花瓶等立件品類本來 就不多，以八方瓶作器形者則更稀有。本件瓷器在乾隆御瓷中屬極為罕 有的華麗清雅之作，上海博物館藏有一件清乾隆景德鎮窯粉彩八仙人物 圖瓶，與本品極有關聯，錄於《上海博物館藏品精華》，上海，2004 年，圖132，其形制、尺寸及結構皆與本品十分相近，只是用色和圖案 有所差別。館方一器為明八仙，而本品為暗八仙，但八仙所繪的位置相 同，一明一暗，互相呼應，暗示兩者當時極有可能是同一時期燒造，或 至少在設計上是有共同參照或互相取材。 通體呈八角形，盤口長頸，腹部往下略收，高圈足外撇。器型端莊俊 秀，製作難度極高，通體分六段製成後黏接成型，以堆塑而成的凸起裝 飾線，橫向將瓶身分隔。瓶自上至下有六組鬥彩加粉彩紋飾，瓶口描 金，盤口處以鬥彩纏枝花卉托描金團壽紋。頸部以鬥彩繪祥雲，每一面 皆有五隻蝙蝠於彩雲間飛揚，上面以粉彩飾靈芝及壽桃，寓意五蝠捧 壽、鴻福齊天、福壽雙全。肩部繪鬥彩加粉彩纏枝靈芝花卉紋，枝葉延 綿而生，畫面極具生氣。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

See a Qing fencai foliate dish adorned with peaches and bats, as well as symbols of the ‘Eight Immortals’ that are only painted near the rim, sold in Sotheby’s Hong Kong, 7 May 2002, lot 533. The present lot demonstrates an identical set of symbols drawn more eminently on a larger medium.

A number of Ming Qing imperial wares are seen to have adopted the ‘Eight Immortals’ Symbols’ design. In the third year of the Qianlong reign, an imperial order has been placed specifying the making of a wucai ‘Eight Immortals’ Symbols’ dish. See Feng Xianming, Zhongguo gu taoci wenxian jixi [A Complete Explanation of Ancient Chinese Ceramics], Taipei, 2000, p. 231. See another Qianlong vase with dragon handles and the ‘Eight Immortals’ symbols, sold in Sotheby’s Hong Kong 7 April 2015, lot 3608, now in the Shanghai Museum collection. See another in the collection of The Palace Museum in Beijing, a cloisonné enamel ‘Eight Immortals’ Symbols’ vase with two ‘shou ’ characters at the belly and a ‘卍’ symbol, see The World Rejoices As One: Celebrating Imperial Birthday in the Qing Dynasty , 2015, pl. 104.

Doucai is created by combining an underglaze and an overglaze. First, an outline is drawn with underglaze blue, a layer of clear glaze is applied on top, then fired at the kiln at high temperature. The fired product is then further embellished with colourful glazes and then fired at a lower temperature. Doucai originated in the Xuande period and was revived during the Kangxi reign. During the Yongzheng period, enamels were introduced which subsequently led to more innovative and intricate designs with vibrant colours.

Qianlong doucai wares were a continuation of skilled craftsmanship developed in the preceding reign. Novelty, vibrance, sophistication are characteristics of Qianlong period pieces. An important contemporaneous feature is using gilt to embellish outlines, which is evident on the mouth rim, the ‘shou ’ character and other details of the present lot. A more remarkable feature of this lot is the size, which is unusually larger than most works with a similar design.

祥雲設色青花、淡綠、明黃、粉紫等，尤其是粉紫色起到畫龍點睛的作 用，使得紋飾更富裝飾性。紅色蝠翱翔於雲間，姿態各異，祥雲迤邐， 寓意千雲祥集，洪福紛至。佈局疏朗清新，畫筆生動流暢，色彩淡雅柔 美，迤邐之中有淡雅，既有鬥彩的淡彩清麗又有粉彩的豐滿柔美，彰顯 乾隆時期瓷器的多樣化特點。 腹部主體部分有八面紋飾，纏枝花卉紋為地，中央位置七彩祥雲間浮現 暗八仙紋，依次為漢鐘離的團扇、張果老的魚鼓、 何仙姑的蓮蓬、藍 采和的花籃、鐵拐李的葫蘆、曹國舅的陰陽板、呂洞賓的寶劍、韓湘子 的笛子。腹部漸下而收，間飾兩段纏枝花卉紋，圈足外撇。底施松石綠 釉，中心礬紅彩書「大清乾隆年製」六字三行篆書款。 暗八仙紋，寄語長壽，明清瓷器上偶有見之，乾隆鬥彩暗八仙瓷例多見 於折沿盤，立件甚稀，近年只見一天球瓶例，為美國奧克拉荷馬州費布 克美術館珍藏，售於香港佳士得，2018年5月30日，編號8888，以港 幣一億三千萬元成交；後朝例較多見鬥彩暗八仙紋出現在其他類型的瓷 器上，如道光御製外黃地內暗八仙紋盤，為萬壽節而製，見趙聰月編， 《故宮博物院藏慎德堂款瓷器》，北京，2014年，圖版2。 本品暗八仙形象各異，曲盡其致，其餘部分紋飾皆鋪纏枝花卉為地，綴 以壽字、蓮花、壽桃、蝙蝠、祥雲等吉祥圖案，所以此器不僅暗八仙細 膩生動，周邊的輔助紋樣也精緻入微，例如漢鐘離的團扇上綴有壽桃， 韓湘子的笛子飾有靈芝等，加上頸部每一個面均可見到茂盛豐碩的壽 桃、蝙蝠及靈芝，寓意吉祥喜慶，為乾隆鬥彩加粉彩瓷器的巔峰之作。 如許之衡《飲流齋說瓷》記有：「……至乾隆則華縟極矣，精巧之至， 幾於鬼斧神工……」。邵蟄民撰《增補古今瓷器源流考》記：「清瓷至 乾隆而極盛，器式之多亦莫與倫比」。 明清瓷器多見一些御器以八仙所用法器來代表八仙人物，如乾隆三年即 曾要求燒造五彩暗八仙盌一件，見馮先銘，《中國古陶瓷文獻集釋》， 臺北，2000年，頁231。另參考一件乾隆款黃地洋彩暗八仙雙龍耳瓶，售 於香港蘇富比2015年4月7日，編號3608，現藏上海龍美術館。另可比較 一件北京故宮藏乾隆款掐絲琺瑯暗八仙紋瓶，腹部兩側開光內飾有兩個 壽字，與其下「卍」字錦地紋相呼應，寓意「萬壽」，見《普天同慶： 清代萬壽盛典》，前述出處，圖版104。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

A famille-rose eight immortals octagonal vase, mark and period of Qianlong sold at China Guardian, 3 June 2006, lot 1718 清乾隆 粉彩開光八仙過海圖盤口瓶 中國嘉德，2006年6月3日，編號1718

A famille-rose eight immortals octagonal vase, mark and period of Qianlong Shanghai Museum 清乾隆 粉彩八仙人物圖瓶 上海博物館藏

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

It was exactly because of Qianlong emperor’s enthusiasm in crafts, history, culture and innovation that led to a plethora of superb porcelains from that period. The present vase follows the bats and longevity motif from Yongzheng porcelains and incorporated European aesthetics in the depiction of the recurring floral motif that are delicately outlined with underglaze blue. There are only three Qianlong period fencai and doucai porcelains in the world currently.

Including a small fencai jar with a scene of children at play and a ‘monkeys’ vase where underglaze-blue was used sporadically as ornamentation. The two are currently in the collection of The Palace Museum, illustrated in Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection , Hong Kong, 1989, p. 31, pl. 22 and p. 346, pl. 27. Compare another from the National Palace Museum in Taipei, illustrated in Catalog of the Special Exhibition of K'ang-Hsi, Yung-Cheng and Ch'ien-Lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum , National Palace Museum, Taipei, 1986, no. 84.

Based on the stylistic features of the inscribed reign mark, it is very likely that this is a piece produced at the beginning of the Qianlong reign. Currently, there is no known identical example. But the Shanghai Museum houses a piece that resembles the size, form, design of the present lot. The reign mark on the piece at the Shanghai Museum is also very similar to the one on the present lot, which suggests that the two pieces could have been made by the same craftsman. An identical one sold at China Guardian, 3 June 2006, lot 1718.

See also a Tianqiuping originally from the Philbrook Museum of Art, later sold at Christie's Hong Kong, 30 May 2018, lot 8888.

清雍正 粉彩過枝八桃五蝠壽雙全盤成對 北京保利，2018年6月14日，編號5179 A superb rare pair of famille rose 'peach' dishes, mark and period of Yongzheng sold at Poly Beijing, 14 June 2018, lot 5179

鬥彩由釉下彩和釉上彩兩種釉彩組成，先以青花於瓷胎上勾勒出圖案輪 廓線的全體或主體，罩上透明釉，入窯高溫燒成後，再於輪廓中填入一 種到多種的彩料，二次入窯以低溫烘燒。鬥彩初創於宣德時期，歷經成 化的發展高峰及明中晚期的低潮階段，於康熙時復興。雍正時期，開始 於釉上彩色系中引入琺瑯彩料，其可混色且易於渲染的特性，大幅增添 了色彩的種類及富麗，為瓷畫帶來了前所未有的漸層、立體效果。 乾隆鬥彩承襲了前朝優異的基礎，力求出新，以色彩豐富、彩繪精緻、 畫面華麗著稱。尤以瓶頸五蝠捧壽紋最為突出，與雍正一朝的蝠壽紋紋 飾相似，秉承前朝工藝之精湛，令人嘆為觀止，可參考清雍正粉彩過枝 八桃五蝠壽雙全盤成對，售於北京保利，2018年6月14日，編號5179。 此時的另一特色為在紋樣上描金，使畫面更顯富麗堂皇，可見於本品之 口沿、壽字、芭蕉扇等。觀摩本品，此器為乾隆鬥彩器中較少見的大型 器物，在高度達43公分的瓶身上滿繪紋飾，以設色淡雅的青花細膩地勾 繪出帶有西洋風格的纏枝花葉，再將礬紅、胭脂紅、紫、洋黃、水綠、 藍色等琺瑯料精細地填入，加以白彩適時暈染和金彩重點描繪，畫面層 次紛陳，活潑生動，可謂集成型、彩飾、焙燒工藝之大成的傑作。 乾隆御瓷，鬥彩加粉彩為飾者館藏僅存數例，包括：一粉彩嬰戲圖小 罐，背景山石以釉下青花勾繪而成，及一粉彩百猴圖撇口瓶，部分細 節以釉下青花刻繪。兩者均帶乾隆年製款，現藏於故宮博物院，著錄 於《故宮珍藏康雍乾瓷器圖錄》，香港，1989年，31頁，圖版22及頁 346，圖版27。同可比較台北故宮博物院一青花加彩龍鳳紋瓶，周邊纏枝 牡丹以釉下青花繪製，見於《清康雍乾名瓷特展》，國立故宮博物院， 台北，1986，編號84。 本件暗八仙八方大瓶，或為乾隆朝偏早期的御瓷，其乾隆款的寫法似也 支持這種看法。綜觀公私收藏，迄今未見相同之例，應為孤品。最接近 者為上海博物館所藏一例，此外，中國嘉德2006年6月3日曾釋出一件與 上海博物館相同的作品，編號1718，品種相同，形制、大小亦與本品相 仿，題材紋飾互相呼應，款字極有可能出自同一工匠之手，當年或一同 設計，又或曾一同成對陳設，極為難得。另參考美國費布克美術館舊藏 清乾隆鬥彩加粉彩暗八仙纏枝蓮紋天球瓶，後售於香港佳士得，2018年5 月30日，編號8888。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

A fine magnificient and extremely rare doucai and famillerose 'anbaxian' vase, tianqiuping, mark and period of Qianlong collection of the Taber family from Philbrook Museum of Art, sold at Christie's Hong Kong, 30 May 2018, lot 8888. 清乾隆 鬥彩加粉彩暗八仙纏枝蓮紋天球瓶 原美國費布克美術館藏 香港佳士得，2018年5月30日，編號8888

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3309

A RARE YUAN-STYLE DOUCAI 'PEACOCK AND PEONY' MEIPING AND COVER QING DYNASTY, QIANLONG PERIOD

鬥彩孔雀纏枝牡丹紋帶蓋梅瓶

清乾隆

An overall rounded silhouette with a narrow mouth, a cover in the shape of a lotus flower. A clearly structured design scheme decorated in doucai depicting floral motifs at the neck and shoulder, the middle with two majestic phoenixes among four sets of floral designs. A band of lappets painted in vibrant glazes at the foot.

H 39cm HK$ 1,200,000 - 1,500,000 US$ 154,000 - 193,000

PROVENANCE 1. Collection of Mr. Gilbert Crutel, Paris, France, 1981 2. Duchange family collection, Paris, France 3. Sotheby’s Hong Kong, 5 October 2016, lot. 116

來源 1. Gilbert Crutel先生收藏，法國巴黎，1981年 2. 杜尚家族收藏，法國巴黎 3. 香港蘇富比，2016年10月5日，編號116

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

This elegant vase belongs to a particular group of doucai vases, characterized by forms and designs that closely follow 14th century blue-and-white porcelains.

The tripartite division of the motif, bold rendering of flowers and serrated leaves are features of Yuan dynasty (1279-1368) meiping vases. See a Shanghai Museum collection in the exhibition Splendors in Smalt. Art of Yuan Blue and White Porcelain , Shanghai, 2012, cat. no. 13.

Compare a larger vase, sold in Christie’s London, 23 March 1987, lot 405, another at Sotheby’s New York, 8 May 1981, lot 332. See a larger example sold twice in Sotheby’s Hong Kong, 30 April 1991, lot 128 and on 8 October 2010, lot 2685. See another sold in Sotheby’s London, 22 May 1985, lot 191.

One in the collection of Sir John Buchanan-Jardine, illustrated in Soame Jenyns, Later Chinese Porcelain , London, 1954, pl. 88.

The doucai design of the current lot is inspired by Ming cloisonné enamels and the prototype was first introduced in the Ming dynasty during the Chenghua reign. ‘Chicken’ cups and stem bowls are among the finest productions during that time, and were deeply favoured by the Qing people, in particular, the Yongzheng and Qianlong emperors. The design also resonates Chenghua blueand-white wares, see two pairs of example from the National Palace Museum in Taipei, illustrated in Catalogue of the Special Exhibition of Ch’eng-Hua Porcelain Ware , National Palace Museum, Taipei, 2003, no. 171-4, see also a ‘lingzhi’ jar and cover in the same collection.

A doucai 'dragon and phoenix' vase, meiping, Qianlong period The Palace Museum, Beijing 清乾隆 鬥彩龍鳳穿花紋梅瓶 北京故宮博物院藏

本品梅瓶，造型豐碩，曲線流暢，白釉瑩潤。蓋鈕裝飾細緻，以蓮花形 花蕊為蓋鈕，頂部飾變體蓮瓣紋，蓋外壁繪纏枝牡丹紋。瓶身間飾三段 裝飾，瓶頸及肩處鬥彩繪纏枝花卉紋，兩隻孔雀，一公一母，飛翔於 繁密花卉之中，閒適舒展。梅瓶腹部飾以四組纏枝牡丹紋，枝蔓繁茂蜿 蜒，清新素雅，畫面平衡而富有美感，繁而不亂。近足處飾以鬥彩變體 葉紋一周。其紋樣佈局妙似十四世紀青花所飾，紅花與蔓枝延莖共鳴。 全器形制規整，畫意疏朗有致，鬥彩明麗，搭配和諧，實為乾隆內廷陳 設佳作。 相類梅瓶雖有傳世，但帶原蓋者極罕。清宮舊藏一帶蓋梅瓶，亦無年 款，載於《故宮博物院藏文物珍品大系──五彩．鬥彩》，故宮博物 院，北京，2007年，編號237。一例缺蓋，尺寸略小，1987年3月23日 售於倫敦佳士得，編號405； 紐約蘇富比售出另一瓶，足上蓮瓣紋施黃 彩，1981年5月8日，編號332。比較一件較大梅瓶， 蓮瓣紋較寬， 瓣瓣 色彩相異，二度售於香港蘇富比，1991年4月30日，編號128 ， 及2010 年10月8日，編號2685； 另一瓶售於倫敦蘇富比，1985年5月22日，編 號191； John Buchanan 爵士舊藏亦有一帶蓋梅瓶，逾70公分高，刊於 R. Soame Jenyns，《Later Chinese Porcelain》，倫敦，1954年，圖版 88。 此件梅瓶屬十八世紀燒造之鬥彩瓷，於釉下青花勾勒之輪廓內填入各色 釉上彩，製作靈感由明代掐絲琺瑯器而來，首作於明成化年間，以當朝 盛名遠播之鬥彩雞缸杯及高足碗為代表。鬥彩瓷雋秀雅激，出自成化官 窯更顯尊貴，深受清人推崇愛慕，尤得雍正及乾隆帝青睞。 梅瓶紋飾取材成化瓷，青花細筆描繪，纏枝綠葉纖柔圍繞盛放牡丹，宛 若成化高足杯之鬥彩轉枝蓮紋，參考臺北故宮博物院藏兩對，錄於《成 化瓷器特展圖錄》，國立故宮博物院，臺北，2003年，編號171-4，同錄 一件靈芝紋蓋罐，編號118。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

A doucai 'peacock and flowers' vase, meiping, Qianlong period Collection of Sir John Buchanan Jardine 清乾隆 鬥彩孔雀花卉紋梅瓶 John Buchanan 爵士舊藏

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3310

A RARE GOLD-GROUND FAMILLE-ROSE 'CHILONG' VASE MARK AND PERIOD OF QIANLONG

「大清乾隆年製」

金地粉彩纏枝西番蓮螭龍穿花紋雙耳瓶

清乾隆

Elegantly potted on a foot that rises to a sloped shoulder extending to a slender neck and a slightly flared mouth rim. A pair of handles in the form of an archaic chilong at the neck that is replenished with blue glaze against a white ground, with a ‘卍’ swastika symbol painted in gold. The exterior and interior of the neck glazed in gold, a band of ruyi encircles the area near the mouth rim underneath a floral scroll.

On the neck, bats hold ruyi knots in their mouths, below are pairs of fish and lotus flowers. At the center of the body is a bat encircled by four dragons. A band of lappets surround the foot and the base is painted in gold, with a six-character Qianlong reign mark inscribed in gold as well.

H 37.5cm HK$ 3,000,000 - 5,000,000 US$ 385,000 - 642,000

PROVENANCE 1. Collection of Mr. Sapjo, Monte-Carlo, 1983 2. Duchange family collection, Paris, France

來源 1. Sapjo先生收藏，摩洛哥蒙地卡羅，1983年 2. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

A remarkable quality found on the surface decoration of this vase is its novel combination of coloured glazes. On the vast gold ground are swirling floral patterns painted in fencai glaze, accompanied by dragons, bats and fish that are embellished in pink and blue fencai glaze. Overall, with a thoughtful organization of motifs executed superbly.

There is a very lucid message of ever flowing blessings from heaven, good fortune, wealth, honour and longevity implied in the use of the specific animal symbolisms. Each detail is drawn to precision and exhibits sophistication in craftsmanship.

For a similar work with lotus, bats and fish motifs, refer to a gold-ground famillerose vase in the National Palace Museum in Taipei, exhibited in Emperor Qianlong’s Grand Cultural Enterprise, Taipei, 2002, cat. no. V-25.

瓶敞口，直頸，斜肩，鼓腹，圈足。頸左右堆貼仿古螭龍耳各一，白地 藍料彩裝點，上面飾有描金佛教「卍」符號。頸內、外滿施金地粉彩， 口沿下飾纏枝花卉及如意頭，瓶頸飾粉彩蝙蝠，口銜如意結，下承雙 魚、番蓮紋樣。腹部中心飾蝙蝠紋，亦口銜纏枝，旁邊以四隻螭龍環 飾，螭龍肢體翻卷於纏枝花卉上，靈動曼妙，頗見柔美之姿。寶相花紋 飄逸，遍佈其間。其主題鮮明，寄寓福從天降、福運臨門，代表美好富 貴，萬壽無疆，吉慶有餘，連綿不絕之意。繪畫細緻工整，工藝精湛絕 倫，金彩勻淨厚潤，至為可愛，金彩璀璨輝煌，諸彩絢麗濃妍。近足處 飾變形蓮瓣紋，足內圈亦施金彩，中央描金書「大清乾隆年製」六字三 行篆書款。 此瓶金地之上，粉彩繪飾，寶相花周身滿飾。腹部四寶相花勻距比排， 各有雙螭龍共奉。螭龍藍色，張口旋身，倒向蝠紋以對。蝠紋正上，又 各作粉紅色螭龍雙對而視。腹底變形蕉葉紋為飾。整觀形制規整，金彩 華麗，粉彩繪工精湛。 乾隆一朝，彩瓷燒造成熟，已不僅僅滿足於常規品種。金地粉彩工藝已 達炫技之境。本件作品金彩色澤醒目，金光灼灼，體現了乾隆御窯場燒 瓷技藝的高超，也呈現了富麗華貴的特色。其上裝飾粉彩，間飾料彩級 別極高。金地與彩繪色澤對比明快，更顯本品之貴氣。 臺北故宮博物院收藏一清乾隆金地粉彩花卉戟耳瓶，通體施金彩，再以 多色釉彩描繪纏枝蓮花、蝙蝠及雙魚紋等，所施工藝及主題紋樣與本品 相似，曾展於《乾隆皇帝的文化大業》，台北，2001年，編號V-25，為 本品提供重要參考。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

A gold ground famille-rose handles vase, mark and period of Qianlong National Palace Museum, Taipei 清乾隆 金地粉彩花卉戟耳瓶 臺北故宮博物院藏

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3311

A LARGE TURQUOISE-GROUND FAMILLE-ROSE 'CHILDREN AT PLAY' DISH MARK AND PERIOD OF JIAQING

「大清嘉慶年製」

綠地粉彩百子龍舟圖折沿大盤

清嘉慶

A shallow dish with a splayed foot that rises to a flat everted rim. The dish is decorated to the interior where a bustling scene of children playing among dragon boats is seen amid emerging mountain peaks. On the two ends of each dragon boat are a child leading and another cheering. Gathered at the middle are figures of children who strive to win the race. Figures on the sides away from the water are cheering children. The dish rises slightly to the rim which is decorated with floral motifs on a bright green ground. On the exterior are a similar decorative design with four sets of flowers and bats motifs painted against a bright green ground. The base is inscribed with a sixcharacter Jiaqing reign mark in iron-red glaze.

The predominant design imitates paintings framed by tapestries which was a novel development that originated from the Qianlong reign. Scenes of children at play were a popular theme in Ming and Qing porcelains because they embody the wishes for prosperity and abundance. The affluent families in the Ming society saw literary accomplishments as a pivotal part of an individual’s identity. As a result, decorative scenes with children imitating and engaging with adults’ literary activities became a prevalent design scheme across a variety of arts and crafts.

D 38.7cm HK$ 1,500,000 - 2,000,000 US$ 193,000 - 257,000

PROVENANCE 1. A private collection, Nice, France, 1995 2. Duchange family collection, Paris, France

來源 1. 法國尼斯私人收藏，1995年 2. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

The current lot recreates a scene from the Dragon Boat Festival, which was on the fifth day of the fifth month of each year. The Dragon Boat Festival came from a tale of a patriotic poet namd Qu Yuan (?-278B.C.) from the State of Chu, who threw himself into the river when the State of Qin defeated the State of Chu. It was exactly the fifth day of the fifth month when he died and people allegedly searched for his corpse sailing on boats. The Garden of Perfect Brightness (Yuanmingyuan ) holds an annual dragon boat race each year as an entertainment for its visitors. Each boat carries around forty to eighty men, and the atmosphere is vividly represented on the center of this porcelain dish.

Scenes of children at a dragon boat race were not particular to imperial wares from the Jiaqing reign. In fact, vases from the Qianlong period also bear the same motif. Compare a lantern vase with ‘bajixiang ’ emblems, illustrated in Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns , Nanjing, 1995, no. 87. See also an example from the National Palace Museum in Taipei, exhibited in Lord Jiaqing and the Journey to Taiwan: A Special Exhibition on Cultural Artifacts of the Qing Emperor Renzong , 2016, no. III-33, see also a red-ground example from the Huaihaitang collection, exhibited in Ethereal Elegance: Porcelain Vases of the Imperial Qing The Huaihaitang Collection , The Chinese University of Hong Kong Art Museum, Hong Kong, 2007, no. 138, see also a Daoguang example from the same exhibition inscribed with a four-character “Shendetang zhi [made by Shendetang]” mark, no. 140. Another vase from the Daoguang period depicting the same scene is in the Shenyang Imperial Palace collection.

Compare several vases that depict scenes of children at play, one with a light green ground, sold in Christie’s South Kensington, 17 May 2013, lot 1504, another with a turquoise-green ground sold in Bonham’s Hong Kong, 27 November 2014, lot 184, and another fencai turquoise-ground vase sold in Sotheby’s New York, 13 September 2017, lot 32.

盤折沿，口沿上一圈粉彩綠地纏枝蓮花紋，綴以壽桃紋，邊沿以金彩為邊飾。盤 心白地粉彩繪賽龍舟圖，細膩精緻，龍舟頭尾各站立一童子，一指揮，一鳴鑼， 眾多童子於龍舟內奮力劃槳。亭臺樓閣內及岸邊的童子吶喊助威，一派歡快激烈 的龍舟競渡景象。遠方層巒疊嶂，近處堤岸樓閣，水中龍舟競技，岸上兒童燃放 爆竹，間以蒼松古柏，殿宇樓閣，小橋欄杆，場面緊張熱烈。盤外壁綠彩為地， 外沿飾以四組纏枝蓮及蝙蝠紋，近圈足一圈飾纏枝蓮及格菱紋，相互呼應。此類 紋飾常見於乾隆、嘉慶朝的折沿盤，盤心施松石綠釉，中心留白並以鞏紅彩書 「大清嘉慶年製」六字三行篆書款。 此類器模仿織錦裝裱之畫作，始製於乾隆晚期，直至嘉靖年間續製於景德鎮御 窰。畫中童子神態面容栩栩如生，水中波紋微晃，更顯情景生動愉悅。紋飾構圖 揉合數種元素，綠地華美瑰麗，百子龍舟圖細繪於盤心，畫面極為豐富。 百子嬉戲，乃明清兩朝流行之紋飾，寄托百子千孫之願。周朝周文王「則百斯 男」，收養一子，故成「文王百子」之說。時至明代，富裕人家讀書風氣漸盛， 故此，意寓多子之紋飾亦開始流行於為文士而製之珍貴工藝品。如此紋飾，刻劃 孩童模仿長輩從事文人雅事、或繪畫帶吉祥寓意之事物，反映當時身份顯赫之文 人富戶望子成龍、光大門戶之殷切期盼。 每年五月五日端午節（又稱忠孝節）均有龍舟競渡傳統。據說，戰國時代，楚國 有愛國詩人屈原（公元前343-278年），秦滅楚後，屈原投汨羅江自盡，當天為 五月五日，人們划艇尋找其遺體。圓明園每年於端午舉行龍舟競渡賽，吸引群眾 觀賞，參與競渡之龍舟，船首及船尾均飾龍紋或海鳥，旗幟飛揚，華麗可觀。每 舟有一鼓手擊鼓，四十至八十名健兒手隨節奏划船，並設雜技好手、吶喊助興， 熱鬧非常。 嘉慶朝飾「百子龍舟」紋飾器物，乾隆早期已有燒製此類瓶，比較一燈籠瓶例，飾 綠地八吉祥紋飾，圖見《清瓷萃珍：清代康雍乾官窰瓷器》，南京，1995年，編 號87。所見之例以瓶類為多，見台北故宮博物院藏一藍地例，曾展於《嘉慶君遊臺 灣：清仁宗文物特展》，2016年，編號III-33；懷海堂藏一對紅地例，曾展於《機 暇清賞：懷海堂藏清代御窰瓷缾》，香港中文大學文物館，香港，2007年，編號 138，同屬並載一道光黃地例，繪童子觀看龍舟競渡，帶四字「慎德堂製」款，編 號140。北京故宮博物院亦藏一紫地例，錄於《故宮博物院藏文物珍品大系──琺 瑯彩．粉彩》，故宮博物院，北京，2012年，編號194。 再比數件飾童子嬉戲瓶例，可比一淺綠地瓶，售於南肯辛頓佳士得，2013年5月 17日，編號1504；另一例為松綠地例，售於香港邦瀚斯，2014年11月27日，編 號187；另比一粉彩嬰戲圖瓶例，亦為松綠地，售於紐約蘇富比，2017年9月13 日，編號32。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

A famille-rose purple ground 'hundred children in a dragon boat race' vase, mark and period of Daoguang The Palace Museum, Beijing 清道光 粉彩紫地嬰戲龍舟圖瓶 故宮博物院藏

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3312

A BLUE AND WHITE 'DEER AND CRANE' JAR MARK AND PERIOD OF YONGZHENG

「大清雍正年製」

青花「六合同春」圖罐

清雍正

Elegantly potted with a lipped rim and rounded shoulders that extend to a narrower lower half. A scene of auspicious animals in spring is depicted on the body in underglaze blue. In front of the hehuan tree are deer looking up at the sky where a crane flies, another crane stands on the branch of a phoenix tree. The bottom inscribed with a six-character Yongzheng reign mark in underglaze blue within a double circle.

H 22.3cm HK$ 1,800,000 - 2,500,000 US$ 231,000 - 321,000

PROVENANCE 1. Collection of Mr. Jacques Saint-Bris, Paris, France, 1991 2. Duchange family collection, Paris, France

來源 1. Jacques Saint-Bris先生收藏，法國巴黎，1991年 2. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

The deer, crane, pine tree, lingzhi and auspicious clouds are symbolisms for longevity, which suggests that the present lot could have been associated with a birthday celebration. Details are adept and the fine brush strokes effectively portray a more realistic picture.

The title liuhe and is a homophone for the words lu (deer) and he (crane). It means the unity of the six directions, the sky and earth, and the four cardinal directions in Spring. This theme frequently accompanies blue-and-white porcelains from civil kilns in the Kangxi period, see a collection from The Palace Museum in Beijing, illustrated in Blue-and-white Porcelains from the Shunzhi and Kangxi Periods , Beijing, 2005, pp. 476-477, fig. 307, 308.

Despite the theme’s popularity in civil kilns, there are currently no known replicas from Kangxi, Yongzheng and Qianlong porcelains, with the exception of two close examples from the Qianlong period. One adorned with a scene of pine trees and deer was sold in Sotheby’s Hong Kong, 11 April 2008, lot 1830, and another a bottle vase sold at Poly Beijing, 5 December 2010, lot 4695.

The current lot was in the collection of Mr. Jacques. The Saint-Bris family owns the Château of Clos Lucé in Amboise (France) since 1854. After Léonard de Vinci leaving Tuscany in Italy, he lived in the Château of Clos Lucé until his death in 1519.

罐唇口，溜肩，通身青花為繪「六合同春」圖，構圖繁而不亂。圖中合 歡樹前瑞鹿回首仰視，與飛翔在天的仙鶴相呼應，另一仙鶴則佇立在梧 桐樹幹上，梧桐枝葉婆娑，生機盎然，虯枝蜿蜒，畫面構圖飽滿，地上 疊石錯立，翠竹相掩。底部青花雙圈內書「大清雍正年製」六字雙行楷 書款。 主題紋飾鹿鶴延年，背景飾以松樹、靈芝、祥雲等自然景物，無不代表 了長壽之寓意，推測此器當時用途或用於祝壽。繪畫精美細膩，處處一 絲不苟，有如瑞鹿，均以極細之筆觸反覆點塗輕畫，將鹿毛質感表現得 極為逼真，其情態之寫實傳神，歎為絕妙，又見蒼枝之渲染，疊石之層 次，均展示非凡的繪畫技巧。所繪青花出色穠妍，於瑩白滋潤的釉面映 襯之下，益見清雅逸致。 本品寓意吉祥，以鹿、鶴諧音「六合」，所指天地四方（天地和東南西 北）故六合同春寄寓天下皆春，萬物欣欣向榮之意。「六合同春」圖在 清代康熙時期民窯青花瓷器之中非常流行，可參見北京故宮博物院典藏 品，錄於《清順治康熙朝青花瓷》，頁476-477，圖307及308。 然而，此類裝飾題材在康雍乾三朝的清宮御瓷均極為罕見。因此檢閱目 前所見資料，未見有相同器物。惟見乾隆年款之二例，青花「松石壽 鹿」圖橄欖瓶售於香港蘇富比，2008年4月11日，編號2830；另一例清 乾隆青花鶴鹿同春膽式瓶售於北京保利，2010年12月5日，編號4695， 可作參考。兩者當為同時期御窯廠之佳作。 本品原為Jacques Saint-Bris先生收藏，其家族於1854年起為法國中西部 昂布瓦斯Château of Clos Lucé城堡擁有人，而此城堡為天才李安納度． 達文西離開法國後所移居及1519年病逝之地。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3313

A WUCAI 'WATER MARGIN' DISH LU YI TANG MARK, KANGXI PERIOD

「菉漪堂」

五彩水滸人物盤

清康熙

A finely sculpted dish with a clear white ground and prominent representation of three fictional characters in wucai . The three figures at the center of the dish are Dongping , Yuan Xiaoqi and Shiqian from the tale Water Margin . Glazes used in the three figures contrast greatly against the empty background, and details on the figures are further enhanced. At the base is an inscription of chinese characters ‘luyitang ’ framed in a double circle in underglaze blue.

The first two characters inscribed at the bottom, ‘luyi ’ was first used in the Book of Poetry as a reference to ‘the undulating bamboo forest on the bank of the River Qi’. Descendants of Emperor Taizu of Song (r. 960-976) named the family shrine the ‘Nanmen Luyitang ’ at its establishment during the Ming dynasty in the fifth year of the Jingtai reign (1454) as a commemoration of the founder Zhao Meinan .

A similar piece can be found at the Shanghai Museum, which also depicts characters from the Water Margin , published in Kangxi Porcelain Wares from the Shanghai Museum Collection , Hong Kong, 1998, p. 205, fig. 132.

D 20.5cm HK$ 180,000 - 250,000 US$ 23,100 - 32,100

PROVENANCE 1. Collection of Mme. Monange, Biarritz, France, 1986 2. Duchange family collection, Paris, France

此盤造型端莊，胎骨細膩潔白。通體罩施白釉，外壁光素，內壁描繪五 彩人物故事圖，畫片內容取材水滸傳，盤心繪「雙槍將」董平、「活閻 羅」阮小七及「鼓上蚤」時遷，畫面佈局疏朗，繪工細膩傳神，五彩發 色鮮亮純正，豔而不俗，盡得康熙朝瓷器之豪邁格調。盤底青花雙圈書 「菉漪堂」。 「菉漪」二字出自《詩經．淇澳》，有云：「瞻彼淇澳，菉竹漪漪」。 南門菉漪堂（即趙氏祖祠），始建於明景泰五年（1454年），是宋太祖 趙匡胤之弟匡美（即位魏王）的十五代裔趙隆，為紀念鬥門趙氏始祖趙 梅南而建。 拍品造型、紋飾均與上海博物館藏品相近，盤內繪《水滸傳》人物吳 用、白勝、楊林三人，出版於《上海博物館藏康熙瓷圖錄》，香港， 1998年，頁205，圖132。法國吉美博物館亦有同類題材作品。

來源 1. Monange夫人收藏，法國比亞里茨，1986年 2. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3314

A LARGE DOUCAI 'DRAGON AND PHOENIX' DISH MARK AND PERIOD OF KANGXI

「大清康熙年製」

鬥彩龍鳳穿花紋大盤

清康熙

A doucai dish with an everted rim rising from shallow sides, supported on a foot. Decorated from the interior to the exterior with red, green yellow glazes alongside blue overglaze and brown glaze. The interior center decorated with two pairs of dragons and phoenixes in motion circling a peony in the middle. Two pairs of dragons and phoenixes among floral decorative motifs are similarly depicted on the inner walls.

The base inscribed with a six-character Kangxi reign mark.

Dragons and phoenixes motifs are a popular decorative scheme for Ming and Qing porcelains. The dragon is the chief of all beasts and animals while the phoenix is the king of all winged and feathered beasts. Dragon and phoenix common decorative elements that are restricted for imperial use. A work with two sets of dragons and phoenixes is highly unusual and extremely precious.

D 36.7cm HK$ 150,000 - 200,000 US$ 19,300 - 25,700

PROVENANCE 1. Collection of Mr. Jean-Louis Vergne, painter, Châtres, France, 1984 2. Duchange family collection, Paris, France

敞口，淺腹，圈足。盤內外皆以鬥彩為飾。除紅、綠、黃等主色外，還 有釉上青花，加褐彩，使畫面愈加富麗醒目，五彩繽紛。整器以鬥彩繪 龍鳳穿花紋飾，飛龍舞鳳，構圖繁密，畫意華美。盤心雙圈內飾追龍趕 鳳，圍繞中心間次排列，龍鳳各二，四首相對，中間以牡丹花卉間隔開 來；內壁亦繪有雙龍雙鳳，龍鳳紋隨形作環繞配置，周圍填花卉，雍容 華貴；盤外壁與內壁構圖相似，繪雙龍雙鳳，與內壁的龍鳳纏枝紋相互 輝映。其盤底雙圈書「大清康熙年製」六字雙行楷書款。 龍鳳紋是明、清瓷器常用的裝飾題材之一。龍為百獸之長，鳳為百鳥之 王，屬於神獸瑞鳥。由龍鳳組成的畫面，稱為「龍鳳呈祥」，屬於內府 專用經典的吉祥紋飾。常見御瓷之中多裝飾一對或二對龍鳳紋，但本品 則品格非凡，一器之上裝飾六對龍鳳紋，有清一代唯見康熙一朝出現， 後世清宮禦瓷再沒見同類燒造。上海博物館藏一近列，錄於《上海博物 館藏康熙瓷圖錄》，上海博物館，香港，1998年，編號158。

來源 1. 畫家Jean-Louis Vergne 收藏，法國沙特爾，1984年 2. 杜尚家族收藏，法國巴黎

A doucai 'dragon and phoenix' dish, mark and period of Kangxi Shanghai Museum 清康熙 鬥彩花卉龍鳳紋盤 上海博物館藏

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3315

AN IRON-RED AND UNDERGLAZE-BLUE 'DRAGON AND WAVE' SAUCER DISH QING DYNASTY, YONGZHENG PERIOD

青花礬紅彩海獸圖盤

清雍正

Elegantly potted with shallow rounded sides rising to a flared rim. The ground painted in white-glaze all throughout. The exterior vividly decorated with waves in iron-red glaze, on the red sea are sea creatures including the dragon, flying horse, sea lion, walrus, and similar mythical beasts, all gliding across the red ground. The interior wall was left blank and a winged dragon with fins resides at the center on a sea of red waves, enclosed by a set of double circles in underglaze blue.

The ‘haibaguai [eight sea monsters]’, also known as ‘haishou yutao [sea beasts and fish among waves]’ decorative motif originated from porcelains decorated in blue underglaze alongside occasional red glazes. The design was first developed during the reign of the Xuande emperor (r. 1425-1435). Towards the end of the Ming dynasty, the red glaze was gradually replaced by underglaze blue. It was in the Qing dynasty that the original design scheme was recreated again.

D 20cm HK$ 40,000 - 100,000 US$ 5,200 - 12,900

PROVENANCE 1. Collection of Mme. Lucien Thenlot, Paris, France, 1992 2. Duchange family collection, Paris, France

盤敞口微撇，淺腹，腹壁弧收，平底，矮直圈足。滿施白釉為地，釉色潔白 純正，釉面瑩亮光澤，釉層瑩潤細膩。盤心及外壁以礬紅為地，盤心繪青花 魚龍紋騰躍於紅色海水波濤之上，龍紋描繪細緻，龍目圓瞪，張口齜牙，龍 身彎曲細長，龍爪粗壯尖銳，十分生動。外壁紅色海水波濤上，以青花繪海 獸圖，包括應龍、天馬、海獅、海象、海龜、蚌貝等，靈獸奔逐於洶湧的波 濤間，瑞獸形態各異，躍然於海水之上，佈局有置，活靈活現。 「海八怪」亦稱「海獸魚濤」，始於明宣德朝，多以青花與紅彩互為襯托， 明代後期採用青花一色繪畫，延續至清代仍有仿品。縱觀整器，數隻海中瑞 獸或飛騰於空中，或穿浪而出，姿態各異，形態萬千，氣勢逼人。

來源 1. Lucien Thenlot夫人收藏，法國巴黎，1992年 2. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3316

AN UNDERGLAZE-BLUE AND COPPER-RED-DECORATED ‘DRAGON’ MOONFLASK MARK AND PERIOD OF QIANLONG

「大清乾隆年製」

青花釉裡紅雲龍紋抱月瓶

清乾隆

A flattened spherical shaped body surmounted by a cylindrical neck and a set of handles. Each side depicted with a majestic dragon in copper-red glaze, then further adorned with patterns of waves and clouds sparsely distributed across the surface. The two dragons are front-facing and the center of their eyes replenished with blue underglaze. The base with a six-character Qianlong reign mark. Overall a finely crafted moonflask with supreme design elements.

See a Qing court collection for reference, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (III) , Shanghai, 2000, pl. 213. Compare a pair of works, displayed in The Palace Museum in Beijing, illustrated in Ming Qing shinei chenshe [Indoor Furnishings from the Ming and Qing dynasties], Beijing, 2008, fig. 103. See another example in the Ten View Ling-bi Rock Retreat collection, purchased from Eskenazi, illustrated in R.P. Marchant, Transactions of the Oriental Ceramic Society of Hong Kong , vol. 3, 1977-8, pp. 50-53, sold in Poly Auction Hong Kong, 2 April 2019, lot 3517. A similar example in the Hong Kong Museum of Art, exhibited in The Wonders of the Potter’s Palette: Qing Ceramics from the Collection of the Hong Kong Museum of Art , Hong Kong Museum of Art, Hong Kong, 1984, no. 66. Another example in the T.T. Tsui collection, illustrated in The Tsui Museum of Art. Chinese Ceramics IV. Qing Dynasty , Hong Kong, 1995, pl. 84.

H 30.5cm HK$ 150,000 - 200,000 US$ 19,300 - 25,700

PROVENANCE 1. Collection of Mme. Lucien Thenlot, Paris, France, 1994 2. Duchange family collection, Paris, France

本品造型優雅雋秀，直口短頸，左右附飾二耳，玲瓏別致，釉質溫潤瑩 白，器身前後均繪飾立龍海水紋，以青花繪祥雲與浪濤，層次清晰，尤 見浪濤動感強烈，以釉裡紅繪畫正面立龍，巧綴青花點睛，其雄碩遒 勁，威儀橫貫，氣奪千里。所施釉裡紅一色妍麗，发色於市場流通中為 極上品，含蓄之美宛如佳人初醉，與青花明快鮮亮之色，相互輝映。底 書「大清乾隆年製」六字三行篆書款。 參考清宮舊藏，錄於《故宮博物院藏文物珍品全集．青花釉裏紅 （下）》，上海，2000年，圖版213。另有一對例，陳列於重華宮翠雲 館，載於《明清室內陳設》，北京，2008年，圖103。另見十面靈璧山 居舊藏，購自Eskenazi，錄於R.P. Marchant，《香港東方陶瓷學會會 刊》，第3期，1977-8年，頁50-53，後售於我司2019年4月2日，編號 3517。香港藝術館亦藏一器，展於《清瓷薈錦：香港藝術館藏清代陶 瓷》，香港藝術館，香港，1984年，編號66。尚有一例為徐展堂博士收 藏，錄於《徐氏藝術館：陶瓷篇IV．清代》，香港，1995年，圖版84。

來源 1. Lucien Thenlot夫人收藏，法國巴黎，1994年 2. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3317

A BLUE AND WHITE 'WAVES' CANDLESTICK QING DYNASTY, QIANLONG PERIOD

青花海水纏枝蓮紋燭台

清乾隆

A candlestick supported on a circular base that rises to a candle holder at the top, meeting a wax tray halfway, all three levels fitted around a column. Curvatures dispersed rhythmically along the column. The surface of the vessel replenished in cobalt glaze rendered into floral patterns, and occasionally accompanied by auspicious clouds, sea waves and banana leaves. Overall a very fine piece exhibiting intricate designs and the potter’s prowess.

Candlesticks from the Qianlong period can be grouped into two categories based on their functions. The first consists of candlesticks made to be five-piece altar garnitures and are generally larger. The present lot belongs to the second category of candlesticks which are usually within 20 cm in size and were made specifically for lights in the studies. Candlesticks were a unique object in the scholar’s studio and were deeply favoured by Emperor Qianlong.

H 19.8cm HK$ 60,000 - 100,000 US$ 7,700 - 12,900

PROVENANCE 1. Collection of Mme. Lucien Thenlot, Paris, France, 1994 2. Duchange family collection, Paris, France

乾隆朝瓷製燭臺分兩種：覆鐘式座者當用以五供，尺寸多較大；而如本 品此種尺寸在20公分以內，且下部由燈柱及承盤組成者，或專為清宮書 燈而作，專供書齋照明之用，為乾隆一朝獨有的文房雅具，深得乾隆皇 帝所喜愛。 燭臺分段燒造，拼接組裝而成，有大中小三層圓盤，分別是燈盞託盤， 中層蠟盤和底層託盤。中間以線條起伏、富於變化的三截圓柱相貫聯， 器型線條起伏收放多次，使這件器物極富韻律節奏之美。通體以青花描 繪紋飾，自頂盤內的連珠紋起，有卷草紋、纏枝蓮、如意雲頭、海水、 蕉葉等十餘層紋飾，是一件精心設計、工藝考究之作，燭臺胎質潔白緻 密，青花發色豔麗沉穩，極為難得。

來源 1. Lucien Thenlot夫人收藏，法國巴黎，1994年 2. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3318

A PAIR OF ZITAN 'BOGU' RECTANGULAR PANELS QING DYNASTY, QIANLONG PERIOD

紫檀雕西番蓮博古圖掛屏一對

清乾隆

Zitan was exceptionally prized in China, particularly by the imperial court during the Ming and Qing dynasties. By the early Qing dynasty, zitan was very expensive, as supply had dwindled dramatically from excessive lumbering activities throughout the preceding Ming period.

As zitan trees require centuries to fully mature into usable material, stockpiled wood from the Ming dynasty and imported supplies from the South Pacific islands were used to manufacture many pieces.

During the Qing dynasty, the production of palace furniture was commissioned and carefully monitored by the Ministry of Internal Affairs, Zaobanchu (造辦處). Records such as the Neiwufu Zaobanchu huojidang reveal that the court issued instructions for the search and purchase of zitan and other valuable timber from private hands as imported supplies were low during the 18th century; see Guo Fuxiang, The Art of Furniture-Making in Imperial China, 2nd Century BC - 18th Century , Barcelona, 2006, pp.111 and 113.

H 163cm W 84.5cm HK$ 3,800,000 - 5,000,000 US$ 488,000 - 642,000

PROVENANCE 1. Marcel Proust (1871–1922), and thence by descent, by repute 2. Mr. P. private collection, Nice, South France, 1997 3. Duchange family collection, Paris, France 4. Bonhams Hong Kong, 3 December 2015, lot 50

來源 1. 傳由法國作家馬塞爾．普魯斯特（1871-1922）收藏， 後由家族繼承 2. P先生私人收藏，法國尼斯，1997年 3. 杜尚家族收藏，法國巴黎 4. 香港邦瀚斯，2015年12月3日，編號50

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

The present pair of panels, with elegantly scrolling acanthus leaves and seashells, continues the tradition of adapting European Rococo-style motifs and aesthetics showing three-dimensional form and space, which flourished under the Yongzheng and Qianlong reigns. In Chinese, such décor was coined Xiyang huawen, or 'Western decorative pattern', and reflected the fascination and taste for the style and splendour of Western aesthetics. From the 17th century, the Qing court became increasingly open to accommodate Western innovations, culture and influences. Starting from the Yongzheng period and up to the Daoguang period, there was a rise in popularity for the construction of European-style architecture in China, with the Western palaces in the vast Imperial Summer Palace complex, Yuanmingyuan , north of Beijing, being the finest of such examples. Furnishings for the interiors of these palaces were made with corresponding European influences in order to suit and match the magnificently elaborate and luxurious Western-style architecture.

Zitan examples tended to be of the most exceptional quality, with craftsmen exercising their full talent of skill and creativity to create masterful works of art, as demonstrated in this lot.

Shells, with their delicate interlacing of natural curves were quintessential to French Rococo-style. The word rococo, derives from the French word Rocaille and denotes the shell-like delicate scroll motifs used. This in particular, captivated the Chinese emperors, as shown in imperial architecture and furniture suffused with shell motifs including: the Hall of Calm Seas, haiyan tang, in the Yuanmingyuan; see a copperplate print, 1786, illustrated in Yuan Ming Yuan, Qing Emperor's Splendid Gardens , Taipei, 2013, pp.258-259, no.V10; and a zitan armchair with a back ending in a large shell-form head rest, in the Qing Court collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (II) , Hong Kong, 2002, pl.39.

The opulent and complex three-dimensional decoration of these panels, with both carved and applied elements, is a powerful example of the level of technical skill and ingenuity furniture makers of the Qing period possessed.

The carving of these pair of zitan panels are refined, fluid and especially deep. Furthermore, by carving out the motifs against a reserved ground, the background areas have been carefully finished and superbly polished to ensure an even surface without a trace of tool marks.

屏心為紫檀木製，後配雞翅木框，尺寸碩大。每屏屏心分別雕上、下一 圓及一方形開光，開光外滿工西番蓮卷草紋，紋飾帶有西洋式巴洛克風 格，圓形開光由夔龍組成，屏心下部為長方形開光，四面開光內均雕博 古圖，琴棋書畫、筆墨寶硯、文房四寶、金石古玉、香爐花器，一應俱 有。雕工精湛，細緻驚人，嘆為觀止。 紫檀木料極其珍貴，雖然明代開始為宮廷所用，但後因宮中木料匱乏， 便遣使於東南亞尋找紫檀原料存於宮中以供後日使用。至清朝時，宮中 所使用紫檀原料皆為前朝所取。清代宮廷傢具的設計和生產一般都需要 按照皇帝的要求製作，整個過程都有內務府及造辦處協調完成。從《內 務府造辦處活計檔》中的記錄也可知，清廷對猶如紫檀這樣珍貴木料 的控制也非常嚴格。即使內務府順應旨意不斷向民間徵收上等紫檀木 料，但宮中紫檀木料至十八世紀已經開始匱乏，見郭福祥，《The Art of Furniture-Making in Imperial China, 2nd Century BC - 18th Century》， 巴塞羅那，2006年，頁111及113。 此對屏上的所雕西番蓮卷草紋以及貝殼紋飾帶有濃厚的西洋風格，這種 風格在雍正至乾隆年間清宮傢具中已經十分流行。自十七世紀開始至道 光時期，清代統治者逐漸對西洋文化產生興趣，並在清宮建築及藝術裝 飾上得以體現，其中以圓明園最為聞名，而當時園內所陳設的傢具及藝 術品，亦有明顯的西洋風格。當時宮廷的木匠大多來自廣東和蘇州，他 們進入造辦處後不斷將各地傢具工藝融會貫通，形成了「京作」。此對 屏之雕工融合不同風格，而當時製作所耗之工、之時、之料不可估量。 此類紋飾多見於法國洛可可風格裝飾藝術之上，清朝統治者亦將其借 用於皇家宮殿之上。如在圓明園海晏堂的建築上即可見到很多貝類裝 飾，見一幅1786年印海晏樓銅版畫，著錄於《圓明園：大清皇帝最美的 夢》，台北，2013年，頁258-259，圖V-10；另見故宮博物院藏一件清 乾隆紫檀西洋花紋扶手椅，其靠背上亦雕有貝類紋飾，參看《故宮博物 院文物珍品全集：明清傢具（下）》，香港，2002年，圖39。

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A zitan armchair with a back ending in a large shellform head rest, Qianlong period Qing Court collection, The Palace Museum, Beijing 清乾隆 紫檀西洋花紋扶手椅 北京故宮博物院藏

In continuation of the Yongzheng and Qianlong emperors advocacy of tradition and innovation, as often seen in other mediums such as imperial porcelain and jade carving, master furniture craftsmen combined European-styles with the Chinese traditional repertoire, as seen in the carved 'antiques' and mythical beasts. Compare an eight-panelled zitan door frame, with similarly carved 'antiques', in the Palace Museum, Beijing, illustrated in Architecture and Decoration of the Forbidden City: Classics of the Forbidden City , Beijing, 2013, pp.148-151, no.129. The stylised dragons that form the round cartouches on the current panels are also reminiscent of those found on Ming dynasty furniture, such as those forming the brackets of a square table, dated 15501600, in the Victoria and Albert Museum, London, illustrated by C.Clunus, Chinese Furniture , Hong Kong, 1988, pp.57-59, no.47. The bold decoration of such Chinese motifs juxtaposes with the elegant European Rococo decorative elements, resulting in a unique and striking blend of styles. This convergence of Eastern and Western iconography conveys the dynamic cross-cultural exchange of the Qing period.

Compare the panels on the doors of a tall compound cabinet in the Palace of Double Brilliance, Chonghua gong, with similarly ornate but shallower carvings of a round cartouche above a rectangular cartouche surrounded by leafy scrolls, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (II) , Hong Kong, 2002, pl.260; see also a zitan display cabinet embedded with birch wood, with two bottom door panels with similarly carved peonies within Rococo-style acanthus leaf scrolls issuing from cornucopias, in the Palace Museum, Beijing, illustrated in Eternal Knowledge: Imperial Books, Art Works and Culture of the Qing , Macao, 2007, p.463, no.149. A pair of zitan chairs with related Rococo-style decoration including shells and acanthus leaves, Qianlong, was sold at Christie's Hong Kong, 3 December 2008, lot 2503.

Valentin Louis Georges Eugène Marcel Proust (1871-1922) was a renowned French novelist, author of the famous seven-volume novel À la recherche du temps perdu, written between 1913 and 1927, based on Proust's personal life told from a psychological and allegorical point of view. He is considered by many to be one of the greatest authors of all time. Proust's father, Adrien Achille Proust (1834-1903), was a prominent pathologist and epidemiologist, dedicated to the research and study of the cholera disease. It is known that Proust senior dedicated his life to this medical field and travelled extensively to Asia. For his services and exceptional contribution to the understanding of how to control cholera, he was conferred the distinction of Commandeur de la Légion d'honneur in 1892.

清式傢具的工藝和風格可算是在雍正、乾隆兩朝奠定。社會整體的審美 觀從崇尚簡潔演變為追求華麗繁縟，加上當時西洋工藝傳入中國，所生 產出的傢具都有明顯的時代風格。本拍品有著承先啟後、仿古創新及 具備東西文化的特色，就像在官窯瓷器和玉雕上看到的風格一樣。北京 故宮博物院藏一重華宮紫檀屏風八扇，所飾的博古紋與本對屏風可作對 比，見《故宮建築內檐裝修》，北京，2013年，頁148-151，編號129。 另外，本對屏風上所飾之開光龍紋也具有明代遺風，可對比倫敦維多利 亞及阿伯特博物館藏一桌，定為1550-1600年，見C.Clunus，《Chinese Furniture》，香港，1988年，頁57-59，編號47。 紫禁城重華宮西次間傢具陳設裏北牆靠牆有一紫檀雕花頂豎櫃，其紋飾 與本拍品可資對比，唯重華宮之例雕刻較為淺，見《故宮博物院藏文物 珍品全集：明清傢具（下）》，香港，2002年，圖版260；也參考北京 故宮博物院藏一件清中期紫檀嵌樺木櫃格，下部對開兩門的門心正中所 雕的折枝牡丹紋與本拍品相似，同樣也是在周圍雕西洋巴洛克花紋，見 《永樂文淵 – 清代宮廷典籍文化藝術特展》，澳門，2007年，頁463， 編號149。另參考一對清乾隆紫檀椅子，也飾有西洋巴洛克風格卷草紋， 售於香港佳士得，2008年12月3日，編號2503。 馬塞爾·普魯斯特是法國著名的意識流作家，其代表作《追憶逝水年 華》全文共計七卷，是全世界最長的小說。作品結合作家親身經歷，細 膩刻畫了十九世紀末至二十世紀初法國上流社會和文人雅士的心理活 動，開創「意識流」小說之先河。馬塞爾的父親阿希爾是知名的傳染病 學家，專研對霍亂疾病的治療。在他服役期間曾多次造訪亞洲，並對控 制及治療霍亂做出重大貢獻，並榮獲法國榮譽軍團勳章。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3319

A WHITE JADE DISH MARK AND PERIOD OF QIANLONG

「大清乾隆年製」

白玉撇口盤

清乾隆

With an everted rim and a wide opening, balanced on a foot. No decorative carvings to either sides of the bowl, although very faint traces of gilt embellishments remain, the white stone polished to an unctuous finish. The base with a six-character Qianlong reign mark, but the character ‘nian ’ stylistically resembles Yongzheng period reign marks. Likely a piece dated to late-Yongzheng or early Qianlong period.

D 17cm HK$ 200,000 - 300,000 US$ 25,700 - 38,500

PROVENANCE 1. Collection of Dr. Vernay, Enghien les Bains, France, 1985 2. Duchange family collection, Paris, France

此件白玉盤撇口，敞腹，圈足。玉質白皙勻淨，器壁較厚， 周身光素無紋，盡顯玉質無瑕之純美。玉作圓如皓月明空， 盈盈圓圓，葆光英英。盤底刻「大清乾隆年製」六字三行篆 書款。本器款字上似曾有描金，今仍殘留，肉眼可見。款字 風格靠近雍正一朝，尤其「年」字，或為清雍正晚期至乾隆 早期之作品。 所謂「良玉不琢」，因其玉質本身完美無瑕，因此不飾一 紋，保留天然美玉本身潔白純淨、瑩潤光澤之質，線條規 整，拋光細膩，最費良工，實乃清代玉盤之大作。

來源 1. Vernay醫師收藏，法國昂吉安萊班，1985年 2. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3320

AN IMPERIAL INSCRIBED WHITE JADE 'AUTUMN' THUMBRING QING DYNASTY, QIANLONG PERIOD

白玉雕「詠秋聲賦」御題詩扳指

清乾隆

The cylindrical body of the thumb ring carved in low relief from on a piece of pale celadon jade. An autumnal scene of a hermit in a pavilion with an attendant outside carved on the surface, joined by an inscribed poem 'Ode to Autumn' from Qing Gaozong yuzhi shiwen quan ji [Anthology of imperial Qianlong poems and prose], Yuzhi shi si ji [Imperial poems, vol. 4], vol. 84.

D 3.1cm HK$ 250,000 - 350,000 US$ 32,100 - 44,900

INSCRIPTION [Jade] Craftsmen engrave their art on jades, In carving they write Ouyang's odes to Fall, They sigh and hold a void in their palms, [Hearing this music,] the magnolias are merry and the deer sing.

Qianlong yuti (‘Emperor Qianlong’s imperial composition’), Qian

PROVENANCE 1. Collection of Mr. Jacques Saint-Bris, Paris, France, 1991 2. Duchange family collection, Paris, France

刻文 「玉人巧意事雕鎪，寫出歐陽聽賦秋，著手無他多歎息， 木蘭喜聽鹿呦呦」 「乾隆御題」「乾」

來源 1. Jacques Saint-Bris先生收藏，法國巴黎，1991年 2. 杜尚家族收藏，法國巴黎

Rubbing of the lot 本品拓片

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

'Ode to Autumn' Qing Gaozong yuzhi shiwen quan ji [Anthology of imperial Qianlong poems and prose], Yuzhi shi si ji [Imperial poems, vol. 4], vol. 84 <詠秋聲賦玉牒>，《清高宗御製詩文四集》84卷

The thumb ring is an ancient accessory that was recorded in the Han dynasty dictionary Shuowen jiezi , known to be used during archery to protect one’s finger from the activity. In the Qing dynasty, the imperial workshops sought a variety of materials for production of thumb rings. These were accessories strictly restricted to the aristocracy. In addition, the thickness and decorations of thumb rings also determine the identity of the owner. While the scholarly elite wore a thumb ring with literati decorative motifs on the exterior, the military men likely wore plain and undecorated ones. Decorations on the surface of the present lot indicate an owner who identifies as a Confucian literati. Together with the inscribed imperial poem, this ring was clearly a possession of the emperor.

In fact, Wu Weiping ’s article in the National Palace Museum Periodicals , vol.

367, 2013 agrees that there are only a few existing jade thumb rings inscribed with an imperial poem from the Qianlong period. Currently, eight are in the collection of the National Palace Museum in Taipei, seven in The Palace Museum collection in Beijing, and the remaining in the Haidian Museum and the Liaoning Provincial Museum. Studies have suggested that there are a few examples where an identical poem is inscribed on two disparate rings, the present lot is a rare example and its twin currently belongs to The Palace Museum collection.

扳指在古代叫韘，《說文》曰：「韘，射也」，是射箭時套在右手拇指 上，以保護射手右拇指不被弓弦勒傷的專用器物。有清一代，各種規制 日趨完善，搬指雖小卻也是森嚴等級的一種象徵，多以玉石、翡翠、 瑪瑙、珊瑚等名貴材料製作的搬指，非皇室貴胄一般人是不敢也不能隨 意佩戴的。扳指的大小厚薄，依使用者文武身份定奪，武搬指多素面， 文搬指多於外壁精刻詩句或花紋，此件拍品即屬文扳指，且雕刻御題詩 文，為帝王賞玩之物，故更為精美。 此韘以整塊和闐玉雕刻而成，玉質純淨溫潤，呈筒狀。韘面留灑金皮， 陰刻題詩：<詠秋聲賦玉牒>，出自《清高宗御製詩文四集》84卷，後落 乾卦款識。此玉韘詩文，字似蚊頭，間架精密，筆筆到家，氣韻生動。 韘另一面淺浮雕「秋意圖」，近景閣樓內一高士托腮側坐，若有所思， 面前紅燭寂影，屋外書童倦坐，瑟瑟發抖，明顯已入深秋，深合御題詩 題意。此韘設計、製作非常考究，顯示出乾隆時期宮廷御用器物的風格 和特點。

Rubbing of a jade thumbring, mark and period of Qianlong The Palace Museum, Beijing 清乾隆 玉樓閣圖扳指拓片 北京故宮博物院藏

In addition, The Qianlong Emperor in Ceremonial Armor on Horseback and The Qianlong Emperor Chasing a Deer on a Hunting Trip paintings show that the emperor had the habit of wearing thumb rings. Official written records also noted Qianlong’s participation in the production of thumb rings and revealed the emperor to be particularly enthusiastic in poetically inscribed rings.

The current lot was in the collection of Mr. Jacques. The Saint-Bris family owns the Château of Clos Lucé in Amboise (France) since 1854. After Léonard de Vinci leaving Tuscany in Italy, he lived in the Château of Clos Lucé until his death in 1519.

吳偉蘋於《故宮文物月刊》第367期，2013年，《乾隆皇帝與玉扳指》 一文中提到，銘刻乾隆御製詩的玉扳指存世數量不多，目前見台北故宮 博物院藏八例，北京故宮博物院藏七例，其餘尚見於海淀博物館、遼寧 省博物館。據考，有時同一首詩會刻在兩件以上的扳指上，本品即為一 例，同樣詩文及插圖的扳指，見於北京故宮博物院收藏，甚為難得。 在故宮博物院所藏的《乾隆大閱圖》和《威弧射鹿圖》等繪畫作品中，都 有乾隆佩戴扳指的證明。清朝造辦處行文檔記中，多有記載乾隆為玉事 賦詩和參與指導的事例。乾隆四十七年的熱河信帖檔，記載了遠在熱河 避暑山莊的乾隆與北京圓明園如意館之間就製作一件玉搬指往返行文， 以及將材料來回傳遞的詳細情況，來去竟達六七次之多。乾隆四十七年正 月二十二日的造辦處行文檔記載，如意館工匠從交來的大小玉子三十一塊 內，挑出來四塊，做搬指兩件，於正月二十六日由太監鄂魯里呈給乾隆御 覽，乾隆看後傳其旨意。從上述記載中，可以看到乾隆御用搬指的製作是 何等的繁瑣，為求其精，不遺餘力，是共同協作的結果。 本品原為Jacques Saint-Bris先生收藏，其家族於1854年起為法國中西部 昂布瓦斯Château of Clos Lucé城堡擁有人，而此城堡為天才李安納度． 達文西離開法國後所移居及1519年病逝之地。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3321

A PAIR OF GILT-BRONZE 'QILIN' FIGURES XUANDE MARK AND PERIOD

「大明宣德年製」

御製銅鎏金麒麟一對

明宣德

Two very vividly sculpted gilt-bronze ‘qilin’ figures. Details on the beast’s hair and horns are articulated and resemble typical Yongle and Xuande imperial productions.

These two are very vividly sculpted gilt-bronze figures of qilin. Details on the beast’s hair and horns are articulated and resemble typical Yongle and Xuande imperial productions. These figures are both cast in the form of standing qilin, a kind of mythical beast, poised in recumbent position.

H 18cm H 18.6cm HK$ 2,800,000 - 3,500,000 US$ 359,000 - 449,000

PROVENANCE 1. Collection of Mr. Gérard Wahl-Boyer, Paris, France, 1987 2. Duchange family collection, Paris, France

來源 1. Gérard Wahl-Boyer先生收藏，法國巴黎，1987年 2. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

Such creature was believed to have the head of a dragon and body of a deer. These features are finely presented on the current figures, each with its outstretched neck turned right and looking upward, revealing ferocious expression and sharp teeth framed by a pair of ears and horns. The back of the head is cast with silky mane running down its spine ending in a furry tail.

The hoofed feet firmly rest on the gilt-bronze stand, which was cast with a sixcharacter Xuande reign mark on top. The edge of the stand is further carved and decorated with cloud scrolls.

The Yongle and Xuande periods witnessed a stylistic advancement that integrates Chinese and Tibetan aesthetics in the making of a variety of figures.

These figures were made to be given to Tibetan monks as gifts from the imperial court. Contrary to bronze figures used in the Xuande court that bear reign marks which read from the left to the right, the inscription on the present lot reads from the opposite direction, resembling the Tibetan script. Among all existing Xuande imperial bronze figures, pairs of animal figures are extremely scarce.

There are a number of Yongle Buddhist figures in the world’s private and museum collections, but to find one in the form of an animal and with a corresponding reign mark is truly remarkable. See a gilt-bronze Buddhist figure from Sotheby’s Hong Kong 2006 auction for reference.

To the Ming court, an amiable relationship with Tibet was a crucial part of governance. As a result, a great number of imperially made figures were gifted to Tibetan monks as a show of respect and appreciation.

麒麟與龍鳳一樣是中國古代傳說中的神獸，是多種動物的復合化形，雄 性稱麒，雌性稱麟，從外形上看，龍頭，麋身，牛尾，馬蹄，有雙角亦 有獨角之形。漢許慎《說文解字》中：「麒，仁獸也，麋身牛尾一角； 麐（麟），牝麒也。」《徵詳記》云「麒，仁獸也，狀如麋，牛尾，馬 蹄，設物備而不為害，故為仁也。」 此對銅鎏金麒麟非常寫實，一大一小，雌雄分明。龍頭昴首，回首張 望，雙角有力，頭頸處鬃毛飛舞上衝，身上毛髮捲曲，形似火焰。麋 身，身型健碩，筋骨強健，肌肉飽滿，獅尾前卷。四肢如馬，粗獷健 壯，馬蹄有力，踩踏須彌式台座，台座上方呈如意形，上刻華麗的卷草 紋。台座正中，自右至左深鑄陽文「大明宣德年製」。 本對麒麟整體造型大方，風格簡約，軀體碩壯，四腿短粗，毛髮及角刻 劃精湛，全身充滿著無窮力量，無論就其質量、工藝而言都顯得極為優 異。藝匠雕鑄技術精湛，麒麟的表情動作優雅自然，神態栩栩如生，作 工亦一絲不苟，力求細緻精美。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

A gilt bronze lamb-formed candle stand, mark and period of Yongle period illustrated in Ching Wan Society Twentith Anniversary Exhibition: Works of Art, no. 10 明永樂 銅鎏金羊尊燭臺 清翫雅集廿周年慶收藏展．器物，編號10

As a matter of fact, Yongle gilt-bronze Buddhist figures are deemed the best in the Ming dynasty in terms of their production quality. As an approach to pacify previously existing disputes with the West, the Ming court never hesitated to show their acceptance to Tibetan religions. During the reign of emperors Xuande and Yongle, construction of Buddhist temples and producing written religious texts were of great importance. Ming emperors would invite Tibetan religious leaders to the court as guests to officiate ritual ceremonies in the palace. Buddhist figures akin to the present lot are then gifted to these monks as a token of appreciation. The emphasis on creating more space for Buddhism in China led to increased contact between the Chinese and the Tibetans and the integration of two cultures is exemplified by the visual features on this pair of ‘qilin’ figures. It is then very likely that the present piece was once given to Tibetan monks from the Ming emperor.

Note the detail on the legs of the figures, there are traces of lost gilt that were created upon caressing the surface which might come from a worship process that was repeated for centuries. For comparison, see a gilt-bronze figure of a goat in the Speelman collection, sold in Sotheby’s Hong Kong spring auction, 2014, lot 0084.

本對麒麟帶有明顯的永樂、宣德宮廷造像特點，永樂宣德兩朝在宮廷器 物的製作上可謂無出其右者。不論是瓷器、漆器、織繡、佛像還是掐絲 琺瑯都達到了前所未有的高峰。自永樂皇帝始，明朝對於西藏的政策主 要以安撫為主，對各教派皆施以恩賜，厚贈厚賜，其中出自永樂宣德宮 廷「御佛監」「佛作」的造像則是最得要的賞賜之物。「佛作」承襲了 大量元代宮廷鑄佛匠人，融合了西藏、尼泊爾和中原地區造像特點，形 成了一種新的宮廷漢藏風格造像。這些造像題材豐富，比例精准，寫實 傳神。同時也根據藏傳佛教的特點，鑄造了與佛教有關的動物造像，但 數量較少。清翫雅集廿週年慶收藏展曾展出一件帶有「大明永樂年施」 明確年款的明永樂銅鎏金羊尊燭臺，出版於《清翫雅集廿週年慶收藏 展—器物》，編號10；首都博物館館藏有一件明永樂御制鎏金寶瓶瑞象 尊；香港蘇富比2008年10月8日，曾拍出一件帶有「大明永樂年施」款明 永樂鎏金銅「寶瓶瑞象」立像，編號2624 。本對麒麟在造像風格上與上 述三件類似，尤其寶座與後兩件象尊的寶座相同。 目前帶有宣德宮廷款佛造像多見，動物造像並不多，成對出現，更是罕 見。上述三件帶永樂年款動物造像，暗刻款識自左至右，符合藏人解讀 習，明顯是永樂宮廷為賞賜西藏所鑄。本對麒麟台座上「大明宣德年 製」帶有款乃自右向左順讀，與漢文相符，應當為供奉內廷使用。相傳 只在太平盛世，或世有聖主時麒麟才會出現。麒麟威嚴之態，神威之 功，故受到歷代皇帝的喜愛，成宮廷之間、殿堂之上常見擺設。本對帶 有宣德年款的麒麟造像是存世罕有的孤品，明顯在見證宣德皇帝的仁君 形象和太平盛世，其藝術和歷史價值不可估量。

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A magnificent gilt-bronze caparisoned elephant, mark and period of yongle sold at Sotheby's Hong Kong, 8 October 2008, lot 2624 明永樂 鎏金銅「寶瓶瑞象」立像 香港蘇富比，2008年10月8日，編號2624

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3322

A GILT-LACQUER BRONZE FIGURE OF MAITREYA MILEPUSA MARK, XUANDE PERIOD

「弥勒菩薩」

銅漆金彌勒菩薩坐像

明宣德

This statue of Maitreya is seated on a double base, with the hands in namaskara mudra. The figure wears a crown on the head with sets of three flower petals, the petal in the centre extends to the top while those on the sides form the shape of a crescent moon. This is a very important detail that identifies the piece as an imperial production. The hair of the figure is styled to resemble more feminine hairstyles from the contemporaneous age. Very delicately sculpted facial features which resonate with the tranquil nature of Maitreya. An overall rounded silhouette with broad shoulders and a small waist adorned with jewelry around the neck and below the waist. The seat inscribed with a four Chinese characters that write “mile pusa [Maitreya]”.

H 60cm HK$ 3,800,000 - 5,000,000 US$ 488,000 - 642,000

PROVENANCE 1. Collection of Mr. and Mrs. Luigi Anton Laura, Bordighera dei Fiori, Italy, 1978 2. Duchange family collection, Paris, France

來源 1. Luigi Anton Laura伉儷收藏，意大利博爾迪蓋拉， 1978年 2. 杜尚家族收藏，法國巴黎

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

The figure is in very good condition, the amount of gilt-lacquer that remained shows that the statue was well-preserved under careful hands. Meticulous details appropriated onto different areas on the surface, embellishing the elegant form of the figure. It is precisely with these ostentatious details that suggest a dating to the prosperous society early into the Ming dynasty.

The present lot is a work of an imperial workshop characteristic of the Yongle and Xuande reigns. A great number of Buddhist figures produced at that time were given to Tibetan monks as gifts as a show of acceptance and appreciation from the Chinese court. Meticulous details on the figure reflect an unprecedented advancement of the production of Buddhist figures in the Ming dynasty. More importantly, burgeon of Buddhist figures from the period suggests a rapid development in Tibetan Buddhism during the Ming dynasty and signifies the growing popularity of the religion in the society.

此像為彌勒菩薩眾多藝術形象中的一種。頭戴花冠，正面中央花瓣根部 各出一枝花瓣向兩側伸展，形成月牙形狀，為當時宮廷造像常見的花冠 樣式；頭頂束高發髻，發髻呈橫圓柱狀，形同當時婦女頭飾，餘發垂於 腦後，並編成兩條發辮垂搭於雙肩，發絲清晰可見，發梢在兩耳際和脖 頸扣成一道弧形；兩耳邊又各有一條U字形翻卷的繒帶，耳下垂圓環。面 相方正，臉頰豐圓，眉眼上挑，眉間飾白毫，面容秀美，神態安詳。肩 部寬闊，腰部收束，軀體渾圓，四肢粗壯有力，細部刻畫精細入微，生 動傳神。上身胸前飾項圈和長鏈，項圈下綴U字形連珠式瓔珞，下身著長 裙，腰間束帶，腰帶下前後左右亦有U字形連珠瓔珞裝飾。雙肩披帔帛， 帔帛從肩部垂於手臂內側，然後從內側折回向外搭在手腕上，極富裝飾 意味。裙子與帔帛採取寫實手法表現，衣紋流暢，質感較強，特別是腿 部衣紋呈對稱狀密集分布，生動表現出僧裙向內收起的自然狀態，尤為 優美大方。手和足部還有釧躅裝飾。跏趺端坐於蓮花寶座上，雙手置胸 前結說法印，兩手各牽一花莖，花朵盛開於雙肩。肩花制獨特美觀，花 朵下各垂四片花葉，花葉上雕出清晰的葉脈，造型生動逼真。蓮座為半 月狀束腰形式，上下邊緣各飾一周連珠紋，蓮花瓣細長飽滿，上下對稱 分布，周匝環繞，座面上陰刻「弥勒菩薩」四字款，字體柔美清秀。 本件造像通體漆金，漆金保存完好，造型完美，風格成熟，裝飾繁縟， 工藝精細，流光溢彩，雍容華貴，具有明代宮廷藝術鮮明特點，體現明 代早期政治強盛、經濟繁榮、文化發達的真實面貌。 明代宮廷造像是明代永樂和宣德兩朝宮廷御用監「佛作」製作的漢藏風 格造像，主要賞賜給西藏上層僧侶，為朝廷推行的宗教籠絡政策服務， 具有重要的歷史、藝術、工藝和宗教價值，見證了明朝漢藏民族之間的 友好關係和深度的文化藝術交流，體現了明朝藏式佛像和宮廷藝術的極 大成就，體現了明朝冶煉和鑄造技術的高度發展水平，反映了明朝藏傳 佛教思想發展、教派發展和神像崇拜的基本面貌，在當今藝術品市場是 最受青睞和追捧的佛像品類。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

An important part to the composition is the religious thematic element. The prefix “maitri” of “Maitreya” stands for benevolence. The term is closely associated with Maitreya’s journey to enlightenment after a heartfelt encounter with Shakyamuni’s sermons that inspired great compassion. Alternative interpretations suggest that “Maitreya” is the name of the bodhisattva whose surname was Ajita, meaning “invincible”. Based on the Sutra of Maitreya Bodhisattva's Attainment of Buddhahood, Maitreya was born into a family of Brahmins and later converted to Buddhism upon hearing Shakyamuni Buddha’s sermons. According to the scriptures, Maitreya will then be a successor to Buddha Shakyamuni. As such, Maitreya has two identities: the compassionate enlightened being which is the bodhisattva, and, the future Buddha. For centuries, Buddhism have been one of the major faiths of the Chinese. The bronze figurine presented not only shows Maitreya’s role in Tibetan Buddhism, it also reflects the regard which the emperor held for Tibetan Buddhism and its faithful followers.

Contrary to most Yongle or Xuande Buddhist figures found in Tibetan Buddhist temples, the present lot is made to a larger size and with supreme quality bronzes. The figurine is unparalleled with its four-character Chinese inscription dedicated solely to the Maitreya, rather than the typical six-character reign mark. The measurements further suggests that the figure was made to be worshipped in the Central Plains areas especially in the imperial court, this would explain the omission of the reign mark. Similar gilt-lacquer bronze figures of a comparable size are rarely available in the international art market.

本尊造像的題材重要，宗教寓意深刻。彌勒是印度梵語音譯，意譯「慈 氏」，因其過去世曾得到佛的開示，發心修道成「慈心三昧」而得名； 又有說彌勒是菩薩名，本姓「阿逸多」，意為無能勝，所以又稱阿逸 多菩薩。據《彌勒上生經》和《彌勒下生經》記載，彌勒出生於古印度 南部婆羅門家庭，原信奉婆羅門教，後因聽聞釋迦牟尼佛說法而皈依佛 教。因其根機深厚，深得釋迦牟尼佛器重，釋迦牟尼佛授記他，在未來 世將繼承佛位而成佛。他先釋迦佛入滅，上生兜率天內院，經過四千年 （相當於人間五十六億七千萬年），將下生人間，在華林園龍華樹下修 成正覺，繼而在龍華樹下三會說法，化度九十六億眾生。由此可見，彌 勒具有兩種身份，即現在菩薩身份和未來佛陀身份。千百年來，彌勒以 此重要身份受到了我國漢藏各族人民的普遍崇信。彌勒是大乘佛教瑜伽 學派的鼻祖，他創立了五部重要論著，稱《慈氏五論》，即《現觀莊嚴 論》、《大乘莊嚴經論》、《寶性論》、《辨法法性論》、《辨中邊 論》。這五部論著不僅是藏傳佛教中瑜伽學派尊奉的主要經典，而且也 為其它學派尊崇和研習。這尊彌勒菩薩像的雕造，正顯示了彌勒菩薩在 藏傳佛教中的重要地位和影響，同時也體現了永樂皇帝對藏族人民和藏 傳佛教固有信仰的尊重。 本尊造像不似常見的為西藏寺廟供奉而鑄造的造像，本尊造像體格極 大，用銅精良，蓮花寶座前沒有刻常見的「大明永樂年施」或者「大明 宣德年施」款，而是刻「弥勒菩薩」楷書四字款，款識深峻有力，符合 明代永樂和宣德兩朝宮廷御用監「佛作」製作的漢藏風格造像沈度字 體。同時印證此件造像同樣出自明代永樂和宣德兩朝宮廷御用監「佛 作」，本尊體格高大的造像應該為明代宮廷供奉，所以沒有落施字款， 如此大尺寸也符合中原地區的供奉習慣，偶有見於海內外公私收藏。

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

3323 「鑲白旗朱延禧進獻」銅鎏金獅吼

年） 清順治十三年（ 1656 132

A GILT-BRONZE FIGURE OF LION, MARKED 'SINERELY OFFERED BY ZHU YANXI , BORDERED WHITE BANNER' THE 13TH YEAR OF SHUNZHI PERIOD, CORRESPONDING TO 1656 This large sized gilt-bronze lion figure, which dates back to the 13th year of Shunzhi period, was originally a mount for a Guanyin figure that is now lost. The lion’s head peers backwards as if interacting with the supreme figure, its exceptional modelling making it a rare find.

The most extraordinary feature of the lion is that the chisel draped on its body is marked clearly with detailed information regarding its creation: the year in which it was made, the name and status of its commissioner, the reason of the commission, the temple in which it was kept, its supervisor, guarantor, content of prayer, time of prayer etc. To have such clearly engraved inscriptions on a statue from the Shunzhi period is absolutely unprecedented in this world.

L 67cm HK$ 1,800,000 - 2,500,000 US$ 231,000 - 321,000

INSCRIPTION 'Zhu Yanxi, the Vice General of the Bordered White Banner Sincerely Offers a Figure of Guanyin on 21st Day, 5th Month, 13th Year of Shunzhi To Hai Zi Temple in Qi County, Henan Province, Monitored by Liu Fangyuan' 'Warranted by the Family Descendants Monitored by Zhu Youcai Appreciated by Abbot of Hai Zi Temple Sincerely Made by Hu Zhicheng, the Head of Buddhist Workshop, and All Craftsmen Surnamed Zhu, Sun, Tao, Zhang, Zhou, Hu, Zheng, Zhang Excetra Set on 21st Day, 5th Month, 13th Year of Shunzhi'

刻文 「鑲白旗梅勒章京信官朱延禧 順治十三年五月二十一日發心誠造觀音菩薩一尊進獻 河南淇縣海子寺供養 監造人劉芳遠」 「保造人宗裔 監造人朱有才 海子寺全持僧人慧鑑從本望仝立佛舖攬頭胡志成同眾匠 人誠造 朱孫陶張周胡鄭張等 順治十三年五月二十一日立」

PROVENANCE 1. Collection of Mr. and Mrs. Luigi Anton Laura, Bordighera dei Fiori, Italy, 1978 2. Duchange family collection, Paris, France

來源 1. Luigi Anton Laura伉儷收藏，意大利博爾迪蓋拉， 1978年 2. 杜尚家族收藏，法國巴黎

The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

“獅吼Shihou [roaring lion]” originated as a Buddhist term, meaning to speak with no fear, like the roar of a lion. “獅 shi” is a simplified pronunciation of Sanskrit and is written as “師子 shizi” in Buddhist scripts, in order to distinguish it from Manjushri Bodhisattva's mount lion. “Lion” carries mythical colours, the ancients commonly used it to exorcise evil spirits. The lion is the king of all animals and the Buddha is the supreme among all humans. The two together, therefore, carries the title “Lion of the people”.

In Buddhist scripts, the lion howler represents the unbound power of Dharma, a mighty deterrence and potent sense of dissemination – this is the masterly summation of the people who were born in the areas of the Asiatic lions with deep knowledge in the power of lions. Precisely due to the immense strength, deterrence and dissemination of the male lion’s roar, Buddhism, which originated from the habitat of the Indian Continental lion, considers the lion howler as a powerful symbol of Dharma. According to Buddhist teachings, having a lion as a mount can subdue all sufferings caused by evil spirits, so that beings from all three realms can be saved from the sea of woes with its supreme power.

The lion is the symbol for fierceness and wisdom, whereas the Guanyin is a compassionate saviour. By marrying the two icons, the compassionate Guanyin tames the fierce lion and the two become an important symbol in Chinese Esoteric Buddhism, Mizong.

The figure has an elegant and powerful physique that is slightly larger than similar figures. Its bronze body coated in gilt and details were skillfully executed. The figure is in good condition and is reminiscent of Ming dynasty Buddhist figures. Of all visually appealing characteristics, the most remarkable feature is on the inscription that provides us with information about the context in which the figure was made. This is truly a marvel for all art collection, academia and history.

本件超大尺寸清順治十三年銅鎏金吼原為觀音菩薩坐騎，吼回首張望，似與主尊 造像互動，造型特殊，存世罕見。本尊獅吼最獨特之處，身上所批掛毯鏨刻有清 晰的鑄造年份、發願進獻人名、進獻人身份、進獻是由、供養寺廟、監造人、保 造人、發願內容、發願時間等，非常詳細。清順治年間帶有如此清晰鏨刻銘文的 造像，放眼全球，未曾見到。本造像無論在收藏、藝術、學術及歷史文獻中都有 重要意義。 「獅吼」本為佛教專用語，意為以無畏音說法，如獅之咆吼。「獅」是梵語的省 略音譯，在佛經中一律寫成「師子」，僅是為了與文殊菩薩坐騎的獅子相區別而 已。「獅子」有神話般的神秘色彩。古人多用之「驅邪、闢邪」。獅乃獸中之 王，佛為人中至尊，故有「人中獅子」之稱。在佛教經典中，獅子吼代表佛法宏 大無邊的威力，是無上的震懾力，也是強勁的傳播力——這是古代亞洲獅生長區 域內的人們對獅子吼威力深刻認識的高度總結。正是因為雄獅吼聲有如此大的威 力、震懾力和傳播力，誕生於印度大陸獅子生長區的佛教才會將獅子吼作為佛法 威猛的一個象徵。按佛教的說法，以獅子為坐騎能降伏一切魔所生的病苦，使三 界眾生脫離苦海，具有極為威猛的力量。 獅子是雄猛和智慧的象徵，觀音菩薩是救苦救難的菩薩，因而，將觀音菩薩的法 力與獅子的雄猛結合起來，是密宗藝術家的首創，那就是獅吼觀音的出現。觀音 菩薩騎獅，降伏獅子，表達了救苦救難的觀世音菩薩的神功法力，深不可測、悠 遠無上。 此尊獅吼造像原為觀音菩薩的坐騎，雄獅四肢健碩矯捷，交錯前行，側身回首， 雙目圓睜，回首昂望作吼叫狀，造型生動。獅吼張口露利齒，氣勢威武強悍，頭 頂犄角，頸系鈴鐺，又顯得溫馴服從。鬃髯捲曲，盤旋如螺髻。尾部及腿際鬃毛 隨風飄展，雕刻入微，絲絲畢現。獅吼身披瓔珞，背搭坐毯，馱蓮花寶座。坐毯 自身肩自然垂落，如意雲頭之下，左右暗刻雲龍紋，其間開光刻有清順治十三年 的清晰鑄造年份、發願進獻人名、進獻人身份、進獻是由、供養、監造人、保造 人、發願內容及發願時間等詳細銘文。此種坐毯紋飾和銘文十分獨特，也十分高 級，存世作品中並不多見。坐毯之上的蓮花寶座刻划寫實，其上原有尺寸較大， 遊戲坐姿的觀音菩薩。原觀音造像佚失，但仍可推測原有造像特點。 整像黃銅質地沈實，尺寸較大，鎏金鋥亮，包漿自然。造像造型端莊優美，做工 細緻，品相完整，仍保留著明代漢傳佛像寫實之佳作。造像最寶貴之處則是身側 的銘文題記，題記中明確了造像的鑄造供奉時間，發願人的身份特殊，讓我們有 幸見證了那段歷史。 關於朱延禧的生平，暫時不可考，推測應該是明末生人，順治朝入仕，《清實錄 順治朝實錄》載:「升鑲白旗漢軍甲喇章京朱延禧、為本旗梅勒章京。」《清實錄 康熙朝實錄》：「升鑲白旗漢軍副都統朱延禧、為漢軍都統。」從中可以看出， 朱延禧在順治、康熙兩朝非常受朝廷信認和重用，據史料記載，至到雍正一朝， 其孫仍受其蔭。銘文中所記載之海子寺，應該在淇縣三海村附近，（原名北海 子），明淇縣誌記載：「北海子，昔殷紂王遊玩之所。」

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The Duchange Family Collection of Important Chinese Art I 懷藏日月：法國杜尚家族藏重要中國藝術珍品（一）

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