ADAM'S Fine Asian Art 25th June 2025

FINE ASIAN ART | 75 199 A VERY RARE BLUE AND WHITE GLOBULAR ‘LOTUS’ VASE YONGZHENGSIX-CHARACTERMARK INUNDERGLAZE BLUEWITHINADOU- BLE CIRCLE 清雍正’大清雍正年制‘双行楷书款青花缠枝莲纹小罐 China, Mark and period of Yongzheng (1723–1735) with narrow mouth, short straight neck, and full globular body supported on a neatly finished foot ring. The exterior is richly decorated in underglaze blue on a white ground, with a dense design of entwined lotus scrolls ar- ranged in three horizontal registers—upper, middle, and lower. The cobalt blue glaze graduates from light to dark exemplifying the technical refine- ment of Yongzheng-period blue-and-white porcelain. The foot is encircled by double-line bands; the unglazed base ring exposes the biscuit body. Within the foot ring, a six-character reignmark, Da Qing Yongzheng Nianzhi, is written H.12.1cm € 60,000 - 80,000 Note Porcelain from the Yongzheng reign holds a revered place in the history of Qing dynasty ceramics. This distinction stems from the Yongzheng Emper- or’s unprecedented personal involvement in ceramic production. He was the first emperor to actively participate in the design and oversight of impe- rial porcelain, embedding his cultivated aesthetic sensibilities and scholarly refinement into design process. As a result, porcelain from this period is celebrated for its extraordinary elegance in form, colour, and decoration. This jar exemplifies the Yongzheng ideal of elegance in three key aspects. First, in its coloration: the blue tones are applied with subtle variation. Sec- ond, in its form: the body is full and well-balanced, with a gently constricted mouth and a slightly weighted lower section reminiscent of the shiliuzun (pomegranate vase). Third, in its decoration: the lotus scrolls aremeticulous- ly composed yet never overly elaborate. Unlike designs influenced by for- eign styles, the floral motifs here are executed with the precise brushwork of traditional gongbi painting—subtle, flowing, and controlled—evoking the Chinese literati ideal of the lotus as a symbol of noble character and moral purity: ’emerging unstained from the mud.‘ 此罐小口、短直颈，圆球形腹，底承圈足，造型匀称，端庄静雅，体量精巧，玲珑可人。原 应配有罩式盖，惜因年代久远，罐盖佚失，已难考见。通体施白地青花装饰，外壁纹饰 分为上、中、下三层，满绘缠枝莲纹。每层花朵等距横向排列，一条枝蔓往往生出两至三 朵莲花，或盛放，或蓄势待放。枝蔓之间空隙以卷叶填充，枝节蜿蜒，缠绵不断，构图繁 而不乱，既体现出装饰上的层次美感，又蕴含连绵不断、生生不息的吉祥寓意。青花钴 料运笔讲究，色泽浓淡相宜，轮廓分明，末端晕染自然，层次丰富，展现出雍正时期青花 用色的高超水准。足墙饰双弦纹一周，圈足底沿露胎，足心内青花双圈中书「大清雍正年 製 」六字双行楷书款，笔法规整，神韵清朗，款识与器型、纹饰风格浑然一体，尽显雍正 御窑制作的精严品格。 雍正时期瓷器之所以在整个清代独树一帜、备受推崇，正是源于雍正皇帝本人对御窑生 产的高度重视。他首创帝王亲自参与瓷器设计与监督制作之例，将自身深厚的文化素养 与审美趣味深植于御瓷之中，使得这一时期作品在造型、发色、纹饰等方面皆体现出一 种超然脱俗的“雅”之风范。 此器正是“雅”之气质的集中体现，具体可见于三方面：其一，色调之雅。青花发色层次 丰富，浓淡相宜，自然过渡，清润脱俗，既不张扬，又不沉闷，呈现出一种内敛含蓄的优 雅气质；其二，器型之雅。器形饱满圆润，小口微敛，下腹稳重，形制近似石榴尊，比例 和谐，观之端庄大方，令人不禁想将其捧于掌中；其三，纹饰之雅。缠枝莲纹繁密却不 凌乱，构图有序，莲花绘制精致自然，笔法源自中国工笔传统，线条细腻婉转，不受外来 风格影响，展现出文人理想中“出淤泥而不染”的莲花高洁意趣，寓意纯净、坚贞之品 格。 A similar example is held in the collection of the National Palace Museum, Taipei (accession number 中瓷 002655N000000000). Another was sold at Christie’s New York on 19 March 2008, lot 600, for USD 82,600 (approximately EUR 53,700). A further example was sold at China Guardian, Beijing, on 27 April 2008, for RMB 728,000 (approximately EUR 94,500). Another example was sold at Poly Auction Hong Kong on 5 April 2016 for HKD 1,416,000 (approximately EUR 166,600). 一件相似器物现藏于台北国立故宫博物院（藏品编号：中瓷002655N000000000） 另一件于2008年3月19日纽约佳士得拍卖，拍品编号600，成交价为82,600美元（约合 53,700欧元） 另有一件于2008年4月27日由北京中国嘉德拍卖，成交价为人民币728,000元（约合 94,500欧元） 还有一件于2016年4月5日在香港保利拍卖，成交价为1,416,000港元（约合166,600欧 元）