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国内拍卖首页 > Christie's UK > 中国瓷器及工艺精品 > Lot 187

清乾隆青花龍紋執壺連後配銅蓋

英国北京时间

2019年11月05日开拍 / 2019年11月05日截止委托

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拍品描述: 清乾隆青花龍紋執壺連後配銅蓋14 ? in. (36.8 cm.) high 倫敦佳士得2005年7月12日，拍品169
重要私人珍藏 The roundels on the upper and lower parts of the mount are invocations: ya ghafran (O Forgiving One) ya sultan (O Sovereignty) ya Hanan (O Compassionate One) ya musta'an (O Requiter) ya 'azum (O Mightly One) The inscribed band on the rim is the basmallah (invocation in the name of Allah) followed by the Qur'anic text of Surah 68, verse 51: bismillah al-rahman al-rahim wa an yakad al-din kafaru al-yuzliqunak bi-basrihim lama sami'ua al-dhikaru wa yaqulun innhu lamajnun. (When they hear Our revelations, the unbelievers almost devour you with their eyes. "He is surely possessed"). (Translation from The Koran by N.J. Dawood, Penguin Books, Harmondsworth, revised edition, 1979, p. 63.) The shape of the metal cover echoes the domes favoured in Islamic architecture, while the chased decoration consists of flowers, birds, cartouches containing inscriptions and a further inscribed band. The metal mounts may possibly have been fitted in Ottoman Turkey, but the chased decoration on the mounts is Qajar Persian dating to the 19th century. A very similar metal cover and neck fitting, although extending further down the neck, may be seen on a Kangxi blue and white ewer in the Victoria and Albert Museum (inv. 476.18-6). A later metal cover of slightly less rounded form, but with an additional handle strut can be seen on an early 15th-century Chinese blue and white porcelain ewer in the Topkapi Saray (ibid., p. 519, no. 618). Compare, also, the metal fitting on a transitional blue and white vase in the Victoria and Albert Museum (illustrated by Harry Garner in Oriental Blue and White, London, 1954, pl. 62), which is engraved with similar roundles. A ewer of this form and decoration, also dated to the Qianlong period, is in the collection of the Topkapi Saray, Istanbul (and illustrated by J. Ayers and R. Krahl, Chinese Ceramics in the Topkapi Saray Museum Istanbul, III, Qing Dynasty Porcelains, Philip Wilson, London, 1986, pp. 1106-7, no. 2566). The Topkapi ewer has lost its handle, and appears to have a diagonal break across the body. Another very similar ewer, with its original handle and including a small, flat cover, is in the Roemer-Museum in Hildesheim and is illustrated by Ulrich Wiesner in Chinesisches Porzellan. Die Ohlmer'sche Sammlung im Roemer-Museum, Hildesheim, Mainz am Rhein, 1981, no. 70. A pair of similar Qianlong ewers with handles and covers was sold by Sotheby's, Hong Kong, 1 May 2001, lot 537. The form of the present ewer relates to Ming dynasty Yongle (1403-1424) and Jiajing period (1522-1566) examples, which in turn were based on Persian metalware prototypes. The practice of mounting Chinese porcelain ewers with Middle Eastern silver or copper-alloy mounts was usually done to disguise damage to the delicate neck or handle. Metal mounts are commonly seen on Chinese porcelain wares made for export, which travelled via the Middle East and Europe due to trade and exchange. See, for example, a blue and white ewer from the Jiajing period in the collection of the Victoria and Albert Museum, applied with Persian silver mounts bearing the coat of arms of the Portuguese family of Peixoto (museum number C.222-1931). The popularity of this particular ewer form in Western Asia can be seen in the number of such ewers decorated with underglaze cobalt-blue or in monochrome glazes with gilt decoration, that have been preserved in the Topkapi Saray, Istanbul (see J. Ayers and R. Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. II, Yuan and Ming Dynasty Porcelain, op. cit, nos.1017-9, 1642, 1644-9). Although the Ming dynasty examples usually stood on a higher foot than the current ewer, the link is clear.
---以下为第三方软件翻译，仅供参考---

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