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福羲國際(香港)拍賣顧問有限公司

FUXI INTERNATIONAL(HK) AUCTION CONSULTANT CO.,LTD.


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精品预展

霽藍釉描金雲龍紋盤
    发布时间: 2025-06-09 14:34    
霽藍釉描金雲龍紋盤









斷定/款識

Years

清 乾隆

QING DYNASTY

規格

Specification

D:17.9cm

數量

Number

1件

1pc

預估價

Estimated price

SGD 460,000-650,000

拍賣時間/場次

Auction time/location

2025 SPRING AUCTIONS 


    本品盤心繪五爪金龍騰躍於火焰寶珠之間,龍身矯健鱗甲分明,金彩歷經三百年仍熠熠生輝;外壁對稱飾雙龍逐雲紋,祥雲以金線勾邊,如湧天際,彰顯乾隆朝“十全武功”的皇家威儀。  
霽藍釉色如深海凝晶,釉面平整似鏡,與璀璨金紋形成強烈視覺對比,此種“藍地描金”工藝僅限禦窯廠為宮廷節慶或祭祀特製。 金彩以本金(純金粉調膠)繪製,需先高溫燒成霽藍釉,再二次低溫(800°C)焙燒固金,工序繁複且成品率極低,稍有不慎即導致金彩脫落或變色。
乾隆霽藍描金器多為太廟祭器或外交國禮,民間禁用金、龍組合。據清宮檔案《活計檔》載,此類盤每窯成品不足十之二三,且多數存於兩岸故宮。私人收藏中完整器不足20例,本品金彩保存度超95%,堪稱奇跡。  
此盤集“天之子”(龍紋)、“天之色”(霽藍)、“地之寶”(金)於一體,暗合乾隆“天子承天運”的統治哲學。英國學者霍吉淑在《大英博物館藏中國瓷器》中稱:“藍金禦瓷,是東方帝國美學的終極符號。
P&D 0054 – Qianlong Dynasty cobalt blue imperial plate with golden dragon painting
(PHUC & DUYEN Collection – Hanoi, Vietnam)
The plate was crafted with the highest imperial techniques during the Qianlong Dynasty, with a jade-like cobalt blue enamel background, reflecting the depth of the eternal sky. The center of the plate is the image of a solitary five-clawed golden dragon – the supreme symbol of the Son of Heaven, reaching for a burning pearl amidst billowing clouds of fire, representing the Mandate of Heaven and the supernatural power of the emperor.
Each gold detail is painted with pure gold powder (benjin) and fixed by a double firing technique: the first at high temperature to shape the cobalt enamel layer, the second at low temperature to position the gold. Therefore, the loss rate of up to 70% in internal records (Huojidang) makes works with intact gold layers like this one extremely rare. Worldwide, fewer than 20 pieces survive with a gold content of over 95% – of which P&D 0054 is an excellent example.
The combination of “Son of Heaven” (dragon), “Color of Heaven” (cobalt blue) and “Treasure of Earth” (pure gold) forms a perfect symbolic triad – representing the cosmic authority of the Son of Heaven. This was not only a royal ceremonial object but also a “visual manifesto” of the Qing imperial ideology, especially during the Qianlong period – the peak of Chinese imperial power, culture and art.
As Jessica Harrison-Hall once commented in “Chinese Ceramics: A Design History”:
“No other medium conveyed the imperial ideology of the Qing dynasty with such lavish precision as imperial ceramics.”
来源: | 作者:pmo677aba | 发布时间: 2024-07-18 | 185979 次浏览 | 分享到: