Lot description
清雍正 粉彩過枝桃花綬帶鳥紋盤 PROVENANCE 1. Collection of H.R.H. Palmer (1898-1970), no. 200 2. Sotheby's London, 27th November 1962, lots 82 and 83 3. John Sparks Ltd., London 4. Collection of Sidney T. Cook (1910-1964), and thence by descent 5. Sotheby’s New York, 21 March 2018, lot 516 (one of a pair) This dish is finely potted and exquisitely enamelled with branches of flowering peach blossoms growing from the foot of the shallow dish on the exterior, extending over the rim to the interior, where the main branch arches elegantly to the top, bearing clusters of peach blossoms in full blossom and in bud form. The flowers are delicately painted in luscious pink, red and white tones with green dotted stamen, contrasting to superb effect of green leaves. Furthermore, the centre is depicting a long-tailed bird perching on a branch with its head turned backwards and body turned upside down in a playful position. A dish with poetic inscription in the Percival David Foundation of Chinese Art, London, decorated with flowering and fruiting peach and tree peony provides a good example of this type. See R. Scott, Imperial Taste - Chinese Ceramics from the Percival David Foundation, San Francisco/Los Angeles, 1989, p. 84, no. 52. 「大清雍正年製」 來源 1. H.R.H. Palmer（1898-1970）收藏，編號200 2. 倫敦蘇富比，1962年11月27日，編號82及83 3. John Sparks， Ltd.， 倫敦 4. Sidney T. Cook （ 1910-1964 ）收藏，此後家族傳承 5. 紐約蘇富比，2018年3月21日，編號516 (其中之一) 此盤折沿，淺腹，平底，圈足。盤體內壁白釉，粉彩繪制喜鵲登梅圖案。盤心繪梅花，喜鵲停留梅枝之上，歡喜啼鳴，梅花爭奇鬥艷，凌寒盛開。筆致細膩，紋飾討喜，構圖舒朗，取意吉祥。兼具了清雅的審美情趣和美好的民俗寓意。 本品佈局構圖之妙見於「過枝」技法之運用。過枝又稱「過牆」，即花繪佈局將碗盤內和外壁相連通，圖案自盤外壁攀延過盤邊伸展鋪陳於盤心，使內外圖案既獨立成章又渾然一體。晚清陳瀏所著《陶雅》記載：「庚子後出五彩過枝盤碗甚伙。過枝雲者，自此面以達於彼面，枝幹相連，花葉相屬之謂，皆雍正官窯也。」過枝技法的運用始見於康熙後期，尤以五彩瓷器為多見，凡運用此法者，皆品質非凡。雍正一朝過枝者顯然是由此而來，並將其與宋人寫實花鳥畫之精髓結合而成，遂營造出新的美學意境。
