清代粉青釉雙系耳瓶亮相2026多祿溙國際秋季拍賣會
A Qing Dynasty Clair-de-Lune-Glazed Double-Lug Vase to Appear at the 2026 Dorothy International Autumn Auction
在中國瓷器審美體系中，單色釉向來是最能體現器物格調與窯火功力的品類之一。不同於青花、粉彩、鬥彩等以紋飾取勝的瓷器，單色釉以釉色為核心，以器型為骨架，以光澤、厚度、開片與氣韻呈現內在之美。其不事繁飾，卻最見功夫；看似素淨，實則凝聚著胎、釉、火三者之間的精微平衡。
Within the aesthetic system of Chinese ceramics, monochrome-glazed porcelain has long been regarded as one of the finest categories through which the refinement of form and the mastery of kiln firing may be fully expressed. Unlike blue-and-white, famille rose, or doucai porcelains, which often achieve their visual impact through painted decoration, monochrome-glazed wares take glaze colour as their essence, form as their structure, and lustre, thickness, crackle, and spirit as the means through which their inner beauty is revealed. Free from excessive ornamentation, they most clearly reveal technical mastery; seemingly plain and restrained, they in fact embody the subtle balance between body, glaze, and fire.
即將登錄 2026年多祿溙國際秋季拍賣會 的這件 清代粉青釉雙系耳瓶，正是一件兼具古意、雅韻與陳設氣度的清代景德鎮窯仿古單色釉佳器。整器形製端正，比例勻稱，釉色溫潤清雅，通體不施彩繪，不加繁縟雕飾，而以一身粉青釉色呈現出含蓄、澄淨而高古的審美氣息。
This Qing dynasty clair-de-lune-glazed double-lug vase, soon to be presented at the 2026 Dorothy International Autumn Auction, is a fine example of an archaistic monochrome-glazed porcelain from the Jingdezhen kilns.Combining antique charm, elegant refinement, and a dignified presence suitable for display, the vase is well proportioned and formally balanced. Its glaze is gentle, refined, and serene. Without painted decoration or elaborate carving, the vessel relies solely on its soft clair-de-lune glaze to convey a restrained, pure, and classically elevated aesthetic character.
粉青一色，承宋瓷清雅之韻A Subtle Clair-de-Lune Glaze Carrying the Elegance of Song Ceramics
粉青釉屬青釉系統中極具代表性的釉色之一，其色調介於天青、豆青與梅子青之間，淡雅中帶有柔和藍綠之意。上佳粉青釉往往釉層厚潤，光澤柔和，觀之有玉質之感，既不張揚，也不沉滯，呈現一種清澈、溫潤、靜穆的氣質。
Clair-de-lune glaze belongs to the celadon-glaze tradition and is one of its most representative colour tones. Its hue lies between sky blue, bean green, and plum green, presenting a delicate blue-green tone within an atmosphere of refined elegance. Fine examples of clair-de-lune glaze are often thick, smooth, and softly lustrous, giving the viewer a jade-like visual impression. Neither flamboyant nor heavy, the colour conveys a sense of clarity, warmth, and quiet solemnity.
本件雙系耳瓶通體滿施粉青釉，釉色清雅沉靜，局部因釉層厚薄、光線角度與器身弧面變化而呈現深淺不同的層次。其釉面在黑色背景與柔和光源映襯下，呈現出淡青如玉、光澤內斂的視覺效果。這種不靠紋樣取勝，而以釉色本身營造氣韻的表現方式，正是單色釉瓷器最動人的地方。
The present double-lug vase is covered overall with clair-de-lune glaze. The glaze is calm and elegant, while subtle variations in tone appear across the surface due to differences in glaze thickness, changes in light, and the curvature of the vessel. Against a black background and under soft illumination, the glaze presents a pale jade-like blue with restrained lustre. This way of creating beauty not through decorative patterns, but through the glaze itself, is precisely what makes monochrome-glazed porcelain so deeply appealing.
其釉面可見自然細碎開片，線條或長或短，或疏或密，順器身曲面自然延展，如冰裂、如水紋，也如歲月於釉面之上留下的呼吸。這類開片並非人工刻意裝飾，而是胎釉在燒成及冷卻過程中因收縮差異形成的自然肌理，使整器更添古意。The glaze surface displays natural fine crackles of varying length and density, extending organically along the curves of the vessel. They resemble ice cracks, flowing water, or the quiet traces of time left upon the glaze. Such crackles are not deliberate carved decoration, but rather natural textures formed through differences in shrinkage between the body and glaze during firing and cooling, giving the entire vessel a stronger sense of antiquity.
雙系耳制，端莊中見靈動Double-Lug Form: Dignity with Subtle Vitality
此瓶造型規整，直口微撇，短頸上承口沿，肩部豐滿，腹部向下緩緩收束，下承圈足，整體輪廓沉穩而不笨重。器身比例張弛有度，頸、肩、腹、足之間過渡自然，既有清代陳設瓷的端莊秩序，也保留仿古器型中簡潔凝練的線條美感。
The vase is of well-regulated form, with a slightly everted straight mouth, a short neck rising to the rim, rounded shoulders, a body gently tapering downward, and a circular foot. Its overall silhouette is stable yet not heavy. The proportions are carefully balanced, and the transitions between neck, shoulder, body, and foot are natural and harmonious. The vessel possesses the dignified order characteristic of Qing dynasty display porcelain, while also preserving the concise linear beauty of archaistic forms.
頸肩兩側對稱置雙系耳，是此器最具辨識度的造型特徵之一。雙耳造型飽滿圓潤，孔洞自然，與瓶身相接處處理簡潔而穩定。其位置左右均衡，既強化了器物的結構感，也使整體視覺重心更加穩定。雙耳不作過度雕琢，與素淨釉面相互呼應，形成一種含蓄而有節制的裝飾效果。
A pair of symmetrical lugs is placed on either side of the neck and shoulder, forming one of the most distinctive features of this vase. The lugs are full and rounded, with natural apertures, and their junctions with the body are handled with simplicity and stability. Their balanced placement reinforces the structural presence of the object and gives the overall composition a steadier visual centre. The lugs are not excessively carved, but instead echo the plain glazed surface, creating a restrained and tasteful decorative effect.
雙耳與肩部銜接處釉色積聚較厚，呈現更深的青綠色調，與瓶身較為明亮的粉青釉形成細膩變化。這種因器型起伏而自然產生的釉色濃淡，是單色釉瓷器最具觀賞性的細節之一。At the junction between the lugs and the shoulders, the glaze accumulates more thickly, producing a deeper blue-green tone that contrasts subtly with the brighter clair-de-lune glaze on the body. This natural variation in glaze colour, caused by the rise and fall of the form, is one of the most visually rewarding details of monochrome-glazed porcelain.
仿古風尚，映照清中期宮廷審美Archaistic Taste and the Court Aesthetic of the Mid-Qing Period
清代中期，宮廷藝術中慕古之風尤盛。自雍正、乾隆以來，景德鎮窯在宮廷審美引導下，對宋代汝、官、哥、鈞、龍泉等名窯釉色進行大量仿製與再創造。這種仿古並非簡單復刻，而是在古代器物審美基礎上融入清代宮廷對規整、精工與陳設氣度的追求。
During the mid-Qing period, admiration for antiquity was especially prominent in court art. From the reigns of Yongzheng and Qianlong onward, under the guidance of imperial taste, the Jingdezhen kilns produced numerous interpretations and recreations of the celebrated glaze colours of Song dynasty wares, including those associated with the Ru, Guan, Ge, Jun, and Longquan kilns. This archaistic tendency was not a simple act of imitation, but rather a process of incorporating ancient aesthetic ideals into the Qing court’s pursuit of formal precision, technical refinement, and dignified display.
本件粉青釉雙系耳瓶即體現出這一時代審美脈絡。其器型取法古器，釉色追慕宋瓷清雅，整體風格卻不拘泥於宋式纖巧，而呈現出清代器物特有的端莊、穩重與秩序感。瓶身光素無紋，以釉色為唯一裝飾，既是對宋瓷極簡美學的回應，也符合清中期宮廷陳設器追求典雅、莊重、耐觀的審美標準。
The present clair-de-lune-glazed double-lug vase clearly reflects this aesthetic context. Its form draws inspiration from ancient vessel types, while its glaze evokes the quiet elegance of Song ceramics. Yet its overall style is not confined to Song-style delicacy; instead, it presents the stately, balanced, and orderly character distinctive of Qing dynasty porcelain. The body is plain and undecorated, with the glaze serving as the sole form of ornamentation. This not only responds to the minimalist beauty of Song ceramics, but also accords with the mid-Qing court preference for display objects that were elegant, dignified, and enduringly appreciable.
在清代瓷器中，粉青釉並非單純的色彩表現，而是一種高級的審美語言。它不像紅釉般熱烈，也不同於藍釉般深沉，而是在清淡之中見厚度，在素雅之中見氣韻。In Qing dynasty porcelain, clair-de-lune glaze was not merely a colour; it was a refined aesthetic language. It lacks the intensity of red glaze and differs from the depth of blue glaze. Instead, it reveals substance through lightness and spirit through restraint.
素器見功，釉色即裝飾Plainness Revealing Mastery: Glaze as Decoration
單色釉瓷器最難之處，在於沒有繁複紋飾遮掩胎釉與器型的瑕疵。器身線條是否端正，釉層是否均勻，色調是否純淨，燒成是否穩定，皆會直接呈現在觀者眼前。因此，越是素淨的瓷器，越能見出燒造工藝與造型把控的功力。
The greatest challenge in producing monochrome-glazed porcelain lies in the absence of complex decoration that might conceal imperfections in the body, glaze, or form. Whether the silhouette is properly aligned, whether the glaze layer is even, whether the tone is pure, and whether the firing is stable are all directly visible to the viewer. For this reason, the plainer the porcelain, the more clearly it reveals the skill of firing and the control of form.
本件雙系耳瓶通體素潔，不施彩繪，不雕花紋，器表僅以粉青釉與自然開片構成裝飾。釉面肥潤而有光，開片紋理自然分布，瓶身弧面在光線下呈現柔和反射，使整器具有溫潤如玉的觀感。這種「以少勝多」的藝術處理，使其在視覺上更加耐看，也更能體現清代仿古單色釉的高級格調。
This double-lug vase is entirely plain and pure in appearance. It bears no painted decoration and no carved motifs; its surface is ornamented only by the clair-de-lune glaze and natural crackle. The glaze is rich, smooth, and lustrous, while the crackle pattern is naturally distributed. Under light, the curved surface of the vase produces soft reflections, giving the object a warm, jade-like quality. This artistic treatment of “achieving more with less” makes the vessel visually enduring and further demonstrates the elevated character of Qing dynasty archaistic monochrome-glazed porcelain.
從整體氣質看，此瓶並不以華麗取勝，而以安靜、內斂、沉穩見長。其美不在一瞬間的奪目，而在反覆觀看中逐漸顯現：釉色的深淺、開片的走向、雙耳的圓潤、肩腹的過渡、口沿的收放，皆共同構成一種清雅而完整的審美秩序。
Viewed as a whole, the vase does not seek to impress through splendour, but rather through quietness, restraint, and composure. Its beauty does not lie in immediate visual brilliance, but gradually reveals itself through repeated viewing: the subtle variations in glaze tone, the direction of the crackles, the roundness of the lugs, the transition between shoulder and body, and the controlled opening of the rim all come together to form a refined and complete aesthetic order.
清中期粉青釉陳設佳器的收藏意義The Collecting Significance of a Mid-Qing Clair-de-Lune-Glazed Display Vessel
粉青釉仿古瓷在清代單色釉系統中具有重要位置。它一方面承接宋代龍泉青瓷以釉色見長的傳統，另一方面又體現景德鎮窯成熟精細的製瓷能力。對收藏者而言，此類器物的價值不僅在於年代與工藝，更在於其背後所代表的審美傳承。
Archaistic clair-de-lune-glazed porcelain occupies an important position within the Qing dynasty monochrome-glaze tradition. On the one hand, it continues the Song dynasty Longquan celadon tradition of achieving beauty through glaze colour; on the other, it reflects the mature and highly refined porcelain-making capabilities of the Jingdezhen kilns. For collectors, the value of such objects lies not only in their age and craftsmanship, but also in the aesthetic lineage they represent.
本品形製規整，釉色純正，雙系耳對稱端莊，器身開片自然，整體保存觀感良好。它既是一件可供陳設欣賞的清代瓷器，也是一件能夠展現清中期景德鎮仿古單色釉成就的代表性作品。
The present vase is of regular form, with a pure glaze tone, symmetrically arranged double lugs, natural crackling, and an overall fine state of visual preservation. It is both a Qing dynasty porcelain suitable for display and appreciation, and a representative work demonstrating the achievements of Jingdezhen archaistic monochrome-glazed porcelain during the mid-Qing period.
一抹粉青，凝宋韻於釉中；雙耳含古，見清代宮廷陳設之氣。這件清代粉青釉雙系耳瓶，以素雅之姿承載時代審美，以溫潤釉色呈現古典瓷器最耐人尋味的精神氣質。
A touch of clair-de-lune gathers the elegance of Song ceramics within the glaze; the double lugs embody antique charm and the dignity of Qing court display. With its understated form and warm, refined glaze, this Qing dynasty clair-de-lune-glazed double-lug vase carries the aesthetic spirit of its age and presents the enduring poetic quality of classical Chinese porcelain.
–每一件古物都有著自己的故事，承載了許多年，無人傾聽。默等千年，只爲在此相遇。-多祿溙收藏吏
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