【禦窯遺珍，盛世華彩】

此件清嘉慶粉彩龍鳳開窗人物雙耳樽，乃嘉慶朝官窯粉彩瓷器之典範，凝萃康乾盛世之餘韻，開啟晚清彩瓷之新章。其形制恢弘端莊，亭亭玉立，於典雅雍容中透出皇家氣度。通體施釉潔白瑩潤，猶如凝脂，為其上絢麗繁複的彩繪提供了絕佳素地。所有描金之處，包括龍鳳的輪廓、祥雲的邊緣，以及那對銜環獸首雙耳，歷經歲月仍璀璨奪目，熠熠生輝。獸首猙獰而不失威嚴，為整體的絢麗增添了一分莊重與力量。胎骨堅緻白皙，釉面溫潤如玉，正是「乾隆工」在嘉慶朝的輝煌餘緒，體現了清代景德鎮禦窯廠登峰造極的燒造水準。

【筆繪乾坤，色染春秋】

樽身主題紋飾分為天、地、人三重意境：頸肩之處，以礬紅、綠彩繪製夔龍夔鳳紋，線條婉轉流暢，佈局嚴謹對稱，寓意「龍鳳呈祥」，彰顯皇室威儀。腹部核心，四面開光，以釉上藍彩勾畫邊框，內繪粉彩人物故事圖。窗內場景描繪精細，亭臺樓閣、蒼松翠柏、小橋流水構成一幅幅山水人物畫卷，其中高士、仕女、孩童姿態各異，神情生動，或對弈、或賞畫、或嬉遊，充滿文人雅趣與生活氣息，在富麗的龍鳳主題中注入清雅的人文意境。近足處，則飾以變體蓮瓣紋與如意雲頭紋，莊重收束。所有紋飾均採用清代粉彩典型工藝，彩料濃淡自然，過渡柔和，尤其在人物面部、衣飾皺褶及花卉渲染上，極盡工巧，達到了「織錦如生，呼之欲出」的視覺效果。

「龍鳳繞樽歌盛世，丹青入瓷敘長春」

—— 中藝（香港）謹呈

[Palatial Legacy, Resplendent Glory]

This Jiaqing period famille-rose ‘Dragon, Phoenix, and Figure’ vase with archaistic handles and reserved panels stands as a paradigm of official kiln famille-rose porcelain from the Jiaqing reign. It crystallizes the lingering elegance of the prosperous Kangxi and Qianlong eras while heralding a new chapter for painted porcelain of the late Qing dynasty. Magnificent and dignified in form, it stands gracefully, its noble and graceful bearing exuding imperial majesty. The entire body is covered with a glaze of pure, lustrous white, akin to congealed fat, providing a pristine ground for the dazzling and intricate polychrome decoration. All gilt detailing, including the outlines of the dragons and phoenixes, the edges of the auspicious clouds, and the pair of beast-mask handles holding rings, remains dazzlingly brilliant and radiant despite the passage of time. The beast masks, fierce yet majestic, add a touch of solemnity and power to the overall splendor. The paste is fine, hard, and white, the glaze surface as warm and smooth as jade, a testament to the glorious continuation of the ‘Qianlong mastery’ into the Jiaqing period, embodying the pinnacle of firing technique achieved by the Jingdezhen Imperial Kiln of the Qing dynasty.

[Brushwork Depicting the Cosmos, Colors Dyed with the Seasons]

The principal decorative motifs on the vase body are divided into three symbolic realms: Heaven, Earth, and Humanity. Around the neck and shoulders, kui-dragons and kui-phoenixes are depicted in iron-red and green enamels. Their lines are sinuous and fluid, the layout rigorously symmetrical, symbolizing the ‘Harmony of Dragon and Phoenix’ and彰显ing imperial authority. The core of the belly features four reserved panels, their borders outlined in overglaze blue, each enclosing a famille-rose figural narrative scene. The scenes within the panels are meticulously rendered. Pavilions, terraces, ancient pines, verdant cypresses, small bridges, and flowing streams compose landscapes and figure paintings. Within them, scholars, ladies, and children are captured in varied postures and vivid expressions—engaged in chess, admiring paintings, or at play—imbuing the opulent dragon-and-phoenix theme with a refined literati sensibility and the breath of daily life. The area near the foot is adorned with stylized lotus-petal motifs and ruyi-head cloud patterns, providing a solemn and cohesive finish. All decorations employ the classic famille-rose techniques of the Qing dynasty. The enamel pigments display natural gradations of shade, with soft transitions. Particularly in the rendering of the figures’ faces, the folds of their garments, and the shading of flowers, the craftsmanship is exquisite, achieving a visual effect where the scenes appear ‘as vivid as woven brocade, so lifelike they seem ready to step forth.’

“Dragon and Phoenix encircle the vase, singing of a prosperous age, Cinnabar and azure enter the porcelain, narrating eternal spring.”

— Presented by Chinese Arts & Crafts (Hong Kong)