A fine peachbloom-glazed brush washerMark and period of Kangxi清康熙 豇豆紅釉鏜鑼洗 《大清康熙年製》款the base with a six-character mark in underglaze blue Diameter 4⅝ in., 11.7 cm  In excellent condition with minor firing imperfections. 整體品相良好，見少許微細窰燒瑕疵。For more information on and additional videos for this lot, please contact serina.wei@sothebys.comIn response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.Marchant, London. J.J. Lally & Co., New York, 1987.馬錢特，倫敦 藍理捷，紐約，1987年In 1957, Ralph M. Chait published his influential essay 'The Eight Prescribed Peachbloom Shapes Bearing K'ang Hsi Marks', beautifully summarizing the famed peachbloom glaze found on Kangxi imperial ware: 'its softly luminous velvety texture and color tone…likened to "the coloring of the rind of a peach ripening in the sun"' (see Oriental Art, vol. III, no. 4, Winter 1957, p. 130). Indeed, the understated elegance of the peachbloom glaze is perfectly exemplified in this present washer – its dark-red flecks subtly emerging from an attractive peach-pink ground.With its wide range of tones and variegated effects, the peachbloom glaze ranks amongst the most important innovations developed by the imperial kilns at Jingdezhen. After a period of standstill that lasted nearly sixty years from the end of the Wanli period, the imperial kilns at Jingdezhen were revived and placed under the direct control of the court. The appointment of Zang Yingxuan as supervisor of the imperial kilns and his arrival at Jingdezhen in the 20th year of Kangxi's reign, corresponding to 1681, initiated a new era of high-quality production coupled with technical innovation.Largely abandoned after the reign of the Xuande Emperor due to the difficulty in firing, copper pigment was rediscovered by the kilns during the Kangxi period with a newfound appreciation of the serendipitous effects that the elusive pigment produced during firing. To control the pigment's tendency to run, copper-lime was sprayed onto the surface of the vessel through a bamboo tube that had a piece of gauze at one end, 'sandwiched' between two layers of clear glaze. This technique allowed for a wide spectrum of natural effects, 'ranging from the deep muted tones of ashes-of-roses and the apple-red to the lighter luminous glowing peach-pink' (ibid.).The delicately potted, low, round form of the present washer is particularly complementary to the lustrous glaze and many of these washers are included in important international museums and private collections. A closely related washer in the Palace Museum, Beijing, is illustrated in Kangxi, Yongzheng, Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pl. 123; one in the Metropolitan Museum of Art, New York, is illustrated with a group of peachbloom-glazed vessels in Suzanne Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 236; two from the collection of Peter A.B. Widener, in the National Gallery of Art, Washington D.C., are published in Virginia Bower et al., The Collections of the National Gallery of Art. Systematic Catalogue: Decorative Arts, Part I, Washington, 1998, pls 72-3; one in the Baur Collection is illustrated in John Ayers, The Baur Collection, vol. 3, Geneva, 1972, pl. A309; another, from the Sir Percival David Collection and now in the British Museum, London, is included in Rosemary Scott, Illustrated Catalogue of Ming and Ch'ing Monochrome Wares in the Percival David Foundation of Chinese Art, London, 1989, pl. B582; and a further example, of a darker-red tone, in the Shanghai Museum, Shanghai, is illustrated in The Complete Works of Chinese Ceramics, Qing, vol. 14, Shanghai, 1999, pl. 105.Many have also appeared at auction over the years. See three from the Edward T. Chow Collection, one illustrated in Cecile and Michel Beurdeley, La Céramique Chinoise, Fribourg, 1974, pl. 98, sold in our Hong Kong rooms, 17th May 1988, lot 61; one entered the M.C. Wang Collection and was sold at Christie's New York, 19th March 2008, lot 636; and the last was sold in our Hong Kong rooms, 8th April 2009, lot 1657. Compare another washer included in a set of eight peachbloom-glazed vessels from the Tsui Museum of Art, illustrated in The Tsui Museum of Art: Chinese Ceramics, vol. IV: Qing, Hong Kong, 1993, pl. 6, and sold at Christie's Hong Kong, 3rd November 1996, lot 557. More recently, see one suffused with pale green speckles, previously in the collection of the Art Institute of Chicago, sold at Christie's New York, 11th September 2019, lot 726; one with mottling of lighter pink and green shades, sold in our Hong Kong rooms, 4th June 2020, lot 532; and lastly, one of a brilliant crimson glaze, sold in these rooms, 21st September 2021, lot 140.1957年，著名古董商Ralph M. Chait發表了〈The Eight Prescribed Peachbloom Shapes Bearing K'ang Hsi Marks〉一文，對研究豇豆紅釉器影響深遠，當中概述了康熙時期官窰創燒的豇豆紅釉︰「其色淡雅柔和，釉質細膩勻淨如天鵝絨……擁有『陽光下成熟桃子外皮的顏色』」（見《Oriental Art》，卷3，期4，1957年冬，頁130）。誠然，本品外壁呈桃紅色，帶深紅色暈點，器形完美展現這般妍雅可觀的釉色。 豇豆紅釉呈色千變萬化，斑駁交融，可謂景德鎮官窰創燒的重要製品之一。萬曆末年景德鎮官窰逐漸停燒，至近六十年後，清宮廷在當地復設御窰，直接派員監理陶政。康熙二十年，臧應選奉旨前往景德鎮任督陶官，開創新一朝製瓷盛世。銅紅燒製技法極艱，色正佳品為數極少，宣德以後幾近棄燒，直至康熙時期陶工研發出新技法，方見復燒，並有所成。陶工為駕馭窰燒時流淌的釉藥，先在生坯上以透明釉做底，然後用一端綁上細紗布的竹管蘸釉，從另一端吹氣，將釉藥吹到器面，最後再次罩透明釉入窰燒製。這種技法讓釉彩產生自然而富有變化的多種色調，發色「從濃郁的乾枯玫瑰色、蘋果紅到嫩如桃實的粉紅不等」（前述出處）。本品器體扁圓，小巧雅致，線條流暢，與瑩潤釉彩相得益彰，許多這類瓷洗已入藏全球重要博物館或成為私人收藏。北京故宮博物院藏一近例，載於《故宮珍藏康雍乾瓷器圖錄》，香港，1989年，圖版123；又有一例與一組豇豆紅釉「八大碼」同屬紐約大都會藝術博物館藏品，圖見Suzanne Valenstein著，《A Handbook of Chinese Ceramics》，紐約，1989年，圖版236；另有兩例出自Peter A.B. Widener舊藏，現藏華盛頓國家美術館，載於Virginia Bower等著，《The Collections of the National Gallery of Art. Systematic Catalogue: Decorative Arts》，卷1，華盛頓，1988年，圖版72及73；再比一例，出自鮑氏收藏，圖見John Ayers著，《The Baur Collection》，卷3，日內瓦，1972年，圖版A309；再比一例，出自大維德爵士舊藏，現藏倫敦大英博物館，載於蘇玫瑰著，《Illustrated Catalogue of Ming and Ch'ing Monochrome in the Percival David Foundation of Chinese Art》，倫敦，1989年，圖版B582；上海博物館收藏一例，呈色較本品深紅，載於《中國陶瓷全集︰清》，卷14，上海，1999年，圖版105。歷年亦有不少豇豆紅釉鏜鑼洗登上拍場。參見仇焱之舊藏三例，其一圖見Cecile及Michel Beurdeley著，《La Céramique Chinoise》，弗里堡，1974年，圖版98，售於香港蘇富比1988年5月17日，編號61；其二售於香港蘇富比2009年4月8日，編號1657；其三曾屬王孟鐘舊藏，售於紐約佳士得2008年3月19日，編號636。另比一例，曾屬徐氏藝術館收藏的一組豇豆紅釉「八大碼」，圖見《徐氏藝術館: 陶瓷》，卷4：清代，香港，1993年，圖版6，後售於香港佳士得1996年11月3日，編號557。近年市場亦有數例可參考，其一釉面佈滿淺綠苔點，曾入藏芝加哥藝術博物館，後售於紐約佳士得2019年9月11日，編號726；其二有粉紅和綠色苔斑，售於香港蘇富比2020年6月4日，編號532；其三呈色嬌嫩鮮潤，售於紐約蘇富比2021年9月21日，編號140。