Emperor Yellow Glazed Deer Head Ceramic Ware
*本次藏品 帝黄釉鹿头尊
典藏尺寸：高28.5cm 上口径19.2cm 底径16.5cm
黄釉瓷是明清时期著名的瓷器品种之一，从明代黄釉瓷开始烧制以来，黄釉瓷的品种就在匠人的创新中不断增加。明代黄釉瓷虽然已烧制得近乎完美，但黄釉瓷的品种还不是很多，黄釉瓷到了清代才有了更大的发展。这时期黄釉瓷颜色娇嫩如鸡油一般，被称为“鸡油黄”。这种“鸡油黄”色彩适中，比成化时期的淡黄釉显得深厚，又比正德、嘉靖年间的色泽浅淡，因此常有人将它视为中国陶瓷史上黄釉瓷的典型代表。五行之说中的金、木、水、火、土分别对应了五个方位和五种颜色，其中“土”代表着中央和黄色，帝王们自认为是天地的中心，大地的中央，故而将黄色定为至尊至上之色。另，《周易·坤卦》曰：“黄裳，元吉”，是最早将黄色服装与吉祥之意联系在一起的记载，帝王们都期冀江山永固，社稷安吉，故而选用黄色以图吉利。瓷器兽耳尊（罐）两耳造型一种是以兽耳为造型的，多以动物为主，比如狗耳造型、鹿儿造型居多，本次藏品依据《皇朝礼器图式》、《备物昭诚·祭器图》载录，其社稷坛正位尊、地坛正位尊与本器相类，且明言其为瓷质、黄色，故知本次藏品为当朝所使用的祭器。存世亦见有施红釉、白釉、霁青釉者，亦可经由 《皇朝礼器图式》的载录，得知其对应使用的祭祀场合。
Yellow glazed porcelain is one of the famous porcelain varieties during the Ming and Qing dynasties. The color of yellow glazed porcelain during the Ming and Qing dynasties was tender and tender like chicken oil, known as "chicken oil yellow". This "chicken oil yellow" color is moderate, appearing thicker than the light yellow glaze during the Chenghua period and lighter than the color during the Zhengde and Jiajing periods. Therefore, it is often regarded as a typical representative of yellow glazed porcelain in the history of Chinese ceramics. In the theory of the Five Elements, gold, wood, water, fire, and earth correspond to five orientations and five colors, respectively. Among them, "earth" represents the center and yellow. The emperors considered themselves the center of heaven and earth, the center of the earth, and therefore designated yellow as the supreme color. In addition, the "Book of Changes · Kun Gua" states: "Huangshang, Yuanji", which is the earliest record to associate yellow clothing with auspicious meanings. The emperors all hoped that the rivers and mountains of Hebei would be permanently fixed, and the country would be in good luck, so they chose yellow for auspicious purposes. Porcelain animal ear statue (jar) has two ear shapes. One type is based on animal ears, which are mainly animal shaped, such as dog ears and deer ears. This collection is recorded based on the "Imperial Ritual Ware Pattern" and the "Bei Wu Zhao Cheng · Sacrificial Ware Map". The Zhengwei Zun of the State Altar and Zhengwei Zun of the Earth Altar are similar to this artifact, and it is explicitly stated that it is made of porcelain and yellow. Therefore, it is known that this collection is a sacrificial vessel used by the current dynasty. There are also those who have applied red glaze, white glaze, and Ji blue glaze in the world, and the corresponding sacrificial occasions can also be known from the records in the "Imperial Ritual Instrument Pattern".
*《备物昭诚·祭器图》、《皇朝礼器图式》均有与本器相类载录
《备物昭诚·祭器图》，清乾隆年内府彩绘本，原藏斋宫。每册首扉页骑缝处均钤“乾隆御览之宝”朱文印。其中太庙前殿、社稷坛正位、天坛正位、地坛正位、朝日坛正位、夕月坛正位等各册首分别有乾隆墨笔楷书御题“对越备诚”、“报功致恪”、“精英昭格”、“厚德含章”、“宾阳彰敬”及“仪处少采”等字样，并钤“乾隆御笔”白文印。册内分绘清朝廷祭祀中大祀之天坛、祈谷坛、太庙、社稷坛，中祀之朝日坛、夕月坛、帝王庙、文庙、先农坛、先蚕坛、地坛、地祗坛、太岁坛、关帝庙以及群祀之三皇庙、都城隍庙、内城隍庙、永佑庙、天下第一泉龙王庙、黑龙潭龙王庙及奉先殿、传心殿、崇圣祠等各处之祭器的形制、质地、尺寸、纹饰、颜色等，每器均有详细的文字说明，是研究清代礼制的宝贵资料。
《皇朝礼器图式》，清允禄、蒋溥等奉敕初纂，乾隆二十四年（1759年）完成；清福隆安、王际华等奉敕补纂。清乾隆三十一年（1766年）武英殿刻本。卷前有乾隆二十四年御制序、和硕庄亲王允禄等进表、乾隆三十一年七月福隆安等补纂告竣进表、允禄等29位纂修官职名、福隆安等39位补纂官职名。《皇朝礼器图式》是记载典章制度类器物的政书，图文并茂，分为6部分：卷一、卷二为祭器，卷三为仪器，卷四至卷七为冠服，卷八、卷九为乐器，卷十至卷十二为卤簿，卷十三至卷十八为武备。每器皆列图于右，系说于左。每件器物的详细尺寸、质地、纹样以及与相应官职品级的对照，无不条理清晰，记载详备。《四库全书总目》评述该书：“所述则皆昭典章，事事得诸目验，故毫厘毕肖，分寸无讹，圣世鸿规粲然明备。”是书对了解和研究清朝的典章制度具有重要意义。
The painting of the sacrificial vessels in the preparation of the object Zhaocheng is a painted version of the imperial palace in the Qianlong reign of the Qing Dynasty, originally housed in the Zhai Palace. At the crack of the first page of each volume, there is a seal of "Treasure of Emperor Qianlong's View" Zhu Wen. At the beginning of each volume, including the front hall of the Imperial Temple, the position of the State Altar, the position of the Heaven Altar, the position of the Earth Altar, the position of the Chaori Altar, and the position of the Xiyue Altar, there are Qianlong ink regular script imperial inscriptions such as "Sincerity towards Yue", "Reward for Merit", "Elite Zhao Ge", "Profound Virtue and Emblem", "Honor in Binyang", and "Less Picking in Yichu", with the seal of "Qianlong Imperial Brush" in white. In the book, the shape, texture, size The patterns, colors, and other details of each vessel are provided with detailed textual explanations, which are valuable materials for studying the etiquette system of the Qing Dynasty.
The "Imperial Ritual Vessel Pattern" was first compiled by Qing Yunlu, Jiang Pu, and others under imperial edicts, and was completed in the 24th year of Qianlong (1759); Qingfu Long'an, Wang Jihua, and others were ordered to supplement the compilation. In the 31st year of the Qianlong reign of the Qing Dynasty (1766), the Wu Ying Hall was engraved. In the front of the volume, there are Preface to the Imperial System of the 24th year of the Qianlong reign, Prince Yunlu of Heshuozhuang and others who entered the table, Fulong'an and others who completed the supplementary compilation of the table in July of the 31st year of the Qianlong reign, Yunlu and other 29 editing official positions, and Fulong'an and other 39 editing official positions. The "Imperial Ritual Vessel Scheme" is a political book that records the regulations and systems of artifacts, with illustrations and texts. It is divided into six parts: Volume 1 and Volume 2 are sacrificial vessels, Volume 3 is instruments, Volume 4 to Volume 7 are crowns, Volume 8 and Volume 9 are instruments, Volume 10 to Volume 12 are brine books, and Volume 13 to Volume 18 are military equipment. Each device is listed on the right and is said to be on the left. The detailed size, texture, pattern, and comparison with the corresponding official grade of each artifact are clearly organized and recorded in detail. The "General Catalogue of the Complete Book of the Four Treasures" comments on the book: "Everything described is clear and clear, and everything can be verified by various eyes. Therefore, every inch is accurate and accurate, and the holy world and regulations are clearly prepared." This book is of great significance for understanding and studying the laws and regulations of the Qing Dynasty.
*本次藏品 帝黄釉鹿头尊
近期我公司征集了一件帝黄釉鹿头尊，此器高28.5厘米，上口径：19.2cm，底径：16.5cm，全器造型呈水罐样式，口部较广，短直颈，溜肩，腹部丰满，腹下部内敛，底为宽沿圈足，圈足露胎；全器光素无纹，表里均施黄色釉，釉质肥厚，釉色匀均；肩部左右两侧各饰有一只圆雕鹿头，双耳直立，双睛圆睁，嘴角微张，神态活泼，该尊因双鹿之耳而异常生动。尊底部中央刻有阴文篆书“大清乾隆年制”两行六字方款。
Recently, our company has collected an imperial yellow glazed deer head ceramic ware, which is 28.5 centimeters high, with an upper diameter of 19.2cm and a bottom diameter of 16.5cm. The entire piece is designed in the shape of a water jar, with a wide mouth, a short straight neck, a sloping shoulder, a plump abdomen, a retracted lower abdomen, and a wide circular foot at the bottom, with exposed fetuses; The entire body is smooth and without any patterns, with yellow glaze applied on both the surface and inside. The glaze is thick and uniform in color; On both sides of the shoulder, there is a round carved deer head adorned with upright ears, round eyes, slightly open corners of the mouth, and a lively expression. This statue is exceptionally vivid due to the ears of the two deer. The center of the bottom of the statue is engraved with two lines of six character square script in Yin script, which was made during the Qianlong reign of the Qing Dynasty.
*本次藏品口径 *本次藏品底款
器身通体内外施釉，胎体结实厚重，胎色纯正厚温润，挺拔俊雅，方阔沉稳；遥想当时烧成出窑以后，冷却功夫掌握得宜，继而润其色。釉呈色极为淡雅匀净，釉层较薄，施釉均匀，没有深浅不一的色差。由于釉中掺有玻璃白，故釉汁混而不透。清御窑厂瓷器的生产及运输都被皇家严格控制，而黄釉瓷器连残次品都要运回京城处理，以防流人民间。《清官档家》中《唐英奏折》载：“乾隆二十一年七月七日，唐英将次色黄器一万一千七十九件及次色祭器一百六十四件开选清册呈交广储司按册查收。”乾隆七年（1742年），为撙节开支，皇帝谕旨：“嗣后，脚货不必来京，即在本处变价。”但唐英以为不妥，次年上奏《请定次色瓷器变价之别以杜民窑冒滥折》，可见黄釉器为皇家垄断，绝对不允许流落民间。随着封建王朝的瓦解和清代帝制的结束，皇室对黄釉瓷的严格控制自然也就随之瓦解了。黄釉瓷走向民间，但由于它在皇权统治下经历了漫长岁月，早已被刻上了深刻的烙印，黄釉瓷仍成为釉色瓷中最为尊贵、奢华的代表。因此，无论是出于个人爱好收藏还是进行藏品投资，都是非常值得的。
The body of the vessel is glazed both inside and outside, with a sturdy and heavy body, a pure and warm color, upright and elegant, square and wide, and steady; Looking back at the time, after being fired and discharged from the kiln, the cooling technique was mastered appropriately, and then its color was moistened. The color of the glaze is extremely elegant and uniform, with a thin glaze layer and even glaze application, without any color difference of varying shades. Due to the addition of glass white in the glaze, the glaze juice is mixed and opaque. The production and transportation of porcelain in the Qing Dynasty Kiln Factory are strictly controlled by the royal family, while yellow glazed porcelain, even defective products, must be transported back to the capital for processing to prevent their circulation among the people. In the "Qing Guan Gu Jia", the "Memoirs of Tang Ying" recorded: "On July 7, 2021, Tang Ying submitted a selection list of 1179 secondary colored yellow vessels and 164 secondary colored sacrificial vessels to the Guangchu Department for collection." In the seventh year of Qianlong (1742), in order to reduce expenses, the emperor ordered: "In the future, the foot goods do not need to come to Beijing, but the price will be changed here." However, Tang Ying thought it was inappropriate, The following year, the song "Please Determine the Price Difference of Second Color Porcelain: Du Min Kiln Rises and Discounts" was released, indicating that yellow glazed ware is a royal monopoly and is absolutely not allowed to wander among the people. With the collapse of the feudal dynasty and the end of the Qing dynasty's imperial system, the strict control of the royal family over yellow glazed porcelain naturally collapsed. Yellow glazed porcelain has been popular among the people, but due to its long history under imperial rule, it has already been deeply imprinted, making it the most noble and luxurious representative of glazed porcelain. Therefore, whether it is collecting for personal interests or investing in collectibles, it is very worthwhile.
以上藏品相关信息请与：四川君再来拍卖集团有限公司联系。
Please contact Sichuan Junzailai Auction Group Co., LTD for information about the above collections.
