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　　There are extensive innovations evident on various categories of Chinese porcelain during the reign of the Yonzheng emperor, however those that stand the test of time and remain in existence until this day are considered extremely scarce. The ruyiping, or ruyizun form, is originally inspired by the Tang dynasty prototypes. According to the publication “Yinluizhai Shuo Ci” by Xu Zhiheng, the author describes the vessel as “Ruyizun, standing tall approximately six to seven inches high, surmounted on a wide lower body rising steeply to a short waisted neck, ending in a flared mouth; often produced in blue and white during the early Qing dynasty, but can also be found in elegant plain white glaze or with anhua decoration.”

　　The present lot is without a doubt, is one of the most excellent example of its type; the skilful workmanship is an absolute pleasant sight for the viewer. Painted beautifully in rich cobalt blue in the style of the Ming dynasty Xuande period, the artist showcases the finesse of his execution by using fluid brushstrokes to depict the elegant floral decorations on the jade-like lustrous porcelain body. Complimented by a pair of beautiful curved handles on the side, the vase is visually stunning in its boldness, yet retaining a sophisticated flair. The base is further inscribed with a strict and formally written six-character “da Qing Yongzheng nianzhi’ kaishu Imperial seal mark of the period.

　　The Yongzheng emperor had a discerning taste and adored the most superior of antiquities; he often demanded that his Imperial collection be filled with precious antiquities “in the style of the ancestors, with fresh interpretation and yet with reference to the past”. It is the emperor’s wish to constantly seek a personal and emotional connection to his forefathers, by paying respects to the stylistic qualities of previous reigns. The current lot is heavily influenced by the Yongle and Xuande periods, drawing inspiration from what the Yongzheng emperor regards as the essence of beauty through the eyes of his ancestors, in order to achieve modern innovation and produce advangarde porcelain pieces indigenous only to his reign. In summary, the present lot quintessentially reflects the demeanour and expressive thoughts of the Yongzheng emperor, all carefully reinterpreted in the course of its production and visually materialised by the masterful Imperial craftsmen.

　　The Yongzheng emperor specifically oversaw the production of such porcelain during his reign. Under the watchful eye and guidance of the emperor, who implied specifically in his orders that the production of his porcelain be “similar in form to the predecessors but represented in an alternative palette”. The emperor’s insistence of quality and perfection combined with reminiscent styles of the past has led to the merging and resulting in the creation of distinctively unique porcelain iconic to the Yongzheng period. Identical examples were ordered by Imperial decree to be produced with different decorative motifs or glazes, sometimes in a set, but always represented with only one example in a set; the lesser the quantity of the specific category of design, the rarer and more precious it is considered. For example, refer to the twelve individual monochrome glazes of the chrysanthemum-shaped dishes and gourd-shaped vases, whereby every set has only one representative glaze colour in a set; each and every one bestows the viewer a different experience given the varying glaze colours. It is exceptionally rare to find an example of such exceptional rarity in private hands.　　

    清世宗一朝于瓷器之品種與器形創(chuàng)新甚多，一空前古，至今所見皆為珍品。如意耳瓶，舊稱如意尊，為唐窯新出器樣，瑰麗悅目，器形秀雅?！讹嬃鼾S說瓷》之“說瓶罐第七”如此記述：“如意尊，如意尊高約六七寸，上殺下豐口巨軀短，清初多作青花，若純色釉及暗花者亦為雅制?！?/P>

　　本品即為當中之佳例，端莊雋秀，柔美舒展，通體以摹仿永宣的點涂筆法繪就各式纏枝花卉紋，花枝舒展自如，布局疏密得當，青花一色蒼雅深邃，別具永宣神韻。圓碩豐盈的瓶體與靈空優(yōu)美的雙耳搭配，在整體視覺效果上達到均衡虛實之美，使得器形穩(wěn)重而不失秀氣。外底心雙圈內(nèi)書有“大清雍正年制”六字雙行楷書款，字體清秀俊雅，排列疏朗。胎釉瑩潤似玉，處處彰顯出麗質(zhì)非凡。

　　雍正皇帝雅好古物，品味頗高，宮廷制器有“仿舊須宗雅則，肇新亦有淵源”之原則，仿古采今，蔚為大觀，永宣制器蒼妍雄渾之品格最得胤禛之青睞。本品為雍正御窯摹古永樂青花之卓越代表。同時，由本品造型與紋飾之組合可折射雍正皇帝對摹古的態(tài)度。在追求全面摹古之際，雍正皇帝絕不僅停留于此，而善于汲取前朝藝術(shù)精粹，移為己用，注重在傳統(tǒng)構(gòu)成因素中創(chuàng)新，借鑒原來的工藝造型和紋飾進行抽繹，組合出具有時代特色的新樣式，寄予新意。

　　在多情天子胤禛的主導下，穿越時空，交融相匯，釋放出新意，使得傳統(tǒng)陶瓷在摹古中實現(xiàn)創(chuàng)新，引領(lǐng)御瓷設(shè)計與燒造步入前所未有之新境地。同時，雍正皇帝強調(diào)是“同形而異彩”，相同的器型裝飾不同的釉彩和紋飾，而每一品類往往僅燒造一件，越是名貴的品類越是體現(xiàn)明顯，絕少重復。例如著名的十二色釉菊瓣盤和瓜棱尊，均強調(diào)多件組合，故每一件均不相同。此為雍正御瓷一大特點。

　　目前所見之雍正官窯如意耳瓶品種有青花釉里紅、青花、仿哥釉、斗彩、冬青釉、蔥綠釉，紋飾有纏枝蓮花、三多花果紋、寶相花紋。造型彼此相同，但高度分23厘米左右和26厘米左右兩種。這些難得的珍品分別為藏于北京故宮博物院與臺北故宮博物院、南京博物院，少數(shù)則為私人收藏。

　　在此審美思想引導下，雍正御瓷綻放出斑斕奪目的新姿彩，方得成造出此佳器，迎合上意，祈愿得如意尊者，常享如意！