國外有很多愛好收藏中國瓷器的外國友人。他們的收藏起步早，起點高，對中國瓷器藝術的見解也往往有獨到的視角。我的一位朋友澳里佛收藏中國瓷器已有四十來年，我們常常互換對藏品的斷代和分析觀點，同時他對我在瓷器收藏的指點可謂毫無保留。 

澳里佛對此龍鳳馬蹄形杯頗有些困惑，因為他覺得此杯如果是光緒或洪憲年間的瓷器的話無款就顯不太正常。他估計此杯應是在出窯後寫款前被人偷盜而流入市面，因為他很確定此杯是清代光緒年間的官窯瓷品，而絕不是民國時期的瓷品。另一個解釋是，在寫款的過程中被人疏漏了。他還指出了一個奇怪的現象，即此‘龍鳳杯’沒有上金彩，這有點不符合光緒官窯裝飾風格。

澳里佛的英文原文如下：

       …I am somewhat baffled as I believe them to be either Guangxu or Hongxien and should be marked. Perhaps they were stolen from the kiln at some stage before the nienhao was applied, that is one of my explanations as they are definitely Imperial of that period, I do not believe that they are Minguo.  

       The only other explanation is that they are pieces that slipped through the marking process; a curious fact is that neither has any gilding perhaps supporting my first theory.

       I will continue to examine them and ask other friends their opinion and get in touch with you if I have any further ideas.

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杯口直經7厘米，高6.3厘米

事實上，澳麗佛的判斷很準確（偷盜或疏漏）。‘龍鳳杯’未完成寫款和描金工藝則證明了婚慶用瓷製作過程的流產現象，也完全符合光緒大婚典禮一拖再拖的曆史史實。可以推測，當這批大婚用瓷燒造好後（1882年）而沒能最終書寫年號而流入市面的可能性是存在的。而從‘龍鳳紋粉彩茶壺’的底部所寫收藏贈言（見上一藏品）則以事實說明了光緒大婚用瓷製作過程的的一波三折及澳麗佛‘偷盜或疏漏’ 論評的合理性。

收藏中能將凝具在器皿之上的曆史和時代信息進行抽絲剝筧還原它的真實身份是收藏者的本份和樂趣。

http://s10/mw690/001RAnodzy75oQny529f9&690（1875-1908）" TITLE="清光緒粉彩龍鳳馬蹄形杯 （1875-1908）" />

http://s10/mw690/001RAnodzy75oQfQ8D7e9&690（1875-1908）" TITLE="清光緒粉彩龍鳳馬蹄形杯 （1875-1908）" />

Guangxu Famille Rose Teacup with Dragon and Phoenix Design, Qing Dynasty (1875-1908)

Diameter: 7 cm, height: 6.3 cm

There are a number of collectors of Chinese porcelain art overseas. They started collecting early on and collect choice pieces. They formulate their own view and articulate their personal perspective when it comes to understanding Chinese porcelain. A personal friend, Oliver, has been collecting for more than forty years. He shares unreservedly with me his theories and suggestions as we often exchange ideas and views on collecting.

Oliver is puzzled by this particular teacup. If this had been a cup from the Guangxu or Hongxian years, it would be highly unusual that there was not a year stamp on it. He suspects that the cup was taken from the kiln at some point and resurfaced in the mass market. He strongly believes that this cup is from the imperial kiln in the Guangxu period and not from the Republic era. His other explanation is that the cup accidentally skipped the stamping process. He also points out that it is highly unusual that this cup has no gold gilding, an archetype of Guangxu imperial kiln product.

Oliver wrote:

       …I am somewhat baffled as I believe them to be either Guangxu or Hongxien and should be marked. Perhaps they were stolen from the kiln at some stage before the nienhao was applied, that is one of my explanations as they are definitely Imperial of that period, I do not believe that they are Minguo.  

       The only other explanation is that they are pieces that slipped through the marking process; a curious fact is that neither has any gilding perhaps supporting my first theory.

       I will continue to examine them and ask other friends their opinion and get in touch with you if I have any further ideas.

Oliver’s assessment is quite accurate (whether it is stolen or oversight in stamping). The fact that this Dragon and Phoenix Cup lacks both a marking stamp and gold gilding indicates that the manufacturing process was not tightly controlled. It also agrees with the historical event that the royal wedding was postponed. It is therefore entirely possible that this assemblage of tableware, after it was produced (1882) but before they were stamped and finished with gold gilt, finds its way into the mass market. From the inscription on the bottom of the Teapot with Dragon and Phoenix (please refer to previous item), we can see the many twists and turns the dinnerware set intended for the royal wedding of Emperor Guangxu had to go through. It comes to show that Oliver’s hypothesis is very compelling.

It is immensely satisfying for any collector to be able to trace and date ancient artifacts and to reveal the object’s true identity based on conjecture and relentless probing.