A ROMANCE AMONG BLOOMING ROSES:A ROMANCE AMONG BLOOMING ROSES The Meiyintang Collection of Three Dynasties Imperial Ceramics The Meiyintang Collection of Three Dynasties Imperial Ceramics 瑰映如茵：玫茵堂藏元明清御窯雅蓄 Hong Kong 2 December 2021 香港 2021 年 12 月 2 日 瑰 映 如 茵 ： 玫 茵 堂 藏 元 明 清 御 窯 雅 蓄 7TH FLOOR, ONE PACIFIC PLACE, 88 QUEENSWAY, ADMIRALTY, HONG KONG • 88 1 7 • +852 2303 9899 2 DECEMBER 2021 HKF3321-5

清香和宿雨，佳色出晴煙。 —— 錢起 《酬長孫繹藍溪寄杏》 'The fragrance blends with the flavour of evening rain. The beautiful colour stands out in clear weather like in mist.' A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 2  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3551 清康熙  五彩「二月杏花」花神杯 「大清康熙年製」 A FAMILLE-ROSE 'APRICOT BLOSSOM' MONTH CUP MARK AND PERIOD OF KANGXI 杯形小巧，口沿微撇，深腹，上腹斜直，下腹微折，下承 PROVENANCE 圈足，胎薄體輕，釉面溫潤，內外施白釉，外壁以五彩繪 The Meiyintang Collection 二月杏花花卉圖，另一面配以題詩：「清香和宿雨，佳色 出晴煙」，詩文結尾處鈐印「賞」字印章款，外底心青花 LITERATURE 雙圈內書「大清康熙年製」六字三行楷書款。 Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 4(2), London, 1994-2010, p.256-259, 花神杯用唐詩為花做注，皆因康熙帝喜唐詩之故。康熙 no.1728-1739 四十四年（1705年） 三月，將編纂唐詩總集之務交給江 寧織造曹寅，並將內府所藏季振宜《唐詩》一部發下，作 Delicately potted and surmounted on a short foot, the 為校刊底本，至次年十月，即編成《全唐詩》奏上，囊 steep sides rising towards a gently everted rim, the exterior 括唐詩四萬八千九百餘首，共計900卷，康熙帝親為之作 intricately painted with an early spring scene and design 序。此時，也恰是景德鎮御窯廠康熙時期官窯燒造第三 of apricot, representing the second month, February. The 階段（1705-1722年）之肇啟。在此背景下，故唐詩成為 reverse inscribed with a ten-character poem in ‘kaishu’, 十二花神杯的主題，便情理使然。而雍正、乾隆兩朝琺瑯 and a seal mark, the base inscribed in underglaze-blue 彩瓷採用古詩做為文字題材，亦為花神杯配以唐詩經典模 with a six-character mark within double circles. 式之延續。乃為滿清帝王以「盛唐」自況的一種文化創新 與文化自信。 D 6.5cm 來源 玫茵堂，瑞士 出版 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦， 1994-2010年，頁256-259，編號1728-1739 HK$ 650,000 - 950,000 US$ 84,000 - 122,000 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫 (two views 兩面) 敦，1994-2010年，頁256-259，編號1728-1739 款識 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4(2), London, 1994-2010, p.256- 259, no.1728-1739 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 4  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3552 清雍正  粉彩「合家歡」雞缸杯一對 「大清雍正年製」 A PAIR OF FAMILLE ROSE 'CHICKEN' CUPS MARKS AND PERIOD OF YONGZHENG 此雍正雞缸杯，承襲明十五世紀成化器形，然繪風破舊立 PROVENANCE 新，以意創造，甚為稀有。杯為一對，敞口，斜直壁，矮 1. Sotheby's Hong Kong, 27 April 2003, lot 187 圈足。器心微凸，內外皆素白釉。杯外以粉彩繪子母雞 2. Eskenazi Ltd, London 圖。其中一杯畫公雞佇立張喙，其色斑斕鮮明，旁有一母 3. The Meiyintang Collection 率三雛，覓食於野地，幼雞啄蟲，牝雞羽翅棕褐，回首凝 視公雞，背面另綴小蟲。另外一杯，主題相近，其中公雞 LITERATURE 為幼雛捕獲小蟲，母雞羽翼雪白，伴隨在側。此對杯彩施 Regina Krahl, Chinese Ceramics from the Meiyintang 色精絕，雞羽之處等筆觸細微，類有畫琺瑯之感，頗為傳 Collection, vol. 4(2), London, 1994-2010, p.294, no.1758, 神。底落「大清雍正年製」青花六字三行楷書款。 1759 D 9.2cm Each of wide conical form, the almost straight sides rising from a low tapered foot and recessed base, finely 來源 painted on the exterior with different scenes of chickens 1. 香港蘇富比，2003年4月27日，編號187 and chicks, and an insect hovering on the back, one cup 2. Eskenazi Ltd，倫敦 depicting the cock crowing, with a crouching hen turning 3. 玫茵堂，瑞士 her head towards him, while one chick perches on her back and two others stand by her side fighting over a 出版 worm, the cock depicted with a pink wattle and comb, a 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦， golden neck with delicately detailed plumage, the body 1994-2010年，頁294，編號1758、1759 with feathers shaded from yellow to pink, the belly dark brown with details incised through the enamel, the back HK$ 2,500,000 - 3,500,000 golden, wing feathers outlined in brown, and impressive US$ 320,000 - 447,000 tail feathers in black and white, the hen also detailed with a pink wattle and comb with brown plumage overall, the feathers finely indicated in a darker brown tone, the chicks coloured yellow, brown and white, the other cup with a similarly coloured cock bending down to eat an insect, while a white hen with feathers finely indicated in brown stands beside him, surrounded by three chicks, one brown with details picked out in gold, one white, and one yellow, the ground indicated on both cups by turquoise dots, the insect enamelled in yellow and brown with details in gold, the bases inscribed with a six-character reign mark in three vertical lines within a double ring in underglaze blue. 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫 款識 敦，1994-2010年，頁294，編號1758、1759 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4(2), London, 1994-2010, p.294, no.1758, 1759 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 6  瑰映如茵：玫茵堂藏元明清御窯雅蓄

成化雞缸杯乃後世相繼趨之若鶩的「古物」，邇後各朝為親炙神器 This exquisitely painted piece is an extremely rare version of chicken cups 丰採而爭相仿造，令此物經年以來穩守藏瓷之冠。這波潮流風行百 produced during the Yongzheng reign that were directly inspired by the 載，早於名杯成器肇始之時已蔚然成風。明末清初程哲所撰《蓉 treasured Chenghua originals. It closely follows the Chenghua prototype in 槎蠡說》羅列各朝重器，惟成化雞缸杯的價格、魅力雙絕，世無與 form and composition, but with the slightest variation on the design, such 匹。程氏寫道萬曆皇帝（1573-1620）尤好此器，「神宗時尚食，御 as the more elaborate tails of the cocks instead of three long feathers. 前成杯一雙已值錢十萬。」康熙時期成化鬥彩雞缸杯便極受重視， 時人程哲所著《蓉槎蠡說》、劉廷幾《在園雜記》、孫承澤《硯山 The design of a cock and a hen with chicks in a garden setting was a 齋雜記》、高士其《高江村集》等筆記內皆有記述，其中高士其更 design innovation of the Chenghua reign, although the subject was a 作「成窯雞缸歌」贊詠。康熙時期仿燒品，可參考故宮博物院藏 well-known topic of Song dynasty painting. By the Yongzheng period, 品。乾隆皇帝在其御題《詠雞缸杯》一詩中也贊嘆：「朱明去此弗 developments in enamel technology saw the invention of glossy black 甚遙，宣成雅具時猶見。寒芒秀採總稱珍，就中雞缸最為冠」， enamel that was added to the tails of the cocks to capture the richness of 認為成窯雞缸杯乃無比珍貴之名品。在此社會風氣影響下，清代御 the birds. 窯廠也多有仿燒，乾隆朝仿成化雞缸杯為創新款式，畫面為童子戲 雞；與之相較，雍正朝的雞缸杯在畫面和款識上都更為忠實於成化 For examples of the Chenghua original, see eight in the National Palace 原型，深得成化雞缸杯之精髓。 Museum, Taipei, of which six were included in Chenghua ciqi tezhan/ Special Exhibition of Ch’eng-hua Porcelain Ware, 1465-1487 , National 以公雞、母雞及雛雞為藝術題材，早得宣德帝（1426-1435）青睞。 Palace Museum, Taipei, cat. nos 132-7; one from the Sir Percival David 國立故宮博物院所藏一幅宣德年間畫作，正以此命題，畫上更有宣 Collection, and now in the British Museum, London, included in the 帝蓋印、御筆題字。而後，成化帝賞宋代子母雞圖慨有所感，輒然 exhibition Flawless Porcelains. Imperial Ceramics from the Reign of the 撰詩御題，觸物抒懷，並始飾瓷上。母雞護雛衛幼、撫育稚子，令 Chenghua Emperor , Percival David Foundation of Chinese Art, London, 成化帝讃頌不已，遂成其鐘情子母雞紋的一大源由，乃至往後的康 1995, cat. no. 22. 雍二帝，亦無不為此觸動。之於雍正帝，母雞護雛更可喻其治國之 道，譬喻君主愛民如子，自勉勤恤民隱，惠澤鰥寡。成、雍二杯皆 生動描繪公母雞率領幼雛覓食，氣韻盎然，渾然天成。雍正年間， 窖燒技術發展至頂峰，並研發彩釉新品種，特別是以帶有光澤的墨 彩，描繪雞尾，與其它釉彩產生鮮明的對比，令紋飾更為生動逼 真。成化鬪彩設色雖多，但不用墨彩，只在鈷藍上加添綠彩，以達 墨色之效。而康熙黑彩暗淡無光，缺乏穩定性，須再上淺綠或紫彩 以達效果。雍正雞缸杯大多忠於成化器形，然畫風更為自然疏朗。 公雞尾部高翹，八隻小雞分散而行，花草秀石佈局比例也異於前。 但本品亦與常見雍正仿成窯雞缸杯相異，一改鬥彩為粉彩作飾，雞 身描繪之色更富於層次，靈動。彩料發色極為鮮艷奪目，似有畫琺 瑯之感，為極罕見之雍正雞缸杯類之創新雅趣。 清雍正  斗彩雞缸杯一對 明成化  斗彩雞缸杯 香港蘇富比，2014年4月8日，編號3109 © 大維德基金會 A pair of doucai 'chicken' cups, marks and period of Yongzheng A doucai 'chicken' cup, mark and period of Chenghua Sold in Sotheby's Hong Kong, 8 April 2014, lot 3109 © The British Museum, Percival David Foundation A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 8  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3553 清雍正  釉裡紅三魚紋盤一對 「大清雍正年製」 A PAIR OF UNDERGLAZE-RED 'FISH' DISHES MARK AND PERIOD OF YONGZHENG 本對盤敞口，淺腹，圈足。內壁光素，外壁繪以釉裡紅三 PROVENANCE 魚紋。底部青花雙圈「大清雍正年製」六字兩行楷書款。 The Meiyintang Collection 全器造型端莊，線條優美，通體所施白釉潔白滋潤，外壁 的釉裡紅三魚紋寓意「連年有餘」。釉裡紅紋飾特徵是剪 LITERATURE 影式，不加細節描繪，三魚色調紅豔，現於白釉之上，自 Regina Krahl, Chinese Ceramics from the Meiyintang 然明快，相映成趣。 Collection, vol. 4(2), London, 1994-2010, p.242, no.1719 這對盤是清雍正官窯仿前官窯的名貴品種，關於此式三魚 Each dish is potted with low, rounded sides set over a 紋的燒造，唐英在《陶成紀事碑》中有明確記載：「…… slightly tapered foot. The exterior is painted in underglaze 一仿宣窯寶燒，有三魚、三果、三芝、五蝠四種」，本對 copper red with three fish swimming gracefully against the 盤即為這種「三魚」之代表。而此種釉裡紅製法承襲自永 white ground. Their tails sweep gently up and fins extended 宣御窯，所飾銅紅釉，或夾施於透明釉層之間，異於常見 with the varying blush tones of the copper red enhancing 之釉下銅紅彩繪技藝。此法若成，所得紅色更顯強烈，雖 the naturalism. The base is inscribed with a six-character 無法呈遞紋樣細節，具有天然紅寶石般光澤，最適凸顯剪 mark in underglaze blue within a double circle. 影視效，文獻稱之為「釉裡紅寶燒」，為雍正御瓷中仿古 佳制，彰顯其品味之逸雅絕塵。 D 15cm; D 14.7cm 來源 玫茵堂，瑞士 出版 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦， 1994-2010年，頁242，編號1719 HK$ 400,000 - 600,000 US$ 52,000 - 77,000 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫 敦，1994-2010年，頁242，編號1719 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4(2), London, 1994-2010, p.242, no.1719 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 10  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3554 清雍正  窯變釉舖首耳尊 「雍正年製」 A FLAMBE-GLAZED VASE, ZUN SEAL MARK AND PERIOD OF YONGZHENG H 26cm PROVENANCE 1. Christie's Hong Kong, 30 May 2006, lot 1366 來源 2. The Meiyintang Collection 1. 香港佳士得，2006年5月30日，編號1366 2. 玫茵堂 ，瑞士 LITERATURE Regina Krahl, Chinese Ceramics from the Meiyintang 出版 Collection, vol. 4(2), London, 1994-2010, pp.359-361, 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦， no.1809 1994-2010年，頁359-361，編號1809 HK$ 2,800,000 - 3,200,000 US$ 358,000 - 409,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫 敦，1994-2010年，頁359-361，編號1809 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4(2), London, 1994-2010, pp.359-361, no.1809 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 14  瑰映如茵：玫茵堂藏元明清御窯雅蓄

本品撇口，束頸，頸以下漸擴，垂腹，下承圈足。近口沿 The pear-shaped body is molded with double-ribs at 處及肩腹部飾雙弦紋兩組，肩兩側對飾鋪首銜環，獸面的 the shoulder and applied with two taotie mask handles 口中銜一環，稱「鋪首銜環」，由青銅器肩部裝飾的銜耳 suspending fixed rings. The vase is covered with a 環獸首演化而來，通體滿施窯變釉，釉色斑斕絕美，密布 characteristically thick and bright purple glaze with 開片，色澤中紫紅色較重，參雜天藍、月白兩色流淌交 turquoise streaks thinning to a brown over the extremities 融，有「雲亂水光浮紫翠」的詩意之美。底部施醬色釉， and mouth rim. The base is covered in café-au-lait and 釉色斑駁，深淺不一，中央釉下刻「雍正年製」四字陰文 incised with a four-character Yongzheng seal mark. 篆書款識。 Only one other flambé-glazed vase of this form and 雍正帝偏愛鈞瓷，曾詔命燒造仿古鈞瓷，及研發其他相類 design is known, included in the Min Chiu Society Thirty- 釉色，據《清文件》記載，清雍正六年皇室派駐景德鎮御 fifth Anniversary Exhibition, In Pursuit of Antiquities, 窯廠的內府員外郎、陶務佐理唐英協理景德鎮御窯廠窯 Hong Kong, 1995, illustrated in the Catalogue, pl. 137, 務，七年，會同幕友吳堯圃「杜門，謝交遊，聚精會神， and subsequently sold in Christie’s Hong Kong, The 苦心竭力，與工匠同其食息」，終於熟知了「物料、火 Jingguantang Collection, 3 November 1996, lot 564. 候生克變化之理」，經反復實驗，雍正十三年（1735） 「新得窯變」。由此，仿古的銅紅窯變釉，從造型、裝飾 Cf. other related flambé-glazed vases bearing Yongzheng 到釉色各方面獲得可控的突破，制器燒窯漸趨完美。 marks, although none of this exact form, in the Palace Museum, Beijing, illustrated in Kangxi, Yongzheng, 雍正御窯鋪首尊傳世稀少，所見之品種有青花、窯變釉 Qianlong, Hong Kong, 1989, pp. 278-281, pls. 107-110. 和仿汝釉，為清宮經典之陳設花器。與本品近似一例 雍正窯變釉鋪首尊，為豐肩者，出自著名中國單色釉 藏家E. T. Hall舊藏，並著錄於《Hall Family Collection inventory》，編號441，最早來源於Bluett & Sons London。故宮博物院藏一例清雍正窯變釉雙帶耳瓶，與 本品風格一致，錄於《故宮博物院藏文物珍品大系—顏色 釉》，2009年，頁201，圖181。 戰國 三角雲紋獸耳銅壺 清雍正 窯變釉獸耳弦紋瓶 © 台北故宮博物院 清宮舊藏 A flambé glaze vase with handles, © 台北故宮博物院 seal mark and period of Yongzheng An archaic bronze vessel, Warring © The Palace Museum, Taipei states period © The Palace Museum, Taipei A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 16  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3555 清雍正/乾隆  蘋果綠釉菊瓣盤 A FINE APPLE GREEN-GLAZED CHRYSANTHEMUM DISH YONGZHENG/ QIANLONG PERIOD 本品盤呈菊瓣形，侈口弧壁，下承圈足，形制秀美。盤內 PROVENANCE 外壁均施蘋果綠釉，瑩潤光亮。圈足內施白釉，釉色與形 1. Collection of Enid and Brodie Lodge (1880-1967), no. 制搭配相宜，遠望如素菊靜放。外底施白釉，底內未書寫 M33 款識。 2. The Meiyintang Collection 「蘋果綠」釉又稱澆綠釉，創燒於明初永宣時期，嘉靖一 EXHIBITION 朝十分流行，在清初之際景德鎮窯廠已掌握十分成熟的配 Pure and Natural: Special Exhibition of Ming and Qing 方和燒造技術，釉色可達翠色怡人之境，燒成時釉中的銅 Monochrome Porcelains, Poly Art Museum, Beijing, 2018 大部分被氧化而形成深淺不一的綠色，一般在淺綠色底上 雜有深綠色斑點，少數地方微泛紅色，酷似新鮮蘋果。在 LITERATURE 康熙二十年，此種釉瓷正式成為官窯燒造的品類之一。而 1. Regina Krahl, Chinese Ceramics from the Meiyintang 傳世品與館藏品種，此類蘋果綠釉器物並不多見，菊瓣盤 Collection, vol. 4(2), London, 1994-2010, p.394, no.1833 更為罕有，翻閱海內外公私資料，雖有綠釉器，錄於《中 2. Pure and Natural: Special Exhibition of Ming and Qing 國名陶展》，頁115，圖版126；然蘋果綠釉者則未見他 Monochrome Porcelains, Poly Art Museum, Beijing, 2018, 例，本品雖無落款，但應為孤品，極為珍貴。 p.298, no.116 D 17.5 cm The dish is potted with the shallow rounded sides, moulded in the form of forty slender fluted petals radiating 來源 from a slightly recessed flat centre. It is supported on a foot 1. Enid Lodge 及 Brodie Lodge（1880-1967）收藏，編 of corresponding form and covered overall with a lustrous 號M33 vibrant apple-green glaze. The center of the base is left 2. 玫茵堂，瑞士 white and inscribed with a six-character reign mark within a double circle in underglaze blue. 展覽 《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博物 館，北京，2018年 出版 1. 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦， 1994-2010年，頁394，編號1833 2. 《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博 物館，北京，2018年，頁298，編號116 HK$ 650,000 - 950,000 US$ 84,000 - 122,000 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫 (side view 側面) 敦，1994-2010年，頁394，編號1833 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4(2), London, 1994-2010, p.394, no.1833 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 20  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3556 清雍正  白釉菊瓣盤 「大清雍正年製」 A FINE WHITE-GLAZED CHRYSANTHEMUM DISH MARK AND PERIOD OF YONGZHENG 本品釉色潔白，胎質溫潤。盤壁呈菊花瓣狀，造型秀美端 PROVENANCE 莊，線條優美舒暢，配以勻淨瑩潤的釉色，顯示了雍正時 The Meiyintang Collection 期制器靜雅纖麗的藝術風格及高超的製瓷水平。雖後世乾 隆朝亦有製作，但難及雍正本朝形巧色美。外底施白釉， EXHIBITION 內書青花雙圈「大清雍正年製」六字雙行楷書款。 Pure and Natural: Special Exhibition of Ming and Qing Monochrome Porcelains, Poly Art Museum, Beijing, 2018 D 16cm LITERATURE 來源 1. Regina Krahl, Chinese Ceramics from the Meiyintang 玫茵堂，瑞士 Collection, vol. 4, London, 1994-2010, pp.320-321, no.1781 展覽 2. Pure and Natural: Special Exhibition of Ming and Qing 《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博物 Monochrome Porcelains, Poly Art Museum, Beijing, 2018, 館，北京，2018年 p.277, no.105 出版 1.康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦， 1994-2010年，頁320-321，編號1781 2.《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博 物館，北京，2018年，頁277，編號105 HK$ 1,000,000 - 1,500,000 US$ 128,000 - 192,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫 敦，1994-2010年，頁320-321，編號1781 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4, London, 1994-2010, pp.320- 321, no.1781 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 22  瑰映如茵：玫茵堂藏元明清御窯雅蓄

甜白釉由純釉石提煉，幾乎不含釉灰。甜白釉釉面臻美， The dish is potted with the delicate shallow rounded sides 潔白玲瓏，瑩亮而溫潤不寒，光致而觸手柔滑，無論凝神 and is exquisitely moulded in the form of twenty-four 細賞、或把於掌中，皆為賞心樂事，意趣無窮。雍正帝對 slender fluted petals, simulating a chrysanthemum bloom. 白釉器別有青睞，據現內務府造辦處檔案最早記載年希堯 All these are supported on a foot of corresponding form. It 榷陶的史實，就是雍正皇帝令其仿燒前朝白瓷。 is covered overall save for the footring with an even opaque white glaze. The base is inscribed in underglaze blue with a 然而，從史料中所見，清宮所藏的雍正白釉瓷器甚為稀 six-character reign mark within a double circle. 少。參考乾隆二年《各作成做活計清文件》記錄：「內務 府慶豐司員外郎臣唐英今將乾隆貳年分選存貳色琢元瓷 Chrysanthemum-shaped dishes appear in complete 器佑計價值敬繕黃冊恭呈御覽計開：貳色元器：第拾貳 sets of twelve colors, with the most notable set, all with 桶：……填白釉菊瓣六寸盤拾柒件（每件捌分筭價銀壹兩 Yongzheng marks, being in the Beijing Palace Museum, 三錢陸分）」，嘉慶元年《各作成做活計清文件》中記 illustrated in The Complete Collection of Treasures of the 錄：「九月十五日收，華妃遺下：……填白磁菊花盤一件 Palace Museum - Monochrome Porcelain , Hong Kong, （紫檀座）、（嘉慶十七年十月二十一日賞祿喜等），在 1999, pl. 257. 民國十四年清室善後委員會《故宮物品點查報告》中盤點 壽安宮物品報告中得知：「故宮物品點查報告－壽安宮： Other white-glazed Yongzheng-marked chrysanthemum 闕字四三〇木櫃一個：三十三號，雍正欵白地葵瓣菊花盤 dishes are known. See one from a set of seven, illustrated 一對。」均為此類盤在清宮中收藏、賞賜情況，尤其可見 in The Official Kiln Porcelain of the Chinese Qing Dynasty, 此雍正白釉盤在清宮存瓷中較為稀少。 Shanghai, 2003, p. 180. 同類拍品可參見香港佳士得，2012年5月30日，編號 3967，以及倫敦蘇富比，1967年11月14日，編號136。 出版物可參閱《五色瓊霞——竹月堂藏元明清一道釉瓷 器》，香港中文大學文物館，2005年，頁83，圖25； 《故宮博物院藏文物珍品大系．顏色釉》，上海科學技術 出版社，1999年，頁282，圖257；《故宮博物院藏文物 珍品大系．顏色釉》，上海科學技術出版社，1999年， 頁92，圖85。 清雍正 檸檬黃釉菊瓣盤 (side view 側面) 瑞士鮑爾收藏 A fine yellow-glazed chrysanthemum dish, Yongzheng period The Baur Collection, Geneva A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 24  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3557 清雍正  寶石藍釉菊瓣盤 「大清雍正年製」 A RARE BLUE-GLAZED CHRYSANTHEMUM DISH MARK AND PERIOD OF YONGZHENG D 17.8cm PROVENANCE The Meiyintang Collection 來源 玫茵堂，瑞士 EXHIBITION Pure and Natural: Special Exhibition of Ming and Qing 展覽 Monochrome Porcelains, Poly Art Museum, Beijing, 2018 《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博物 館，北京，2018年 LITERATURE 1. Regina Krahl, Chinese Ceramics from the Meiyintang 出版 Collection, vol. 2, London, 1994-2010, p.196, no.847 1.康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2. Pure and Natural: Special Exhibition of Ming and Qing 2010年，頁196，編號847 Monochrome Porcelains, Poly Art Museum, Beijing, 2018, 2.《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博 p.286, no.110 物館，北京，2018年，頁286，編號110 HK$ 1,000,000 - 1,500,000 US$ 128,000 - 192,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦， 1994-2010年，頁196，編號847 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, p.196, no.847 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 26  瑰映如茵：玫茵堂藏元明清御窯雅蓄

(side view 側面) 本品呈菊瓣形，淺弧壁，圈足。盤壁花瓣大小分布均勻。 The dish is delicately potted with shallow rounded sides 胎體細緻堅密，迎光能透，顯示了雍正時期制器靜雅纖麗 and is exquisitely moulded in the form of forty-four slender 的藝術風格以及極為高超的制胎水準。通體灑藍釉，釉光 fluted petals with pointed tips radiating from a slightly 鮮亮細潤，使人深深陶醉。此盤擬取秋菊之形，造型雋 recessed flat centre simulating a chrysanthemum bloom. It 美，配以勻淨瑩潤的釉色，彰顯出此器清新脫俗之藝術魅 is supported on a foot of corresponding form and covered 力。器底雙圈「大清雍正年製」兩行六字青花楷書款。 overall with a rich, lustrous glaze of deep sapphire-blue tone. The base is inscribed in underglaze blue with a six- 菊瓣盤是清代雍正御窯名貴品種，也是雍正朝極具特色的 character reign mark within a double circle. 藝術品。據《清檔．雍正記事雜錄》記載，雍正十一年 「十二月二十七日，內務府總管年希堯家人鄭天賜宋濤各 Chrysanthemum dishes of this form were made in a 色菊花式盤十二色，內每色一件。司庫常保、首領太監薩 wide range of colours during Yongzheng’s reign. See 木哈呈覽。奉旨：著交與燒造磁器處，照此樣每式燒造 twelve Yongzheng dishes of this form, in twelve kinds of 四十件。」足見雍正皇帝對於此種作品的喜愛之情。查閱 glazes including one in yellow glaze, illustrated in Kangxi. 公私資料收藏，此類灑藍釉菊瓣盤留存極少，故宮博物院 Yongzheng. Qianlong. Qing Porcelain from the Palace 所藏一套雍正菊瓣盤其中一隻，可作比對。 Museum Collection, Hong Kong, 1989, pl. 145. 灑藍釉，又稱「雪花藍釉」、「灑藍釉」。明宣德時景德 鎮所創，清康熙時燒製成熟。是在燒成的白釉器上，以竹 管蘸藍釉汁水，吹於器表，形成厚薄不均、深淺不同的斑 點；所余白釉地徬彿是飄落的雪花，隱露於藍釉之中。清 康熙、雍正、乾隆時期的灑藍釉瓷器呈色穩定，由於燒造 時的工藝複雜，成功率比較低，實為珍稀品種。 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 28  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3558 清乾隆  胭脂紅釉菊瓣盤 「大清乾隆年製」 A RARE RUBY-RED GLAZED CHRYSANTHEMUM DISH MARK AND PERIOD OF QIANLONG D 17.9cm PROVENANCE 1. Sotheby's Hong Kong, 20 May 1986, lot 90 來源 2. The Meiyintang Collection 1. 香港蘇富比，1986年5月20日，編號90 2. 玫茵堂，瑞士 EXHIBITION Pure and Natural: Special Exhibition of Ming and Qing 展覽 Monochrome Porcelains, Poly Art Museum, Beijing, 2018 《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博物 館，北京，2018年 LITERATURE Regina Krahl, Chinese Ceramics from the Meiyintang 出版 Collection, vol. 2, London, 1994-2010, p.245, no.916 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁245，編號916 HK$ 1,000,000 - 1,800,000 US$ 128,000 - 230,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁245，編號916 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, p.245, no.916 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 30  瑰映如茵：玫茵堂藏元明清御窯雅蓄

(side view 側面) 此件胭脂紅釉菊瓣盤，敞口，盤壁呈菊花瓣狀，淺弧壁， The dish is potted with the sides finely moulded with forty- 圈足。器底、亦施胭脂紅釉。盤壁花瓣大小分布均勻，胎 four fluted petals radiating from a slightly recessed flat 體細緻堅密，胎體細薄，迎光能透。此盤擬取秋菊之形， centre to form a foliate rim. It is supported on a straight 造型雋美，配以勻淨瑩潤的釉色，彰顯出此器清新脫俗之 foot of conforming shape and is covered overall in a rich 藝術魅力。底部白釉正中落款，青花雙圈內露白釉地，落 pink red glaze of crushed raspberry tone. The base is left 「大清乾隆年製」六字雙行楷書款。 white with a six-character Qianlong mark within a double circle. 胭脂紫釉為明清色釉中的名貴品種，創燒於清康熙晚期， 雍正乾隆時期盛行，其以金為呈色劑，釉呈胭脂紅色，故 The use of a regular script of the mark on this exquisite 稱為「胭脂紅釉」，又稱為「金紅」。陳瀏《陶雅》評論 chrysanthemum dish suggests that it was created at the 有「胭脂紅也者，華貴中之佚麗者也。……勻淨明艷，殆 beginning of the Qianlong era. Qianlong dishes of this type 亡倫比。紫晶遜其鮮妍，玫瑰無其嬌麗」。在雍正十三年 are known in various coloured glazes; see two examples, （1735年）督陶官唐英所撰《陶成紀事碑》中有載，稱 one of coral glaze and the other of turquoise glaze, 之「西洋紅色器皿」。 檢閱各大公私收藏，各色釉雍正 illustrated in John Ayers, The Baur Collection, Geneva , 菊瓣盤均以胭脂紅作品存世較少。故宮博物院藏有雍正 vol. III, Geneva, 1972, pls A499 and A450 respectively; a 十二色釉菊瓣盤一套，其中可見胭脂紫釉盤一隻。 celadon-glazed example included in the Oriental Ceramic Society exhibition Iron in the Fire , Ashmolean Museum, Oxford, 1988, cat. no. 83. A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 32  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3559 清雍正  紫金釉菊瓣盤 「大清雍正年製」 A RARE PERSIMMON-GLAZED CHRYSANTHEMUM DISH MARK AND PERIOD OF YONGZHENG D 17.5cm PROVENANCE 1. Eskenazi Ltd, London 來源 2. The Meiyintang Collection 1. Eskenazi Ltd，倫敦 2. 玫茵堂，瑞士 EXHIBITION 1. A Selection of Ming and Qing Porcelain , Eskenazi, 展覽 London, 2004 1. 《明清陶瓷選粹》，Eskenazi，倫敦，2004年 2. Pure and Natural: Special Exhibition of Ming and Qing 2. 《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博 Monochrome Porcelains, Poly Art Museum, Beijing, 2018 物館，北京，2018年 LITERATURE 出版 1. Regina Krahl, Chinese Ceramics from the Meiyintang 1. 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦， Collection, vol. 4(2), London, 1994-2010, p.392, no.1831 1994-2010年，頁392，編號1831 2. A Selection of Ming and Qing Porcelain , Eskenazi, 2. Eskenazi，《明清陶瓷選粹》，倫敦，2004年，編號12 London, 2004, no.12 3.《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博 3. Pure and Natural: Special Exhibition of Ming and Qing 物館，北京，2018年，頁294，編號114 Monochrome Porcelains, Poly Art Museum, Beijing, 2018, p.294, no.114 HK$ 1,000,000 - 1,500,000 US$ 128,000 - 192,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫 出版於Eskenazi，《明清陶瓷選粹》，倫敦，2004年，編號12 敦，1994-2010年，頁392，編號1831 Published in A Selection of Ming and Qing Porcelain , Published in Regina Krahl, Chinese Ceramics from the Eskenazi, London, 2004, no.12 Meiyintang Collection , vol. 4(2), London, 1994-2010, p.392, no.1831 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 34  瑰映如茵：玫茵堂藏元明清御窯雅蓄

(side view 側面) 本品呈菊花瓣形，弧壁，圈足。盤內外施紫金釉。足圈內 The dish is potted with the sides finely moulded with forty- 施白釉，底青花雙圈內書「大清雍正年製」楷書款。紫金 four fluted petals radiating from a slightly recessed flat 釉又名醬釉，是以鐵為著色劑的一種高溫釉。雍正紫金釉 centre to form a foliate rim. It is supported on a straight 承宣德醬釉的優秀傳統，燒製出了如此器般色澤烏亮、釉 foot of conforming shape and is covered overall in an even 面瑩潤的紫金釉，展示了雍正單色釉的最高水準。 glossy and opaque coffee-brown glaze. The base is left white with a six-character Yongzheng mark within a double 故宮博物院藏一套十二件雍正款單色釉菊瓣形盤，包括紫 circle. 金釉，見《故宮博物院藏文物珍品全集——顏色釉》， 1999年，香港，頁282-283，圖版257。北京首都博物 Other similar Yongzheng cafe-au-lait glazed dishes are 館藏同色盤一件，見熊寥著《官窯名瓷》，1993年，台 published, one in the Capital Museum, Beijing, illustrated 北，圖版153；另一例展於《敏求精舍——明清單色釉 by Xiong Liao, Beauty of Ceramics: Gems of the Official 瓷展覽》，刊於展覽圖錄，1977年，香港，圖版95；以 Kilns, Taipei, 1993, pl. 153; one included in the Min 及倫敦大維德基金會藏品一件，蘇玫瑰，《Illustrated Chiu Society exhibition, Monochrome Ceramics of Ming Catalogue of Ming and Qing Monochrome Wares in and Ch’ing Dynasties, Hong Kong Museum of Art, 1977, the Percival David Foundation of Chinese Art》，倫 illustrated in the Catalogue, no. 95; and one with a pale 敦，1989年，圖錄編號B597。同款盤見H.M. Knight cafe-au-lait enamel in the Percival David Foundation, Collection舊藏，後成為霍爾家族藏品；1988年展出於 illustrated in the Catalogue, Section 6, no. B597. 牛津Ashmolean Museum舉辦東方陶瓷學會展覽《Iron in the Fire》，圖版90；後售紐約佳士得，2004年9月21 日，編號305。 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 36  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3560 清乾隆  檸檬黄釉菊瓣盤 「大清乾隆年製」 A FINE LEMON YELLOW-GLAZED CHRYSANTHEMUM DISH MARK AND PERIOD OF QIANLONG D 17.5cm PROVENANCE 1. Collection of J. Lionberger Davis, St. Louis 來源 2. Property of G. Vietor and Maude O. Davis, Jr. 1. J. Lionberger Davis收藏，聖路易斯 3. The Meiyintang Collection 2. G. Vietor 及 Maude O. Davis, Jr. 遺產 3. 玫茵堂，瑞士 EXHIBITION 1. St. Louis Art Museum, St. Louis (on loan) 展覽 2. Pure and Natural: Special Exhibition of Ming and Qing 1. 借展於圣路易斯藝術博物館 Monochrome Porcelains, Poly Art Museum, Beijing, 2018 2. 《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博 物館，北京，2018年 LITERATURE Regina Krahl, Chinese Ceramics from the Meiyintang 出版 Collection, vol. 4(2), London, 1994-2010, p.393, no.1832 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦， 1994-2010年，頁393，編號1832 HK$ 450,000 - 650,000 US$ 58,000 - 84,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫 敦，1994-2010年，頁393，編號1832 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4(2), London, 1994-2010, p.393, no.1832 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 38  瑰映如茵：玫茵堂藏元明清御窯雅蓄

(side view 側面) 本品呈菊瓣形，侈口弧壁，下承圈足，形制秀美，胎質細 The dish is delicately potted and the shallow sides are 白。盤內外壁均施檸檬黃釉，色澤勻淨嬌艷，瑩潤光亮。 crisply molded with forty-four fluted petals radiating from 圈足內施白釉，釉色與形制搭配相宜，遠望如素菊靜放， the slightly sunken well to form a foliate rim. It is lobed 令人心曠神怡。圈足修胎精細，胎體堅質細膩，外底所施 on the exterior, continuing to the footrim, and is applied 白釉清透滋潤，內書青花雙圈「大清乾隆年製」六字雙行 overall in an even bright lemon-yellow glaze. The base 楷書款。 is left white with a six-character Qianlong mark within a double circle. 康熙晚期，內務府琺瑯作引進銻黃釉，用於琺瑯彩瓷的燒 造。因其淡雅可人，深受皇室喜愛，故御窯於雍正朝研製 Chrysanthemum-shaped dishes with slender petals, like 出此類黃釉，習稱「西洋黃」。督陶官唐英在雍正十三年 those on this dish, were made in both the Yongzheng and 所寫《陶成記事碑記》中就列有「西洋黃色器皿」一條。 the Qianlong reigns, but those made for the Yongzheng 因其為「本朝新製」，故在御窯所造的眾多釉水中脫穎而 Emperor have petals with slightly more pointed ends. 出，為所列「歲例貢御者五十七種」之一，要求每年進 Palace records for the 27th day of the 12th month of the 貢，可見皇室及督陶官對此種釉色的珍視，直至影響乾隆 11th year of Yongzheng’s reign (1733) note an order from 御窯的生產。儘管「西洋黃色器皿」每年都貢與皇宮，但 the emperor to the director at the imperial kilns requesting 總體燒造數量並不大，乾隆御窯菊瓣盤則更是少之又少。 twelve chrysanthemum-shaped dishes in different colours. 整器造型規矩，毫無髺墾之態，菊瓣較雍正窯更為圓潤， 與雍正御窯菊瓣盤之型略有化裁而來，亦具雋美高雅之 A similar example is included in the complete set of 態。除本品外，乾隆窯菊瓣盤釉彩亦有見如白釉、醬釉、 twelve colours at the Palace Museum, Beijing, illustrated 灑藍釉、松綠、粉青、胭脂紅釉等，而檸檬黃釉者，僅見 in Monochrome Porcelain, The Complete Collection of 此例。 Treasures of the Palace Museum, Hong Kong, 1999, pp. 282-283, no. 257. 查閱公私收藏，幾不見同類器物可參，僅見香港佳士得 1999年釋出一例，可以資對比。倫敦埃斯肯納齊藏一篆 書款例，後為北美十面靈璧山居雅蓄，售於北京保利， 2019年6月5日，編號5392。 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 40  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3561 清雍正  胭脂紫釉菊瓣盤 「大清雍正年製」 A RUBY-GLAZED CHRYSANTHEMUM DISH MARK AND PERIOD OF YONGZHENG D 17.5cm PROVENANCE 1. Christie’s Hong Kong, 30 May 2005, lot 1484 來源 2. Eskenazi Ltd, London 1. 香港佳士得，2005年5月30日，編號1484 3. The Meiyintang Collection 2. Eskenazi Ltd，倫敦 3. 玫茵堂，瑞士 EXHIBITION Pure and Natural: Special Exhibition of Ming and Qing 展覽 Monochrome Porcelains, Poly Art Museum, Beijing, 2018 《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博物 館，北京，2018年 LITERATURE 1. Eskenazi, A Dealer's Hand: The Chinese Art World 出版 Through the Eyes of Giuseppe Eskenazi, London, p. 339, pl. 1.Eskenazi，《A Dealer's Hand: The Chinese Art World 406 Through the Eyes of Giuseppe Eskenazi》，倫敦，2012 2. Pure and Natural: Special Exhibition of Ming and Qing 年，頁339，圖版406 Monochrome Porcelains, Poly Art Museum, Beijing, 2018, 2.《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博 p.282, no.108 物館，北京，2018年，頁282，編號108 HK$ 1,200,000 - 1,800,000 US$ 154,000 - 230,000 款識 出版於Eskenazi，《A Dealer's Hand: The Chinese Art World Through the Eyes of Giuseppe Eskenazi》，倫敦，2012年，頁 339，圖版406 Published in Eskenazi, A Dealer's Hand: The Chinese Art World Through the Eyes of Giuseppe Eskenazi , London, p. 339, pl. 406 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 42  瑰映如茵：玫茵堂藏元明清御窯雅蓄

(side view 側面) 本品呈菊瓣形，弧壁，圈足。盤內外施胭脂紫釉。此盤造 The dish is potted with the shallow rounded sides 型源自宋代漆器，擬取秋菊之形，盤壁呈盛開的菊花瓣 superbly and moulded in the form of slender fluted petals 狀，線條俊秀優美，胎質細緻堅密，胎體輕薄，通體施胭 radiating from a slightly recessed flat centre simulating 脂紫釉，釉光鮮亮細潤，圈足外撇，足圈內施白釉，底青 a chrysanthemum bloom. It is supported on a foot of 花雙圈內書「大清雍正年製」雙行六字楷書款。 corresponding form and is covered overall in a rich red glaze. The base is left white and is inscribed with a six- 胭脂紫釉是清宮顏色釉瓷器的新品種，名貴無比而著稱， character reign mark in underglaze blue. 以「紅若赤霞，赧如羞女」而獨步瓷壇。胭脂紫釉是 1650年荷蘭人卡西亞（Cassias）發明，屬於低溫色釉， The Yongzheng Emperor is recorded to have commissioned 1680年開始應用於瓷器繪畫，直到1682年（康熙二十一 Nian Xiyao, Supervisor of the imperial kilns at Jingdezhen, 年）才開始在景德鎮使用。康熙時期署有「辛丑年製」款 to produce chrysanthemum dishes in twelve colours, 的胭脂釉器，為早期的器物。陳瀏《陶雅》謂之「華貴中 forty pieces of each. However, no original complete set of 之佚麗者也。勻淨明艷，殆亡倫比。紫晶遜其鮮妍，玫瑰 twelve dishes is preserved and chrysanthemum dishes 無其嬌麗」。其以黃金為著色劑，釉汁細膩，光潤勻淨， of the Yongzheng period are known to have more than 色如胭脂，故名。在薄胎製品上，內施白釉，外施胭脂 twelve colours. The Palace Museum, Beijing, has indeed 水，紅白相映，瑰麗非凡。 published dishes covered in thirteen different tones, which have been assembled from different sources, and at least 此類雍正款胭脂紫釉菊瓣盤存世極少，僅見Carl Kempe six further colours are recorded elsewhere. 博士收藏一例，編號1230，Eskenazi Ltd遞藏，並於2013 年香港蘇富比釋出，可資對比。歐州藏家卡特萊特 （The Cartwright Collection） 舊藏一例乾隆胭脂紅菊瓣盤例， 售於倫敦蘇富比，2011年11月9日，編號65。另市場流通 一例，可見香港蘇富比，2007年4月8日，編號704。公私 收藏中，可見數例乾隆款胭脂紅菊瓣盤，唯雍正例極為少 有。 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 44  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3562 清乾隆  米黄釉菊瓣盤 「大清乾隆年製」 A FINE CAFE-AU-LAIT-GLAZED CHRYSANTHEMUM DISH SEAL MARK AND PERIOD OF QIANLONG D 18 cm PROVENANCE The Meiyintang Collection 來源 玫茵堂，瑞士 EXHIBITION Pure and Natural: Special Exhibition of Ming and Qing 展覽 Monochrome Porcelains, Poly Art Museum, Beijing, 2018 《大樸尚簡——明清單色釉瓷器菁華展》，保利藝術博物 館，北京，2018年 LITERATURE Regina Krahl, Chinese Ceramics from the Meiyintang 出版 Collection, vol. 2, London, 1994-2010, p.174, no.815 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁174，編號815 HK$ 650,000 - 950,000 US$ 84,000 - 122,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦， 1994-2010年，頁174，編號815 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, p.174, no.815 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 46  瑰映如茵：玫茵堂藏元明清御窯雅蓄

(side view 側面) 本品呈菊瓣形，侈口弧壁，下承圈足，形制秀美，胎質細 The dish is potted with the sides finely moulded with forty- 白。盤內外壁均施米黃釉，色澤勻淨嬌艷，瑩潤光亮。圈 four fluted petals radiating from a slightly recessed flat 足內施白釉，釉色與形制搭配相宜，遠望如素菊靜放，令 centre to form a foliate rim. It is supported on a straight 人心曠神怡。圈足修胎精細，胎體堅質細膩，外底所施白 foot of conforming shape and is covered overall in a pale 釉清透滋潤，內書青花雙圈「大清乾隆年製」六字雙行篆 brown glaze. The base is left white with a six-character 書款。 Qianlong seal mark. 本品之米黃釉甚為珍罕。米黃釉創燒於康熙時期，是一種 A Yongzheng-marked dish of this rare form, but covered 以氧化鐵為呈色劑的高溫黃釉，釉色淡雅，黃中泛白，類 with a lemon-yellow glaze, is illustrated in The Baur 似小米顏色，故名。因其淡雅可人，深受皇室喜愛。儘管 Collection, Geneva, 1999, vol. 2, p. 222, no. 327. See, 此類品種每年都貢與皇宮，但總體燒造數量並不大，乾隆 also, a pink-glazed pair of the same form with Yongzheng 御窯菊瓣盤則更是少之又少。整器造型規矩，毫無髺墾之 marks from the Ranney School, Tinton Falls, New Jersey, 態，菊瓣較雍正窯更為圓潤，與雍正御窯菊瓣盤之型略有 sold at Christie’s New York, 2 June 1989, lot 206. 化裁而來，亦具雋美高雅之態。除本品外，乾隆窯菊瓣盤 釉彩亦有見如白釉、醬釉、灑藍釉、松綠、粉青、胭脂紅 釉等，而米黃釉者，僅見此例。 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 48  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3563 清乾隆  蛇皮綠釉玉壺春瓶 「大清乾隆年製」 A GREEN-GLAZED VASE, YUHUCHUNPING SEAL MARK AND PERIOD OF QIANLONG 玉壺春瓶為乾隆時期官窯之標準器形，侈口，束頸，斜 PROVENANCE 肩，鼓腹下垂，圈足，胎質堅硬細膩，修胎工整，線條流 The Meiyintang Collection 暢優美，瓶內施白釉，白如凝脂，瓶外通體施蛇皮釉，此 種顏色釉作品極為罕有；釉色純正均勻，鮮艷俊朗，內白 LITERATURE 釉與外蛇皮綠釉相映生輝，雖無任何紋飾，但純正俊朗、 Regina Krahl, Chinese Ceramics from the Meiyintang 古樸大方。底部施白釉，正中落「大清乾隆年製」六字三 Collection, vol. 2, London, 1994-2010, p.225, no.884 行篆書款。 The vase is potted with pear-shaped body elegantly rising 此類釉驟看酷似烏金釉，色黑，但在光線照射下，釉色為 from a short straight foot to a slender waisted neck and 帶有絲縷狀的墨綠色，釉面泛五彩蛤蜊光暈。由於燒造成 everted rim. It is covered overall with an even glossy and 本高，技術難度大，遺存作品極為寥寥，均為海外藏家所 unctuous deep green glaze, pooling below the wide belly 藏。偶有一例見於1992年日本電視放送網主辦巡回日本 and near the foot and stopping neatly above the footrim. 七大城市的「中國名陶展」，定名為「雍正黑釉碗」，參 The interior and base are left white and the latter is 見《中國名陶展—中國陶瓷2000年的精華》，圖124，其 inscribed with six-character Qianlong reign mark. 釉色與本品甚為相近。 H 30.3cm 來源 玫茵堂，瑞士 出版 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁225，編號884 HK$ 1,000,000 - 1,200,000 US$ 128,000 - 154,000 款識 清雍正 蛇皮綠釉撇口瓶 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦， © 故宮博物院 1994-2010年，頁225，編號884 Published in Regina Krahl, Chinese Ceramics from the A green glaze vase, mark and Meiyintang Collection, vol. 2, London, 1994-2010, p.225, no.884 period of Yongzheng © The Palace Museum, Beijing A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 50  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3564 清乾隆  仿官釉貫耳瓶一對 「大清乾隆年製」 A PAIR OF SMALL GUAN-TYPE VASES SEAL MARKS AND PERIOD OF QIANLONG 本品整體呈八方形，兩側各飾一貫耳，腹部微鼓，下承圈 PROVENANCE 足。瓶內外壁通施仿官釉，釉色天青，釉面肥厚，其上散 The Meiyintang Collection 落空靈開片，端莊素雅，超凡脫俗，器物足端平切，塗褐 色護胎釉，以仿宋器「鐵足」之意，底心青花書「大清乾 LITERATURE 隆年製」六字三行篆書款。 Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, p.216, no.874 H 14.5cm The well-potted pear-shaped vase rises from the flaring 來源 foot towards the everted rim, and is decorated by a pair of 玫茵堂，瑞士 lug-handles. The vase is covered allover in a lustrous pale bluish-green glaze suffused with a fine, clear crackle in 出版 imitation the style of Ru-ware as an expression of nostalgia 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- while inscribed with an imperial reign mark. 2010年，頁216，編號874 HK$ 800,000 - 1,200,000 US$ 103,000 - 154,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁216，編號874 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 2, London, 1994-2010, p.216, no.874 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 52  瑰映如茵：玫茵堂藏元明清御窯雅蓄

貫耳瓶造型源於上古青銅器，宋代官窯首先將其運 用於瓷器之中。清代貫耳瓶器形多樣，有圓、方之 分、大小之別。如本品式樣八方貫耳瓶，常見有兩 種，一類高度為14公分的小尺寸貫耳瓶，一類高 度為30至40公分的杏圓貫耳方瓶，本品即為小尺 寸者，手可盈握把玩，查閱各大博物館館藏及近年 拍賣市場資料，不過寥寥數例。 據《陶成紀事碑》載，仿汝釉器乃按照清宮所發宋 代器物而製的記載相合。「廠內所造各種釉水、款 項甚多，不能備載。茲舉其仿古、採今，宜於大 小盤、杯、盅、碟、瓶、罍、罇、彝，歲例貢御者 五十七種，開列與後，以志大概」台北故宮博物院 藏兩件造型及尺寸相若之仿汝釉與仿官釉製品，分 別於器底題刻乾隆皇帝御題詩，其中「簪花勝酒 斟」、「擷芳攜取供吟興」兩句，表明是為花器之 用，可見於《得佳趣—乾隆皇帝的陶瓷品味》，台 北，2012，頁188、189，圖85、86。 Guan-type vases were first found in the Song dynasty. In the Qing dynasty, Guan-type vases developed into various forms including round-shapes, square-shapes, and an array of different sizes. Two popular styles of this pear-shaped vase were found, one with a taller height of 30 – 40 cm resembling the shape of a peach, and the other one with a height of 14 cm. This pair of small Guan-type Vases are the smaller style and are suitable for carrying around. Further information and images could be found in Obtaining Refined Enjoyment: The Qianlong Emperor's Taste In Ceramics, p.188, 189, images 85 and 86. A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 54  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3565 清雍正  粉青釉暗刻靈芝紋盤一對 「大清雍正年製」 A PAIR OF INCISED CELADON-GLAZED 'LINGZHI' DISHES MARKS AND PERIOD OF YONGZHENG 此對盤撇口，弧腹，圈足，外施青釉，微微泛藍綠色，釉 PROVENANCE 色古雅，猶如玉質。內壁光素無紋，外壁暗刻靈芝紋為 The Meiyintang Collection 飾，寓意吉祥長壽。底青花雙圈內落「大清雍正年製」六 字款。 LITERATURE Regina Krahl, Chinese Ceramics from the Meiyintang 本品秉承雍正器形之雋永簡約，內外敷施粉青釉，質地厚 Collection, vol. 2, London, 1994-2010, p.207, no.861 潤清幽，正合古人「類玉」之美稱，觀之有如青山遠黛之 美感，外壁剔刻靈芝青竹圖，其竹影挺秀，橫欹有致，深 The exterior of the dishes is lightly incised with a 具宋人小景畫之意趣。其下方飾以靈芝圖案，寓意吉祥長 continuous scroll bearing lingzhi fungus amidst rocks and 壽。刻工嫺熟，刀法流暢，氣脈連貫。其色碧翠怡人，素 is covered in a soft sea-green glaze pooling to a slightly 樸自然，所彰顯的是雍正御窯一色純淨的另一番唯美境 darker tone in the incised decoration. The interiors and 界。 bases are left white and the base is inscribed with six- character Yongzheng mark in double circles. 參考一例，為仇焱之舊藏，售於香港蘇富比，1980年11 月25日，編號97。 A similar dish is illustrated by Peter Y. K. Lam in Shimmering Colours - Monochromes of the Yuan to Qing D 11.6cm Periods: The Zhuyuetang Collection, Hong Kong, 2005, p. 157, no. 86; and another is illustrated by Laurence 來源 C. S. Tam in Monochrome Ceramics of Ming and Ch'ing 玫茵堂，瑞士 Dynasties, Min Chiu Society and The Urban Council, Hong Kong Museum of Art, 1977, p. 70, no. 74. 出版 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁207，編號861 HK$ 480,000 - 650,000 US$ 62,000 - 84,000 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁207，編號861 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 2, London, 1994-2010, p.207, no.861 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 56  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3566 清雍正  霽藍釉暗刻海水龍紋盤 「大清雍正年製」 A CARVED BLUE-GLAZED 'DRAGON' DISH MARK AND PERIOD OF YONGZHENG 本品盤形規整，內施白釉，外飾霽藍釉，自口沿向下漸 PROVENANCE 深，釉面光潔瑩潤，色如藍寶，明艷照人；內施白釉，並 The Meiyintang Collection 於盤心在素胎之上暗刻海水龍紋，龍細頸，五爪，作昂首 翻騰狀，外壁施以霽藍釉，甚為特殊，為雍正時期霽藍釉 LITERATURE 之精品，頗為少見難得。底施白釉，並署「大清雍正年 Regina Krahl, Chinese Ceramics from the Meiyintang 製」六字雙行楷書款。 Collection, vol. 2, London, 1994-2010, p.197, no.848 D 18.8cm Inscribed clawed dragon in flight amidst wispy clouds and waves, the exterior applied with a cobalt-blue glaze 來源 stopping neatly at the foot, the interior and the base are 玫茵堂，瑞士 dressed in creamy white glaze. This design of dragon vividly depicted in a powerful posture with prominent jaws 出版 and distinctive features leaping amidst flaming pearls 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- above waves and was carved in advance on the body 2010年，頁197，編號848 before covered by the glaze. The base inscribed with a six- character reign mark within a double-circle. HK$ 320,000 - 480,000 US$ 41,000 - 62,000 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- (side view 側面) 2010年，頁197，編號848 款識 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 2, London, 1994-2010, p.197, no.848 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 58  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3567 清乾隆  茄皮紫釉大碗 「大清乾隆年製」 A LARGE AUBERGINE-GLAZED BOWL MARK AND PERIOD OF QIANLONG 敞口，弧腹，圈足，碗形周正。通體施茄皮紫釉，釉色均 PROVENANCE 勻純正，肥潤亮麗，碗外壁暗刻花卉紋。碗底內亦滿施茄 The Meiyintang Collection 皮紫釉，底書刻「大清乾隆年製」六字楷書款。 LITERATURE 本品具有乾隆早期御瓷風格，古樸秀麗，典雅非凡，且完 Regina Krahl, Chinese Ceramics from the Meiyintang 整保存，實為珍貴難得的單色釉佳品。茄皮紫釉創燒於弘 Collection, vol. 4(2), London, 1994-2010, p.357, no.1807 治時期，為景德鎮窯所創燒的低溫釉，真正形成較為純正 美麗的色澤則要至康雍年間，傳世品稀少，僅見小盤、小 The bowl is potted with the deep rounded sides supported 碗和小瓶等，造型均小巧秀麗。清藍浦《景德鎮陶錄》卷 on a straight foot and rising to an elegantly everted rim. It is 三載：「紫色釉，黑鉛粉末加石子青、石末合成。」讚頌 glazed overall in a rich translucent purplish-indigo stopping 其釉質肥厚光潤，紫中閃藍，色彩絢麗，誠如本品。 just above the foot, draining evenly from the rim and pooling to a deeper tone at the well. The recessed base D 23.8cm is glazed purple too and is inscribed with a six-character Qianlong mark in underglaze blue within a double circle. 來源 玫茵堂，瑞士 出版 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦， 1994-2010年，頁357，編號1807 HK$ 150,000 - 250,000 US$ 20,000 - 32,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫 敦，1994-2010年，頁357，編號1807 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4(2), London, 1994-2010, p.357, no.1807 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 60  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3568 清道光  霽藍釉碗 「大清道光年製」 A FINE BLUE-GLAZED BOWL SEAL MARK AND PERIOD OF DAOGUANG 口沿微撇，深腹圈足。外壁通體施霽藍釉。底落「大清道 PROVENANCE 光年製」青花篆書款。釉色純正。碗型端莊大氣，胎體厚 The Meiyintang Collection 重，器形規整，腹部曲線自然、秀美，施釉肥厚，色澤深 沈、穩定，色藍如海。此碗乃清代官窯仿宣窯寶石藍釉碗 LITERATURE 式樣，釉色瑩潤勻淨，靜穆雅致，賞心悅目。 Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, pp.190-191, D 14.9cm no.841 來源 The bowl is delicately potted with the deep rounded sides 玫茵堂，瑞士 rising from a short tapered foot to a slightly flared rim. The exterior is covered in a deep and even sacrificial-blue glaze 出版 thinning to white at the rim. The interior and base are 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- reserved in white. The base is inscribed with a six-character 2010年，頁190-191，編號841 seal mark in underglaze blue. HK$ 80,000 - 120,000 US$ 11,000 - 16,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁190-191，編號841 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 2, London, 1994-2010, pp.190- 191, no.841 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 62  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3569 清雍正  瓜皮綠釉暗刻龍紋碗 「大清雍正年製」 A CARVED GREEN-GLAZED 'DRAGON' BOWL MARK AND PERIOD OF YONGZHENG 碗敞口，深腹，圈足，造型端正，胎釉淨白。碗內外壁通 PROVENANCE 施瓜綠釉，釉層勻淨剔透，釉色鮮嫩欲滴。外壁腹部暗刻 1. Bluett & Sons, London 二龍趕珠紋，龍於雲際，神妙入微。近足處描繪海水江崖 2. The Meiyitang Collection 紋，喻表江山永固。碗底心雙圈內青花書「大清雍正年 製」六字雙行楷書款。 EXHIBITION Evolution to Perfection: Chinese Ceramics from the 雍正皇帝在位十三年，一直對單色釉瓷器青睞有加，本品 Meiyintang Collection , Sporting d'Hiver, Monte Carlo, 之所飾瓜綠釉為此時極為罕有的釉色品種，其色澤淡雅， 1996, no.157 艷而不俗，是雍正帝個人審美的極佳體現。瓜綠釉，古稱 澆綠釉，是以氧化銅為呈色劑，以氧化鉛為助熔劑的低溫 LITERATURE 釉，需要二次燒造方成，與漢之綠釉不同，其釉質瑩透， Regina Krahl, Chinese Ceramics from the Meiyintang 色澤翠綠，予人鮮妍明快之感。查閱《清宮檔案》，雍正 Collection, vol. 2, London, 1994-2010, pp.226-27, no.886 顏色釉品種佔有相當大的比例，可見雍正皇帝對顏色釉瓷 器偏愛有加。然本件作品所施瓜皮綠釉，於雍正一朝異彩 The bowl is well potted with deep rounded sides rising from 紛呈之顏色釉作品中亦屬少見。 a short foot to flared rim. The exterior is brilliantly applied with a vibrant green glaze over an incised continuous D 11.3cm scene depicting a pair of scaly five-clawed dragons chasing the flaming pearls amidst flames and above tempestuous 來源 waves and mountain. The interior is also covered with 1. Bluett & Sons，倫敦 green glaze and similarly decorated with dragon pattern. 2. 玫茵堂，瑞士 The base is inscribed in underglaze blue with a six- character Yongzheng reign mark inside a double-circle. 展覽 《Evolution to Perfection: Chinese Ceramics from the A closely related bowl produced in Kangxi Period, Meiyintang Collection》，Sporting d’Hiver，蒙地卡 currently in the Palace Museum, Beijing, is illustrated in 羅，1996年，編號157 The Compendium of Collections in the Palace Museum. Ceramics, vol. 23, Shunzhi and Kangxi Periods of Qing 出版 Dynasty (III), Beijing, 2013, pl. 110. 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁226-227，編號886 HK$ 150,000 - 250,000 US$ 20,000 - 32,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦， 1994-2010年，頁226-227，編號886 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, pp.226- 27, no.886 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 64  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3570 清乾隆  黄釉暗刻團花紋碗 「大清乾隆年製」 A CARVED YELLOW-GLAZED 'FLORAL' BOWL SEAL MARK AND PERIOD OF QIANLONG 碗敞口，弧腹，圈足，碗心與外壁皆於黃釉地上，內壁正 PROVENANCE 中雙圈內飾五瓣皮毬花；外壁下部周身飾蓮花瓣，上托皮 The Meiyintang Collection 毬花四朵，間飾捲雲升騰紋，寓意祥瑞連連。足內以青花 寫「大清乾隆年製」六字三行篆書款。 LITERATURE Regina Krahl, Chinese Ceramics from the Meiyintang 內外黃釉的器皿，被稱為「黃器」或「殿器」， 黃色有 Collection, vol. 4(2), London, 1994-2010, p.380, no.1821 龍紋的瓷器當為天子用器，黃色無紋的瓷器大多為皇太 子、皇后用器，皇貴妃只能用里白外黃的器皿，這一制度 The bowl is finely potted with deep rounded sides rising 從清初一直延續至清末。皮毬花紋也稱皮球錦紋，由絲織 from a short straight foot to a slightly everted rim. The 品的圖案演化而來，在雍正朝之後的瓷器上經常看到。 exterior is incised with four stylised flower heads divided by 此類皮毬花制碗存世較為稀有，同類可見香港徐展堂舊 ruyi clouds, all above a lappet band. The interior is similarly 藏，售於紐約佳士得靜觀堂專場，1997年9月18日，編號 incised with a flower head inside a medallion at the 161。 centre. The bowl is overall applied with an egg-yolk yellow glaze. The recessed base is inscribed with a six-character H 6.1cm Qianlong seal mark. 來源 玫茵堂，瑞士 出版 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦， 1994-2010年，頁380，編號1821 HK$ 220,000 - 280,000 US$ 29,000 - 36,000 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫 (side view 側面) 敦，1994-2010年，頁380，編號1821 款識 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4(2), London, 1994-2010, p.380, no.1821 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 66  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3571 清乾隆  哥釉葵口碗 「乾隆年製」 A GE-TYPE FOLIATE BOWL SEAL MARK AND PERIOD OF QIANLONG 此碗六瓣葵口，深斜壁，下承圈足，足內以青花書「乾隆 PROVENANCE 年製」四字篆書款。胎骨堅實，色帶灰白，釉色青朗，腴 The Meiyintang Collection 潤如脂，器表雙色紋片縱橫，飄逸流暢，深淺不一，紫口 鐵足，凜冽自然，酥潤含蓄，靈秀典雅，是清代官窯仿官 LITERATURE 窯精品之作。 Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, p.220, no.879 D 12cm The small bowl is potted with gently curved sides divided 來源 into six facets, rising from a short tapered foot to a foliate 玫茵堂，瑞士 rim. It is applied overall with a greyish-blue glaze thinning brown at the rim, suffused with a network of attractive 出版 black and faint russet crackle. The glaze stops neatly 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- above the footring revealing the brown body. The recessed 2010年，頁220，編號879 base is inscribed with a four-character seal mark. HK$ 180,000 - 250,000 US$ 23,000 - 32,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦， 1994-2010年，頁220，編號879 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 2, London, 1994-2010, p.220, no.879 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 68  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3572 清乾隆  白釉暗刻夔龍紋花觚 「大清乾隆年製」 A CARVED WHITE-GLAZED 'DRAGON' GU-SHAPED VASE SEAL MARK AND PERIOD OF QIANLONG 本品作喇叭型口，長頸，圓鼓腹，足脛外撇，通體施以仿 PROVENANCE 定白釉，其上散落開片，口頸及足脛皆暗刻仰俯蕉葉紋， The Meiyintang Collection 腹部上下刻回紋一周，相映成趣，腹部飾仿古夔龍紋，上 下均起雙弦紋，底部正中暗刻「大清乾隆年製」六字三行 LITERATURE 篆書款。 Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 4(2), London, 1994-2010, pp.324-325, H 23cm no.1783 來源 The vessel covered in milky-white glaze is potted in the 玫茵堂，瑞士 form of an archaic ritual vessel, Gu, commonly found in Shang Dynasty. The slim body decorated in low relief with 出版 archaistic dragon between two keyfret bands, rising from 康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫敦， the wide foot supported on a short stepped footring to a 1994-2010年，頁324-325，編號1783 superbly wide mouthrim. The upper and the lower sections are both decorated with long plantain leaves. The base is HK$ 350,000 - 450,000 impressed with a six-character seal mark. US$ 45,000 - 58,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（二），倫 敦，1994-2010年，頁324-325，編號1783 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4(2), London, 1994-2010, pp.324-325, no.1783 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 70  瑰映如茵：玫茵堂藏元明清御窯雅蓄

本品為清代雍正時期仿照商周時期青銅觚而燒製的一 件單色釉精品。青銅觚是商周時期一種飲酒器。《論 語．雍也》：「觚不觚。」《集釋》引馬融注云： 「觚，禮器也。」《說文．角部》：「觚，鄉飲酒之 爵也。」據上海博物館原館長馬承源研究，青銅觚根 據器形可分為十餘式，其中以上海博物館藏商晚期臣 父乙觚為代表的低體鼓腹式，與本品在器形上最為接 近。清三代帝王在瓷器審美上推崇摹古，這一時期景 德鎮官窯生產有大量瓷質觚。公私收藏中多見雍乾時 期單色釉素面之例，而飾有模印仿青銅紋飾者罕見。 見南京博物院藏清雍正仿定白釉印花蕉葉紋觚，錄於 《南京博物院珍藏大系：清代官窯瓷器》，江蘇美術 出版社，2013年，頁83。 This vessel is a Qing dynasty impression of the Shang and Zhou dynasty Bronze Ware. The Bronze Ware is a drinking apparatus in the Shang and Zhou dynasty, often used for wine. According to Dr. Ma Chengyuan of Shanghai Museum, Bronze Ware styles may be divided into over ten distinct types. The Bronze Ware archived at the Shanghai Museum belongs to the late Shang dynasty and features a flared bottom similar to this Gu-shaped Vase. A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 72  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3573 明永樂  白釉暗刻纏枝花卉紋碗 A FINE INCISED WHITE-GLAZED 'FLORAL' BOWL YONGLE PERIOD, 1403-1424 碗敞口，深弧壁，圈足。通體施白釉，盤心光素無紋，外 PROVENANCE 壁暗刻纏枝蓮紋，若隱若現。釉質緻密細膩，釉色恬靜 The Meiyintang Collection 溫潤，純若凝脂，素猶積雪，甚適於心。整體造型端莊 典雅，釉色潔素瑩然，釉面橘皮紋清晰可見，紋飾流暢 LITERATURE 舒展，佈局清疏自然，工藝精緻細膩，充分彰顯甜白釉之 Regina Krahl, Chinese Ceramics from the Meiyintang 純美，甚愜心賞，當為十五世紀早期瓷器之珍品，彌足珍 Collection, vol. 2, London, 1994-2010, p.33, no.649 貴。 The bowl is potted with deep rounded sides rising from 本品與台北故宮博物院藏此類白釉劃花花卉蓮子大碗可 a straight circular foot and the exterior is incised with a 比，著錄於《明代初年瓷器特展目錄》，圖58。故宮博物 continuous leafy scroll bearing lotus blossoms under a 院藏一例，明永樂甜白釉暗花菊瓣紋碗，著錄於《孫瀛洲 keyfret band at the rim. It is overall covered with an even 的陶瓷世界》，頁74，圖32，器型、紋飾與本品相類， sugar-white glaze. 可資比較。大英博物館館藏一例同類，載於《Oriental Ceramics：The World's Great Collections》，卷5，東 京，1981年，圖版150。另一例與本品極似，亦無款者， 著錄於《東方陶瓷學會會刊》，1948-1949年，頁25，編 號108。 D 27cm 來源 玫茵堂，瑞士 出版 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁33，編號649 HK$ 1,200,000 - 1,800,000 US$ 154,000 - 230,000 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- (細部 detail) 2010年，頁33，編號649 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 2, London, 1994-2010, p.33, no.649 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 74  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3574 明弘治  白釉碗 「大明弘治年製」 A WHITE-GLAZED BOWL MARK AND PERIOD OF HONGZHI 此碗形制規矩，敞口，深弧腹，下承圈足。通體罩施白 PROVENANCE 釉，僅底足處可見胎質細潤瑩白，釉質白皙柔和，胎體薄 The Meiyintang Collection 透堅致，釉面勻淨，通體光素無紋，展現天然釉質之美。 其色如美玉，「瑩然素潔」直追永樂之甜白。底心書「大 LITERATURE 明弘治年製」青花雙圈六字二行楷書款。字體端莊工整， Regina Krahl, Chinese Ceramics from the Meiyintang 青花色澤明艷，頗具時代特徵。白釉瓷器於明代可被用作 Collection, vol. 4(1), London, 1994-2010, p.150, no.1675 祭祀月壇用瓷。按照明代祭祀制度，據《大明會典》卷 二百一記載：「（洪武）二年定，祭器皆用瓷。……（洪 The bowl is finely potted with deep rounded sides rising 武）九年，定四郊各陵瓷器。圓丘青色，方丘黃色，日壇 from a short slightly tapered foot to a gently flared rim. It is 赤色，月壇白色……」因而被賦予了至高無上的地位，民 applied overall with a rich transparent glaze to show the 間令行禁止使用。 white body, leaving the footring unglazed. The recessed base is inscribed with a six-character Hongzhi mark in D 20.3cm underglaze blue within a double circle. 來源 玫茵堂，瑞士 出版 康蕊君，《玫茵堂藏中國陶瓷》，卷四（一），倫敦， 1994-2010年，頁150，編號1675 HK$ 1,000,000 - 1,800,000 US$ 128,000 - 230,000 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷四（一），倫 (side view 側面) 敦，1994-2010年，頁150，編號1675 款識 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 4(1), London, 1994-2010, p.150, no.1675 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 76  瑰映如茵：玫茵堂藏元明清御窯雅蓄

同類藏品可見伊朗巴斯坦博物館入藏一件弘治白釉碗，見 《Chinese Porcelains from the Ardebil Shrine》1956年 出版，John A.Pope著，圖114號。另故宮博物院及上海 博物館亦有同類藏品入藏，參見《故宮博物院藏文物珍品 大系——顏色釉》，第114頁，編號104；《上海博物館 藏品研究大系．明代官窯瓷器》，頁147。另比一例現藏 大英博物館，參見《大英博物館藏中國明代陶瓷》，倫 敦，2001年，頁177，編號7:1；整器裡外皆麗質非凡， 比例協調，造型端莊，胎體輕盈，釉質潤白，給人以溫柔 恬靜之感，其工藝上乘，貴氣內斂，當屬明弘治一朝饒州 白釉官窯之精品。 Relatively few Hongzhi pieces were made during the short reign period since porcelain production at the imperial kilns at Jingdezhen in Jiangxi province was deliberately kept low in light of Hongzhi’s economic policy. Three bowls of this size from the Ardabil Shrine collection are now in the Iran Bastan Museum in Teheran. All three are inscribed with a dedicatory inscription of Shah Abbas, King of Persia from 1571 to 1629. One of these bowls is illustrated in John Alexander Pope, Chinese Porcelains from the Ardabil Shrine , Washington D.C., 1956, pl. 114, no. 29.714. Pope, ibid, p. 146. 明弘治 白釉碗 © 故宮博物院 A white glazed cup, mark and period of Hongzhi © The Palace Museum, Beijing A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 78  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3575 明正德  白釉露胎劃刻雲龍紋盤 「大明正德年製」 A BISCUIT-DECORATED WHITE-GLAZED 'DRAGON' DISH MARK AND PERIOD OF ZHENGDE 此拍品釉色青白，造型秀美優雅，清秀、圓潤、靈巧，釉 PROVENANCE 面肥厚；內壁盤心飾露胎暗刻龍紋，外壁釉下暗刻海水波 The Meiyintang Collection 濤紋，兩條龍紋裝飾其間，胎質細膩潤滑，胎色潔白；全 器色彩以釉青、胎白二色為主，色彩雅麗，為明代此類龍 LITERATURE 紋器之經典品類；對比突出，紋飾樸著，有良好的視覺效 Regina Krahl, Chinese Ceramics from the Meiyintang 果。這種做法流行於明代中期成化、弘治、正德三朝，多 Collection, vol. 2, London, 1994-2010, p.78, no.692 為盤類器物。盤底青花雙圈內楷書「大明正德年製」款 識。 The dish is potted with shallow rounded sides rising from a short slightly tapered foot to an everted rim. It is applied D 20.9cm overall with a rich transparent glaze slightly tinged to light green, saving for a five-clawed dragon incised on the 來源 interior writhing among stylised clouds within a central 玫茵堂，瑞士 medallion on the interior. The dragon head, scaly body and limbs are all reserved on the biscuit and fired pale 出版 orange. The exterior is similarly decorated with two five- 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- clawed dragons striding above crashing waves and rocks 2010年，頁78，編號692 incised and reserved on the biscuit. The base is inscribed in underglaze blue with a six-character reign mark within HK$ 320,000 - 480,000 double circles. US$ 41,000 - 62,000 款識 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁78，編號692 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, p.78, no.692 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 80  瑰映如茵：玫茵堂藏元明清御窯雅蓄

此類龍紋器皿為明代創燒品種，而暗刻紋飾者為其中 工藝最為複雜的類別。其製作，需先錐拱暗刻紋飾 於瓷胎上，再在紋飾外施加釉高溫燒成單色釉並露澀 胎紋飾的品種，此件拍品為露素胎龍紋，亦有更加複 雜的此類龍盤的品種，其露胎龍紋處要覆加彩填繪紋 飾，第二次低溫烘烤，方可成器；可參考出光美術館 收藏一例白磁刻花龍紋缽，錄於《東洋的白瓷》，編 號66。 Dishes of this type include one in the National Palace Museum, published in Porcelain of the National Palace Museum. Monochrome Ware of the Ming Dynasty, Book 2, Hong Kong, 1968, pl. 2; another in the British Museum, London, illustrated in Jessica Harrison-Hall, Ming Ceramics, London, 2001, pl. 7:3; and a third in the Metropolitan Museum of Art, New York, included in Suzanne G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 155.

3576 元  釉裡紅荷塘鴛鴦紋匜 AN UNDERGLAZE-RED 'MANDARIN DUCKS' POURING VESSEL YUAN DYNASTY, 1271-1368 本品形制規整，圓腹，呈淺鉢形，平底無釉。口沿一側有 PROVENANCE 較寬的流，下有小圓系。因系覆燒，唇面露胎並顯火石紅 The Meiyintang Collection 色。白地釉色微泛青，器心飾紅地白線波浪紋一圈，內畫 一蒼鷺傲立荷葉在側，左方伴飾枝葉，筆觸灑脫，色澤殷 EXHIBITION 紅深沈。其波浪表現尤為獨特，先以銅紅釉色平塗後再以 Chinese Ceramics from the Meiyintang Collection, The 尖銳工具輕輕加以剔刻，去除呈色釉料後再施釉，作出留 British Museum, London, 1994 白效果。 LITERATURE L 17.5cm Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, p.13, no.632 來源 玫茵堂，瑞士 This vessel is potted with the rounded sides supported on a flat base, rising to a straight rim incised with a single 展覽 line border and set with an outward flaring spout above 《玫茵堂藏中國陶瓷》，大英博物館，倫敦，1994年 a fine coiled band of clay attached as a lug underneath. It is painted on the interior in vivid strokes of underglaze 出版 copper-red with a crane on an uneven ground under a tall 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- leafy plant and in front of a single lotus leaf on a long stalk. 2010年，頁13，編號632 All the patterns are enclosed within a red border incised with wavy lines reserved in white. The red color varies in HK$ 280,000 - 450,000 shades from a vivid purplish tone to a dark reddish-grey. US$ 36,000 - 58,000 The glaze is tinged to pale blue while the unglazed rim and base are fired respectively to orange-red and cream-yellow. 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- (side view 側面) 2010年，頁13，編號632 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 2, London, 1994-2010, p.13, no.632 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 84  瑰映如茵：玫茵堂藏元明清御窯雅蓄

匜最早為先秦禮器之一，用於沃盥之禮，為客人洗手 所用。至周朝，所用水器由盤、盉演變為盤、匜。 至元代，匜又開始流行，除了瓷器質地亦還有銀、銅 質。亦有根據元代「蒲城墓葬壁畫」而認為是酒器， 從壁畫中可知，匜在元代可與玉壺春瓶及盤盞一起搭 配使用。 鷺鷥歷來被譽為「吉祥之鳥」，與蓮花、蘆葦合繪， 寓意「一路連科」，祝福科舉仕途順利，乃古時科舉 士子求功名時最為喜愛之題材，寓意甚是美好。皇慶 二年（1313年）元仁宗下詔恢復科舉，「世祖章皇帝 設官分職，徵用儒雅，崇學校為育材之地，議科舉為 取士之方。取士各有科目，要其本未，舉人宜以德行 為首，試藝則以經術為先，辭章次之，浮華過實，朕 所不取」。 The Pouring Vessel yi was first used in the Qin dynasty as a ceremonial tool for hand-washing rituals. Since the Zhou dynasty, water containers have transformed from the plate, to the he, then the bowl, and finally the yi. Yi became prevalent during the Yuan dynasty. Other than porcelain, silver-made and bronze-made Yi were also found. The heron bird symbolizes auspiciousness. When in combination with lotus flowers and weeds, the imagery signifies desirable academic results. Thus, such imagery was largely popular among academics. 元 蒲城墓葬壁畫 元 青花人物圖匜 Fresco of tomb excavated in Pucheng Shaan Xi, Yuan Dynasty © 西安市文物保護考古研究院 A blue and white 'figure' pouring vessel, Yuan Dynasty © Cultural Heritage Conservation and Archaeology, Xi'an/ Xi'an Shi wen wu bao hu kao gu yan jiu yuan A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 86  瑰映如茵：玫茵堂藏元明清御窯雅蓄

玉壺春之得名最開始或為一種美酒，自唐代起，唐人名酒多帶春 字，元代周權曾記載玉壺春酒，風味勝葡萄，而至明清兩代詠賦 此種酒的詩文就更多了，如「玉壺春酒送君行，誰家樓下千花 明」；「猶喜秋冬會稽去，江關前醉玉壺春」。而清高宗的《詠 瓷詩．官窯膽瓶戲成口號》有言：「古瓶盛酒後簪花，花酒由來 本一家」可巧妙的點明玉壺春之由來，即最初作為一種裝酒的 容器而逐漸發展為後世所熟知的花器。我們或可從元代曹雲寵的 《臨江仙》中體會之由來：「青瑣窗深紅獸暖，燈前共倒金尊， 數枝梅浸玉壺春」元代的《梅花百詠》中亦有「插花貯水養天 真，瀟灑風標席上珍；清曉呼童換新汲，只愁凍合玉壺春」的詩 句。可見此時玉壺春瓶用來插梅是毫無疑義的。 The name Yuhuchun was likely derived from a type of wine. Since the Tang dynasty, names of wine often include the character chun , meaning “spring”. The poet Zhou Quan accounts the Yuhuchun wine in his verses, stating that its fragrance is superior to wine made of grapes. Emperor Gaozong of Qing dynasty remarks in his poetry that the Yuhuchun vase is first used as a wine container. After its utilization for wine drinking, flowers are then cultivated in the container, turning it into a vase that was commonly known as the Yuhuchunping. A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 88  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3577 明洪武  釉裡紅纏枝花卉玉壺春瓶 AN UNDERGLAZE-RED 'FLORAL' PEAR-SHAPED VASE, YUHUCHUNPING HONGWU PERIOD, 1368-1398 H 33.5cm PROVENANCE The Meiyintang Collection 來源 玫茵堂，瑞士 EXHIBITION Evolution to Perfection: Chinese Ceramics from the 展覽 Meiyintang Collection , Sporting d'Hiver, Monte Carlo, 《Evolution to Perfection: Chinese Ceramics from the 1996, no.95 Meiyintang Collection》，Sporting d’Hiver，蒙地卡 羅，1996年，編號95 LITERATURE Regina Krahl, Chinese Ceramics from the Meiyintang 出版 Collection, vol. 2, London, 1994-2010, p.31, no.646 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁31，編號646 HK$ 2,500,000 - 4,500,000 US$ 320,000 - 575,000 (底部 base) 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦， 1994-2010年，頁31，編號646 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, p.31, no.646 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 90  瑰映如茵：玫茵堂藏元明清御窯雅蓄

玉壺春發展至明代，已徹底成為觀賞之瓶花器。形制皆有 The vase is potted in an elegant classic pear shape 定式，侈口、束頸，垂腹，圈足。本品以釉裡紅為飾，紋 supported on a short foot rising to a generous rounded 樣滿布，分層而飾，繁而不亂。口沿裝飾一周卷草紋，線 body surmounted by a waisted neck flaring at the mouth. 條纖細流暢，婉約動人。瓶身以七層紋樣描繪，分別為蕉 The exterior is painted in copper-red with a broad band 葉紋、回紋、海水波濤紋、如意雲頭紋、纏枝花卉紋、仰 of undulating stems of lotus bearing large blooms 蓮紋及卷草紋。底足處卷草紋與口沿紋樣相呼應，周而復 alternatively depicted in different styles. Each arched 始，綿綿不絕。腹部主體紋樣為纏枝西番蓮紋，蓮枝飽滿 stem ends in a small subsidiary blossom, all between 碩大，仰俯有致，風姿典雅。整器佈局繁密，層次豐富， upright lappets at the base and a collar of trefoil pendants 筆意酣暢灑脫，枝蔓的運筆尤顯婉轉自若。 dangling from overlapping waves, a keyfret border and upright plantain leaves at the neck. The inner mouthrim 尤其值得稱道的是本品釉裡紅發色堪稱完美，釉裡紅瓷器 and the foot are painted with classic scroll. 的生產於明初受到了朝廷的高度重視，蓋因明代定鼎天下 之初，太祖以古制及唐、宋制度為參考，遵循五德始終之 Copper as a colouring agent is particularly unstable in the 思想，尊火德，尚赤。《明史．卷六十七．輿服三》載 firing process, thus it carries a high possibility of becoming 「洪武……三年，禮部言歷代異尚……今國家承元之後， runny and leaving indistinct outlines or resulting to weak 取法周、漢、唐、宋服色，所尚於赤為宜，從之。」這不 shades of red and pale grey tones. The strong copper 僅標誌紅色於明代為至高無上的顏色，更代表著從禮制方 tones and clearly-penciled designs of this vase sets it apart 面，皇家對朱紅顏色的專有權，崇尚火德，尊紅色催生了 as a highly successful and skillfully manufactured piece. 釉裡紅的大量燒造，但高溫釉下銅紅，本是極難燒成，洪 武一朝百廢待興之時，更是困難重重，故而此一時期釉 A closely related example from the Qing Court Collection in 裡紅之發色大多晦暗不明，小型器可較為多見發色偏佳之 the Palace Museum, Beijing, is published in The Complete 物，而如本品之體量尚可有如此之發色，可謂寥若晨星。 Collection of Treasures of the Palace Museum. Blue and White Porcelain with Underglaze Red, vol. 1, Shanghai, 相類藏品可見清宮舊藏玉壺春瓶，錄於《故宮博物院藏文 2000, pl. 197; and another in the Tokyo National Museum 物珍品全集——青花釉裡紅（上）》，圖版197。東京國 is illustrated in Oriental Ceramics. The World’s Great 立博物館也有藏例，收錄於《東洋陶瓷大觀．第一卷．東 Collections, vol. 1, Tokyo, 1982, pl. 112. Compare also 京國立博物館》，單色圖版112。另鴻禧美術館有一例， vases decorated with various bands of decoration on 見《中國歷代陶瓷選集》，頁186-187，圖版74；相類纏 the neck, such as one in the Palace Museum, Beijing, 枝牡丹紋玉壺春瓶還見Harry Garner爵士舊藏，售於倫 illustrated op. cit., pl. 196. 敦蘇富比，1961年11月21日，編號24。徐展堂「在望山 莊」亦藏一例，售於我司，北京保利，2012年6月5日， 編號5955，以人民幣506萬成交。 明洪武 釉裡紅纏枝牡丹紋玉壺春瓶 明洪武 釉裡紅纏枝牡丹紋玉壺春瓶 明洪武 釉裡紅纏枝牡丹紋玉壺春瓶 © 故宮博物院 © 清宮舊藏 故宮博物院 © 徐展堂「在望山莊」舊藏 An underglazed-red 'floral' pear- An underglazed-red 'floral' pear- 售於北京保利，2012年6月5日，編 shaped vase, Hongwu period shaped vase, Hongwu period 號5955 © National Palace Museum, Taipei © The Palace Museum, Beijing An underglazed-red 'floral' pear- Qing Court collection shaped vase, Hongwu period © Former T. T. Tsui Collection, Poly Beijing, 5 June 2012, lot 5955 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 92  瑰映如茵：玫茵堂藏元明清御窯雅蓄

3578 明洪武  釉裡紅纏枝牡丹紋大碗 A LARGE UNDERGLAZE RED 'PEONY' BOWL HONGWU PERIOD, 1368-1398 本品造型沉穩，胎體厚重，器形敦厚典雅。碗直口，深弧 PROVENANCE 腹，圈足，呈墩式造型，通體內外均以釉裡紅裝飾。內外口 1. Sotheby's New York, 28 May 1991, lot 218 沿均繪回紋一周，本品腹部繪纏枝花卉紋，莖葉環繞，葉片 2. The Meiyintang Collection 舒展，纏枝縱橫往復，筆意綿綿而氣脈不斷；碗心繪一枝盛 開的牡丹；內壁繪六朵纏枝菊花，葉片細長，尤其纏枝畫 EXHIBITION 法，畫筆流暢，乾脆爽利，頗有中國畫的寫意氣韻。菊花紋 Evolution to Perfection: Chinese Ceramics from the 是洪武一朝的流行裝飾紋樣，多呈橢圓狀，故又被稱為「扁 Meiyintang Collection , Sporting d'Hiver, Monte Carlo, 菊花」，其細長的的葉片、網格狀的花蕊，均具有鮮明的 1996, no.104 時代特徵。足底內施白釉，圈足露胎處可見少許鐵銹斑。此 碗釉裡紅發色純正，造型和紋飾構圖具有非常鮮明的時代風 LITERATURE 格，可謂洪武釉裡紅瓷器中的代表作品。 Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994-2010, p.30, no.645 D 21cm The bowl is potted with the deep rounded sides supported 來源 on a short straight foot. The interior is vividly painted in 1. 紐約蘇富比，1991年5月28日，編號218 rich dark iron-red with a central medallion enclosing a 2. 玫茵堂，瑞士 leafy peony spray and an attendant bud within a double- line border surrounded by a chrysanthemum scroll on the 展覽 walls, below a band of key-fret at the rim. The exterior is 《Evolution to Perfection: Chinese Ceramics from the similarly painted with an undulating leafy stem of peony Meiyintang Collection》，Sporting d'Hiver，蒙地卡羅， scroll between key-fret borders at the rim and foot. The 1996年，編號104 red varies in shades from a vivid purplish tone to a pale reddish-grey. 出版 康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁30，編號645 HK$ 1,200,000 - 1,800,000 US$ 154,000 - 230,000 出版於康蕊君，《玫茵堂藏中國陶瓷》，卷二，倫敦，1994- 2010年，頁30，編號645 Published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection , vol. 2, London, 1994-2010, p.30, no.645 A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 94  瑰映如茵：玫茵堂藏元明清御窯雅蓄

洪武釉裡紅，相較明初各類瓷器，罕存於世。繼元朝粗獷雄壯、蒼勁有 力之製瓷風格，明初，瓷器器形及紋飾則顯恭造之式，有制可循。釉裡 紅在元代已經正式燒製，洪武年間的流行應與開朝皇帝朱元璋的喜愛和 需求有關。朱即為紅，又是漢族崇尚的尊貴喜慶之色。從語意上理解， 把釉裡紅作為朱家皇朝的專用器充滿了霸氣和尊貴，完全符合草根皇 帝朱元璋的性格。但明洪武以後，「釉裡紅實難燒製，故用礬紅彩替 燒」，然而盛名之下，後世所企。因明初限制對外貿易，進口鈷青料愈 發難得，遂國產銅紅料作為其替代品得以更廣應用，此亦為明初瓷器一 特徵。依劉新園言，洪武一朝，依先例，取其精華，加以更形，紅釉 或釉裡紅瓷器於本朝多有燒製，蔚成體系，見《景德鎮出土明初官窑瓷 器》，鴻禧美術館，台北，1996年，頁52。然銅料嬌火，正色之品存 世甚罕。 故宮博物院藏三例相若釉裡紅碗，載於耿寶昌著，《故宮博物院藏古 陶瓷資料選萃》，北京，2005年，卷1，圖版79-81，其中一例所繪紋 飾極近本品，據書中所述（頁106），此類樣式與南京明故宮遺址出土 瓷殘片風格一致。見一北京故宮例，屬清宮舊藏，著錄於《故宮博物 院藏文物珍品全集．青花釉裡紅（上）》， 2000年，圖版222。臺灣 國立故宮博物院另藏一例，載於《明代初年瓷器特展目錄》，國立故宮 博物院，台北，1982年，編號51；北京中國國家博物館亦存一例，見 《中國國家博物館館藏文物研究叢書．瓷器卷：明代》，上海，2007 年，圖版8；另見上海博物館藏例，載於陸明華，《上海博物館藏品研 究大系：明代官窑瓷器》，上海，2007年，圖版1-1。大英博物館館藏 一例，著錄於 Jessica Harrison-Hall，《Ming Ceramics in the British Museum》，倫敦，2001年，頁91，圖1，以上可資比對。 明洪武 釉裡紅纏枝牡丹紋碗 明洪武 釉裡紅纏枝牡丹紋碗 © 上海博物館 © 故宮博物院 A red-underglazed 'peony' bowl, Hongwu period A red-underglazed 'peony' bowl, Hongwu period © The Shanghai Museum © Palace Museum, Beijing A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 96  瑰映如茵：玫茵堂藏元明清御窯雅蓄

(底部 base) A copper-red painted bowl of similar size and decoration, formerly in the collection of W.W. Winkworth and now the collection of the Hon. Kate Trevelyan, on loan to the British Museum, is illustrated in Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, p. 91, fig. 1. Bowls of this type are more frequently found with a flared rim; for a complete piece in the Palace Museum, Beijing, from the Qing court collection see The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain with Underglazed Red, Shanghai, 2000, vol. 1, pl. 222. A Romance Among Blooming Roses：The Meiyintang Collection of Three Dynasties Imperial Ceramics 98  瑰映如茵：玫茵堂藏元明清御窯雅蓄