Page 79 - Le Cong Tang Collection HK Nov 27 2017

8010 Continued 圓口，短頸，豐肩下歛，圈足。外壁黃釉作地，黑彩勾繪輪廓。肩飾
如意雲紋，腹飾遊龍靈芝紋，近足處繪江崖海水紋，紋飾空處填紅釉
The red and yellow combination is a distinctive colour scheme of the 為地。內部、圈足內施透明釉，外底青花書「大明嘉靖年製」楷書款。
Jiajing period.The result required three firings: first at around 1300 °C for
clear-glazed porcelain, then at a lower temperature for the yellow overglaze 紅地黃彩器為嘉靖朝之特有品種，需先以 1300 攝氏溫度燒好白瓷，再
enamel, and finally at a still lower temperature for the black outlines and the 於外壁釉上施以黃彩以較低的溫度入窯複燒，再以黑彩點睛、描繪輪
iron-red background.The process was laborious and required meticulous 廓，並以礬紅彩塗地，然後第三次入窯燒造。因過程繁複，難度極高，
attention to details, contributing to the high failure rate and thus the rarity 故傳世品數量稀罕。
of these jars.
相同紋飾且尺寸接近者可見於全球各大博物館及拍賣市場，高度皆介
Jars with the same design and comparable size, ranging from 12.7 cm. to 於 12.7 至 15.2 公分之間，參考一例藏於奈良大和文華館，載於《龍泉
15.2 cm. high, are found in museums and private collections worldwide, 集芳》，東京，1976 年，第 1 冊，圖版 834 號；一件藏牛津阿什莫林
see, for example, a jar in the Museum Yamato Bunkakan, Nara, illustrated 博物館，見 1988 年東方陶瓷學會展覽圖錄《Iron in the Fire》，圖版
in Mayuyama: Seventy Years no. 834; another in the Ashmolean Museum, 64 號；一件帶蓋，藏台北故宮博物院，載於 D. Lion-Goldschmidt 著
Oxford, included in the Oriental Ceramic Society Exhibition, Iron in the 《Ming Porcelain》，佛立堡，1978 年，圖版 144 號；Avery Brundage
Fire, 1988, and illustrated in the Catalogue, no. 64; a covered jar in the 舊藏一例，現藏舊金山亞洲藝術博物館，見 He Li 著《Chinese
National Palace Museum,Taipei, illustrated by D. Lion-Goldschmidt, Ming Ceramics: A New Comprehensive Study》，紐約，1996 年，頁 239，圖
Porcelain, Fribourg, 1978, no. 144; one formerly from the Avery Brundage 版 483 號；英國鐵路基金會舊藏一例，後於 1989 年 5 月 16 日於香港
Collection now in the Asian Art Museum, San Francisco, illustrated by He 蘇富比拍賣，拍品 28 號；玫茵堂舊藏一例，後於 2011 年 4 月 7 日香
Li, Chinese Ceramics: A New Comprehensive Study, New York, 1996, p. 239, no. 港蘇富比拍賣，拍品 66 號。
483; one from the British Rail Road Pension Fund, sold at Sotheby’s Hong
Kong, 16 May 1989, no. 28; and one from the Meiyintang Collection, sold at 另可比較兩件尺寸較小各約 11 公分高的例子，紋飾近乎相同但器身更
Sotheby’s Hong Kong, 7 April 2011, lot 66. 為圓鼓，一例載於《龍泉集芳》，圖版 834 號；另一藏於北京國家博
物館，著錄於《中國國家博物館館藏文物研究叢書 – 瓷器卷 ( 明代 )》，
Compare also to two similar jars of smaller size with a more globular 上海，2007 年，頁 159，圖版 85 號，同書另刊一件 (13.5 公分 ) 相同
proportion, one is illustrated in Mayuyama: Seventy Years, no. 833, which has a 品種但繪以纏枝蓮紋的例子，圖版 86 號。
serrated design on the neck, and another in the National Museum of China,
illustrated in Zhongguo Guojia Bowuguan guancang wenwu yanjiu congshu: ciqi 還有一組高度逾 20 公分的近似例可資比較，此組數量較多，紋飾亦較
juan (Mingdai), Shanghai, 2007, p. 159, no. 85, together with a larger example 為不同，如肩上為一圈卷草紋，足上為一圈如意雲頭，見北京故宮博
(13.5 cm.) of the same colour scheme but with lotus scrolls and emblems, 物院藏一例，載於故宮博物院藏文物珍品大系《雜釉彩．素三彩》，
no. 86. 上海，2000 年，圖版 50 號；大英博物館一例，見 Jessica Harrison-
Hall 著《Ming Ceramics in the British Museum》，倫敦，2001 年，圖
A third size group exceeding 20 cm. in height exists. A greater number 版 9:90；兩件載於 1949 年倫敦皇家藝術學院展覽舉辦國際中國藝術展
of examples from this group are known compared to the other two size 覽圖錄，一為瑞典 E. Hultmark 醫生舊藏，截口，圖版 1949 號，另一
groups, all of which have a classic scroll above the shoulders and a band 藏德國漢堡工藝美術館，圖版 1952 號；一藏西雅圖藝術博物館，見
of ruyi-heads above the foot, such as a jar in the Palace Museum, Beijing, 華美協進會展覽《Dragons in Chinese Art》圖錄，紐約，1972 年，圖
illustrated in The Complete Collection of Treasures of the Palace Museum, 版 42 號；一藏波士頓美術館，見《Oriental Ceramics, the World’s Great
Miscellaneous Enamelled Porcelains. Plain Tricoloured Porcelains, Shanghai, 2009, Collections》，1980-2 年，第 10 冊，圖版 234 號；以及香港蘇富比，
pp. 58-9 no. 50; another in the British Museum, London, illustrated by 2015 年 10 月 7 日，拍品 3659 號。
Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2001,
no. 9: 90; two jars included in the International Exhibition of Chinese Art,
Royal Academy of Arts, London, 1935-6, with the neck cut-down, which
has a cut-down neck from the collection of Dr. E. Hultmark, Stockholm,
Sweden, no. 1949, and one from the Museum für Kunst und Gewerbe,
Hamburg, Germany, no. 1952; one from the Eugene Fuller Memorial
Collection in the Seattle Art Museum, included in the exhibition Dragons in
Chinese Art, China Institute in America, New York, 1972, no. 42; one with
cut-down neck in the Museum of Fine Arts, Boston, illustrated in Oriental
Ceramics, the World’s Great Collections,Tokyo, New York, and San Francisco,
1980–82, vol. 10, no. 234; and one sold at Sotheby’s Hong Kong, 7 October
2015, lot 3659.

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