Page 21 - Nov. 27, 2019 Christie's Important Works of Art HK

ᝪᓽߪݤ໶ᆌ੓ᙻ໿ᇪჺ㧿ईউ卿㑊㲋႔␰㙁䂆
㺨⡠⎊㞏◂≢ǯ
໿ᇪ⎑Ⴝཌㅳ≢⎏⯞㑪কᙃ⪹ऴᯎ⎏ᮛᇵ卿ज㌴
㋭Ƕᚺ༰㢙Ƿ㉃㖊ǯݩ݉ ⯍ ჺ㧿卿㲋
႔ᇙ⚨ ᜀᇪ㤯 㪃⏍ᆌ੓୬㏗ᮇ㝌⽐卿Ӵ՞Ӷ
౑卿ݯᇌㄴӴ᚜ਮᙯǯ໿ᇪჺ㧿卿ᜀᇪ㤯໶≢
ㅳה⏇ᥑӬᛞǯᡜᗌटᙠ卿ងᅡ㫍ᙻ ჺӴ
ռಫ⊄卿ֿ⢏ս⩱㏦㙞㟳ᙻ⋁ჺԬᝲږ῟卿⏜⯍
ჺංቤᇟ⚨࡞ǯᾅ᫉⏭׹卿ᇙ⚨ㅳ≢፽ᝳ
ݦჺ⎏㧿᪱ǯ໿ᇪង᫓ᛞۣࢦჺ卿㘺ዪঀ␖᱁۔
⯍ի⎏Ꮢᝳ໿ᇪᇙ≢ك׹⯇ݨჺ⎏῟㙁ឆ卿ሲԠ
ռ՞⯢ᖟӶӴǯ

໿ᇪ≢⎏Ӭഌ⁞ᇨ卿ᛓᇙ≢⎏ჺ᪪ᚚ㑮㇧❧ǯ㫍
ᝳӬཎᏼ᭦ᦼ≢଍㠺ᝳ֎ल།ᮨᄟ ݩ݉
fig. 2 The characters xuan and de on Dog and Bamboo inscribed by Emperor Xuanzong
(top) and those inscribed on the present cup (bottom) ⯍ ჺ झ㨌㵲⎏ჺ⽚᪪卿ֿ⧤ჺ᪪㘺Ӭڔ
எՀ ប⑶ఫǶӬ⛮எǷᇙ✖Ǹ໿ᇪǹ᪪卻ӳ卼ࣿទ։᪪㍃卻Ӵ卼Ԡᬘཌ
ᯧங໿ᇪ≢଍ԋᝤἃ᛿㙝卿ӻս㪴ᝧ᪪཰അǯᝳ
ໝ⩢ᑨ߅卿໿ᇪ᪪⎏㰍ᡟ⬴⫭ᙻ໿໵✖ዪǯ౑
a good indication of the difficulty that the Ming potters experienced in ⻉ᙱఉ⎏⡢‰㙪㩛⁞㞖ᙱࢷ⁒㱦→⻦⛁㕻ǶӬ
producing porcelains using underglaze copper red and helps to explain the ⛮எǷ卿எ㇦ↄ໵ⵖ 3JDIBSE . #BSOIBSU Ꮢⶬ
rarity of fine quality porcelains of this type.
Ƕ1BJOUFST PG UIF (SFBU .JOH *NQFSJBM $PVSU BOE
While the best-known technique for copper-red decoration involved painting UIF ;IF 4DIPPMǷ㮰 ⤔⽚ 㙤ᐹᙱ厍 卻ॲ
linear designs in red on a white porcelain body, there were other techniques ː卼ǯⲋཆ⊺ԋ໿ᇪ݉ჺ໿໵ᇙ㯪⯝໿ᇪ≢଍⎏
that resulted in solid areas of colour contrasting with the surrounding ჺ᪪㊄࠼ᬘཌ卿؝ᝯ⎉→߿㘚㊯ᯧᏒ㈲㬳⽗ǯ⊺
area – white decoration against red or red decoration against white. Such
ԋǸ໿ᇪǹՀໃ卿⯝ទᐽ৅㘺㯸ᇙ≢ჺ᪪ԋ⎏Ǹ໿
decorative schemes required good control of the material during firing, and
ᇪǹໃ᧙ཝἃᓞ㘆卻ॲ̤卼 ǯ໿ᇪ≢଍⎏ჺ᪪
in the Yuan dynasty those porcelains decorated with a white design reserved
ׅ⧡ӶӬ卿Ꮅ⧤ᙻ଍⁒ऑᯒݤം卿Ꮅⶔᙻ଍ᄓ㑷
against red were not generally a success. On these vessels the design was
incised into the body of the vessel, under the glaze, and copper red was ݤ卿Ꮅ۬ទᐽ৅⯺߅→ᙻݤᄓ᫈ԋǯᝳ⎏ჺ᪪Ԡ
applied in a band avoiding the area of the design. The decoration should ംᝳ㫐஄卿ᝳ⎏ߺս੷リᨕᓎᎵ੷リ⛔ᓎ⎏ᙹᅴ
have stood out in white against the red, but, unfortunately, in almost all १→ǯ
cases the glaze, which was similar to that used on qingbai wares, tended to
run, taking the red with it and obscuring parts of the design (as in the case ᚝ᙻ৿ջ卿᭘ࢇ㠩Ⴁ⊇ה㵶ᵐ㪃≢⡚ⰰ⡠㱈⎏
of the pear-shaped vase in the collection of Sir Percival David illustrated by १ⰰ࠲卿ֿ⯇৿ս㩥卿㪃႙،὞㇬᫉ἃ⊧㘶ǯ
Rosemary Scott in Elegant Form and Harmonious Decoration: Four Dynasties
⊐ᙻ⡠㱈ԋ⎏㠩⡚ᙠᥑӶ♵໸卿ᏒսὍ㋏ᛓ᭘
of Jingdezhen Porcelain, London, 1992, No. 16) (fig. 3). When underglaze
ࢇ㠩⎏ㅳۄক༗ᄟ卿ᐒᎵᛓ㞏ᙠᎰ֍Ǯ⚨ᵐࣿ㚍
copper red with reserved decoration was attempted in the Hongwu reign
ࣥ☶ᄟ卿ԛ⯍ᙻ⚨῟ᛞᗥᘞ⎏ׅ⧡卿⎐㮷Ӭ⢵Ӷ
(1368-1398), it was in association with a different, less fluid, glaze and tended
to be somewhat more stable, although the colour of the red was usually ⲅǯទᐽ৅⎏㞏ㅏ⡚⡠㱈⊿჎⧻㈊卿㑷㌴ᇙ⚨⊺
th
somewhat muted. By the early 15 century, in the Yongle and Xuande Ⴧ⯝ᓈ⚨⩢࠻࠺᳅ᴗǯ⯍ᙻᇙ⚨῟㙁㞏ㅏ⡚≢଍
reigns, brighter red and more controlled outlines were achieved, and designs ⎏㫙ᄟԠഌ卿जᇖ⋁ᛞ⚨⏍१㙬⎏㋭അണႷ⊶⚲
created using stencils could be applied to excellent effect, as on the current ӬՀǯࣿ⯍㪏ጻՆჺ ݩ݉ ჺ 卿⚨⏍ᇍᡞ
th
stem cup. Nevertheless these 15 century imperial porcelains were still
ⶃ⯺ὍടԠӴ卿श⎑ӳണ㋇᳝ཐ㈳≢ᙇ㞔卿ս⡨
susceptible to poor colour development, and the brilliance and precision of
the decoration on the current vessel is rare. ᜀᇪ㤯㪃႙㑢῟ԠⲌǯᇍ᭄ണ⛌⎏㞒㿽ԠӬ卿ᛓ
፻᭯ս㞏ӳ█⡚ᆭ≢ջᝫ㞏ㅏ⡚≢଍ǯႽℳश׹
Stem cups with decoration of three copper red fish in a several profiles and
Ӷ੧ㄴ՞ᐲ㘭᚜ዪ卿⩧ӻ㞏ӳ█⡚ᆭ㮷Հ᪖⚨῟
foot types have been excavated from the Xuande strata at the imperial kilns
⩧Ꮀ ᫬᪖ℯ㪪Ԡಫ࠼ 卿ᓽ߅㘺᧙⎏㋇᭯༰ؠ
at Zhushan, Jingdezhen. A red fish stem cup with closed foot was excavated
ካ㬳ᇑႡǯ⊐᫉ज㇦卿῟㙁㞏ㅏ⡚≢଍ཌᚺջ㪃
from the imperial kiln site in 1982 (illustrated by the Chang Foundation in
Xuande Imperial Porcelain excavated at Jingdezhen, Taipei, 1998, p. 50, no. 46- ႙׹㊯㫙ൈ⎈഍卿Ԯ㊯ᚺԻ᫉㯸ल≢⧎㏟㫙᭯⎏
2) (fig. 4), while another with an open foot, similar to that on the current ࣥ୬ǯ

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