Page 117 - CHRISTIE'S Marchant Nine Decades of Chinese Art 09/14/17

藝臻期頤-MARCHANT珍藏中國藝術品

decorated in this style, are illustrated by John Ayers in Chinese and 畫和粉彩繪俱與本拍品相同，圖見前述著作頁
Japanese Works of Art in the Collection of Her Majesty the Queen, vol. 534–5編號1317及1318，兩者均於1810年納入皇
II, London, 2016, pp. 530-3, nos. 1313 and 1314. Archival research 室珍藏。同一著作中還收錄了六件金裝類似的
shows that these vases entered the Royal Collection in 1814. A very 瓷瓶，圖見頁536–7編號1319–1324。這批作品
large pair of lidded bottle vases with elaborate European gilt mounts 應該是在1818或1823年納入皇室珍藏，並見於普
and the same celadon, slip and enamel decoration is also in the Royal 金 (Augustus Pugin) 於1823–4年為布萊頓英皇閣
Collection, illustrated ibid., pp. 534-5, nos. 1317 and 1318, and these 畫廊所繪的水彩畫中。此外，尚有二例在歐洲
are believed to have entered the Royal Collection in 1810. A further 鑲造為執壺的近似瓶，它們可能是在1810年納入
six similar mounted vases are illustrated ibid., pp. 536-7, nos. 1319- 皇室珍藏，並曾亮相於普金在1823年為布萊頓英
1324. These seem to have entered the Royal Collection either in 1818 皇閣宴會廳美術館所繪的水彩畫，圖見前述著
or in 1823, and can be seen in Augustus Pugin’s 1823-4 watercolour 作頁538–539編號1325及1326)。
of the Salon at the Royal Pavilion, Brighton. Two further similar vases
mounted in Europe as ewers probably entered the Royal Collection 這種特大瓷瓶的裝飾風格延續至嘉慶年間，惟
in 1810, and are certainly illustrated in Pugin’s watercolour of the 其白雲有時會飾以粉彩，就此可證諸巴克盧公
Banqueting Room Gallery at the Royal Pavilion, Brighton, dated 爵 (Dukes of Buccleuch) 珍藏四例約公元1815年在
1823 (see ibid., pp. 538-9, nos. 1325 and 1326). 歐洲鑲裝的大瓶，倫敦佳士得於2011年7月7日以
1,280萬美元拍出，刷新了歐洲金裝瓷器的世界
This style of decoration applied to very large vases continued into the 拍賣紀錄。
Jiaqing reign, although sometimes with additional enamels applied
to the white clouds, as can be seen on the four massive vases, with 本拍品多面開光的粉彩畫工俱份外出色。瓶頸
European mounts dated c. 1815, from the collection of the Dukes of 前後開光分別飾以蓮花、牡丹。若此瓶原為一
Buccleuch, which were sold by Christie’s London on 7 July, 2011, 對，則另一瓶很可能是以梅、菊為題，以組成
for US$ 12.8 million, setting a world auction record for ormolu- 四季花卉。至於前後腹的兩面主要開光，描繪
mounted porcelain. 的應是歷史故事的場景。雖然故事背景各異，
但值得一提的是，諸多人物俱來自同一個歷史
The reserved panels on the current vase are particularly well-painted 時期，即漢末以降政局動蕩的年代。
in famille rose enamels. The panels on either side of the neck are
painted with lotus and peony, respectively. Assuming that this vase 其中一面開光取材自《三國演義》，此書傳為羅
was originally one of a pair, the other vase would almost certainly 貫中 (約公元1330–1400年) 於公元十四世紀的創
have been decorated with the other two fowers of the four seasons – 作，名列中國四大名著之一，其內容結合了歷
plum blossom and chrysanthemum. The two major reserved panels 史、傳奇和神話，將公元169至280年間風雲詭譎
on either side of the body appear to depict scenes from historical 的歷史事件娓娓道來，時代背景橫跨漢末與三國
literature. Signifcantly, although they derive from different stories, 時期。現存最早的刻印版於1522年面世，緒言提
the protagonists depicted on both panels are associated with the same 到的1494年應屬訛誤。1522至1690年期間的《三
historical period – the end of the Han dynasty and the period of 國演義》版本多不勝數，一些精繪佳瓷亦從中汲
political turmoil that followed. 取靈感。全書一百二十回，情節以三雄之間錯綜
複雜的權力之爭為軸心。若干章回更是家喻戶
One panel depicts a scene from the 14th century novel The Romance 曉，箇中情節常出現於各個版本的繡像。
of the Three Kingdoms (Sanguo yanyi 三國演義) attributed to Luo
Guanzhong (羅貫中, c. 1330-1400). This novel, which is regarded as
one of the four great classical novels of Chinese literature, is a mixture
of history, legend and mythology, which purports to chronicle
events from AD 169 to 280, which was a particularly turbulent era
in China’s history, encompassing the end of the Han dynasty and the
Three Kingdoms period. The frst printed edition of this tale dates to
1522, although it bears a possibly spuriously dated preface of 1494.
Numerous editions of The Romance of the Three Kingdoms were printed
between 1522 and 1690, and it provided inspiration for the decoration
of a number of fnely painted porcelains. The stories in its 120
chapters are concerned with the complex interactions of three major
groups who vie for power. Several of the chapters are particularly
well-known and scenes from them often appear as illustrations in the
various editions of the work. One of these is known as ‘Three visits
to the thatched cottage’ (三顧茅廬), and describes the efforts of
Liu Bei (劉備), who went on to found the Shu Han (蜀漢) state in
the Three Kingdoms period (AD 220-280), to enlist the aid of the

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