Page 20 - CHRISTIE'S Marchant Nine Decades of Chinese Art 09/14/17

MARCHANT: NINE DECADES IN CHINESE ART

Lot 701

It is likely that some of the larger forms that became a feature of 大型香爐。至於別的日本名寺 (如鎌倉的円覚寺和
Yuan and early Ming Longquan wares were initially inspired by the 建長寺)，迄今仍沿用自鎌倉 (公元1185–1333年)
requirements of patrons from Western Asia. However, these larger forms 和室町 (公元1333–1573年) 時代流存至今的青釉
came also to be greatly appreciated by patrons in East Asia. In addition 瓶。伊期坦布爾的托普卡比宮珍藏中，迄今仍有
to China, fne Longquan celadons were especially popular in Japan, 大批上乘的奧斯曼御藏元明龍泉青瓷，而德黑蘭
and a Longquan lidded celadon jar was found in the grave of Kanazawa 阿德比爾珍藏中保存的龍泉青瓷，亦充份證明了
元明龍泉瓷器深受伊朗薩非王室的喜愛。
Sada-aki (金沢貞顕1278-1333) in the grounds of the Shomyo-ji (称名
寺) Temple. The Shomyo-ji temple itself, which is believed to have been 史籍多次提到，一些明初的龍泉窯製品乃宮廷用
瓷，其一應事務俱由京中派員督製。據《大明會
set up by Hōjō Sanetoki (北条実時1224-76) during the Kamakura 典》卷一九四記載：「洪武二十六年[即公元1393
period, still has in its collection two large Longquan celadon vases and 年]定，凡燒造供用器皿等物，須要定奪樣制，
a large incense burner with applied relief decoration. Other major 計算人工物料。如果數多，起取人匠赴京置窯興
工。或數少，行移饒處[即江西景德鎮和浙江龍泉
Japanese temples, such as the Engaku-ji (円覚寺) and Kencho-ji 窯]等府燒造。」《明憲宗實錄》卷一記載，憲宗
(建長寺at) Kamakura also still use celadon vases preserved in the temples 於天順八年[公元1464年]即位，翌年改元成化，並
since the Kamakura (1185-1333) and Muromachi (1333-1573) periods. 大赦天下。文中還提到：「江西饒州府，浙江處
Numerous examples of fne Yuan and Ming Longquan celadon wares 州府，見差內官在役燒造磁器，詔書到日，除已
collected by the Ottoman rulers are still preserved in the Topkapi Saray 燒完者照數起解，未完者悉皆停止，差委官員即
in Istanbul, while those from the Ardebil Shrine, preserved in Tehran, 便回京，違者罪之。」顯而易見，在1464年成化
provide ample evidence of the popularity of Yuan and Ming Longquan 帝登基之前，龍泉窯官瓷仍燒造不斷。根據《明
wares with the Safavid rulers of Iran. 憲宗實錄》卷一，朝廷會定時派員督製御瓷燒造
事宜，直至公元1464年方止，甚至有可能晚至公
It is clear from a number of textual sources that some of the ceramics 元1465年，相關的探討請見朱伯謙所編《龍泉窯
produced at the Longquan kilns in the early Ming dynasty were being 青瓷》頁47 (台北：1998)，以及蔡玫芬主編的《碧
made for the court, under the supervision of government offcials sent 綠：明代龍泉窯青瓷》頁22 (台北：2009)。但自成
化朝 (公元1464–1485年) 以降，龍泉青瓷質量漸
from the capital. Juan 194 of the大明會典Da Ming Huidian states that 差，其最後的「黃金時期」於此亦劃上了句號。
in the 26th year of the Hongwu reign [1393] some imperial wares were
fred at the Rao and Chu kilns – i.e. at Jingdezhen in Jiangxi and at the 考古發掘工作也提供了進一步的線索。龍泉大窯
Longquan kilns of Zhejiang. 遺址曾出土具官窯款的瓷片，而其他地方的出土
文物也再次證實，別的窯址在明代也有燒造龍泉
洪武二十六年定 , 凡燒造供用器皿等物 , 須要定奪樣制 , 計算人工 佳器。發掘大窯遺址的工作始於2006年，據文物顯
物料，如果數多 , 起取人匠赴京置窯興工 , 或數少 , 行移饒、處等
府燒造.

In volume one of the明憲宗實錄Ming Xianzong Shilu it is noted
that Emperor Xianzong ascended the throne in the eighth year of the
Tianshun reign [1464] and after the Chenghua reign began in the
following year, an amnesty was declared. It was also noted that the
offcials sent by the government to supervise ceramic production at the
Yaozhou kilns of Jiangxi province and the Chuzhou kilns of Zhejiang

18