Page 16 - Christie's Hong Kong May 31, 2017 Important Chinese Ceramics and Art

THE ROGER BELANICH COLLECTION OF LONGQUAN CELADON
CERAMICS

3002

A VERY RARE CARVED LONGQUAN CELADON 明洪武 龍泉青釉劃花梔子紋玉壺春瓶

BOTTLE VASE, YUHUCHUNPING 來源
Ralph M. Chait Gallery，紐約
HONGWU PERIOD (1368-1398) 埃斯肯納齊，倫敦，2008年

The globular body is carved with blossoming gardenia branches 展覽
above a band of upright overlapping petals and below bands of 2009-2017年間借展於西雅圖藝術博物館
gardenia and hibiscus scrolls at the neck interspersed by sets of
horizontal parallel lines. The vase is covered overall with an even 瓶撇口、細頸、梨形大圓腹、圈足。外壁以帶狀劃花為飾，頸飾芙蓉
glaze of pale olive tone with the exception of the foot rim. 紋、纏枝梔子紋，腹飾梔子紋，下接仰蓮瓣紋。足沿以外全器滿釉。整
13 in. (33 cm.) high 體比例勻稱，用刀工緻，為明初處州官窯中難能可貴的佳作。

HK$900,000-1,500,000 US$120,000-190,000 近似例雖經著錄，但未見相同紋飾的例子。大多的近似例除了腹部的主體
紋飾不同外，副紋基本相同，從口至足由蕉葉紋、回紋、卷草紋、主體花
PROVENANCE 卉紋、仰蓮瓣紋及回紋組成。主體紋飾以牡丹紋及蓮紋居多，前者可參考
安徽永樂十二年（1414）平江伯陳聞墓出土一件，參見《文物資料叢刊》
Ralph M. Chait Gallery, New York 2期，頁259；台北故宮數例，載於《碧綠–明代龍泉窯青瓷》，台北，
Eskenazi Ltd., London, 2008 2009年，頁108-113，圖版52-55，且劃花皆頗為草率；北京故宮一例，
見《龍泉窯青瓷》，台北，2014年，頁188，圖版161；拍賣兩例，見香港
EXHIBITED 佳士得，1991年10月1日，拍品732號，及香港蘇富比，1996年11月5日，
拍品635號。後者包括台北故宮一例，見《碧綠》，頁114-5，圖版56；
The Seattle Art Museum, 2009-2017 托普卡比宮一例，見《Chinese Ceramics in the Topkapi Saray Museum》，伊
斯坦堡，第1冊，圖版223；Alan Barlow爵士伉儷珍藏一例，載於《Chinese
The present vase is one of the finest examples of early-Ming Longquan Ceramics, Bronzes and Jades in the Collection of Sir Alan and Lady Barlow》，倫
celadon wares probably produced at the Imperial kilns in Chuzhou. 敦，1963年，圖版95b。北京故宮尚有一件以石榴紋為主體紋飾的例子，見
Although a few other similar Longquan yuhunchunping are known, the 黃衛文撰〈清宮舊藏明代龍泉窯青瓷研究〉一文，載於《中國古陶瓷研究
present vase is distinguished by its generously-proportioned body and 輯叢–龍泉窯瓷器研究》，頁247，圖3，但器型不及此例圓碩，劃花亦無
the fluid carving, and its decoration appears to be unique. 此生動。玫茵堂另藏一件葡萄紋的例子，載於《玫茵堂藏中國陶瓷》，第
3（下）冊，倫敦，2006年，圖版1582。
The majority of similar examples follow a standard arrangement of
motifs, carved from top to bottom with bands of upright plantain
leaves, key frets, classic scroll, pendent-ruyi collar, floral scroll, upright
petals, and key frets again. Dominating the decoration is the wide
register of floral scroll, with peony and lotus being the two most
frequently depicted. For examples of the former, compare to a vase
in the National Palace Museum, Taipei, illustrated in Green-Longquan
Celadon of the Ming Dynasty, Taipei, 2009, pp. 106-7, no. 51, and four
other vases in the same institution carved in a more cursory manner,
see ibid., pp. 108-113, pls. 52-5; and another in the Palace Museum,
Beijing, illustrated in Celadons from Longquan Kilns, Taipei, 2014, p.
188, no. 161; and two sold at auctions, one at Christie’s Hong Kong, 1
October 1991, lot 732, the other at Sotheby’s Hong Kong, 5 November
1996, lot 635. Examples of the later include a vase in the National
Palace Museum, Taipei, ibid, pp. 114-5, no. 56; a second in the Topkapi
Saray Museum, illustrated by Regina Krahl, Chinese Ceramics in the
Topkapi Saray Museum, Istanbul, vol. I, p. 295, pl. 223; and a third
illustrated in Chinese Ceramics, Bronzes and Jades in the Collection
of Sir Alan and Lady Barlow, London, 1963, pl. 95b. Compare also to
a vase with blossoming pomegranate scroll as the major band in the
Palace Museum, Beijing, illustrated by Huang Wenwen in Qinggong
jiucang Mingdai Longquan qingci yanjiu, The Research of Porcelain
of Longquan Kiln, Beijing, p. 247, fig. 3, and one with grapevines in
the Meiyintang Collection, illustrated in Chinese Ceramics from the
Meiyintang Collection, vol. three (II), London, 2006, pl. 1582.

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