Page 64 - Christie's Hong Kong Important Chinese Works Of Art May 30 2022

fig. 2 Silk cover of the current lot fig. 3 Silk cover of the current lot fig. 4 Silk cover of the current lot fig. 5 Silk cover of the current lot
圖二 隨附本拍品之絲織蓋子 圖三 隨附本拍品之絲織蓋子 圖四 隨附本拍品之絲織蓋子 圖五 隨附本拍品之絲織蓋子

to note that this combination of motifs appears to have been the – Central Asian and Chinese Textiles, New York, 1997, p. 49, no. 11.
inspiration for the unusually small-scale design on the gold and ivory The brocade example used for the jar cover, however, has a boldness
cover (fig. 3) belonging to the current jar. that is especially associated with the Yuan and early Ming dynasty.
A Ming dynasty deep blue brocade with a similar golden design to that
The polychrome damask cloth with cloud-edged roundels set against seen on the jar cover is in the collection of the Xinjiang Museum and
a complex lattice of blue and green (fig. 4) is both rare and interesting is illustrated in by Wu Min in Zhi xiu, op. cit., p. 216, lower image.
for its association with other media. The ground pattern composed of
hexagons entwined with circles is rare amongst textiles, but the same The current jar, with its extraordinary glaze, is not only a remarkable
structure can be seen on an imperial blue and white porcelain tile example of the finest celadons made in the early Ming dynasty,
excavated in 1993 from the Xuande strata at the imperial Jingdezhen but is of great significance for its history within an important
kilns in Jiangxi province, illustrated in Xuande Imperial Porcelain Japanese family. It is also of cultural significance for the part it
excavated at Jingdezhen, Taipei, 1998, p. 122, no. F21. The magnificent has played in major tea ceremony events. The silks from which its
blue and gold silk brocade used to make the fourth cover (fig. 5) decorative covers are made are, in addition, rare and important items
for the current jar has a floral scroll design that has a long history in their own right, as well as demonstrating yet another facet of the role
amongst fine Chinese woven silks that goes back at least to the Song played by the decorative arts of China in the Japanese tea ceremony.
dynasty – see for example the Northern Song ivory ling twill damask
illustrated by J.C.Y. Watt and A.E. Wardwell in When Silk Was Gold (For the complete essay, please visit www.christies.com.)

本「口覆」（圖二）飾以錦雲朵朵，端莊綺麗，乃出自明代享負盛名的南京雲錦，常見於中國貴族衣飾。位於南京中華
門外，明代成化年間（1465至1487年）孝貞純皇后王氏家族成員王志遠墓，曾出土一襲黃地絲織錦緞袍，紋飾與本物
同源，見《Power and Glory: Court Arts of China’s Ming Dynasty》，三藩市，2008年，頁70，編號30。
元代晚期至明代年間，出現了雲錦併合八寶圖案。元末一例可參考高漢玉等著，蘇玫瑰及Susan Whitfield譯，《中國歷代
織染繡圖錄》，1986年，頁88，編號61；明代兩例，同為錦緞，見同書第107頁，編號85至86。如此紋飾組合鮮有用於
小型飾物，本象牙白緞金線覆布（圖三）之設計靈感可能正來自此類袍服。以藍綠菱紋為地之彩織錦緞可見於其他
材質。1993年，江西省景德鎮宣德御窯出土一青花瓷磚（圖四），飾六角併圓型錦紋，此紋樣在織繡品上同樣罕見，
見《景德鎮出土明宣德官窯瓷器》，臺北，1998年，頁122，編號F21。

本罐第四層覆布（圖五）飾花卉紋，與中國絲綢藝術史關係密切，可追溯自宋代，見一北宋象牙白斜紋綾織，載於屈志
仁及A.E. Wardwell 合著，《When Silk Was Gold–Central Asian and Chinese Textiles》，紐約，1997年，頁49，編號11。
本覆布織錦紋樣精巧生動，與元代至明初風格遙相呼應。新疆博物館藏一飾同類紋樣的深藍色織錦，載於武敏著，
《織繡》，同上，頁216，下圖。

本罐形雅色絕，超塵拔俗，固然屬明初龍泉青瓷典範。背後的收藏故事、茶道文化，乃至織物美學，皆蘊含著豐富的
歷史養分，儼如一部繁花似錦的百科全書，同時印証中國工藝與日本茶道源遠流長的密切關係。

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