Page 230 - Christie's, NYC Important Chinese Works Of Art Sept. 22-23, 2022

borders - Iran, Syria and Mamluk Egypt, as has been suggested by several
Fig. 1
他器形的棱面之作出現頻率較高。棱面造型得以普及，或許正如多名學者分析，反
映了當時人們對西域 (如伊郎、敘利亞和馬穆魯克時代的埃及) 製作的金屬器興趣漸
增，詳見麥德理 (M. Medley) 所著大維德基金會專論系列之二《Metalwork and
Chinese Ceramics》頁14 (倫敦：1972)；另一個原因可能是唐代 (公元618至907 編號82 (印第安納波利斯：1986)。大維德爵士珍藏中也有一件龍泉青釉八方梅
年) 金屬器再度興起。唐代金銀器中也有若干棱面之作，它們很可能是中原與西亞、
中亞之間文化交流的產物。最著名的實例當數勿裡洞沉船貨物與何家村窖藏文物中
的八方金盃，詳見拙作<A Remarkable Tang Dynasty Cargo>，全文載於 均有三面獨立開光，居中者無釉。瓶肩的開光飾折枝菊花一朵。但有別於本拍品的
《東方陶瓷學會會刊》2002-2003年67號刊頁20-22。雖然宋代偶有燒造棱面器
物，如浙江省博物館藏北宋初年龍泉窯青釉八方執壺，圖見《龍泉窰青瓷》頁87編
號46 (臺北：1998)，但元代的棱面陶瓷更為多樣化。值得注意的是，元代龍泉窯除
了燒造棱面瓶之外，也有製作棱面的盤、盌和高足盃，圖見前述著作頁232-3編號
214、215及頁215編號195。尤須一提的是，麗水市博物館藏一例寬頸梨形的南宋
六角瓶 (圖見前述著作頁152編號119)，其棱面器身飾印花，但施滿釉，而不是像本
季的元代梅瓶般，每個棱面中段的開光皆露胎。前述元代八方盌亦甚具特色，因其
外壁開光內印花不施釉，而內底貼花則滿釉。
NYC20719_PGS_0200_0285.indd 228-229
NYC20719_PGS_0200_0285.indd 228-229
panels, unusually, alternately contain a three-flower chrysanthemum spray, or
scholars (see M. Medley, Metalwork and Chinese Ceramics, Percival David a Daoist immortal among clouds. The Daoist immortal, who holds a double
Foundation Monograph Series No. 2, London, 1972, p. 14), or as a revival gourd in one hand and a crutch in the other can be identified as Li Tieguai
of an interest in Tang dynasty (618-907) metalwork. A number of Tang (Iron Crutch Li), one of the Eight Immortals. The David Collection vase is one
precious metal vessels were made in facetted form, probably as a result of of those on which tiny traces of gilding can be seen in the deeper sections
cultural contact with Western and Central Asia. The most famous of these of the unglazed relief decoration. A further vase of this type depicting the
are the octagonal gold cups found in the cargo of the Belitong wreck and in Eight Daoist Immortals, with a crackled glaze and a reduced foot, is in
the Hejiacun hoard (discussed by R. Scott in 'A Remarkable Tang Dynasty the collection of the British Museum (illustrated in Oriental Ceramics, The
Cargo', Transactions of the Oriental Ceramic Society, vol. 67, 2002-2003, pp. World's Great Collections, volume 5, The British Museum, Tokyo, New York
20-22). While facetted forms were occasionally made in the Song period - and San Francisco, 1981, col. pl. 75). (Fig. 2) Another of these vases is in the
for example the octagonal Northern Song early Longquan celadon ewer in collection of the Zwinger Palace, Dresden (illustrated in Farbige Glasuren
the collection of the Zhejiang Provincial Museum (illustrated in Longquan auf Porzellan, 1990, no. 11). (Fig. 3) An octagonal Longquan celadon meiping
yao qingci, Celadons from Longquan Kilns, Taipei, 1998, p. 87, no. 46) - in of this type is also in the collection of the Phoenix Art Museum, Arizona,
the Yuan dynasty a greater variety of facetted ceramic vessels were made. It while a slightly more elongated vase of similar appearance in the Asian
may be noted that, in addition to vases, facetted Longquan dishes and bowls, Art Museum of San Francisco, is illustrated by He Li, in Chinese Ceramics,
as well as stem cups, were made in the Yuan period (see ibid., pp. 232-3, A New Comprehensive Survey, New York, 1996, p. 187, no. 364. (Fig. 4) A
nos. 214 and 215, and p. 215, no. 195). It is significant that a wide-necked vase of this type, but on which all three panels of each facet have been left
pear-shaped vase in the collection of the Lushui Museum dating to the unglazed is in the collection of the Freer Gallery of Art, Washington, D.C. (see
Southern Song period (illustrated ibid., p. 152, no. 119) has moulded facetted Oriental Ceramics, The World's Great Collections, volume 9, The Freer Gallery
sides, but is fully glazed, unlike the current Yuan dynasty meiping, on which of Art, Tokyo, New York and San Francisco, 1981, fig. 77). An octagonal vase
the central panel on each facet has been reserved in biscuit. The octagonal of similar type to the current vase, but fully glazed and with the addition
Yuan dynasty bowl, mentioned above, is also interesting in that the exterior of tobi seiji (flying celadon) iron spots, was sold by Christie’s Hong Kong
moulded design has reserved panels, but the moulded decoration on the 30 November 2011, lot 3010. Only one other vase of similar size, shape
interior is fully glazed. and design, including the iron spots appears to have been published. This
is in a Japanese collection (illustrated in Sekai toji zenshu 13 Liao Jin Yuan,
A small number of Longquan vases of similar shape to the current example Tokyo, 1981, pp. 44-45, No. 32) and, like the current example has immortals
are to be found in international collections. A vase of the same size, shape depicted in all the central panels, but with iron brown spots around these
and with moulded decorative panels depicting the Eight Daoist Immortals is panels. A smaller vase of this type, also with iron spots is in the collection of
in the Philadelphia Museum of Art (illustrated by Y. Mino & K. Tsiang, Ice and the Palace Museum, Beijing (illustrated in Zhongguo wenwu jinghua daquan
Green Clouds: Traditions of Chinese Celadon, Indianapolis, 1986, pp. 202-3, - taoci juan, Taipei, 1993, p. 356, no. 626). These last three vases appear to
No. 82). There is also a Longquan celadon octagonal meiping in the Percival be the only published examples of this type on which the upper panels are Fig. 2
David Collection (discussed by R. Scott in Imperial Taste - Chinese Ceramics shaped like confronted paired fish, rather than being quatrefoil panels.
from the Percival David Foundation, San Francisco, 1989, pp. 48-9, no. 23).
On the David example, as on the current vase, each facet bears moulded The figures amongst clouds in the central panels in the current vase
decoration in three separate panels, the central one of which is unglazed. represent the Eight Daoist Immortals. In addition to Li Tieguai, mentioned
On the shoulder the panels contain a single chrysanthemum spray. However, above, the eight comprised Zhongli Quan, Lü Dongbin, Zhang Guolao,
unlike the current vase, on the David meiping the reserved central quatrefoil Han Xiangzi, Cao Guoqiu, Lan Caihe, and He Xian’gu, most of whom were
Fig. 1 Wine Jar with Eight Immortals, Yuan dynasty (1271-1368).
High-fired green ware (celadon), 10 x 10 15/16 x 11 5/8 in. (25.4 x 27.8 x
各大國際珍藏中，也有與本拍品造型相似的龍泉瓶，惟數量甚少。費城美術館藏一 29.5 cm). Brooklyn Museum, The William E. Hutchins Collection,
例，其造型、形制均與本梅瓶雷同，而且開光內亦模印八仙，圖見Y. Mino與蔣人和 Bequest of Augustus S. Hutchins, 52.49.33.
合著的《Ice and Green Clouds: Traditions of Chinese Celadon》頁202-3 圖一 青釉八仙圖罐, 元, 布魯克林博物館藏, William E. Hutchins珍藏,
Augustus S. Hutchins捐贈, 館藏編號52.49.33
瓶，詳見拙作《Imperial Taste - Chinese Ceramics from the Percival David Fig. 2 Longquan vase with Daoist immortals, Yuan dynasty
Foundation》頁48-9編號23 (三藩市：1989)。大維德瓶跟本拍品一樣，每個棱面 (1279-1368). British Museum, 1936,1012.83. © The Trustees of the
British Museum.
是，大維德梅瓶中段的四瓣式開光內，飾以一枝三朵的折枝菊與祥雲仙人，兩者交 圖二 龍泉青釉八仙紋梅瓶, 元, 大英博物館藏, 館藏編號1936,1012.83,
替出現。仙人一手持葫蘆，一手拄拐杖，此乃八仙之一李鐵拐的造型。部份作品在其 © 大英博物館信託基金
無釉浮雕紋飾的較深處，可能會殘留少量鎏金，而大維德瓶正是其中一例。大英博
物館藏一件同類型的八仙紋梅瓶，其釉面開片，歛足，圖見《Oriental Ceramics, Fig. 3 Longquan celadon octagonal vase with details of the Eight
The World's Great Collections》卷五之「大英博物館」彩色圖版75 (東京、紐 Immortals, 14th century. H. 25.4 cm., D. 15.8 cm. Inv. no. PO 7097.
約、三藩市：1981) 。(圖二) 另一近似例見諸德累斯頓茨溫格宮珍藏，圖見1990年 Porzellansammlung, Staatliche Kunstsammlungen Dresden.
Photo: Olena Korus
出版的《Farbige Glasuren auf Porzellan》編號11。 (圖三) 亞利桑那州鳳凰城
美術館也有一件近似的龍泉窯青釉八方梅瓶，而舊金山亞洲藝術博物館藏梅瓶外 圖3 龍泉青釉八仙圖八棱梅瓶, 十四世紀, 館藏編號PO 7097, 德累斯頓
瓷器收藏館, 圖片: Olena Korus Fig. 3
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