Page 64 - 2020 October 8 HK Fine Classical Paintings

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PROPERTY FROM AN IMPORTANT ASIAN COLLECTION 明初 鈞窰天藍釉鼓釘三足水仙盆
AN EXCEPTIONAL AND LARGE JUNYAO 底刻「二」字
LAVENDER-GLAZED NARCISSUS BOWL
EARLY MING DYNASTY 來源：
Robert Kleiner，倫敦
with shallow rounded sides curving down to a flat base
supported on three gently flaring ruyi-shaped feet, the rim 此類水仙盆，胎骨厚實，器形穩健，釉質肥潤如凝
bordered with a band enclosing evenly spaced rounded studs
between two narrow raised ribs, above a further band of 脂，色呈天藍微泛紫，器沿釉薄而漸趨透明，色澤變
studs above the feet, applied overall save for the base with a 幻至臻至美，是為鈞瓷顯徵。本品釉色湛藍如海，偶
rich and mottled lavender-blue glaze thinning to a mushroom 見蟠屈粗紋，謂之「蚯蚓走泥紋」。鈞釉水仙盆自燒
tone at the raised edges, the feet and base covered with a 造伊始，便備受推崇，所出器形比例、釉色不一，見
wash of olive-mushroom glaze, the latter further incised with 於世界頂級公私收藏。
a character er (two), surrounded by near circular spur marks
revealing the pale buff stoneware body
24.3 cm, 9⅝ in. 此類鈞瓷品質卓然，其燒造年代素具爭議，眾說紛
紜，以北宋、元末及明初論為主流。上海博物館就鈞
PROVENANCE 瓷碎片進行測試，指其年代當為元末或明初。此外，
Robert Kleiner, London. 可見一最新發掘之鈞壺例，器形與明梁莊王墓（1441
年）出土之金壺甚為相似，此亦可視為明鈞之佐證。
HK$ 5,000,000-7,000,000 大量鈞窰水仙盆後刻殿名，以分辨其所貯之地，多屬
US$ 645,000-905,000 兩岸故宮清宮舊藏。然清宮舊藏乏元代遺存，難以為
元朝一說作證。以此觀之，明初一說更為貼切，相若
This form of this narcissus bowl belongs to a distinct group of 鈞窰花盆或受命於上，為永樂帝為其新都皇宮專門定
flower receptacles known as ‘numbered Jun’ wares, mostly
made in moulds and generally inscribed on the base with 燒。再者，此類器皿未見於明以前之繪畫或文字記
numerals from one to ten that seem to correspond to the size 載，而明初景德鎮所製青釉瓷盆與之器形相仿，可作
of the vessels. This type radiates the essence of Jun ware 旁證，見宣德地層出土例，展於《景德鎮出土明宣德
which derived its beauty from their robust forms which were 官窰瓷器》，鴻禧美術館，台北，1998年，編號39。
coated in a contrasting luminous thick glaze of varied purplish-
blue colouration that becomes almost transparent around the 北京故宮博物院藏一底刻「二」字之紫釉水仙盆，周
edges where the glaze thins significantly. On the present bowl,
the glossy glaze is reminiscent of the deep blue ocean, infused 徑略小，圖見《鈞窰雅集：故宮博物院珍藏及出土鈞
with the characteristic markings that have become known as 窰瓷器薈萃》，北京，2013年，圖版94，同書並載一天
‘earthworm tracks’. Highly prized throughout Chinese dynastic 藍釉「一」字例，底鐫「養心殿」及「長春書屋用」
history since their production, these striking vessels were 銘，圖版115。台北故宮博物院清宮舊藏另有近例，見
produced in a variety of proportions and glaze colours and are 《故宮藏瓷大系：鈞窰之部》，台北，1999年，當中
found in some of the most important museums and private 包括尺寸較小、底刻「二」字款之紫釉水仙盆（圖版
collections of Chinese art.
31），以及大小各異之天藍釉例（圖版27、28、30、34
The dating of these wares has been long debated. Scientific
tests of sherds undertaken by the Shanghai Museum have 及35）。東京出光美術館也有天藍釉例可資比對，圖
pointed to a late Yuan or early Ming date. A newly discovered 載於《出光美術館藏中國陶磁》，東京，1987年，圖
Jun ewer very similar in shape to a gold ewer from the tomb 版104。
of King Zhuang of Liang, buried in 1441, has also been offered
as evidence for a later dating. The production of these flower
vessels fits better into the early Ming dynasty, and they may well
have been officially commissioned for the newly built imperial
palace in Beijing in the Yongle period. Furthermore, these
vessels do not appear in any pre-Ming text or painting, and their
form is similar to early Ming celadon-glazed flower vessels.
A slightly smaller bowl with the numeral er (two), but the exterior
covered in a purple glaze, is in the Palace Museum, Beijing,
illustrated in Selection of Jun Ware. The Palace Museum’s
Collection and Archaeological Excavation, Beijing, 2013, pl. 94,
together with a lavender-blue glazed bowl with the numeral
yi (one), pl. 115. See also related bowls from the Qing court
collection and now preserved in the National Palace Museum,
Taipei, published in A Panorama of Ceramics in the Collection
of the National Palace Museum: Chun Ware, Taipei, 1999, for
example, a slightly smaller purple-glazed example also with
the numeral er (two), pl. 31, and similar lavender-blue glazed
narcissus bowls of different sizes, pls 27, 28, 30, 34 and 35. Mark

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