Page 43 - Sotheby's Asia Week March 2024 Chinee Art

Fig. 1 An archaic bronze ritual wine vessel (zun), Late Shang / early Western Zhou Fig. 2 A Ru-type ‘three rams’ vase, Seal mark and period of Yongzheng
dynasty, sold at Sotheby’s New York, 11th-12th September 2012, lot 159. © National Palace Museum, Taipei
圖1 商晚期/西周早期 青銅饕餮紋尊，售於紐約蘇富比2012年9月11至12日，編號159 圖2 清雍正 仿汝釉三犧尊 《大清雍正年製》款 © 國立故宮博物院，臺北

Ru guanyao, the official ware of the late Northern Song November/December 2005, pl. 65, Chinese Ceramics: 北宋晚期御瓷汝官窰，造於河南汝州，今寶豐縣， 本尊糅合高古青銅及瓷器靈感，成就出衆，器身三
court from the kilns in Ruzhou, in modern Baofeng county, Highlights from the Sir Percival David Collection, The 為宋代瓷器中最受推崇之珍，地位至高，實為神 方圍飾獸面，設計獨特，源於商代晚期或西周時期
Henan province, has always been the most treasured and British Museum, London, 2009, cat. no. 17, and China. 品，珍稀無比，一器難求，香港蘇富比2017 年 10 月 青銅禮器，本尊三羊間距與2012年9月11日至12日，
highest regarded of all Song dynasty wears. With their The Three Emperors 1662 – 1795, Royal Academy of Arts, 3 日，編號5售一件北宋汝窰天青釉洗，釉如凝脂， 編號159紐約蘇富比出售之例相同，該尊三方圍飾
glowing, intense blue-green glaze, and attractive ‘ice crackle’ London, 2005, cat. no. 168.
patterns, the finest surviving examples such as the brush 天青猶翠，冰裂瑩澈，堪稱汝官瓷之範，相信乃唐 獸面（圖1）。北宋時期出土青銅禮器，乃此款瓷
washer from the collection of Le Cong Tang sold in our Hong Ram vases such as the present example, appear to be an 英復燒仿宋瓷器之靈感來源。為仿汝瓷，清世宗曾 器之靈感來源，如台北故宮博物院藏北宋汝窰三犧
Kong rooms, 3rd October 2017, lot 5 provided a source of amalgamation of archaic bronze and porcelain. The distinct 敕將各式汝器南送御窰，以仿製燒造。雍正十年， 尊，圖載《故宮藏瓷•汝窰》，香港，1961年，圖
inspiration to Tang Ying. It was by sending Song dynasty design of three animal masks around the central body 御旨燒造瓷品清單，記「銅骨無紋汝釉，仿宋器貓 版2a。
originals from the palace in Beijing to the porcelain kilns in ultimately derives its form from archaic ritual bronzes of the 食盤人面洗色澤」以及「銅骨魚子紋汝釉，仿內發 耿寶昌《明清瓷器鑑定》載一相關線描圖，依高古
south China as models, among them a Ru ‘narcissus basin’, late Shang / Western Zhou dynasty. See, for example, the 宋器色澤」（Stephen W. Bushell，《Oriental Ceramic
that it was possible to revive Ru shapes and glazes. A list similarity of the precise spacing of the three rams on the Art: Illustrated by Examples from the Collection of W.T. 青銅裝飾命名曰「三犠尊」（香港，1993年，頁235
of different porcelains ordered to be made for the Emperor present vase to the spacing of the three taotie masks around Walters》，紐約，1986年，重刊版，倫敦，1981年， ，圖401:13）。「犠」即祭祀儀式之牲，明顯乃本品
in 1732 lists ‘Uncrackled Ru glaze with copper-colored the central body of a ritual wine vessel of zun form, sold in these 靈感來源。
paste, copied from the color of the glaze of two pieces of rooms, 11th-12th September 2012, lot 159 (fig. 1). It was the 頁194f）。雍正六年至七年間繪製〈古玩圖〉二卷， 文獻記載唯一作例或為台北故宮博物院藏一件雍正年
the Song dynasty’, and ‘Ru glaze with fish-roe crackle of excavation of archaic ritual bronze vessels during the Northern 其中描繪數件御藏汝瓷，如一件金屬釦口水仙盆 製仿汝釉例，收錄於《故宮清瓷圖錄．康熙窰．雍正
copper-colored paste, copied from the colors of the glaze of Song dynasty that inspired the origin of this form in porcelain, （見康蕊君，〈Art in the Yongzheng Period: Legacy of
a piece of the Song dynasty sent from the imperial palace’, as seen with the Northern Song dynasty Ru-type ‘three rams’ an Eccentric Art Lover〉，《Orientations》，2005年 窰》，東京，1980年，圖版129（圖2）。帶乾隆款之
see Stephen W. Bushell, Oriental Ceramic Art: Illustrated vase in the National Palace Museum, Taipei, illustrated in Ju 11/12月號，頁65右上），及大維德基金會藏一汝瓷 例較多，可參考一件仿汝釉例，收錄於台北故宮博
by Examples from the Collection of W.T. Walters, New York, Ware of The Sung Dynasty, Taichung, 1961, cat. no. 2a. 盌（編號17），另見《盛世華章》，英國皇家藝術 物院《清代單色釉瓷器》，台北，1989年，編號88。
1896; reprint London, 1981, pp 194f. Several Ru pieces are A line drawing of the ‘three rams’ form is included among 學院，倫敦，2005年，編號168。 巴爾的摩華特斯美術館藏另一乾隆仿官釉例，見於
also included in the two handscrolls titled Guwan tu, or Yongzheng shapes in Geng Baochang, Ming Qing ciqi S.W. Bushell，《Oriental Ceramic Art》，倫敦，1981年
‘Pictures of antiquities’, painted in the Yongzheng reign in jianding, Hong Kong, 1993, pl. 401:13, where it is called （1896年初版），彩圖LXXVII。
1728 and 1729, respectively, which record art objects in sanxicun, or ‘vase of three beasts of uniform color’, referring
the imperial collection, among them the ‘narcissus basin’ to the kind of animals used in ritual offerings. It was clearly a
with metal rim, see Regina Krahl, ‘Art in the Yongzheng source of inspiration to the current vase.
Period: Legacy of an Eccentric Art Lover’, Orientations,

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