Page 72 - Chinese Ceramics the Linyushanren Collection Part 1 , Christie's

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A VERY RARE FINELY MOULDED ‘PEACOCK’ Heptafoil shapes were also found in Song metalmark. Compare with a
DING DISH Southern Song silver octafoil dish, illustrated in J.J. Lally & Co., Silver
and Gold in Ancient China, 2012, Catalogue, no. 23. In the Song-Jin
NORTHERN SONG-JIN DYNASTY, 12TH-13TH CENTURY period, metal forms often influenced wares such as Ding and Jun. These
products are often of high quality and were most likely made for the
The dish is delicately potted with a flat base and flaring sides and is crisply wealthy social elite and the court. According to the Jin official book
moulded to the interior with a single peacock flying amid peonies and Dajin jili (Compilation of Rites of the Grand Jin), in the second year of
leaves, adorned by a butterfly and insect, all within a heptafoil frame. The the Tianjuan reign (1139), one thousand Ding pieces were designated as
well is further moulded with composite floral scroll below a keyfret band. presents to a princess along with other objects. Recently, a large number
The dish is covered overall in a warm ivory glaze, thinning in some areas of moulded Ding shards were discovered in archaeological excavations
near the foot and rim on the exterior to reveal the white biscuit body. The in Hangzhou. see Tsai Meifen, Decorated Porcelains of Dingzhou: White
rim is bound with a metal band. Ding Wares from the collection of the National Palace Museum, op. cit., p. 275.
The sites yielding moulded Ding shards include the residence of Empress
7 ¿ in. (18.1 cm.) diam., Japanese wood box Yang (1162-1231), the Governance Hall of Hangzhou, and the Imperial
Ancestral Hall. The present piece is representative of the court aesthetic in
HK$2,000,000-3,000,000 US$260,000-390,000 the Song-Jin period.

PROVENANCE 北宋/金 定窯印孔雀穿牡丹紋盤
Sen Shu Tey, Tokyo
來源
EXHIBITED 千秋庭，東京
Sen Shu Tey, Special Exhibition ‘Run Through 10 Years’, Tokyo, 2006,
Catalogue, no. 60 展覽
Christie’s, The Classical Age of Chinese Ceramics: An Exhibition of Song 千秋庭，《創立十周年紀念展覽會》，東京，2006年，圖錄編號60
Treasures from the Linyushanren Collection, Hong Kong, 22 to 27 November 佳士得，《古韻天成：臨宇山人宋瓷珍藏展覽》，香港，2012年11月22至
2012; New York, 15 to 20 March 2013; London, 10 to 14 May 2013, 27日；紐約，2013年3月15至20日；倫敦，2013年5月10至14日，圖錄編
Catalogue, no. 10 號10

LITERATURE 著錄
Anthony du Boulay, Chinese Porcelain. Pleasures and Treasures, Frankfurt, Anthony du Boulay，《Chinese Porcelain: Pleasures and Treasures》，
1963, p. 31, fig. 21 法蘭克福，1963年，31頁，圖21
Jan Wirgin, Sung Ceramic Designs, London, 1979, pl. 88b Jan Wirgin，《Sung Ceramic Designs》，倫敦，1979年，圖88b
Sen Shu Tey, The Collection of Chinese Art, Tokyo, 2006, p. 52, no. 60 千秋庭，《中國美術蒐集》，東京，2006年，52頁，編號60
Christie’s, The Classical Age of Chinese Ceramics: An Exhibition of Song Treasures 佳士得，《古韻天成：臨宇山人宋瓷珍藏展覽》，香港，2012年，44-45
from the Linyushanren Collection, Hong Kong, 2012, pp. 44-45, no. 10 頁，編號10

Moulded decoration on Ding wares was adopted in the latter part of 定窯印花工藝始於北宋而盛於金，以其繁麗似錦的裝飾呈現素色瓷器中最華
the Northern Song dynasty and flourished in Jin dynasty. The moulding 麗的風格。本件定窯盤在盤底的七瓣花式開光中模印一只展翅的孔雀，口銜
technique allowed the Ding potters to aolopt more complex and formal 一束花枝飛翔於牡丹花從中，孔雀翅膀的一側更加飾一只蝴蝶和一只蜜蜂，
designs. The gorgeous peacock on the interior of the present dish is 別具匠心。孔雀是來自南方的珍禽，被用作裝飾紋樣和牡丹紋共同出現具
among new animal patterns appeared in the late Northern Song-Jin 有吉祥富貴的寓意。金元時期流行一種孔雀圖，描繪孔雀信步於奇石牡丹之
period. The peacock, an exotic and precious bird from the west, was 間，見台北故宮博物院藏宋《緙絲孔雀圖》，著錄於《國立故宮博物院-緙
regarded as an auspiaous symbol. It is often depicted amidst rocks and 絲》，東京，1970年，圖錄編號22。定州緙絲素有盛名，有學者指出定窯
flowers in Song-Yuan period; see peacocks on a Song dynasty kesi 印花圖案多受同時期織物的啟發，對比本件定窯的孔雀紋和故宮藏《緙絲孔
painting in the National Palace Museum Collection, illustrated in National 雀圖》，或可窺見其母題的承續關係。此類定窯孔雀紋器物頗為罕見，近似
Palace Museum. Kesi, Tokyo, 1970, Catalogue, no. 22. It is rare to find 例僅見台北故宮博物院藏三件，包括兩件器壁飾螭龍紋，盤底無花式開光的
peacock pattern on Ding wares. There are two other known examples 例子; 一件器壁飾纏枝牡丹，回紋位於盤底的折沿大盤，載於蔡玫芬，《定
of similar shape and decoration, both in the National Palace Museum 州花瓷-院藏定窯系白瓷特展》，台北，2014年，188-189、192頁。
collection. The first with a slightly splayed foot is decorated with three
chi-dragons in the well, illustrated by Tsai Meifen, Decorated Porcelains 此盤盤底的七瓣花式開光是一種仿金銀器的做法。可參照一件南宋八曲花
of Dingzhou: White Ding Wares from the collection of the National Palace 鳥紋銀碟，出版在 J.J. Lally & Co., 《Silver and Gold in Ancient China》，
Museum, Taipei, 2014, p. 188, no. II-125. The second with a flat base 2012年，圖錄編號23。宋金時期在一些高水平的窯廠中常生產仿金銀器的
is also decorated with three chi-dragons on the well, ibid., p. 189, no. 器形，這些器物都是高檔產品，供達官貴人乃至宮廷使用。《大金集禮》
II-126. Compare also with a large moulded ‘peacock’ dish with everted 記載，「天眷二年奏定公主禮物。依惠妃例，外，成造衣襖器用等物: … 定
rim, illustrated ibid., p. 192, no. II-128. All three examples lack the 磁一千事。」可見定窯在金代仍為宮廷御用。這一時期的定窯不僅為金代
heptafoil frame. 宮廷所倚重，而且通過榷場貿易進入南宋宮廷。近年在杭州城市考古發掘
中曾在恭聖仁烈楊皇后宅、杭州府衙，太廟等遺址發現大量定窯印花器殘
片。見蔡玫芬，《定州花瓷-院藏定窯系白瓷特展》，台北，2014年，275
頁。誠如蔡玫芬所說，定窯瓷器成為了「敵對兩國跨越邊境的共同美學符
號。」本件定窯印花孔雀紋盤就是這一時期宮廷品味的代表。

The Classic Age of Chinese Ceramics 古韻天成 — 臨宇山人珍藏（一） 70