Page 105 - 2019 September 12th Christie's New York Chiense Art Masterpieces of Chinese Gold and Silver

and faring lip would inspire those of imperial Ru-ware bowls from the Northern Song period, as
evinced by the celebrated Ru bowl in the David Collection at the British Museum (PDF.3), the
bowl with a laudatory inscription by the Qianlong Emperor (r. 1735–1796) engraved on its base in
1786. And the lotus-petal friezes on these Tang silver bowls, transmitted by Yue bowls like the one
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mentioned above, doubtless were the distant inspiration for those Song bowls with cusped rims,
such as the renowned Ru bowl in the collection of the National Palace Museum, Taipei. With the
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esteem accorded imperial Ru ware by all traditional Chinese—from the emperor and his courtiers
to nobles and aristocrats to connoisseurs, collectors, and scholars alike—Ru bowls of this shape
naturally infuenced the shape of bowls of all succeeding periods, from the Shufu wares of the
Yuan dynasty (1279–1368) to the blue-and-white porcelains of the Ming dynasty and the enameled
porcelains of the Qing (1644–1912). And the international trade in Chinese porcelains from the
seventeenth century onward would carry the aesthetic conventions of later Chinese ceramics, with
their distant kinship to Tang gold and silver, around the world, to be appreciated by all and to be
inspiration for potters down to the present.

1 Qi Dongfang, Tangdai Jinyinqi Yanjiu [Research on Tang Gold and 1 齊東方, 《唐代金银器硏究》, 《唐硏究基金會叢書》, (北京: 中國社會科學出版社), 第1版,
1999年, 72-75頁, 圖1-173 – 1-187 (本拍品之圖版參見前揭書， 頁74, 圖1-183)
Silver] in the series Tang yanjiu jijinhui congshu (Beijing: Zhongguo
shehui kexue chubanshe), 1st ed., 1999, p. 72-75, fgs.1-173 through 1-187 2 Carol Michaelson所著《Gilded Dragons: Buried Treasures from China’s Golden
Ages》(倫敦：大英博物館出版社以館方基金會的名義出版，1999) 頁122-124編號86 (銀
(for the present bowl, see p. 74, fg. 1-183).
盌) 及87 (金盌)。
2 Carol Michaelson, Gilded Dragons: Buried Treasures from China’s
3 《Masterpieces of Chinese and Japanese Art: Freer Gallery of Art Handbook》頁
Golden Ages (London: Published for the Trustees of the British Museum 25，館藏號F31.8 (華盛頓特區：史密森尼博物院轄下的弗利爾美術館，1976)。
by British Museum Press), 1999, pp. 122-124, nos. 86 and 87 (the gold
4 Colin Mackenzie與陸聆恩合著的《Masterworks of Chinese Art: The Nelson-
bowl as no. 87, the silver bowl as no. 86). Atkins Museum of Art》頁48，館藏號56-72 (密蘇里州堪薩斯城：納爾遜-亞特金斯藝術
館，2011)。
3 Masterpieces of Chinese and Japanese Art: Freer Gallery of Art
Handbook (Washington, DC: Freer Gallery of Art, Smithsonian 5 《A Passion for Asia: The Rockefeller Legacy: A Publication in Celebration of the
50th Anniversary of The Asia Society》第一版，頁190，館藏號1979.117 (紐約：亞洲協
Institution), 1976, p. 25 (F31.8).
會與佛蒙特州曼徹斯特的Hudson Hills Press聯合出版，2006)。
4 Colin Mackenzie and Ling-En Lu, Masterworks of Chinese Art: The
6 《Chinesisches Gold und Silber: Die Sammlung Pierre Uldry》，頁154-155，編號
Nelson-Atkins Museum of Art (Kansas City, MO.: Nelson-Atkins Museum 140 (瑞士蘇黎世：以鄔德禮及雷特伯格博物館的名義出版，1994)。
of Art), 2011, p. 48 (56-72).
7 《Selected Specimens of the Chinese Bronze Collection in the Hakutsuru Art
5 A Passion for Asia: The Rockefeller Legacy: A Publication in Celebration Museum》[《白鶴吉金撰集》] 編號36 (日本神戶：白鶴美術館，1951)。
of the 50th Anniversary of The Asia Society (New York: Asia Society; in 8 康蕊君 (Regina Krahl) 與霍吉淑 (Jessica Harrison-Hall) 合著的《Chinese Ceram-
association with Manchester, VT: Hudson Hills Press), 1st ed., 2006, p. ics: Highlights of the Sir Percival David Collection》頁10，圖2，館藏號PDF.262 (倫
敦：大英博物館出版社，2009)。
190 (1979.117).
9 蘇玫瑰《Imperial Taste: Chinese Ceramics from the Percival David Foundation of
6 Chinesisches Gold und Silber: Die Sammlung Pierre Uldry (Zurich,
Chinese Art》，頁34-35，編號11，館藏號PDF.3 (洛杉磯：洛杉磯市立美術館；倫敦：大
Switzerland: Published for Pierre Uldry and the Museum Rietberg), 1994, 維德中國藝術館，1989)。
pp. 154-155, no. 140.
10 Mary Tregear所著《Song Ceramics》 (New York: Rizzoli), 1982, p. 129, pl. 153;
7 Selected Specimens of the Chinese Bronze Collection in the Hakutsuru 有關唐代銀器演進至五代越窯與漆器以及至宋代汝窯的探討，詳見 Robert D. Mowry所著
“Koryŏ Celadons”, Orientations, 卷 17,頁24-39， 編號 5, 1986。
Art Museum [Hakutsuru kikkin senshū] (Kobe, Japan: Hakutsuru Art
Museum), 1951, no. 36.
8 Regina Krahl and Jessica Harrison-Hall, Chinese Ceramics: Highlights of
the Sir Percival David Collection (London: British Museum Publications),
2009, p. 10, fg. 2 (PDF.262).
9 Rosemary Scott, Imperial Taste: Chinese Ceramics from the Percival
David Foundation of Chinese Art (Los Angeles: Los Angeles County
Museum of Art; and London: Percival David Foundation of Chinese Art),
1989, pp. 34-35, no. 11 (PDF.3).
10 Mary Tregear, Song Ceramics (New York: Rizzoli), 1982, p. 129, pl. 153;
for the likely progression from Tang silver to Five Dynasties Yue ware
and lacquer to Northern Song Ru ware, see: Robert D. Mowry, “Koryŏ
Celadons”, Orientations, vol. 17, no. 5, May 1986, pp. 24-39.

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