Page 215 - Important Chinese Art Hong Kong April 2, 2019 Sotheby's

The elegant form of this vase, with its gently swelling 梅瓶豐肩斂腹，線條流暢優雅，突顯窰變釉鮮亮、流
shoulders and tapering body, provides a perfect canvas for 動之特色。宋代名瓷鈞窰，釉色典雅，廣得後朝仰
showcasing the striking hues of the streaky flambé glaze. 慕，清雍正、乾隆二帝尤為鍾愛，命御窰督陶官唐英
Jun wares of the Song dynasty were held in high regard by （1682-1756年）傚仿燒製。
countless generations, including at the Manchu court of the
Qing dynasty. The Yongzheng and Qianlong Emperor were
particularly attracted by this glaze and commissioned the 清代御窰造瓷技術高超，得以成功重現宋瓷釉色，可
then Superintendent of the Imperial kilns in Jingdezhen, 見一斑。唐英竭力仿製鈞釉，雍正七年（1729年）派
Tang Ying (1682-1756) to create copies. 助手吳堯圃帶同藝匠往鈞州，造訪當地匠人，調查鈞
窰器釉料製法。雍正十三年（1735年），唐英刻《陶
The technical ingenuity and high level of experimentation
of the potters working at the imperial kilns in Jingdezhen is 成紀事碑記》述，御作坊按鈞釉創製最少九種釉色，
evident in the successful revival of Song glazes. Tang Ying 其中五款按清宮珍藏、特送至景德鎮作坊之宋代鈞瓷
is known to have gone to considerable lengths to emulate 研製。景德鎮御窰研製仿鈞釉，工藝之巧，創思之
this glaze, even sending his secretary, Wu Yaopu and 妙，從此等記載可見。
selected craftsmen to Junzhou in 1729, in order to work
with local potters and obtain the recipe for reproducing Jun 景德鎮創製仿鈞釉色，耀眼炫目，得時人讚賞更勝宋
wares. The official list from 1735 on the Taocheng jishi bei ji 鈞，1815年，藍浦《景德鎮陶錄》，載「釉具五色，
(Commemorative stele on ceramic production), inscribed 有兔絲紋，紅若胭脂朱砂為最，青若蔥翠，紫若墨
by Tang Ying, records no less than nine varieties of Jun
glazes, of which five were based on Song originals that had 者次之此窰多黃沙泥坯，則器質不佳。古說特就古
been sent from the palace in Beijing to the imperial kilns in 鈞器言之耳，若今鎮陶所仿鈞器，土質既佳，瓶缸
Jingdezhen. 尤多美者。」（柯玫瑰，〈Jun Wares and their Qing
Dynasty Imitation at Jingdezhen〉，《The Porcelains of
The stunning glazes that were created at Jingdezhen in
imitation of Jun wares were considered by contemporaries Jingdezhen. Colloquies on Art & Archaeology in Asia No.
even more attractive than the original. Lan Pu in his 16》，倫敦，1992年，頁155）。
Jingdezhen tao lu (Account of ceramics in Jingdezhen),
published in 1815, exclaims: “the glaze is multi-coloured 藍氏比較宋代鈞釉與清代仿鈞釉成色，然二者成分相
and has ‘hare’s fur’ markings. The best is red like cosmetic 異，燒造程序亦是大相逕庭。宋鈞釉色是依燒造時瓷
rouge, then comes blue-green like spring onions or kingfisher 窰內化學反應而生，清代仿鈞釉則以三釉相混傚之，
feathers and purple like ink black… Jun ware red pieces 後者細緻胎骨更襯得釉色鮮明耀眼。
that the ancients made were composed of rough, coarse-
grained clay tinged with yellow, and though the glaze colour 窰變釉梅瓶，並書乾隆年款者甚為罕有，暫得樓舊藏
is lively they are not fine pieces. Today, Jingdezhen selects
clean, fine, white clay to mould the body, and then applies 一例，現藏上海博物館，錄於《暫得樓清代官窰單色
red glaze. In this way the red colour has a much richer 釉瓷器》，香港，2005年，圖版49；另二類例藏於懷
appearance” (Rose Kerr, “Jun Wares and their Qing Dynasty 海堂，展出於《機暇清賞：懷海堂藏清代御窰瓷缾》
Imitation at Jingdezhen”, The Porcelains of Jingdezhen. ，香港中文大學文物館，2007年，編號69、70，同錄
Colloquies on Art & Archaeology in Asia No. 16, London, 1992, 唐英〈陶冶圖〉局部，描繪二窰變釉梅瓶。
p. 155).
Lan Pu notes the great difference in appearance between
Song dynasty Jun glaze and its Qing copy, and in fact the
two diverge in their composition. While the opalescent glaze
of Song Jun wares was achieved by a chemical reaction
that happened in the kiln during firing, the vibrant and thick
flambé glazes of the Qing dynasty were created by the
application of three differently coloured glazes. Furthermore,
the use of a fine porcelain body enhanced the luminosity of
the glaze.
Qianlong mark and period vases of this form and glaze are
unusual, although a similar example from the Zande Lou
collection, now in the Shanghai Museum, is illustrated in Qing
Imperial Monochromes, Hong Kong, 2005, pl. 49; and two
smaller examples in the Huaihaitang collection were included
in the exhibition Ethereal Elegance. Porcelain Vases of the
Imperial Qing, Art Museum, Institute of Chinese Studies, The
Chinese University of Hong Kong, Hong Kong, 2007, cat. nos
69 and 70, illustrated together with a section of Tang Ying’s
Taoye tu (Illustrations of the manufacture of porcelain),
where two flambé-glazed meiping are depicted.

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