Page 114 - Bonhams Hong King May 30 2017 THE SONGZHUTANG COLLECTION OF EARLY JADES
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61             61
               A WHITE JADE ‘MANDARIN DUCK’ FINIAL
62             Yuan Dynasty
112 | BONHAMS  Crisply carved as a mandarin duck standing on
               a large inverted lotus leaf, delicately detailed
               with pointed beaks and a plume at the head in
               openwork, the body meticulously incised to render
               the fully-feathered wings and tail, the softly polished
               stone of even white tone.
               4.3cm (1 3/4in) high

               HK$30,000 - 50,000
               US$3,900 - 6,400

               Provenance:
               Cheung Tao Yin, Hong Kong, 1982
               The Songzhutang collection, no.80

               Published and Illustrated:
               T.Fok, The Splendour of Jade: The Songzhutang
               Collection of Jade, Hong Kong, 2011, pl.80

               The form and style on this piece appears to be a
               continuation of the Song dynasty, as demonstrated
               in the two white jade Mandarin duck finials in the
               Palace Museum, Beijing, see Compendium of
               Collections in the Palace Museum: Jade 5 Tang,
               Song, Liao, Jin and Yuan Dynasties, Beijing, 2011,
               p.119, pls.126-127. While probably near in date to
               the Song dynasty, the combination of the smooth
               overall modelling as well as the elegantly reticulated
               and incised decoration on the present lot are
               characteristic of the Yuan period. See another jade
               finial decorated with a Mandarin duck resting on
               a lotus leaf, Yuan to Ming dynasty, in the National
               Palace Museum, Taipei, illustrated by Shi Shouqian
               and Ge Wazhang, Age of the Great Khan: Pluralism
               in Chinese Art and Culture under the Mongols, Taipei,
               2001, p.127, pl.IV-15. See also another jade finial,
               Yuan dynasty, illustrated in Gems of Beijing Cultural
               Relics Series: Jades, Beijing, 2002, p.136, pl.132.

               元 白玉鴛鴦爐頂

               來源:
               香港張陶然先生舊藏,1982年
               松竹堂收藏,編號80

               出版及著錄:
               霍滿棠,《韞玉生輝 - 松竹堂珍藏玉器》,香
               港,2011年,圖版80

               此爐頂白玉質,微沁黃斑,溫潤細膩。圓雕一鴛鴦
               憩於開展的蓮葉之上。鴛鴦頭頂長翎,羽翼豐滿,
               神情生動可愛。底部蓮葉近橢圓形,轉角內收,
               葉心圓鼓,葉緣略翹,鏤雕及線刻雕工精緻,立
               體感強,工藝造詣極高。鴛鴦紋飾始見於唐代,
               到元代已盛行以荷葉鴛鴦為紋飾,常見於青花瓷器
               或元代服飾上,有和諧幸福的吉祥寓意。此玉爐頂
               造型及裝飾風格沿襲宋代玉雕之風,可參考北京故
               宮博物院藏兩件宋代的白玉鴛鴦銜蓮爐頂,見《故
               宮博物院藏品大系:玉器編5:唐宋遼金元》,北
               京,2011年,頁119,圖版126-127。從此件爐頂的
               工藝上看,元代玉器似乎不僅繼承宋代琢玉玲瓏剔
               透的作風,更不斷精益求精,因此可見此器對細部
               的處理更為嚴謹講究,鴛鴦刻畫更為生動傳神。台
               北國立故宮博物院藏一件元到明代的荷葉鴛鴦玉頂
               可資參考,見石守謙、葛婉章編,《大汗的世紀:
               蒙元時代的多元文化與藝術》,台北,2001年,頁
               127,圖版IV-15。北京市文物公司藏一件元代的鳳
               穿花紋爐頂,雕一鳳站立在蓮葉上,見《北京文物
               精粹大系:玉器卷》,北京,2002年,頁136,圖
               版132。
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