Page 266 - September 23 to 24 Important Chinese Art Christie's NYC

Fig. 2. Bronze ritual wine vessel, zun, late Fig. 3. ‘Numbered Jun’ zun-form vase, Yuan-early Fig. 4. Blue and white zun-form vase, Ming
Shang dynasty, 12th-11th century BC. Sold Ming dynasty, 14th-15th century. Sold The Classic dynasty, perhaps Chenghua period (1465-1487),
Christie’s New York, 15 September 2011, Age of Chinese Ceramics- The Linyushanren Harvard Art Museums/Arthur M. Sackler
lot 1106. Collection, Part I; Christie’s Hong Kong, 2 Museum, Bequest of David Berg, Esq.
December 2015, lot 2811.
圖二 晚商饕餮紋尊。紐約佳士得，2011年9月15 圖四 斷代或爲明成化之青花出戟尊。哈佛大學藝術
日，拍品編號1106。 圖三 元/明初「六」字款鈞窯天藍釉出戟尊。古韻 博物館/薩克勒博物館，David Berg律師捐贈。
天成－臨宇山人珍藏(一)；香港佳士得，2015年12月2日，
拍品編號2811。

This superb vase is one of a select few known cloisonné enamel zun-form enamel wares ever produced. They have heavy bronze bodies, assume
vases dating to the Xuande period (1426-1435), which are all of approximately powerful forms and feature strong colors set within fine, accurately bent
the same size and decorated with similar lotus-scroll decoration. A vase from wires that delineate the contours of the emphatic designs. The gilding of
this rare group is in the Palace Museum, Beijing, and illustrated in Zhongguo the wires is of slightly irregular thickness, which imbues the decoration
meishu quanji, vol. 10, Beijing, 1987, p. 92 and p. 162 no. 299, where it is with a natural freshness and purity. The decorative scheme on the present
dated to the Xuande period and is attributed the Ming imperial workshop vase is particularly rich, with four different types of flowers rendered in bold
Yuyongjian, a sub-division of the Neifu (The Inner Treasury), responsible for color combinations. This is further echoed by the gilt petal-shaped panels
providing furnishings to the Imperial Household. The base of the Beijing enclosing the floral sprigs around the exterior of the trumpet-shaped neck
Palace vase is incised with a double vajra and a later-added six-character
Jingtai mark. Another vase from this group, also with a double vajra and The shape of these archaistic zun-shaped vases find their inspiration in
later-added Jingtai mark on the base, is in the Asian Art Museum of San the ancient ritual bronzes of the Shang (circa 1600-1046 BC) and Western
Francisco, The Avery Brundage Collection, and is illustrated by B. Quette Zhou (circa 1046-771 BC) periods, such as the late Shang dynasty, 12th-11th
(ed.) in Cloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties, century BC, bronze ritual wine vessel, zun, sold at Christie’s New York, 15
New York, 2011, p. 236, no. 24. (Fig. 1) A further vase from this group, from September 2011, lot 1106. (Fig. 2) The form found considerable favor with
the collection of P. M. Moreau, Paris, acquired in Paris before 1924, was the court during the Yuan and early Ming period, 14th-15th century, providing
included in the exhibition, Chinese sculpture and work of art, Eskenazi, New inspiration not only for cloisonné enamel artisans but also ceramicists, as
York, 17-29 March 2008, no. 18. Two additional examples include the vase evidenced by the ‘Numbered Jun’ zun-form vase dating to the Yuan-early
sold at Christie’s New York, 2 December 1989, lot 58, and the vase sold at Ming dynasty, 14th-15th century, from the Linyushanren Collection, sold at
Christie’s London, 11 May 2010, lot 119. Christie’s Hong Kong, 2 December 2015, lot 2811 (Fig. 3), and the blue-and-
white zun-form vase decorated with dragons formerly in the collection of
The current vase, like the others in the group, displays the characteristics David Berg, Esq, and now in the Harvard Art Museums, where it is currently
that distinguish Xuande cloisonné enamels as amongst the finest cloisonné dated Ming dynasty, perhaps Chenghua period (1465-1487). (Fig. 4)

此尊品相一流，乃少數見於著錄的宣德 (公元1426至1437年) 掐絲琺瑯尊精品之 本拍品跟其近似例一樣，具備了宣德之作冠絕歷代掐絲琺瑯器的典型特徵。它們俱銅
一。同類作品大小相若，所飾纏枝蓮紋大同小異。這類珍品殊為罕見，北京故宮博物 胎厚重，造型雍容大氣，色彩斑斕絢麗，琺瑯彩填施於用細銅絲盤出的精巧考究之圖
院藏一例，圖見《中國美術全集》 (北京：1987) 第十冊頁92及頁162編號299，其斷代為 紋框格內。銅絲的鎏金厚薄略有不同，使紋飾看來更顯清新寫實、渾然天成。此尊紋飾
宣德朝，據稱出自明代宮廷內府轄下的御用監，該作坊專司供應內廷一應傢具陳設。 的層次格外豐富，四類花卉的色彩搭配熱情奔放。此外，環飾喇叭形尊頸外的鎏金瓣
北京故宮的宣德尊底刻金剛杵一對，以及後加的六字景泰款。刻飾金剛杵一對及後加 形開光及當中的折枝花卉，其鮮明出彩處亦不遑多讓。
景泰款的作品尚有一例，它來自舊金山亞洲藝術博物館的布艾禮珍藏 (Avery Brundage 這類仿古尊的形制，脫胎於古代殷商 (約公元前1600至1046年) 及西周 (約公元前1046至
Collection)，圖見B. Quette編著的《 Cloisonné: Chinese Enamels from the Yuan, Ming and 771年) 的青銅禮器，就此可參照紐約佳士得於2011年9月15日拍出的公元前十二至十一
Qing Dynasties》(紐約：2011) 頁236編號24 (圖1)。另一件近似之作來自巴黎的莫赫珍藏 世紀商末禮器青銅尊 (拍品編號1106，圖2)。及至十四至十五世紀的元代及明初宮廷，
(P. M. Moreau)，它的購藏年代早於1924年， 2008年3 月17-29日曾於古董商埃斯卡納齊 這款造型頗為流行，它不僅是掐絲琺瑯匠人借鑑的對象，更是陶瓷藝人的靈感泉源，
在紐約舉行的「Chinese Sculpture and Work of Art」展覽中亮相 (編號18)。此外尚有兩件 就此可參照香港佳士於2015年12月2日拍出的臨宇山人珍藏十四至十五世紀元代或明初
近似例，一者經紐約佳士得於1989年12月2日拍出 (拍品編號58)， 另一件經倫敦佳士得 編號鈞窯尊 (拍品編號2811，圖3)；另一件實例是貝德偉先生 (David Berg) 舊藏青花龍
於2010年5月11日拍出 (拍品編號119)。
紋尊，此尊現藏哈佛大學藝術博物館，最新斷代為明代，也許是成化 (1465至1487年) 年
間的作品。 (圖4)
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