Page 116 - Important Chinese Ceramics & Works of Art, Hong Kong

3308 元 青花開光蟲草雜寶紋八方瓶

A VERY RARE BLUE AND WHITE OCTAGONAL 來源
1980 年代購於美國
VASE
此罐呈八方形，器型碩大，胎體渾厚。外壁青花繪菱形開光，繪有不同
YUAN DYNASTY (1279-1368) 的昆蟲、動物及植物紋，間以藍地白蓮紋，外口沿、肩、脛各飾八朵蓮
瓣，內分飾火珠、雜寶、折枝蓮紋，頸部環海水紋一周。紋飾滿密卻毫
The vase is painted in inky-blue accentuated with characteristic 無凌亂之感，青花發色青翠濃艷，於濃處見鐵鏽斑，體現出中國陶瓷發
‘heaping and piling’ with four shaped cartouches on the body 展至元代時所達到的一個巔峰。
variously enclosing insects and amphibians amid plants, against a
reserve-decorated ground of lotus scrolls, above a band of upright 景德鎮於元代時研發出了二元配方法來配製胎料，在瓷石中引入了高嶺
lotus petals surrounding the lower base, and below two bands of 土，提高了瓷器在高溫下的強度，減少變形，使大型器物的製造成為可
petal lappets enclosing either miscellaneous treasures or flaming 能。大型器物如瓶罐類琢器的成型工藝，是先以陰模印坯分段成型，再
pearls, separated by a band of waves encircling the neck. 進行節裝，因此可於器物內壁見到用手或布抹平濕泥的痕跡。而八方形
14 æ in. (37.8 cm.) high 瓶、罐則多需要一道、將外壁坯體用模具整形的工序，工藝極其複雜，
為元青花中極富特色且珍稀的一類。
PROVENANCE
此罐原為葫蘆形（圖一）。土耳其托卡比皇宮藏有兩件元青花葫蘆瓶，
Acquired in the United States in the 1980s 其一（60 公分高）下腹外壁飾以四菱形開光，內飾相同紋飾，但無地紋，
僅以上下折枝花卉紋為飾，載於《Chinese Porcelain Collections in the
HK$3,500,000-5,500,000 US$460,000-710,000 Near East Topkapi and Ardebil》，香港，1981 年，編號 T. 29；另一件（60.5
公分）下腹無開光，於上下仰覆蓮瓣間滿飾花鳥蟲草紋，見上揭書編號
The present vase belongs to a small group of facetted blue and white T.28。日本山形縣掬粋巧芸館藏一例（高 58.1 公分），被定為重要文化
vessels from the Yuan period which are elaborately decorated with 財，下腹紋飾與托卡比皇宮 T.28 號基本相同，但每棱紋飾皆以開光框
animals, birds, insects, flowers or trees. Every vessel from this group is 住，載於《世界陶磁全集：遼．金．元》，東京，1981 年，圖版 61-62 號。
unique with no two examples sharing the same form and decoration. 另參考伊朗巴斯坦國家博物館所藏一件上半部缺失的葫蘆瓶，紋飾較為
The present vase had been reduced from a double gourd-form (fig. 1), 簡單，下腹主體飾以怒放的纏枝牡丹紋，頸、脛飾仰覆蓮瓣，內飾折枝
which is one of the rarest variations found among Yuan blue and white 花卉紋，載於朱裕平著《元代青花瓷》，上海，2000 年，圖 10-5。上
vessels. Examples of this type all follow a similar design with bands of 述若干例子的紋飾雖不盡相同，但結構相仿，都採用了元青花典型的橫
petal lappets serving as the secondary motifs to complement the major 向多層紋飾以輔助紋飾襯托主體紋飾的組合。此罐亦不例外，但其地子
motifs on the body of both bulbs. A double gourd-form vase painted 採用了藍地白花的表現手法，與其餘白地藍花的紋飾相互輝映，虛實均
with nearly identical panels and motifs on the lower body is in the 衡，誠為元青花繪畫中難能可貴的佳作。
Topkapi Saray Museum Collection, illustrated by T. Misugi in Chinese
Porcelain Collections in the Near East Topkapi and Ardebil, Hong Kong,
1981, no. T. 29, the panels however are reserved against a white ground
interspersed by floral sprays, unlike the elaborate reserve-decorated
ground seen on the current vase. The same collection also has another
double gourd-form vase painted on the lower body with similar motifs
with additional birds but lacking any demarcation of panels, see
ibid., no. T. 28. A further double gourd-form vase painted with nearly
identical motifs to no. T.28 from the Topkapi Collection but enclosed
within eight shaped panels is in the Kikusui Kogeikan Museum,
Yamagata Prefecture, registered as Important Cultural Property, and
illustrated in Sekai Toji Zenshu: Liao, Jin, Yuan, vol. 13, Tokyo, 1981, pp.
78-9, nos. 61-2. Compare also to a truncated example painted with a
bold peony scroll design on the lower bulb illustrated by Zhu Yuping in
Yuandai qinghuaci, Shanghai, 2000, fig. 10-5.

fig. 1
圖一

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