Page 128 - Important Chinese Ceramics & Works of Art, Hong Kong

There are two further Xuande stem bowl designs of dragons amongst pale fig. 3 Christie’s Hong Kong, 27 April 1997, lot 71
waves, in which either nine dragons arranged in two rows – one above the 圖三 香港佳士得，1997年4月27日，拍品71號
other - or five dragons – one painted on the high foot – are depicted on
the exterior of the stem bowl. Examples of these variants can be found 除上述各例，尚有二例宣德龍紋及淡藍海水紋高足盌，其外壁
in the collection of the National Palace Museum, Taipei (illustrated in 或飾上下兩行九龍紋，或繪五龍（一龍盤旋於高足之上）。這
Illustrated Catalogue of Ming Dynasty Porcelain in the National Palace Museum, 兩種變奏的前者可參照台北故宮珍藏，圖見《台北國立故宮藏
vol. I,Tokyo, 1977, pls. 78 and 79, respectively), and one of the five-dragon 明代瓷器圖錄（I）》，東京，1977 年，編號 78 及 79；大英博
type is in the collection of the British Museum, illustrated by J. Harrison- 物館珍藏一例飾五龍者，圖見霍吉淑（J. Harrison-Hall）所著
Hall, Ceramics of the Ming in the British Museum, London, 2000, p. 129, no. 《Ceramics of the Ming in the British Museum》，倫敦，2000 年，
4:14). However, it appears to have been the stem bowls with two dragons 129 頁，編號 4:14。但皇家御瓷的經典構圖，看來仍是本拍品這
on the exterior – one rearing up as he lunges forward and the other 類外壁飾二龍的高足盌：一龍昂首向前，另一龍則扭頭向後，
turning to arch his head over his back as he changes direction, as they 似乎要改變方向。
appear on the current stem bowl - which were the classic imperial choice.
近似瓷盤的盤心龍紋亦昂首挺胸、張牙舞爪，而盤外龍紋的形
The dragons shown in the interior centre of the related dishes are also 態則與高足盃外所見近似，但高度不及後者舒展。至於大小、
depicted rearing up with legs and claws outstretched, while those on the 紋飾均與大維德瓷盤近似者，大英博物館藏一例，圖見霍吉淑
exterior of the dishes follow the posture of those on the exterior of the 前述著作 135 頁，編號 4:29，另一例為紐約大都會藝術博物館
stem bowls, but achieve less height. Dishes with this design of similar size 藏，圖見萬斯恬（S. Valenstein） 所著《A Handbook of Chinese
and decoration to that in the collection of Sir Percival David are in the Ceramics》修訂增補版，紐約，1989 年，154 頁，編號 149。上
collection of the British Museum (illustrated by J. Harrison-Hall, op. cit., p. 海博物館亦珍藏一例大小和紋飾相近的瓷盤，但其盤沿為直口
135, no. 4:29) and the Metropolitan Museum, New York (illustrated by S. 而非折沿，圖見汪慶正《元明清時期陶瓷：青花釉裏紅》，香港，
Valenstein, A Handbook of Chinese Ceramics, Revised and enlarged edition, 1993 年，編號 72；台北國立故宮也有一件紋飾相同但略小的直
New York, 1989, p. 154, no. 149). The Shanghai Museum has a dish of 口盤，圖見《明代宣德官窯菁華特展圖錄》，台北，1998 年，
similar size and decoration, but with a straight, as opposed to an everted, 428-429 頁，編號 187。大英博物館今藏一例器形較小但紋飾相
mouth rim (illustrated by Wang Qingzheng, Underglaze Blue and Red – 同的折沿盤，此盤由馬氏基金會（Ma Foundation） 外借，出自
Elegant Decoration on Porcelain ofYuan, Ming and Qing, Hong Kong, 1993, no. 仇焱之舊藏。
72), while a slightly smaller straight-rimmed dish of this design is in the
collection of the National Palace Museum, Taipei (illustrated in Catalogue 縱觀是次拍賣的宣德高足盌及數例近似作品，其畫工之精湛皆
of the Special Exhibition of Selected Hsüan-te Imperial Porcelains of the Ming 讓人嘆為觀止。龍紋所用的濃艷青花深淺有致，而龍鱗、頭部
Dynasty, Taipei, 1998, p. 428-429, no. 187). The British Museum also has 及足爪的描寫亦一絲不苟。二龍之氣勢奪人、威猛生動，實非
on loan from the Ma Foundation a smaller dish of this design with everted 其他瓷器所能企及。相形之下，濤濤浪花的畫工亦毫不遜色。
rim, formerly in the collection of E.T. Chow. 描寫海水所用的鈷料顏色淡雅，用料雖少但卻配製精良，呈色
方能如斯勻淨。浪花翻滾處露出瑩白的瓷胎，而海水的起伏則
What is particularly striking about the current Xuande stem bowl, and the 用淡藍波紋來呈現。寶藍色的龍紋幽深濃艷，而淡藍水紋則若
small number of related vessels, is the quality of the painting. The dragons 有若無，二者對比鮮明且極具戲劇張力。尤須一提的是，本拍
are painted in a carefully manipulated dark blue tones with meticulous 品造型秀美、比例協調且輪廓端莊，乍看之下雖不明顯，但無
detailing of the dragons’ scales, their heads, and their feet and claws. Their 一不是宣德佳瓷的典型特徵。
poses have a rampant power and sense of movement that is unmatched on
any other porcelains. Equally impressive is the painting of the turbulent 此類高足盌據稱是祭壇用器，故此使用者定然珍而重之，不用
waves. These are depicted using the palest blue – very finely prepared 時則仔細收藏。鑑於此類作品工藝精湛及其特有的紋飾題材，
cobalt, sparingly, but homogeneously mixed to give an even colour. The 所以應是皇家御瓷無疑。五爪龍紋象徵皇帝，而皇上又名天子。
breaking waves are often reserved to show the white porcelain, while the 天子負責主持一應祭祀活動，為天下百姓祈求豐年。本拍品的
movement of the water is depicted in fine undulating lines of pale blue. 紋飾象徵蛟龍於春分甦醒後登天普降甘霖，以滋潤萬物、養育
The contrast between the rich, jewel-like tones of the dragon and the 萬民。此器的皇家龍紋威嚴華貴，想來定能堪此重任。
pale blue of the water adds to the drama of the composition. While less
immediately apparent, it is worthwhile noting the form of the current
stem bowl, which has the fine potting, elegant proportions and perfectly
balanced profile of the finest porcelains from the Xuande reign.

It is believed that stem bowls of this kind were made for use on sacrificial
altars, and as such would have been especially treasured and carefully stored
when they were not in use. Given their fine quality and decorative theme,
it seems clear that they were made for the personal use of the emperor.
The five-clawed dragon was the symbol of the emperor, who was regarded
as the Son of Heaven. The emperor himself was responsible for the
sacrifices to ensure a good harvest for the benefit of his people. The event
to which the design on this stem bowl refers is the dragon rising from
hibernation amongst the waves at the Spring equinox in order to bring
rain to water the crops, so that they will flourish and feed the population
of the empire. The supremely powerful imperial dragons on this vessel
appear more than ready to undertake that task.

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