Page 35 - Important Chinese Ceramics & Works of Art, Hong Kong

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The current dish belongs to a very small group of finely enamelled fig. 1 Collection of the Palace Museum, Beijing
dishes from the Yongzheng period, which are of chrysanthemum form 圖一 北京故宮博物院藏品
and are painted with variously arranged flowers within a roundel to
the centre. Two types of dishes from this group exist, one is moulded 此盤作二十四瓣菊瓣形，盤內以琺瑯料繪以折枝牡丹、木蘭及紫菀組成
with twenty-four lobes, which are found in two size groups, with 的團花紋飾，構圖主次分明，勾勒精細。花瓣以琺瑯白料染邊，葉片以
the present dish belonging to the larger group measuring 23 cm. 深淺不一的綠料繪製而成，意圖表現西洋的光影明暗技法，為雍正彩瓷
in diameter, and a smaller group ranging between 15.5-16.5 cm. in 中極為珍罕的佳作。
diameter. Only one other example in this size is known, which was sold
at Christie’s Hong Kong, 26 April 1998, lot 510, and may have formed 此類菊瓣盤的存世量極其稀少，而此盤屬其中最大者，原為一對，另一
a pair with the current dish. Dishes of the smaller size include a pair 件於香港佳士得 1998 年 4 月 26 日拍賣，拍品 510 號。除此一對之外，
with almost identical composition sold at Christie’s Hong Kong, 27 迄今未見同尺寸的其他例子。尺寸較小的例子（16.3 公分）可參考香港
May 2008, lot 1546; two single dishes in the Palace Museum, Beijing, 佳士得 2008 年 5 月 27 日拍賣一對，拍品 1546 號，其造形及紋飾與此盤
illustrated in Porcelains with Cloisonne Enamel Decoration and Famille 基本相同；趙從衍及石門堂先後遞藏一對（15.8 公分），內飾團菊紋；
Rose Decoration: The Complete Collection of Treasures of the Palace 北京故宮博物院藏兩件（16.2 公分），載於《琺瑯彩．粉彩》，編號 58
Museum, Hong Kong, 1999, nos. 58 and 59 (figs. 1 and 2), which have （圖一）、59（圖二），內飾牡丹紋，但構圖較為簡單，以盛開的牡丹
a simpler composition with only one, but larger peony in full bloom in 作為盤心的主體畫面；天民樓珍藏一件（16.3 公分），亦飾大朵牡丹紋，
adjacent to a half-open bud; and another in The Tianminlou Collection, 與北京故宮例子相仿，見《天民樓藏瓷》，香港，1987 年，圖版 96 號。
illustrated in Chinese Porcelain: The S. C. Ko Tianminlou Collection, 北京故宮藏有一件牡丹紋盤口瓶，其用料、設色及畫風，尤其是花瓣及
Hong Kong, 1987, no. 96, which has a similar composition to the Palace 葉片的處理，與此盤尤其相似，應與此盤為同期作品，見《琺瑯彩．粉
Museum examples. 彩》，編號 46（圖三）。

The second type is moulded with narrower fluted lobes rising to a flat 於瓷器上以琺瑯料作畫，首見於康熙晚期，是宮中造辦處琺瑯作在康熙
and everted rim with chrysanthemum to the centre, see for example, a 皇帝的督促下的一大創舉。除了部分使用庫房舊藏白瓷的特例外，畫琺
single dish in the National Palace Museum, Taipei, included by Wang 瑯使用的白瓷均由景德鎮御窯廠提供，入宮後再由造辦處琺瑯作藝匠作
Zhu-ping in ‘Examination of Iron-red in Jingdezhen Yangcai during the 畫、入窯燒製。此類瓷器被稱為瓷胎畫琺瑯，亦即後世所稱的琺瑯彩瓷。
Kangxi and Yongzheng periods’, The National Palace Museum Monthly 而所謂的洋彩，廣義來說，就是摹仿西洋繪畫技法並同以琺瑯料作畫並
of Chinese Art, Issue No. 358, January 2013, Taipei, pp. 46-57, fig. 19, 在景德鎮完成的彩瓷，也就是在光緒以後被稱為粉彩的作品。較狹義的
where the author captions it as yangcai, ‘foreign enamels’. 說法則是指景德鎮在唐英主導之下運用新煉琺瑯彩料並參用西洋彩繪所
燒製的作品。關於洋彩一名的來龍去脈，可參考陸明華著〈清代景德鎮
Compare also to a Yongzheng-marked dish-mouth vase painted with 粉彩瓷器初論 - 兼述宮廷洋彩名稱之應用〉，《中國古陶瓷研究輯叢：
peonies in the Palace Museum, Beijing, op. cit., p. 56, no. 46 (fig. 3), 釉上彩瓷研究》，北京，2014 年。
which shares a very similar painting style as the current dish, especially
in the painterly treatment of the petals using white and pink enamels 洋彩之名最早出現於雍正一朝。雍正十三年（1735）唐英曾於其所撰之
and the depiction of leaves in different tones of green. 〈陶務敘略碑記〉對於洋彩做出以下解釋：「洋彩器皿，本朝新仿西洋
法瑯畫法，人物、山水、花卉、翎毛無不精細入神」。乾隆八年（1743），
The use of the term yangcai, ‘foreign colours’, first appeared during 唐英於《陶冶圖說》第十七編〈圓琢洋彩〉又對洋彩做出進一步的說明：
the Yongzheng period. Tang Ying, the superintendent of the Imperial 「圓琢白器，五采繪畫，摹仿西洋，故曰洋采……所用顏色與法瑯色
Kilns at Jingdezhen from 1728-1756, describes yangcai in his 1743 同……。」這兩筆資料表示，洋彩的繪畫風格師法西洋，而且所使用的
publication Taoye tushuo [Illustrated Albums of Porcelain Production] 彩料與瓷胎畫琺瑯相同。
as ‘vessels that are painted in a Western style…using the same enamels
as falangcai’. 洋彩的雛型最晚於康熙晚期應已出現。台北故宮藏有一件康熙四季花卉
紋瓷盌，配有乾隆時期的傳世木匣，上有「瓷胎畫琺瑯洋五色西番花紅
Experimental yangcai pieces may have first appeared during the Kangxi
reign, as exemplified by a red-ground bowl (op. cit., fig. 5) which very
much follows the painterly style of its falangcai counterpart (op. cit., fig. 4)
but remains largely limited by its famille verte palette with the exception
of the use of white enamels around the edges of the petals. This bowl
is inscribed with an underglaze-blue mark and has been ascribed by
the author as one of the earliest yangcai pieces made in Jingdezhen.
The Palace Museum, Beijing, also has a polychrome-enamelled
dish and a water pot bearing Kangxi marks, illustrated in Porcelains
with Cloisonne Enamel Decoration and Famille Rose Decoration: The
Complete Collection of Treasures of the Palace Museum, vol. 36, nos.
41 and 43, respectively, which see the use of pink, white, blue and other
newly developed enamel colours, but are rather naive in their depiction
and have a very simple composition without the depth and three-
dimensionality associated with a Western painting.

It was not until the arrival of Tang Ying (1682-1756) in Jingdezhen that
the development of yangcai improved and reached its maturity. Tang
Ying arrived in Jingdezhen in the eighth month of 1728, just a few
months after Prince Yi had presented a total of thirty-six enamel
colours to the Yongzheng Emperor, out of which eighteen were newly
developed by the Imperial atelier. Entries from the Qing Imperial
Archives in 1728 indicate that these new enamel colours were sent to
Jingdezhen and enamellers were sent from Jingdezhen to work at the
Imperial ateliers, showing bilateral exchange in technology and artisans
between the two locations. The appointment of Tang Ying, a diligent
superintendent with great artistic talent, coupled with new enamel
colous and the existing able enamellers in Jingdezhen, propelled the
development of yangcai to an unprecedented height. The dating of the
current dish therefore most likely falls after 1728.

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