Page 39 - Important Chinese Ceramics & Works of Art, Hong Kong

A Pair of Magnificent ‘Lotus and Egrets’
Jars and Covers

一路連科 — 粉彩仿琺華蓋罐一對

Rosemary Scott, International Academic Director Asian Art

蘇玫瑰 - 國際亞洲藝術部學術總監

This exquisite and unique pair of lidded jars represent the ultimate refinement fig. 1 Birthday Celebration for Empress Dowager Chongqing (detail) by
of a decorative technique that appears first to have entered the repertoire Yao Wenhan. Collection of the Palace Museum, Beijing
of the imperial Jingdezhen kilns in the reign of the Ming dynasty Xuande
emperor. The use of raised lines – both smooth and beaded - on porcelain 圖一 姚文瀚繪 《崇慶皇太后萬壽圖貼落》(局部) 北京故宮博物院藏品
vessels can be seen on, predominantly white, Yuan dynasty vessels, but these
lines serve to frame parts of the decoration, rather than dividing areas of 這對蓋罐製作精緻，設計獨特，是清代景德鎮法花技術登峰造極之作。
different colours. The technique of using raised lines to provide outlines and 景德鎮御廠以法花裝飾瓷器，應該始自明代宣德年間。此技法似乎是山
colour divisions on ceramics decorated with enamel colours seems initially to 西地區燒造瓷磚的窯場於元代或明初所創，在器身上以泥條推出圖案的
have been developed in the Yuan or early Ming dynasty by kilns in Shanxi 輪廓，用來分隔各種色澤料，此裝飾技法稱為「法花」，多以與鈷藍彩
province associated with the tile-making industry. This technique, which 或松綠作地色，但御廠遺址至今年代最早的出土法花器是一件來自宣德
came to be known as fahua, was often combined with either a cobalt blue 堆積層的黃地綠彩五爪龍紋盤（《景德鎮出土明宣德官窯瓷器》，鴻禧
or a turquoise ground, but, to date, the earliest example recovered from the 美術館，台北，1998 年，78 頁，編號 73）。
imperial kilns is a dish from the Xuande stratum decorated with green five-
clawed dragons on a yellow ground. See Xuande Imperial Porcelain Excavated at 清代乾隆帝對明代法花器非常珍賞，曾命人仿造，作為御器。故宮博物
Jingdezhen, Chang Foundation, Taipei, 1998, p. 78, no. 73. 院珍藏姚文瀚繪《崇慶皇太后萬壽圖貼落》中所描繪乾隆皇帝為其母親
崇慶皇太后祝壽的畫面中，慈寧宮正殿台階前的供案上就陳設著一對與
The porcelain fahua wares of the Ming dynasty were much admired by the 本對拍品十分相似的仿法花蓋罐（圖一），此品種的重要性可見一斑。
Qing dynasty Qianlong Emperor (1736-95), who ordered similar items in 傳世的少數乾隆法花瓷罐中，只有少量用上了粉彩色系。其中兩件較大
both media made for his court. A strikingly similar pair off fahua-style jars 型的罐子，松綠器底有描金琺瑯彩乾隆御款。其一無蓋，屬北京故宮，
and covers are seen depicted in a court painting portraying the eightieth- （見該館出版之《故宮博物院藏文物珍品全集．琺瑯彩．粉彩》，1999 年，
birthday celebration of the Emperor’s mother, where they are prominently 167 頁，編號 148；一件原為 R.C Bruce 舊藏，著錄於 1951 年倫敦出版，
placed on the main altar table in front of the ceremonial hall housing the J. Ayers 著 Later Chinese Porcelain, CII 號；一件稍大帶蓋的原為戴潤齋
Emperor and the Empress Dowager (fig. 1), suggesting the important role 舊藏，1985 年 5 月 21 日於香港蘇富比拍賣，拍品 26 號，1994 年 11 月
they held at the Court of Qianlong. A small number of similar Qianlong jars 28-29 日於紐約蘇富比再次拍賣，拍品 375 號，現藏望星樓；另有一對
have survived. There are two slightly larger jars without lids. The first is in 乾隆法花蓋壼原為張宗憲舊藏，這些大器底均在松綠地上飾描金款。
the Palace Museum illustrated in Porcelain with Cloisonne Enamel Decoration
and Famille Rose Decoration, The Complete Treasures of the Palace Museum, 前述罐子與這對拍賣蓋罐相比，其共通點是用同樣的裝飾技法，同是以
Hong Kong, 1999, p. 167, no. 148; and another is illustrated by Soame 蓮塘為主題紋飾，同樣的粉彩色系，罐子口沿和圖案的凸邊都有琺瑯彩
Jenyns in Later Chinese Porcelain, Faber & Faber, London, 1951, pl. CII. A 描金，無疑靈感是來自金屬胎掐絲琺瑯器。這對拍賣的罐子異常珍罕，
somewhat larger lidded jar in the Wangxing Lou Collection, is illustrated in 不但是因為二者連蓋子皆保存完好，而且還有值得注目之處。其他傳世
Imperial Perfection, The Palace Porcelain of Three Chinese Emperors, Hong Kong, 品的地色多為鮮藍而不透明，但這對拍賣品的地色是半透明的藍彩，非
2004, pp. 118-119, no. 42. Also compare with a pair of related baluster jars 常悅目，藍彩中還隱見柔和的斑紋，大抵是以小管將藍彩吹於器面所生
and covers decorated with bats in flight above breaking waves, illustrated in 的效果。其他清代法花器肩部都有較大顆的纓珞紋，但這對罐子肩部繪
An Exhibition of Important Chinese Ceramics from the Robert Chang Collection, 有精細而面積較小的如意雲肩，使器身有更廣闊的空間讓主題紋飾發揮，
Christie’s London, 1993, pp. 210-211, no. 100. 不但可以加入或佇立或飛翔的白鷺，還加入了一叢叢造型寫實、花葉俱
備的茨菰，使整體構圖更豐富緊湊。罐子足部那一圈蓮瓣紋，明顯來自
All these jars share with the current pair of lidded jars their decorative 明代的法花器。經發表的法花罐子中，足部有此紋樣的，僅此一對，這
technique, the choice of a lotus pond as major decorative motif, and the use 些蓮瓣紋與明代風格相比，明顯形式化，那鮮黃地色則與明代宣德時期
of the famille rose enamel palette. They also share the feature of having gold 首次燒製的法花御瓷所用的黃地相似。蓮瓣紋中還綴有紅彩及松綠彩，
enamel on the mouth rim and having the raised outlines also picked out in 並以金彩描畫輪廓線。蓋鈕頂端亦有花瓣作紅色、花蕊作松綠的菊花，
gold enamel - undoubtedly as a reference to metal-bodied cloisonne enamels. 與足部裝飾互相呼應。蓋子邊沿、罐子口沿與足沿等，亦描上金彩，閃
The current pair is especially rare for having very attractive grounds in rich 爍生輝。這對精美絕倫的蓋罐，明顯是清宮特別訂製之物。
translucent blue enamel, which has a softly speckled texture - probably the
result of the enamel having been blown onto the surface of the vessel.

Whilst a number of Qing examples have relatively large beaded designs on
their shoulders, the current pair has a smaller, precisely drawn, band of ruyi
lappets. This allows a greater space for the main decorative band and enabled
the ceramic decorator to produce a more complex and coherent design,
including not only the flying and standing egrets, but also naturalistic clumps
of broad-leafed arrowhead (saggitaria latifolia) with both leaves and flower
stalks. This pair of jars is also the only published example that has around
the foot a beautifully composed petal band that clearly has its origins in fine
Ming fahua. The rim of the lids, the mouth rims and the foot rims of the
jars are also covered with gold enamel adding to their jewel-like quality. It
seems clear that this remarkable pair of jars must have been made for a special
imperial order.

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