Page 108 - Chinese Art From Two American Collections, April 5, 2017 Hong Kong

the development of chrysanthemum-shaped porcelain wares 葡萄紫釉之菊瓣盤較他色作例罕珍，僅見一類例，藏北
in the Yongzheng period and suggests that they may reveal 京故宮博物院，曾展於《盛世華章》，英國皇家藝術學
the Emperor’s admiration for one of China’s most famous 院，2005年，圖版172（次行左一）。於《故宮博物院藏
poets, Tao Qian (365-427). A scholar-official who retired to 文物珍品全集，顏色釉》，香港，1999年，圖版257（次
his homeland in Chaisang, present-day Jiujiang in Jiangxi 行左二）亦見一葡萄紫釉菊瓣盤，與上所述應為同一器。
province, he is known for is pastoral lifestyle and for having 另見一紫釉菊瓣盤例，色略深近茄皮，為卡爾肯普及玫
created the so-called ‘farmstead poetry’ (tianyuan shi) which 茵堂遞藏，載於康蕊君，《玫茵堂中國陶瓷》，卷4，倫
was inspired by his chrysanthemum garden as well as the 敦，2010年，圖版1830，後售於香港蘇富比2013年4月8
natural landscape and pastoral scenes. These themes were 日，編號4。
particularly relevant to the Yongzheng Emperor, who was an
advocate of farming and manual labour. 據清宮記事錄，雍正十一年（1733年）十二月二十七日內
務總管年希堯家人鄭天錫送來「各式菊花式磁盤十二色
A symbol of autumn and of the ninth month of the year, （內每色一件）」，世宗下旨：「着交與燒造磁器處，照
the chrysanthemum flower provided much inspiration to 此樣式，每色燒造四十件」，即日讓年希堯家人「持去
potters and craftsmen from as early as the Song dynasty. 燒造訖」。然而，十二色釉菊瓣盤並無完整成套傳世，
These early chrysanthemum-shaped wares, which were 且已知雍正菊瓣盤之釉色遠多於十二種。北京故宮博物
made in a variety of materials, probably inspired the form 院已出版共十三色不同來源之菊瓣盤例；此外，已知至
of these dishes. A lacquer chrysanthemum dish, attributed 少仍有其他六色類例。Hajni Elias 於其文〈In the path of
to the Song dynasty, was included in the exhibition The Tao Qian‘: Chrysanthemum’wares of the Yongzheng
Monochrome Principle. Lacquerware and Ceramics of emperor〉中，論及雍正時期菊式器之發展，並認為此
the Song and Qing Dynasties, Museum für Lackkunst, 類器或可體現雍正帝對詩人陶潛之傾慕，承其愛菊之情
Münster, 2008, cat. no. 13, together with a moulded Ding （《Arts of Asia》，2015年5-6月，頁72-85）。陶潛
chrysanthemum dish, cat. no. 14. （365-427年），不為五斗米折腰，棄官歸隱故土柴桑
（今江西九江），閒居田壟菊院，寄情山水，逍遙自適，
Compare also dishes of this type covered in different glazes, 開創「田園詩」體例。世宗尤崇農耕勞作，故此類田園題
for example the twelve dishes from the Palace Museum, 材作品備得聖心。
Beijing, shown at the aforementioned Royal Academy of
Arts exhibition, which included versions in yellow, lemon- 宋朝伊始，菊即作為秋與九月之意象，為詩人、工匠創
yellow, amber-yellow, café-au-lait, white, brown, teal, pale 作提供靈感。前朝各種菊式藝作，材質雖異，或為清時
turquoise-blue, lime-green, cobalt-blue, deep purple, and 藝匠提供靈感，從而製器形相類之盤。宋代菊瓣式漆
ruby-red; in this group, the teal-coloured example also 盤例，可見一例，展於《The Monochrome Principle:
showed a partly enamelled base; further, a powder-blue Lacquerware and Ceramics of the Song and Qing
glazed example, also in the Meiyintang Collection, illustrated Dynasties》，慕尼黑，2008年，編號13，此展同載一定
in Krahl, op. cit., vol. 2, pl. 847; a bright ‘camelia-leaf’ green 窰模印菊花盤，編號14。
dish in the Baur Collection, Geneva, published in John Ayers,
Chinese Ceramics in the Baur Collection, vol. 2, Geneva, 可比較他釉色菊瓣盤數例，如北京故宮博物院藏一套十二
1999, pl. 328; a black pair in the Seikado Bunko Art Museum, 色菊瓣盤例，除葡萄紫釉外，另有彩釉如黃釉、蛋黃、米
Tokyo, included in the exhibition Seikadō zō Shinchō tōji. 黃、醬釉、白釉、湖水綠、葱綠、天藍、灑藍、胭脂紫，
Keitokuchin kanyō no bi [Qing dynasty porcelain collected in 列展於英國皇家藝術學院。玫茵堂雅蓄也見一灑藍釉例，
the Seikado. Beauty of Jingdezhen imperial kilns], Seikado 載於康蕊君，前述出處，卷2，圖版847。日內瓦鮑氏珍藏
Bunko Art Museum, Tokyo, 2006, cat. no. 92; and a pair 另一翠綠盤例，載於 John Ayers，《Chinese Ceramics
of lavender-blue dishes from the Seattle Art Museum and in the Baur Collection》，1999年，圖版328。東京靜嘉
T.Y. Chao collections, a bright turquoise-blue dish from the 堂文庫美術館貯一對黑釉作例，展於《靜嘉堂藏清朝陶磁
Paul and Helen Bernat and Hall Family collections, and a 景德鎮官窰の美》，東京，2006年，編號92。此外，香
celadon-green piece from the Leshantang Collection, sold 港蘇富比曾售出三例，一為天藍釉對盤，曾屬西雅圖藝術
at Sotheby’s Hong Kong, 19th May 1987, lot 279, 2nd May 博物館及趙從衍舊藏，售於1987年5月19日，編號279；
2000, lot 553, and 11th April 2008, lot 2503, respectively. 另有一松石綠盤，先後入 Paul and Helen Bernat 伉儷及
Hall 家族典藏，於2000年5月2日拍出，編號553；樂山堂
另藏一粉青釉盤，售於2008年4月11日，編號2503。

106 SOTHEBY’S 蘇富比