Page 73 - Chinese Art From Two American Collections, April 5, 2017 Hong Kong

The present jar is remarkable for its precisely potted large 此百條缸器碩穩健，流麗優雅，通體施天藍釉，潔淨清
‘hundred rib’ form which has been covered in a luminous 淡，溫潤雋永。天藍釉為高溫色釉，內含約1%鈷料，康
clair-de-lune glaze. This high-fired glaze, with a cobalt content 熙朝創燒於景德鎮。其釉色淺而發藍，通透純淨，似天
of about 1%, was first produced by the imperial kilns in 青，故名「月白釉」，或「天藍釉」，屬當朝單色釉名
Jingdezhen during the Kangxi Emperor’s reign. Known in the 品，為景德鎮御瓷專用色。而後歷朝皆燒天藍釉瓷，然色
West by the nineteenth-century French connoisseurs’ term 調略深，始未及康熙器之柔雅含蓄。
clair-de-lune (‘moon light’), and in China as tianlan (‘sky blue’),
it was one of the most successful monochrome glazes created 可比較一極近作例，曾借展印第安納波利斯美術館，後售
in Jingdezhen during the Kangxi reign, its soft hue reserved 於紐約蘇富比1989年12月6日，編號192。另參考仇焱之
exclusively for imperial porcelains. The colour remained 舊藏，售於香港蘇富比1980年12月25日，編號73。胡惠
popular throughout the Qing dynasty, but after the Kangxi 春雅蓄也有一例，售於紐約蘇富比1985年6月4日，編號
period lost its delicate tone. 29。再比較一類似例，分別售於蘇富比紐約1979年7月10
日，編號203，及香港1980年5月20日，編號98。此外，
A closely related jar, exhibited on loan at the Indianapolis 紐約蘇富比亦曾售二相似罐例，其一為 William L. Parker
Museum of Art, was offered in our New York rooms, 6th 典藏，售於1978年5月11日，編號212；其二售於1984年
December 1989, lot 192; one from the Edward T. Chow 12月4日，編號345。
Collection was sold in these rooms, 25th November 1980, lot
73; and another from the J.M. Hu Collection was sold in our 此罐器型源自14世紀龍泉窰青釉瓜棱荷葉蓋罐，可見一龍
New York rooms, 4th June 1985, lot 29. See also one sold in 泉罐例，奥斯曼蘇丹舊藏，現存伊斯坦堡托普卡比宮殿博
our London rooms, 10th July 1979, lot 203, and again in these 物館，載於康蕊君，《Chinese Ceramics in the Topkapi
rooms, 20th May 1980, lot 98; and two further jars sold in our Saray Museum, Istanbul》，倫敦，1986年，卷1，圖版
New York rooms, one from the collection of William L. Parker, 213。另見一例，藏東京國立博物館，刊於《東京国立博
11th May 1978, lot 212, and the other, 4th December 1984, lot 物館図版目錄：中国古陶磁篇2》，東京，1990年，編號
345. 14。

The form of these jars derives from Longquan celadon wares 此類條棱於晚清被稱「百摺」，天藍釉則以為仿汝。據清
of the fourteenth century, which were made with covers in 宮檔案載，光緒十一年（1885年）陳設檔內〈十二月芳園
the form of a lotus leaf, such as one from the collection of 居等處陳設鋪墊等項清檔〉有載「磁器鋪內設……乳釉磁
the Ottoman sultans and now in the Topkapi Saray Museum, 百摺小魚缸一口」，可知當時有承德避暑山莊芳園居內有
Istanbul, included in Regina Krahl, Chinese Ceramics in the 貯與此同類之器。
Topkapi Saray Museum, Istanbul, London, 1986, vol. I, pl. 213;
and another, in the Tokyo National Museum, published in
the Illustrated Catalogue of Tokyo National Museum. Chinese
Ceramics II, Tokyo, 1990, cat. no. 14.

Jars of this type may in the later Qing period have been
described as having a Ru glaze, the ribs referred to as ‘hundred
folds’ (baizhe). According to the inventory of the Qing imperial
court archives, dated to the twelfth month of the eleventh year
of the Guangxu period (in accordance with 1885), Ru you ci
baizhe xiao yugang yi kou or ‘a small Ru-glazed hundred-fold
fish jar’ was stored in the porcelain quarter of Fangyuanju
[‘Residence of the aromatic garden’] in the Imperial Summer
Palace at Chengde.

CHINESE ART FROM TWO AMERICAN PRIVATE COLLECTIONS 71