Page 11 - Chinese Ceramics the Linyushanren Collection Part 1 , Christie's

fig. 3 A pair of falangcai prunus and bamboo bowls,Yongzheng marks and period
Collection of the National Palace Museum,Taipei

（圖三）清雍正 琺瑯彩赭墨梅竹圖碗一對 國立故宮博物院藏品

As all fragrant beauties tumble, it alone stands dazzling, 梅與竹是中國詩人畫家鍾愛的題材。這兩種植物都不畏
In full elegance it faces the small garden. 嚴寒，有堅忍不拔的特性。梅花每年於春寒料峭時盛開，
Scattered shadows cast obliquely on water clear and 細蕊繁英，開滿光禿無葉的枝頭，淡淡清香預兆新春伊
shallow; 始，萬物復甦。竹子常青，是枯山寒水中難得一見的綠
Hidden fragrance wafts in moonlight dusky and dim. 意。其中空有節，耿直不阿的特性，成為君子自勉的期
許。兩種植物都因而成為不屈欺辱、不畏強權的象徵，
Although there is a pair of sepia-enamelled bowls (0568) painted 被詩人、畫家吟詠題贊不已，在政治偏安的南宋時期尤
with prunus and bamboo in the National Palace Museum (fig. 為鼎盛。
3), the painting style on the pair is distinctly different from that
on the current bowl. While the Palace Museum examples are 此碗上的畫意有南宋畫院花鳥畫的遺風。南宋畫家馬遠
more affiliated with the momei 墨梅 (ink prunus) tradition, the （1160-1225） 及 其 子 馬 麟（ 約 1180-1256 後 ） 均 鍾 愛
current bowl is painted in the gongbi 工 筆 style, in tribute to 畫梅，都有精品傳世，盡寫梅花橫斜疏瘦的姿態。北京
those painted by Ma Lin. The painting on the current bowl is 故宮博物院藏馬麟的《層疊冰綃》圖 4（圖一），梅花
in fact much more closely related to a group of bowls painted 花朵繁密俏媚，花瓣以白色傅粉，枝幹橫敧，大片留白
with prunus in the National Palace Museum, namely the 突顯寒冬孤寂之感。另外一件收藏於台北故宮博物院的
pair of ‘twelve magpies’ bowls (0809), the pair of ‘camellia and 《暗香踈影》5（圖二）以纖細筆法畫兩枝梅枝，一枝橫
prunus’ bowls (07310), and the single ‘prunus and rose’ bowl 斜畫心，一枝由畫面右側順勢而下，有一竹相伴，其葉
(07411), whose pair is in the Beijing Palace Museum12, as well 下垂，以雙鉤勾勒，巧妙暈染邊緣自然泛黃的模樣。梅
as a yellow-ground ‘prunus’ bowl, also in the Beijing Palace 花花瓣亦是白色，花萼則以石綠點染，與《層疊冰綃》
Museum13. All these bowls share similar style of painting in the 上的梅花同類。此種梅花稱綠萼梅，是梅花中的名品，
rendering of the prunus blossoms as well as the tree branches. 多在宮中種植，宮外並不多見。 范成大（1126-1193 ）
The ‘twelve magpies’ bowls (080) and ‘camellia and prunus’ 的 《梅譜》中記載：
bowls (073), furthermore, are painted with very similar bamboo
bushes to those on the current bowl. (See diagram 1) 「凡梅花附蒂，皆絳紫色，惟此純綠，枝梗亦青，
特為清高，好事者比之九疑僊人萼綠華 6。」7
It is interesting to note that this group of bowls all feature
white prunus flowers with green calyces, like the ‘green-calyx 畫下部可以依稀見到梅枝竹節的稀疏倒影，隱隱浮在淡
prunus’ depicted by Ma Lin. It is not surprising that a court 淡的水紋之上，分外清雅。此畫畫中有詩，描繪北宋詩
artist who was probably very familiar with Song Academy 人林逋著名的梅花詩《山園小梅》：
paintings have chosen the most noble of prunus on bowls
that are destined for the pleasure of the emperor. The artist 眾芳搖落獨媗妍，占盡風情向小園。
would, however, encounter a problem when trying to depict 踈影橫斜水清淺，暗香浮動月黃昏。
white prunus with sepia enamel. How does one depict white
on an already white background? Here on the current bowl,
an ingenious solution was found. The artist chose to paint
the petals in very pale enamels to contrast with the rest of
the bowl, giving the illusion that the blossoms are white, even
against a white background. Unlike the pair of sepia bowls
in the Taipei Palace Museum (056), whose blossoms are not
distinctively of a particular colour, the prunus tree on the
current bowl appears to bear white blossoms, thereby alluding

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