Page 14 - Chinese Ceramics the Linyushanren Collection Part 1 , Christie's

to the green-calyx prunus so beloved by Song artists.To paint 台北故宮博物院有一對雍正琺瑯彩赭墨梅竹圖碗（0568）
in such pale lines would however present a technological （圖三），其上畫風與此碗迥異。故宮對碗是傳統墨梅的
challenge. As enamels are essentially ground coloured glass, in 寫意筆法，而此碗畫工筆花卉，師承馬麟的南宋院體。此
order to dilute them to such a degree would probably have 碗上的畫風更接近故宮一組同樣畫梅花的碗，即一對〈茶
required extra preparations. The enamels would have to be 梅十二喜碗〉（0809），一對〈山茶梅花碗〉（07310），
ground extra fine, so the granules of glass can be distributed 一件〈眉壽長春碗〉（07411） 與其在北京故宮博物院的原
evenly in the diluting agent, ensuring that the thin lines are 配 12，及北京故宮的一件〈黃地梅花圖碗〉13。這幾件碗上
smooth and do not contain lumpy inclusions.To complement 的梅花及梅樹畫法均與此碗有相近之處。（見圖表一）
these delicate blossoms, the bamboo leaves were also painted
in double outlines and left white, befitting the wintery setting. 值得注意的是，這幾件碗的上面都畫了有綠色花萼的白
色梅花，正是馬麟所描畫的梅花名品綠萼梅。宮廷畫家
On the other side, the bowl is inscribed with a poem, which 對南宋院畫應該極為熟稔，在給皇帝賞玩的珍貴瓷碗上
can be translated: 畫上最名貴的梅花品種也不出奇，只不過要在白釉碗上
表現出白色梅花，可有難度。在這件碗上，畫家找到了
‘Through the moon-shade14, scattered shadows are visible; 一個巧妙的技法，他以極淡的琺瑯勾描花瓣，使得它們
At the ink well one detects a hidden fragrance.’ 與碗上其他的紋飾對比，顯得更加瑩白。與故宮那對〈赭
墨梅竹圖碗〉比較起來，故宮對碗上的梅花並不特別突
The same poem can be found on four Yongzheng falangcai 顯顏色，而此碗的梅枝上則明顯地開著白花，更像南宋
pieces in the National Palace Museum: the pair of sepia ‘prunus 畫家所鍾愛的綠萼梅。要畫出如此淡的墨色，在琺瑯的
and bamboo’ bowls (056), and a pair of sepia dishes painted 處理上要多費功夫。琺瑯基本上是磨碎的有色玻璃，要
with prunus only (04115). Most of the inscriptions found on 讓顏色變得如此淡，需要將玻璃顆粒磨得極碎，使它們
falangcai pieces are excerpts of known poems which have been 在多加調劑後也能分布均勻，這樣，細線條處才能釉色
identified by researchers. However, a few of them, such as the 平均，不會產生濃淡不勻的現象。陪襯著白梅花的竹葉
current poem, are from unknown sources. The use of phrases 也因應著以雙鉤白描法畫出，彷彿其上堆雪一般，正應
like ‘scattered shadows 踈 影 ’ and ‘hidden fragrance 暗 香 ’ 冬天景像。
was obviously inspired by Lin Bu’s poem mentioned earlier.
The ‘ink well’ or ‘ink pond’ 墨池 is a reference to a scholar or 碗的另外一邊行書五言詩句二：
calligrapher, and in this case perhaps, to the emperor himself.
月幌 14 見踈影，墨池聞暗香。
Although the calligraphy on the current bowl appears to
be in the same style to that on the pair of sepia ‘prunus and 同樣的詩句可以在其它四件雍正琺瑯彩碗上找到，即一
bamboo’ bowls (056), when examined closely they seem to be 對〈赭墨梅竹圖碗〉（056），及一對〈赭墨梅花圖盤〉
by different hands. Detailed comparisons reveal that there are （04115）。琺瑯彩瓷上的詩句通常由古人詩中擷取，有
clearly several different calligraphers behind the inscriptions 許多已經由故宮研究員查明出處。但有幾個例子，像本
found on falangcai pieces16, but they seem all to be copying a 碗上這兩句詩，至今出處未明。“踈影”，“暗香”自
particular style.The reason for this could possibly be explained 然來自林逋詩句，而“墨池”一詞當影射詩人、書家自
by this entry in the Palace Records: 己，亦或是皇帝本人。

On the 20th day of the tenth month, Treasury Keeper
Chang Bao and Head Eunuch Samuha delivered the decree:

Make nine enamelled double gourds, painted with spots
in the (natural) colour of gourds, and their covers should
be gilt. The inscriptions on the gourds should be written
in my own calligraphic style, to be copied by Dai Lin.

12 An Important Yongzheng Falangcai ‘Prunus And Bamboo’ Bowl 踈影暗香 ─ 雍正琺瑯彩赭墨梅竹圖盌