Page 18 - Chinese Ceramics the Linyushanren Collection Part 1 , Christie's

Today (30th of 10th month) after discussion, Director 本日郎中海望、員外郎沈蝓同議，得每月給徐國正
Hai Wang and Vice-director Shen Yu agreed to pay Xu 工食銀五兩。
Guozheng five taels of silver a month.’
也許琺瑯彩上宋體字款的使用，只是碰巧因為寫款人徐
It is possible that these Songtizi marks were adopted only 國正善寫宋字。檔案並未記載雍正皇帝要求年款要用宋
because the craftsman employed to write them, Xu Guozheng, 體字來繕寫，不過他對這種款字應該頗為認可，以致幾
specialized in writing ‘Song-style calligraphy’. There are no 乎所有的雍正琺瑯彩瓷都寫上此樣式的款。不過仔細比
records of the emperor having requested this particular style 較款字，還是有書寫上筆法的出入，顯示這些款字可能
of marks, but he obviously was satisfied with them as they 並非都由徐國正一人單獨完成。
were used on almost all the falangcai pieces. However, there
are still variations in the marks, and it is possible that Xu 此碗上的款字較其他琺瑯彩碗上常見的款字有些不同。
Guozheng was not the only one employed to write them. 「雍」字裡的「隹」，其上的一點寫成由右上到左下的
一撇，而常見的款字上此點通常一直豎到底。這樣寫法
The mark on the current bowl is written in a slightly unusual 的款字雖然較少見，但是還是可以在其他十來件琺瑯彩
way. The short stroke on the top right of the 隹 particle in 瓷上找到（例如 03130 ，02531，05832，074）。其中一對
the 雍 character is written as a oblique stroke, rather than a 綠地桃竹碟（031）上的款字寫法佈局與此碗上的最為
straight stroke as is the case with the majority of the other 接近，應該出於同一人之手。（見圖表三）
marks. Only a small number of examples of this variation
can be found on pieces in the collections of the Taipei and 雖然水墨琺瑯得到雍正皇帝的贊賞，但是乾隆時期的製
Beijing Palace Museums. Amongst these (03130, 02531, 05832, 作數量驟減，存世的例子寥寥無幾。也許他們平淡素雅
074), the marks on a pair of dishes painted with peach and 的風格與乾隆皇帝崇尚華麗的個性不符。雖然如此，不
bamboo (031) seem most closely related to the mark on the 論從技術性或藝術性來看，他們依然代表了製瓷史上的
current bowl. (See diagram 3) 一個高峰。就如梅花報春一般，他們的曇花一現預兆了
之後陶瓷工藝百花爭鳴的景象。此碗素雅的美，也如梅
Although shuimo falang was favoured by the Yongzheng 花一般，並不喧人奪目，而需要經過時間沉澱，心定氣
emperor, very few of them were made in the Qianlong reign. 閒時才能充分體會。宋楊皇后在馬麟的《層疊冰綃》上
Perhaps their restrained and subtle beauty did not fit the 所題的詩句可以為此碗作最好的註解：
Qianlong emperor’s propensity for grandeur. Nevertheless,
they represent the pinnacle in the history of ceramic art, both 渾如冷蝶宿花房，擁抱檀心憶舊香。
in terms of their technological and artistic achievements. 開到寒梢尤可愛，此般必是漢宮妝。
Like the prunus announcing the arrival of spring, their brief
blossoming was followed by a flourish of ceramic production.
And just like the prunus, the beauty of the current bowl is
perhaps not so immediately evident, and requires time and a
quiet mind to appreciate fully.The poem on Ma Lin’s Layered
Ice-white Silk, inscribed by the Empress Yang (1162-1232),
seems a fitting description of this otherworldly beauty:

Like a winter butterfly hibernating inside the corolla;
Hanging on to the stamens, dreaming of fragrance past.
Those blossoming at the frozen tips are the loveliest,
They are undoubtedly the beauties from the Han Palace.

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