唐珍收藏
拍品编号：0138
估价：GBP250,000—350,000
成交价：暂无数据
拍卖时间：2019-11-06 上午11:30
拍卖地点：伦敦
拍卖公司：伦敦蘇富比
简介：详情
A LARGE BLUE AND WHITE‘PEONY’JAR
YUAN DYNASTY
元 青花缠枝牡丹纹罐
the broad sturdily-potted baluster body rising from a spreading foot to a short straight neck with everted rim, painted around the body in rich cobalt-blue tones with six large peony blossoms each rendered with a luxuriant array of petals, borne on the undulating scroll with attendant buds and foliage, all above a classic scroll band, the shoulder encircled with a composite floral scroll and the foot with a band of upright lappets enclosing pendent cloud-like trefoils and rings, the neck painted with a band of composite floral scroll, the broad foot ring and recessed base unglazed
拍品状况
图录资料
来源
L. Michiels Antiquitiés, Bruxelles (according to label).
L. Michiels Antiquitiés，布鲁塞尔（标签）
相关资料
Sturdily potted guan jars painted with bold designs in cobalt blue are undoubtedly the Yuan dynasty’s greatest contribution to Chinese porcelain tradition. These jars diverge dramatically from the elegant simplicity of the Song dynasty (960-1279), which favoured subdued monochromatic wares in smaller formats, and evidence the flamboyant style preferred by the Mongol rulers of the Yuan dynasty. This change in direction accelerated the demise of most other kiln centres in China, and established the kilns at Jingdezhen as the most important centre of ceramic production for centuries to come.
The painting seen on this jar encompasses the most characteristic elements of Yuan porcelain design: the peony scroll on the body, lotus scroll on the shoulder, classic scroll on the rim and lappets. This lively new decorative vernacular was particularly well-expressed in underglaze blue. The vast trading networks of the Yuan dynasty ensured rapid transmission of styles and tastes throughout the empire. Persian traders supplied the kilns at Jingdezhen with cobalt ore from Kashan providing the vibrant blue for which the period is known. Demand for blue and white guan was considerable from its initial manufacture, not only in China but in Southeast Asian and particularly in the Middle East.
Guans of nearly identical decoration include a jar in the Idemitsu Museum of Arts, Tokyo illustrated in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, pl. 617; an example from the Ataka collection published in Gakuji Hasebe, Masterpieces of Chinese and Korean Ceramics in the Ataka Collection. China, Tokyo, 1980, pl. 86; and a further jar in the collection of Baotou City Cultural Relics Administrative Bureau, Inner Mongolia illustrated in Zhongguo Wenwu Jinghua Daquan. Taoci Juan [Gems of China’s cultural relics. Ceramics section], Hong Kong, 1993, pl. 550.
Variations on this design include a jar with a four-petal band rather than the classic scroll border illustrated in Yoshiaki Yabe, Toji Taikei. 41. Gen no Shimitsu [Compendium of Ceramics. 41. Blue and white ware of the Yuan dynasty], Tokyo, 1974, pl. 27; a jar without a scroll border in the Palace Museum, Beijing illustrated in The Complete Collection of Treasures of the Palace Museum, Blue and White Porcelain with Underglazed Red (I), Hong Kong, 2000, pl. 6; and an example with a band of waves around the collar in the Shanghai Museum included in the Museum’s exhibition, Splendors in Smalt: Art of Yuan Blue-and-white Porcelain, Shanghai, 2012, cat. no. 7.
元代青花罐纹饰鲜明，罐形稳实，无疑乃元朝对中国瓷器传统最伟大之贡献。宋瓷简约优雅，崇尚之品多属单色釉器及小巧珍瓷，与此类元代瓷罐对比鲜明，后者更能反映蒙古族君王对 华丽风格之喜爱。如此风尚改变，另中国各地瓷窑衰落更为迅速，并奠定景德镇以后数世纪作为瓷都之重要地位。
本品纹饰，具备元瓷纹饰特质：罐身饰牡丹纹，肩部饰莲纹，口沿饰缠枝纹饰及叶纹，生意盎然，新颖于当时，以青花描绘尤其灵动。元朝商务网络庞大，艺术风格品味皇朝之内流行迅速，波斯商人从卡尚进口鲜艳钴料，供景德镇瓷窑所用。自首先烧成开始，青花罐需求一直甚高，无论于中土或东南亚及中东均受欢迎，尤以后者为甚。
东京出光美术馆收藏一罐例，纹饰几乎完全相同，图载于《中国陶磁：出光美术馆蔵品図录》，东京，1987年，图版617；另比一例，出自安宅收藏，载于《安宅コレクション东洋陶磁名品図录》，东京，1980年，图版86；再比一例，出自内蒙古包头市文物管理处收藏，图载于《中国文物精华大全，陶瓷卷》，香港，1993年，图版550。
相近纹饰，可比较一例，无缠枝纹饰但绘四瓣环纹，图载于藤冈了一，《陶磁大系：元の染付》，卷41，东京，1974年，图版27；北京故宫博物院收藏一例，无缠枝环纹，载于《故宫博物院藏文物珍品大系·青花釉里红（下）》，上海，2000，图版6；上海博物馆亦收藏一例，罐颈饰波纹，曾展于《幽蓝神采：元代青花瓷器特集》展出，2012年，编号7。
拍品分类：陶瓷>元代以前陶瓷
拍卖会：2019年11月拍卖会
拍卖专场：重要中国艺术
预展时间：2019年11月4日-5日
预展地点：伦敦
