瓷移物化 : 陶染域外的明清陶瓷 Objectifying China: Ming and Qing Dynasty Ceramics and Their Stylistic Influences Abroad

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1 瓷移物化 : 陶染域外的明清陶瓷 Objectifying China: Ming and Qing Dynasty Ceramics and Their Stylistic Influences Abroad Images 圖片 Captions 説明 Dish with qilin China, Jingdezhen (Qing dynasty), Shunzhi period, Porcelain with blue underglaze, diameter 37 cm HKU.C 麒麟紋碟中國景德鎮, 清順治 ( ) 青花瓷, 直徑 37 厘米 HKU.C Qilin are auspicious mythical beasts often depicted with the head of a dragon, the body of a deer (but scaled), the hooves of a goat and the tail of a Buddhist lion-dog. They were rarely depicted on ceramics before the seventeenth century, but became popular during the reign of the Shunzhi emperor, when this dish was made. Exotic creatures and landscapes captured the attention of Europeans as well as Chinese, and many ceramics with qilin have been recovered from wrecks like the Nuestra Señora de la Maravillas, a Spanish treasure galleon sunk off the coast of the Bahamas in 瑞獸麒麟的形像一般為龍首 鹿身 ( 有鱗 ) 羊蹄 獅尾 ( 指佛教的 狛犬 ) 此碟於順治年間製造, 當時流行使用的麒麟紋, 在 17 世紀以前的陶瓷上屬罕見的紋飾 這類充滿異域風情的瑞獸與風景深受歐洲與本地人歡迎, 故從許多沉船上, 如 1656 年在巴哈馬海岸沉沒的西班牙藏寶船 馬娜維拉 號, 亦可見這類麒麟紋瓷器

2 Mounted bowl Jingdezhen, China, with mounts added in the Netherlands Kangxi period, ; mounts, late 17th century Porcelain with blue underglaze and ormolu or silver-gilt mounts, 15.2 x 21.5 cm Asian Civilisations Museum 金屬鑲嵌碗中國景德鎮, 清康熙 ( ); 荷蘭, 金屬鑲嵌,17 世紀末鍍金或鍍銀青花瓷,15.2 x 21.5 厘米亞洲文明博物館 Early Chinese porcelain in Europe was perceived in the same way as natural curiosities like ostrich eggs, serpentine and coconuts. Like those materials it was sometimes ornamented with expensive mounts to enhance its value. Rare and costly, early mounted porcelains were confined to royalty and a few aristocratic families, who used them as attractive sideboards or displayed them in kunstkammer ( cabinets of curiosities in German). After porcelain became available to a growing middle-class in the seventeenth century, it continued to be mounted as a means of demonstrating wealth. Double-walled objects with a pierced outer wall like this bowl were particularly rare. In China they are called linglong ( devil s work ) due to the time-consuming nature of the work. 歐洲人起初視瓷器為奇珍異器, 與鴕鳥蛋 蛇紋石和椰子等自然獵奇物一樣, 並以昂貴的物料鑲嵌於瓷器上, 使其更加名貴 正因早期鑲嵌瓷器的貴重與罕有, 它們多專屬於皇室和少數貴族家庭, 作為耀眼的餐櫥 或 珍奇屋 ( 德語為 kunstkammer) 內的擺設 在 17 世紀, 當歐洲崛起的中產階級更易購藏中國瓷器時, 為瓷器鑲嵌上珍貴金屬的做法遂成為一種炫耀財富的手段 由於製作需時 巧奪天工, 故這款附鏤空外壁設計的罕有雙層瓷器稱為玲瓏瓷

3 Dish with a coat of arms Genoa, Italy, ca. 1710s Tin-glazed earthenware, diameter 25.6 cm Asian Civilisations Museum 徽章紋碟意大利熱那亞, 約 1710 年代錫釉陶器, 直徑 25.6 厘米亞洲文明博物館 This maiolica dish is painted in a spontaneous style reminiscent of kraak ware. An area left intentionally blank was later personalised with a coat of arms in colourful enamels probably the arms of a knight of Malta. Personalised details like this were probably copied from specially commissioned drawings sent to China. The quest to duplicate Chinese porcelain was an obsession shared by many in Europe. Italian potters imitated Chinese porcelain by painting blue-and-white designs onto low-fired earthenwares with a white tin glaze called maiolica. Developed in Italy during the Middle Ages, this technique flourished in the fifteenth century and laid the foundations for other tin-glazed pottery traditions in Europe. 此馬略卡碟的設計風格自由, 與 克拉克瓷 相似 碟上刻意留下一個空白位置, 供中國陶匠據歐洲客人所寄之特別繪製的圖像, 以釉彩繪上個人化的徽章紋 這應是馬爾他騎士團的徽章 當時的歐洲掀起一陣仿製中國瓷器的熱潮 意大利陶工在低溫燒成的陶器上, 利用稱為馬略卡的白錫釉繪上青花圖案來仿製中國瓷器 此裝飾手法始於中世紀的意大利, 並在 15 世紀得以蓬勃發展, 為歐洲其他錫釉陶器傳統奠定基礎

4 Pair of ko-akae dishes China (Ming dynasty), Tianqi period, Porcelain with overglaze enamels, width 18.5 cm HKU.C 古赤繪碟一對中國, 明天啟 ( ) 釉上彩瓷, 闊 18.5 厘米 HKU.C Painted in a wucai palette, these dishes are the colourful equivalents of ko-sometsuke ( old blue and white ) porcelain made in China in the seventeenth century for export to Japan. They feature the characteristic surface flaws that Japanese tea practitioners found appealing, such as glaze bubbles, pinholes, worn edges and grit adhering to the feet. Though marked on the base with the marks of the Daoguang emperor, such wares were produced during a relatively brief period between the reigns of the Tianqi and Kangxi emperors. The reign marks were probably added later to increase the prestige of the objects or as a mark of respect. Other names for ko-akae include Tenkei akae, based on their production during the reign of the Tianqi emperor (called Tenkei in Japanese), and Nankin akae, due to the Japanese belief that they were decorated in Nanjing. They were rarely exported to Europe, where more highly finished and thinly bodied polychrome ceramics were preferred. 以五彩為飾, 這類的碟是 17 世紀外銷至日本的中國瓷器, 被當地人視為 古染付 ( 即 古青花 ) 的彩色版本 古赤繪 以深受日本茶道愛好者歡迎的瑕疵, 如釉泡 小孔及足部剝釉或粗糙不平等缺陷為特色 雖然碟底書道光皇帝年款, 但這款器物普遍製於天啟至康熙年間 或許是為了增加瓷器的價值或表示尊重, 才添加該年款 產自明天啟年間, 古赤繪 又名 天啟赤繪 日本人曾認為這款瓷器產於南京, 故又稱之為 南京赤繪 由於歐洲人偏愛精緻而纖細的彩瓷, 故 古赤繪 甚少外銷至歐洲

5 Saucer Worcester, England, 1770s Soft-paste porcelain, diameter 11.8 cm Asian Civilisations Museum 醬料碟英國, 烏斯特,1770 年代軟質瓷, 直徑 11.8 厘米亞洲文明博物館 This saucer s design was based on Kangxi famille verte porcelains. In England it was mainly used to decorate tea and dessert wares. Worcester was the first factory to produce wares with this pattern, around It was later made by many other English factories in the eighteenth and nineteenth centuries. Termed the Dragon in Compartments pattern at the Chamberlain factory in Worcester in the 1780s, collectors and dealers also sometimes referred to it as the Bengal Tiger or Kylin (a variant spelling of qilin) pattern. 此碟的設計源於康熙五彩瓷, 在英國它主要用於點綴茶具和甜點餐具 烏斯特瓷廠約於 1768 年首創配有此花紋的陶瓷, 隨後英國多間瓷廠於 18 世紀和 19 世紀都加以模仿 1780 年代的烏斯特章伯靈工廠, 稱此圖案為 龍藏居室 而收藏家及藝術品經銷商偶爾會稱之為 孟加拉虎 或 Kylin ( 英語麒麟 qilin 的另一種寫法 )

6 Dish in fencai enamels Jingdezhen, China (Qing dynasty), Xianfeng period, Porcelain with overglaze enamels, diameter 17 cm HKU.C 粉彩碟中國景德鎮, 清咸豐 ( ) 釉上彩瓷, 直徑 17 厘米 HKU.C The design on this irregularly-shaped dish shows a landscape with two scholars enjoying nature and playing go. A young man, probably an attendant, crosses a bridge with picnic supplies. The plum trees and chrysanthemum blossoms in the foreground are painted in soft pink-reds that are hallmark of the famille rose palette, called fencai ( powdered colours ) in Chinese. Marked with the reign marks of the Xianfeng emperor, the dish represents a rare example of porcelain produced during a period of intense political chaos. Along with increasing encroachment by European powers, Xianfeng s reign saw rebels from the Taiping Heavenly Kingdom seize much of southern China in the 1850s, including Jingdezhen, which they burned to the ground in 這隻造型不規則的碟上, 繪有兩位在山明水秀的景致之間砌磋圍棋的文人 一位可能是侍從的年輕男子正擔著食物, 跨越橋樑 前景的梅樹和菊花, 乃是以粉彩的標誌性顏色淡粉紅色來點綴 碟上有 大清咸豐年製 款 咸豐一朝經歷太平天國的叛亂, 叛亂分子於 1850 年代佔領南方大部分地區, 包括景德鎮, 更於 1853 年燒毀景德鎮窯場 這動盪的政治背景, 使這碟更顯珍貴

7 Pair of custard cups Jingdezhen, China, Qianlong period, ca. 1790s Porcelain with blue underglaze and overglaze enamels, height 8.7 and 9 cm Donated in memory of Miss Beryl Robina Wright HKU.C 洛克斐勒家族餐盤套裝的蓋杯一對中國景德鎮, 清乾隆, 約 1790 年代青花釉上彩瓷, 高 厘米贈以紀念露美奈女士 HKU.C These custard cups are part of a larger dinner service comprised of dishes, plates, saucers, platters, tureens, bowls and cups, suitable for a grand interior. The design has been referred to as the 'Rockefeller pattern' since 1979, due to its association with similar ceramics owned by the Rockefeller family of New York. The Rockefeller service is one of several sets commissioned by merchants involved in the China trade in the early 19th century, which have since been widely disseminated through inheritance and sale. Like much late export porcelain, they were made, glazed and fired at Jingdezhen but decorated in Canton. 這對蓋杯來自一套適用於高貴豪華的居室之大型餐具套裝, 其中包括碟 盤 醬料碟 大盤 湯盤 碗和杯 自 1979 年起, 由於紐約的洛克斐勒家族曾擁有相類的瓷器, 故該設計被稱為 洛克斐勒花紋 這套洛克斐勒家族餐盤套裝, 是由 19 世紀初經營對華貿易的商人所訂製的套裝之一 經世代相傳或作拍賣, 這些餐具現今散落於不同收藏之中 正如晚期的外銷瓷一樣, 這套餐具先於景德鎮燒造及上釉, 再於廣東飾上彩繪裝飾

8 Water pot Gongyi, China (Tang dynasty), probably 9th century Stoneware, height 7.5 cm HKU.C 水丞中國鞏義, 唐代, 約 9 世紀炻器, 高 7.5 厘米 HKU.C A rare example of early blue-and-white pottery from the Tang dynasty, this water pot is sparsely decorated with horizontal blue dashes and dots over a crackled transparent glaze. Chinese blue-and-white ceramics from the Tang period were virtually unknown until shards recovered from the coastal city of Yangzhou in Jiangsu province in 1975 confirmed their existence. Likely made at kilns in Gongxian (now Gongyi county) in Henan province, they were decorated with blue cobalt imported from Iran, which was part of the Abbasid Empire in the ninth century. Many were exported to the Middle East or to Southeast Asia, where they were presumably sold at high prices. 唐代早期青花陶器的罕有例子 水丞施紋片透明釉, 釉上以零星的藍點與藍色橫紋為裝飾 1975 年, 當唐代青花陶瓷碎片在江蘇省揚州市的沿岸被發掘出來後, 才得以確認唐代已燒造青花陶瓷的事實 這些早期青花陶器估計產自河南省的鞏縣 ( 今為鞏義市 ) 窯, 並以從伊朗 (9 世紀的伊朗屬阿拔斯王朝 ) 進口的鈷藍為裝飾 當中大部分的製成品外銷至中東或東南亞, 並於當地以高價出售