작품 상세

明嘉靖 青花穿花龍紋朝珠盒 PROVENANCE 1. The Tsui Museum of Art, Hong Kong 2. Christie's New York, 18 September 1997, lot 155 3. Sotheby's Hong Kong, 5 April 2017, lot 3620 LITERATURE 1.Ryoichi Fujioka, Sekai Toji Zenshu/Collection of World's Ceramics, vol. 14, Tokyo, 1976, p. 214, fig. 57 2.Beauty and Tranquillity: The Eli Lilly Collection of Chinese Art, Indianapolis Museum of Art, Indianapolis, 1983, p. 256, fig. a 3.The Tsui Museum of Art, Hong Kong, 1991, pl. 81 The box is well potted with cylindrical sides boldly painted in bright cobalt-blue tones, depicting five-clawed dragons striding amongst undulating leafy lotus scrolls, their sinuous bodies carefully picked out with scales, the top of the slightly domed cover similarly painted with two further dragons striding amidst a lotus meander, their mouths agape revealing sharp fangs and their manes billowing behind, the muscular legs terminating in powerful claws, all divided by double line borders, inscribed to one side of the cover with a rectangular cartouche enclosing a six-character reign mark. Only two Jiajing boxes of this type appear to have been published, the first was included in A Special Exhibition of the Huang Ding Xuan Collection, Kaohsiung Museum of History, 1999, cat. no. 36; and the second from the Eli Lilly Collection, was sold in Sotheby's New York, 1-2nd June 1993, lot 306. A Jiajing mark and period box of this form and large size, but painted with Daoist immortals, from the Rogers fund in the Metropolitan Museum of Art, New York, is illustrated in Suzanne G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 168; and one painted with cranes and bagua, illustrated in Ma Xigui, ed., Mei zai taoci. Qinghua Ming ci/ Beauty of Ceramics. Blue and White Porcelain, Taipei, 1993, pl. 53. Compare also a box of this shape but painted with Daoist immortals against an iron-red ground, from the Eli Lilly Collection, included in the exhibition Beauty and Tranquillity: The Eli Lilly Collection of Chinese Art, Indianapolis Museum of Art, Indianapolis, 1983, cat. no. 102, where the present box is illustrated as a comparative example, p. 256, fig. a. 款識：「大明嘉靖年製」 來源 1. 徐氏藝術館，香港 2. 紐約佳士得，1997年9月18日，編號155 3. 香港蘇富比，2017年4月5日，編號3620 出版 1. 藤岡了一，《世界陶磁全集》，卷14，東京，1976年，頁214，圖57 2. 《Beauty and Tranquillity: The Eli Lilly Collection of Chinese Art》，印第安納波利斯美術館，印第安納波利斯，1983年，頁256，圖a 3. 《徐氏藝術館》，香港，1991年，圖版81 器通體環形，飾以青花雲龍紋，青花發色濃烈鮮豔，胎體厚重，造型撲拙。盒蓋上以青花繪青花繪龍穿花紋裝飾，雙龍兇猛，騰躍於寶相花紋之間，畫工精美，栩栩若生。五爪龍形態畢具，刻畫鮮明，軀幹盤曲，靈活矯健。運筆自然流暢，生動傳神。蓋盒側以青花書「大明嘉靖年製」六字楷書款。 本品胎體厚重，白釉泛青，青花發色明快濃豔，畫工極為生動，款識端莊凝重，器型碩大圓潤。用青料當系嘉靖朝盛行的「回青」，用料精湛，技術純熟，呈色藍中泛紫。《江西大志•陶書》中記述：「陶用回青，本外國貢也。嘉靖中遇燒御器，奏發工部，行江西布政司貯藏庫時給之。」明代嘉靖青花多使用回青料，發色藍中泛紫，鮮豔明麗，形成此時青花的特有風格。 此式圓盒為盛放串珠的器皿，整器分上下兩部分，圓形盒蓋可與圓柱形盒身緊密扣合。始見於嘉靖朝，為嘉靖御瓷頗具特色之創新佳作。嘉靖一朝，瓷器造型大量豐富，例如八棱形，六角形，四方形及上圓下方葫蘆形等。本品便是嘉靖朝新創之瓷器形制，可謂獨特之至。耿寶昌稱此盒為串鈴盒，因形似串鈴而得名，見於《明清瓷器鑒定》，香港，1993年，圖233之3。顧名思義，此類盒為存放朝服珮飾如朝珠等珍貴容器，以確保珍貴飾物不易破損。 同類器僅見兩例著錄，一曾展於《黃鼎軒特展》，高雄市立歷史博物館，1999年，編號36。另一例為 Eli Lilly 舊藏，售於紐約蘇富比1993年6月1、2日，編號306。另見羅傑基金舊藏一同帶嘉靖年款，但飾仙人紋飾，現藏紐約大都會美術館，錄於 Suzanne G. Valenstein，《A Handbook of Chinese Ceramics》，紐約， 1989年，圖版168。另一繪仙鶴把掛紋，錄於馬希桂，《美哉陶瓷：青花名瓷》，台北，1993年，圖版53。一青花礬紅例，繪仙人紋飾，屬 Eli Lilly 收藏，展於《Beauty and Tranquillity: The Eli Lilly Collection of Chinese Art》，印第安納波利斯美術館，印第安納波利斯，1983年，編號102，本品被著錄為對比品，見頁256，圖a。