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(Lots 1-10 correspond to lots 801-810 in the paper catalogue.) 807 明成化 青花蓮塘魚藻紋盤 「大明成化年製」款 D15cm 原共箱題款：古染付魚蓮文小皿 成化銘 原共箱標籤：林中正舊藏品 永藏商事株式會社標籤：骨董第三四一號｜成化染付小皿 來源：林中正收藏 日本永藏商事株式會社收藏，341 號藏品 久手堅憲二收藏 附日本原裝漆盒 盤撇口，淺弧壁，圈足。通體白釉為地，青花繪飾，口沿雙弦線一周，盤心中央橫列三叢蓮荷，蓮花枝桿向上挺起，葉片垂懸於盤心邊緣，左右兩叢蓮荷以葉片為主體，烘托向上生長的蓮花。蓮叢上下各繪一條魚兒，二者方向相反，仿佛沿著圓形盤底回游，乃順著器面形狀所設計；外壁水波紋為地，通景繪蓮塘魚藻紋，枝桿細長的荷蓮周邊散布許多茨菰及水草，隨波搖曳，婀娜多姿。間隔各繪一條游魚，或擺尾跳躍，或傾身潛伏，悠閒地暢游於碧波之中。圈足內施白釉，中央青花雙圈內「大明成化年製」雙行六字楷書款。整器施釉潤如凝脂，青花線條纖細，蓮蓬及水草運用曲折線條呈現水波搖動感，外壁四尾游魚配合器面形狀與高度穿梭悠游。魚分別為鯖、鮊、鯉、鱖之類，具「清白廉潔」之意，又有「富裕有餘」之象徵，與蓮塘組合則喻「連年有餘」吉祥之意。 荷塘魚藻紋極罕見於成化瓷，現知盤器中無與本品相類之例。僅見杯器相類者為清宮舊藏，北京故宮博物院庋藏明成化〈青花荷蓮水藻紋杯〉，皆胎薄體輕，青花呈色柔和淡雅，襯以潔白溫潤的胎釉和纖細典雅紋飾，畫面清澹雅逸，幽雋脫俗，可資參考。 瓷器裝飾蓮塘魚藻紋者，常見於宋代定窯白瓷，青花魚藻紋飾則始見元代，且頻見於大盤、罐類等器，如土耳其托普卡比宮博物館庋藏元〈青花蓮塘魚藻紋盤〉。迄至明代成化初期，此類圖案包含魚類、蓮花、蓮葉、水草及藻類等，以平均分配，對稱穿插的形式為基本樣稿。本件明成化〈青花蓮塘魚藻紋盤〉即是承襲宣德〈青花蓮塘魚藻紋盤〉之構圖。 然本品採用景德鎮樂平縣所產青料「陂塘青」，亦名「平等青」，釉色溫潤淡雅，並以雙勾線條勾勒圖案，在圖案內進行渲染，雙勾線用濃筆，渲染用淡筆，筆法流利，細緻精巧之審美變化，頗似水墨畫中之小寫意，精雅絕倫。 誠如明瓷器鑑賞家王士性《廣志繹》記載：「本朝以宣、成二窯為佳。成窯用色淺淡，頗成畫意，故宣不及成。然二窯皆當時殿中畫院人遺畫也。」及陳貞慧《秋園雜佩－窯器》也有類似描述：「國朝窯器最精者，無逾宣、成二代，宣乃不及成，宣則雞紋栗起，佳處易見。成則淡淡穆穆，饒風致，如食橄欖，頗有回味。」 成化皇帝登基後寬仁英明，任用賢臣，勵精圖治，百姓得以休養生息，史稱「成化新風」，堪稱與仁宣之治媲美。其擅長丹青，展現出極高藝術天賦，於瓷器方面更是兼愛青花與鬥彩，尤喜玲瓏小品。從故宮博物院收藏的諸多杯、盞、盤、碟、高足杯等秀巧小品，可見青花呈色淺淡柔和，美輪美奐為歷朝所不及。由於天子有所好愛，製坯瓷土均經精細加工，胎潔白細膩、色溫潤、可塑性強，造型雋秀，線條圓潤柔和，可謂多一線則拙，少一線則缺，獨特風采備受推崇。明人沈德符《敝帚軒剩語》有「宣窯品最貴，近日又重成窯，出宣窯之上」之讚語。又據《明史．食貨志》記載：「成化時遣中官之浮粱景德鎮，燒造御用瓷器最多且久，費不貲。」此時瓷業之興旺可見一斑。拍場相似之例可參見拍賣於香港蘇富比 2023 年 10 月 9 日，編號 3604，明成化〈青花荷塘魚藻紋盤〉，以港幣 6 百 35 萬元成交，顯見此類青花盤之不斐身價。 The plate has a flared rim, shallow curved walls, and a ring foot. The entire body is coated with white glaze as the base, embellished with blue and white decorations. A double line runs around the rim, and in the center of the plate, there are three clusters of lotus flowers arranged horizontally. The lotus flower stems rise upright, with leaves drooping at the edge of the plate's center. The two clusters of lotus flowers on the left and right are primarily composed of leaves, highlighting the upward growth of the lotus flowers. Above and below the lotus clusters, there is a fish painted in each, swimming in opposite directions, as if they are swimming back along the round base of the plate, designed according to the shape of the piece; the outer wall is decorated with water ripples as the base, featuring a landscape of lotus ponds and aquatic plants. Long-stemmed lotus flowers are scattered with many bulrushes and water plants around them, swaying gently with the waves, graceful and elegant. Between them, there is a fish painted at intervals, either flicking its tail and leaping or leaning in to lurk, leisurely swimming in the azure waves. The inside of the ring foot is coated with white glaze, and in the center, within a double circle of blue and white, it is inscribed with "Made during the Chenghua period of the Ming Dynasty" in six-character regular script. The entire piece has a glaze that is as smooth as cream, with delicate blue and white lines. The lotus pods and aquatic plants are represented with curved lines to convey a sense of water rippling, while the four fish on the outer wall swim gracefully in accordance with the shape and height of the piece. The fish include mackerel, crucian carp, carp, and catfish, symbolizing "purity and integrity," as well as "abundance and surplus," and combined with the lotus pond, it conveys the auspicious meaning of "having surplus year after year." The lotus pond and aquatic plant pattern is extremely rare in Chenghua porcelain, and currently, there are no similar examples among plate pieces. The only similar cups are the Qing Palace's old collection, specifically the Ming Chenghua "Blue and White Lotus Pond and Aquatic Plant Pattern Cup" housed in the Palace Museum in Beijing, which features a thin body and lightweight, with soft and elegant blue and white hues, complemented by a pure white, warm glaze and delicate, refined patterns. The visual effect is clear and elegant, with a subtle and unworldly charm, serving as a reference. Porcelain decorated with lotus pond and aquatic plant patterns is commonly seen in Song Dynasty Ding ware white porcelain, while blue and white aquatic plant decorations first appeared in the Yuan Dynasty and are frequently found on large plates and jars, such as the Yuan "Blue and White Lotus Pond and Aquatic Plant Pattern Plate" housed in the Topkapi Palace Museum in Turkey. By the early Ming Dynasty Chenghua period, these patterns included fish, lotus flowers, lotus leaves, aquatic plants, and algae, distributed evenly in a symmetrically interspersed manner as a basic template. This Ming Chenghua "Blue and White Lotus Pond and Aquatic Plant Pattern Plate" inherits the composition of the Xuande "Blue and White Lotus Pond and Aquatic Plant Pattern Plate." However, this piece uses "Peitang Qing," a blue pigment produced in Lepin County, Jingdezhen, also known as "Pingdeng Qing," featuring a warm and elegant glaze color. The pattern is outlined in double brush strokes, with shading within the design; the double brush strokes are applied with a heavy hand, and the shading is done lightly, showcasing a fluent and exquisite aesthetic variation that closely resembles the small freehand style found in ink wash painting, being elegantly unparalleled. As noted by Ming porcelain connoisseur Wang Shixing in "Guangzhi Yi," "In this dynasty, the Xuande and Chenghua kilns are regarded as the best. The Cheng kiln uses light colors, creating a strong artistic effect, hence Xuande cannot compare to Chenghua. However, both kilns were home to the court painters of the time." Similarly, Chen Zhenhui in "Qiu Yuan Za Pei - Kiln Ware" describes: "The finest kiln ware of the national dynasty is undoubtedly from the Xuande and Chenghua periods, where Xuande does not reach the level of Chenghua, for Xuande has chicken feather patterns that are easily found. Chenghua, on the other hand, is soft and serene, rich in charm, akin to eating olives, leaving a deep aftertaste." After Emperor Chenghua ascended to the throne, he was benevolent and wise, employing capable ministers, working diligently for the betterment of the nation, allowing the people to thrive, an era known as the "New Atmosphere of Chenghua," comparable to the benevolent rule of Emperor Renzong and Xuanzong. He excelled in painting, showcasing a high artistic talent, and in porcelain, he favored both blue and white as well as doucai (multi-colored), particularly enjoying exquisite small pieces. The numerous delicate items such as cups, bowls, plates, dishes, and tall cups collected by the Palace Museum demonstrate the soft and gentle blue and white hues, surpassing those of previous dynasties. Because the emperor had specific preferences, the porcelain clay was meticulously processed, resulting in a pure white, delicate body with a warm color and strong plasticity, featuring elegant shapes, soft and rounded lines—adding one line would make it clumsy, and removing one line would make it incomplete, uniquely cherished for its style. Ming scholar Shen Defu in "Bi Zhou Xuan Sheng Yu" praised, "Xuande kiln pieces are the most precious, and recently, Chenghua kiln pieces have become highly valued, surpassing Xuande." According to the "History of Ming - Records of Goods and Finances," it states: "During the Chenghua era, the eunuchs sent to Jingdezhen for porcelain creation produced the most imperial porcelain for the longest time, with expenses not trivial." The flourishing of the porcelain industry during this time is evident. A similar instance can be seen in the auction held by Sotheby's Hong Kong on October 9, 2023, lot number 3604, the Ming Chenghua "Blue and White Lotus Pond and Aquatic Plant Pattern Plate," which sold for HKD 6.35 million, highlighting the remarkable value of such blue and white plates. (English translation for reference only; Chinese version prevails in case of discrepancies.) 預估價： TWD 1,800,000-2,200,000 RMB 409,100-500,000 A RARE AND SUPERB BLUE AND WHITE 'FISH AND POND' DISH MARK AND PERIOD OF CHENGHUA D15cm With original Japanese lacquer box PROVENANCE: Hayashi Tadamasa Collection Nagakura Shoji Co., Ltd., No. 341 Kudeken Kenji Collection