작품 상세

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(Lots 1-10 correspond to lots 801-810 in the paper catalogue.) 806 元 青花蓮池魚藻紋罐 H30cm D21.7cm 足 D19.8cm 原共箱題款：永藏 第三七〇番 創立十周年の特製 來源：日本永藏商事株式會社收藏，370 號藏品 久手堅憲二收藏 罐唇口，短頸，溜肩，鼓腹，腹下漸斂，淺挖寬圈足。足內無釉，有明顯接痕和旋削痕，採墊砂支燒法，砂富含鐵質，呈現火石紅色。器胎質堅硬，內外通施白釉，白中閃泛青色，釉面溫潤如玉，寶光盈盈。外壁以青花為飾，自上而下雙弦線分隔成五層紋樣帶，頸繪海水浪花紋；肩繪纏枝牡丹紋；腹部以通景式「蓮池魚藻紋」為主題，數叢蓮紋平均分布，每叢蓮紋以一片橢圓形大蓮葉為主體，蓮花枝桿細長、蓮蓬及水草由下而上生長，如扇面般微微開展，隨風搖曳，婀娜多姿。蓮叢間各繪一尾游魚，分別為鯖、鮊、鯉、鱖，或擺尾上游，或跳躍迴遊，或傾身潛伏，彼此間的互動追求意蘊之美；近足處繪忍冬紋和蓮瓣紋，紋飾豐富飽滿，細緻入微，具強烈寫實感。 本罐整體青花色澤鮮明，採當時元代進口蘇麻泥青料繪製，濃淡相間有明顯鐵鏽斑沉澱，色濃處自然暈散出藍韻寶石光。繪製技法純熟，構圖類似畫卷，觀賞時，蓮池形成「通景環觀」效果，蓮叢以多層式分枝結構拉長高度，配合上寬下窄的器身往外開展，蓮叢與游魚周邊散布許多水藻，展現豐富水中生態，富麗典雅之韻致，不愧為元青花器之精品。 元代青花罐常見以蓮池魚藻紋作為主要裝飾，構圖位置在工匠的靈活運用中各有特色，增加裝飾、陳設的觀賞性。如北京故宮博物院庋藏元〈青花魚蓮紋罐〉、土耳其托普卡比宮博物館庋藏元〈青花蓮池魚藻紋罐〉，與本件日本永藏商事株式會社庋藏元〈青花蓮池魚藻紋罐〉，三者造型、技法及構圖極為類似，構圖上雖宛如依循同一稿紙描繪而成，然仔細審視，蓮叢、水草、水紋與四尾魚兒等個別元素的描繪則富細微巧思變化，意趣盎然，使人賞心悅目。 元青花瓷繪畫層次繁多、富麗雄渾、畫風豪放，與中華民族傳統審美情趣大相逕庭，成為中國陶瓷史上的一朵奇葩，亦使景德鎮躍升為中世紀世界製瓷業中心。加上當時海上活動頻繁，對外貿易繁榮，與中東、埃及、日本、朝鮮、菲律賓、印尼等地的交流達到空前興盛的程度，將外銷瓷的生產和輸出推上新高峰。列舉這條海上絲路所經地區的博物館庋藏青花魚藻紋佳瓷之例，如中東地區土耳其伊斯坦堡托普卡比皇宮，號稱為中國之外擁有中國瓷器最多的地方，於1923 年改建為博物館，展出原奧斯曼帝國王朝珍寶中就有四十件元青花，其中飾以「魚藻紋」者，為元〈青花蓮池魚藻紋罐〉及元〈青花魚蓮紋盤〉；東亞地區則可見日本大阪市立東洋陶瓷美術館庋藏元〈青花蓮池魚藻紋罐〉，及本件日本永藏商事株式會社庋藏元〈青花蓮池魚藻紋罐〉，紋樣構圖皆繪製精美，有異曲同工之妙。 「魚藻」一詞起源於《詩經》〈小雅・魚藻之什〉：「魚在在藻，有頒其首。王在在鎬，豈樂飲酒。魚在在藻，有莘其尾。王在在鎬，飲酒樂豈。魚在在藻，依于其蒲。王在在鎬，有那其居。」魚多產，繁殖力旺盛，故衍生寓意子孫繁盛，又因「魚」和「餘」諧音，乃象徵財富有餘的吉祥紋飾。 魚紋常與蓮池或水藻相配，組成蓮池游魚紋或魚藻紋。此種組合作為陶瓷裝飾紋樣首現於宋代，宋瓷之魚紋以勾勒為主，較為抽象；至元代青花瓷則較寫實，構圖布局雖不同，然同樣常見鯖、鮊、鯉、鱖等四種魚，諧音「清白禮貴」之意。此外，元青花襯以蓮葉、蓮蓬、水藻等各種華麗繁複紋樣，不僅未分散蓮池魚紋的視覺焦點，反而巧妙凝聚觀者視線。 除運用於瓷器裝飾，此類魚藻紋構圖在宋、元繪畫中亦多有表現，如清宮舊藏，北京故宮博物院庋藏南宋 佚名〈百花圖卷〉（局部）、南宋 佚名〈春溪水族圖頁〉，構圖皆以細線勾勒，一絲不苟，用筆沈穩工致，荷葉、群魚加墨暈染，參用沒骨法繪成，蓮花生意盎然，群魚戲藻中，表現文人清雅畫風；另台北故宮博物院庋藏元 張中〈枯荷鸂鶒〉，荷葉畫法較為特別，葉緣以碎筆點染，表現水墨渲染效果，與這類〈青花蓮池魚藻紋罐〉的筆法極為相似，可判斷應是瓷匠借鑒當時的繪畫技法，頗具筆墨趣味，顯示出繪製者的高超繪畫功力。 此類魚藻紋大罐同時也應用於青白瓷、釉裏紅與青瓷等製作，為用以盛裝酒水等液體之容器，在日本俗稱為「酒會壺（shukaiko）」。大古董商坂本五郎曾於東京美術倶樂部購得元〈青花蓮池魚藻紋罐〉，後為安宅英一先生收藏，並捐贈大阪市立東洋陶瓷美術館，列為重要文化財，也稱坂本魚藻紋大罐。在坂本五郎眼中，若 1972 年倫敦佳士得所拍得當時刷新亞洲藝術品最高拍賣成交紀錄之元〈青花釉裏紅開光鏤空牡丹紋蓋罐〉是中國瓷器之后，那數年後從東京美術俱樂部購入之元〈青花蓮池魚藻紋罐〉，高 28.2 公分，乃應譽為瓷器之皇，顯見此類青花罐之崇高地位。與之相比，本件元〈青花蓮池魚藻紋罐〉，高 30 公分，尺寸略勝一籌，更於永藏商事株式會社創立十周年之際，被社長久手堅憲二精選為重要藏品，特製漆盒編列為永藏珍品，再再顯露日本對於此類青花罐之尊崇。 細觀之，主題皆運用曲折線條呈現水波搖動感，即使構圖布局不同，然同作四分法穿插布局環繞腹部一周，具規律穩定的裝飾效果，亦使觀者取得最佳欣賞角度，皆屬元青花的代表作。 另拍場相似之例可參見拍賣於香港蘇富比 2022 年 10 月 8 日，編號 6，元〈青花魚藻紋大罐〉，游魚暢泳水藻蓮池之間，層次豐富，極受市場追捧，以港幣 3 千 9 百 70 萬元成交。而本品體量碩大，氣勢非凡，藝匠施以絕技巧工，擅用鈷青濃淡分五色，畫面生動活潑，由永藏商事株式會社收藏，傳承來歷清晰，今能面世更顯彌足珍貴。 The jar has a flared lip, short neck, sloping shoulders, bulging belly, and tapers downwards with a shallow, wide foot. The foot is unglazed, with obvious join lines and turning marks, utilizing a sand support firing method with sand rich in iron, presenting a firestone red color. The vessel body is hard, with a white glaze applied inside and out, the white has a bluish tint, and the glazed surface is warm and smooth like jade, radiating a brilliant luster. The outer wall is decorated with blue and white, with double lines separating five layers of patterns from top to bottom; the neck is painted with wave patterns; the shoulder features peony vine patterns; the belly mainly depicts the "Lotus Pond with Fish and Algae" theme, with several clusters of lotus patterns evenly distributed, each cluster centered around an oval large lotus leaf, the lotus stems are slender, and the lotus pods and aquatic plants grow upwards, slightly expanding like a fan, swaying in the wind in a graceful manner. Each lotus cluster is adorned with a swimming fish, including mackerel, whitebait, carp, and catfish, either swimming upwards with their tails raised, leaping and circling, or leaning down and lurking, their interactions pursue the beauty of meaning; near the foot, there are paintings of honeysuckle patterns and lotus petal patterns, rich and full in decoration, intricate and detailed, with a strong sense of realism. The overall color of the blue and white jar is bright, made with imported Su Ma Ni blue material from the Yuan Dynasty, with noticeable iron rust stains settling in varying shades, and where the color is dense, it naturally diffuses a blue gem-like luster. The painting technique is skilled, and the composition resembles a scroll; when viewed, the lotus pond creates a "panoramic view" effect, with the lotus clusters structured in a multi-layered branching form extending height, combined with the wider top and narrower bottom of the vessel opening outward, surrounded by many water plants scattered around the lotus clusters and swimming fish, showcasing a rich aquatic ecology, with a splendid and elegant charm, truly a masterpiece of Yuan blue and white ceramics. Blue and white jars from the Yuan Dynasty often feature lotus pond fish and algae patterns as the main decoration, with distinctive compositional placements reflecting the artisan's flexible use, enhancing the aesthetics of decoration and display. For instance, the blue and white fish and lotus jar in the collection of the Palace Museum in Beijing and the blue and white lotus pond fish and algae jar in the Topkapi Palace Museum in Turkey, along with this blue and white lotus pond fish and algae jar from the Japanese Eternal Collection Co., all share similar shapes, techniques, and compositions. Although their layouts seem to follow the same draft, upon careful examination, the individual elements like lotus clusters, aquatic plants, water patterns, and the four fish are depicted with intricate variations, rich in meaning, making them pleasing to the eye. Yuan blue and white porcelain features various layers, splendid and grand, with a bold painting style that contrasts sharply with the traditional aesthetic tastes of the Chinese nation, becoming a unique flower in the history of Chinese ceramics, and elevating Jingdezhen to the center of world porcelain manufacturing in the medieval period. Along with the frequent maritime activities and prosperous foreign trade at the time, exchanges with places such as the Middle East, Egypt, Japan, Korea, the Philippines, and Indonesia reached unprecedented levels, pushing the production and export of porcelain to new heights. Examples of blue and white fish and algae pattern fine porcelain in museums along the maritime Silk Road include the Topkapi Palace Museum in Istanbul, Turkey, known as the place outside of China that possesses the most Chinese porcelain, which was converted into a museum in 1923 and showcases forty pieces of Yuan blue and white treasures among the original treasures of the Ottoman Empire, including the Yuan blue and white lotus pond fish and algae jar and the Yuan blue and white fish and lotus plate; in East Asia, the Osaka Municipal Museum of Oriental Ceramics holds a Yuan blue and white lotus pond fish and algae jar, along with this blue and white lotus pond fish and algae jar from the Japanese Eternal Collection Co., both featuring beautifully crafted patterns with a similar artistic approach. The term "fish and algae" originates from the Book of Songs, "Xiao Ya: Fish and Algae," which includes lines like: "The fish are abundant in the algae, the king is at the Hao, how can he enjoy drinking wine? The fish are abundant in the algae, the king is at the Hao, how can he enjoy drinking wine? The fish are abundant in the algae, resting on the bulrushes. The king is at the Hao, where are his dwellings?" Fish are prolific breeders, hence the derived meaning of abundant offspring, and due to the homophony of "fish" and "surplus," it symbolizes wealth and abundance as an auspicious decoration. Fish patterns are often paired with lotus ponds or algae, forming lotus pond fish patterns or algae patterns. This combination first appeared as a decorative pattern in ceramics during the Song Dynasty, where fish patterns were primarily outlined and more abstract; by the Yuan Dynasty, blue and white porcelain became more realistic, and although the compositions differed, the same four types of fish – mackerel, whitebait, carp, and catfish – were commonly seen, representing the homophony of "pure and precious." Additionally, Yuan blue and white patterns are surrounded by various ornate and complex patterns of lotus leaves, lotus pods, and algae, which not only do not detract from the visual focus of the lotus pond fish pattern but cleverly concentrate the viewer's gaze. Beyond their use in ceramic decoration, such fish and algae pattern compositions are also frequently depicted in Song and Yuan paintings, such as the Qing Palace collection, including the "Hundred Flowers Scroll" by an anonymous artist from the Southern Song Dynasty (partial) and the "Spring Stream Aquatic Life" by an anonymous artist from the Southern Song Dynasty, both featuring meticulous outlines with steady and careful brushwork, using ink washes for lotus leaves and groups of fish, employing the boneless painting technique to depict lively lotus blooms amid fish playing in algae, showcasing the refined painting style of literati; additionally, the "Withered Lotus and Coot" by Zhang Zhong from the Yuan Dynasty in the collection of the National Palace Museum in Taipei features a unique technique for lotus leaves, with the edges dotted with broken brush strokes to express an ink wash effect, closely resembling the brushwork of this type of blue and white lotus pond fish and algae jar, indicating that the potters borrowed from contemporary painting techniques, showcasing their superb painting skills. Such large jars with fish and algae patterns were also produced in blue and white porcelain, underglaze red, and celadon, used as containers for holding liquids like wine, commonly referred to in Japan as "shukaiko." The antique dealer Sakamoto Goro once acquired a Yuan blue and white lotus pond fish and algae jar at the Tokyo Art Club, later collected by Mr. Eiichi Antaku and donated to the Osaka Municipal Museum of Oriental Ceramics, classified as an important cultural asset, also known as the Sakamoto fish and algae pattern jar. In Sakamoto Goro's view, if the Yuan blue and white underglaze red hollowed-out peony pattern jar sold at Christie's London in 1972 set a new record for Asian artworks, the Yuan blue and white lotus pond fish and algae jar purchased from the Tokyo Art Club a few years later, standing at 28.2 cm high, should be hailed as the "Emperor of Porcelain," showcasing the esteemed status of such blue and white jars. In comparison, this Yuan blue and white lotus pond fish and algae jar is 30 cm tall, slightly larger, and was selected as an important collection by the president of Eternal Collection Co. on the occasion of its tenth anniversary, specially boxed as an Eternal Treasure, further revealing Japan's reverence for such blue and white jars. Upon closer inspection, the themes utilize curved lines to present a sense of undulating water waves; even with different compositional layouts, they all adopt a quadrisect layout surrounding the belly, featuring a regular and stable decorative effect that provides viewers with the best appreciation angle, all representative works of Yuan blue and white. Another similar example can be seen in the auction at Sotheby's Hong Kong on October 8, 2022, lot number 6, a Yuan blue and white fish and algae pattern large jar, depicting fish swimming among algae in the lotus pond, richly layered, highly sought after in the market, selling for HKD 39.7 million. This product is large in size, with extraordinary presence, and the artisans employed exceptional techniques, skillfully using cobalt blue in five shades, creating a lively and vibrant image, collected by Eternal Collection Co., with a clear provenance, making its current appearance even more precious. (English translation for reference only; Chinese version prevails in case of discrepancies.) 預估價： TWD 35,000,000-38,000,000 RMB 7,954,500-8,636,400 AN IMPORTANT AND EXTREMELY RARE LARGE BLUE AND WHITE 'FISH AND POND' JAR YUAN DYNASTY H30cm D21.7cm 足 D19.8cm PROVENANCE: Nagakura Shoji Co., Ltd., No. 370 Kudeken Kenji Collection