.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
拍品專文
The present brushpot with its unusual combination of faux bois and grisaille decoration exemplifies one of the most innovative designs that were developed during the early 18th century. The faus bois enamelling is an exceptional example of the ability of the ceramic decorators in the Qing dynasty to imitate a range of different materials using enamel colours on porcelain. A new array of glaze and enamel colours were developed in the Imperial workshops during the Kangxi and Yongzheng periods, thus the craftsmen had a vastly enlarged palette with which to create new designs and effects on porcelain. The 18th century fascination with imitating other materials through the use of glazes and enamels on porcelain can clearly be seen in a set of nine thumb rings in the collection of the National Palace Museum, Taipei, each of which imitates a different material, including wood, bamboo, marble, pudding stone, inlaid bronze, malachite and turquoise, see Emperor Ch'ien-lung's Grand Cultural Enterprise, National Palace Museum, Taipei, p. 199, no. V-36.
Whilst the faux bois design is visually teasing in its preceived view as a wood brushpot, the artelier applied a panoramic landscape on the exterior in the style of a traditional handscroll painting format. The contrast of the black enamel against the transparent glaze of the porcelain enables the viewer to travel through the changing scenes of the horizontal landscape. In this instance, the landscape style is reminiscent of literati paintings that were popularised by artists of the mid to late Ming period. It is possible that the present brushpot was inspired by late Ming landscape paintings and relates to works by artists such as Gong Xian (1618-1689). An example of Gong Xian's work portraying a misty water-landscape, entitled 'Boating by Sunset', was sold at Christie's Hong Kong, 2 December 2008, lot 1932 (fig. 1).
There appears to be only two other grisaille-decorated brushpots with faux bois borders: the first is in the Palace Museum Collection, illustrated in Kangxi Yongzheng Qianlong, Hong Kong, 1989, p. 239, no. 68; and the other was sold at Sotheby's Hong Kong, 23 October 2005, lot 207. A related group with the landscape design further detailed with the use of famille rose enamels in addition to the grisaille. For such examples, see the brushpot illustrated by Geng Baocheng, Ming Qing ciqi jianding, Forbidden City Publishing House, 1993, p. 251, no. 433; another is in the Victoria and Albert Museum Collection, illustrated in Sekai Toji Zenshu, vol. 15, Tokyo, 1983, p. 175, pl. 197; and from the Robert Chang Collection, sold at Christie's Hong Kong, 31 October 2000, lot 831.
Grisaille-decorated brushpots without the faux bois borders are also known such as the one formerly in the J.M. Hu Collection and now in the Shanghai Museum, illustrated in Selected Ceramics from the Collection of Mr and Mrs J.M. Hu, pl. 50; and the example sold at Christie's Hong Kong, 26 April 1998, lot 544. The discovery of a new black enamel in the early 18th century dramatically changed painting styles. This not only replaced the matt black enamels found on earlier 17th century wares but enabled arteliers to perfect the grisaille technique that was influenced by European etchings. The rendition of the present brushpot en grisaille landscape exemplifies the degree of perfection that can be achieved in transferring a brush painting on paper onto ceramic.
Whilst the faux bois design is visually teasing in its preceived view as a wood brushpot, the artelier applied a panoramic landscape on the exterior in the style of a traditional handscroll painting format. The contrast of the black enamel against the transparent glaze of the porcelain enables the viewer to travel through the changing scenes of the horizontal landscape. In this instance, the landscape style is reminiscent of literati paintings that were popularised by artists of the mid to late Ming period. It is possible that the present brushpot was inspired by late Ming landscape paintings and relates to works by artists such as Gong Xian (1618-1689). An example of Gong Xian's work portraying a misty water-landscape, entitled 'Boating by Sunset', was sold at Christie's Hong Kong, 2 December 2008, lot 1932 (fig. 1).
There appears to be only two other grisaille-decorated brushpots with faux bois borders: the first is in the Palace Museum Collection, illustrated in Kangxi Yongzheng Qianlong, Hong Kong, 1989, p. 239, no. 68; and the other was sold at Sotheby's Hong Kong, 23 October 2005, lot 207. A related group with the landscape design further detailed with the use of famille rose enamels in addition to the grisaille. For such examples, see the brushpot illustrated by Geng Baocheng, Ming Qing ciqi jianding, Forbidden City Publishing House, 1993, p. 251, no. 433; another is in the Victoria and Albert Museum Collection, illustrated in Sekai Toji Zenshu, vol. 15, Tokyo, 1983, p. 175, pl. 197; and from the Robert Chang Collection, sold at Christie's Hong Kong, 31 October 2000, lot 831.
Grisaille-decorated brushpots without the faux bois borders are also known such as the one formerly in the J.M. Hu Collection and now in the Shanghai Museum, illustrated in Selected Ceramics from the Collection of Mr and Mrs J.M. Hu, pl. 50; and the example sold at Christie's Hong Kong, 26 April 1998, lot 544. The discovery of a new black enamel in the early 18th century dramatically changed painting styles. This not only replaced the matt black enamels found on earlier 17th century wares but enabled arteliers to perfect the grisaille technique that was influenced by European etchings. The rendition of the present brushpot en grisaille landscape exemplifies the degree of perfection that can be achieved in transferring a brush painting on paper onto ceramic.