A VERY RARE BLUE AND WHITE 'EIGHT BUDDHIST EMBLEMS' DISH
A VERY RARE BLUE AND WHITE 'EIGHT BUDDHIST EMBLEMS' DISH
A VERY RARE BLUE AND WHITE 'EIGHT BUDDHIST EMBLEMS' DISH
1 更多
A VERY RARE BLUE AND WHITE 'EIGHT BUDDHIST EMBLEMS' DISH
4 更多
明成化  青花蓮托八寶紋盤  雙圈六字楷書款

CHENGHUA SIX-CHARACTER MARK WITHIN DOUBLE CIRCLES AND OF THE PERIOD (1465-1487)

細節
盤微撇口,淺弧腹,圈足。盤心繪蓮托寶輪,內壁蓮托七寶紋。外壁飾蓮座托八寶紋。底白釉,青花雙圈內書「大明成化年製」楷書款。

蓮托八寶紋最早見於元代瓷器,八寶為輪、螺、蓋、傘、蓮、瓶、魚、盤長,是佛教吉祥紋飾,纏枝蓮則象徵潔淨、連綿不斷。至明初盛行,成化窰更大行其道,尤其成化朝後期。當時皇帝篤信佛教、道教,以致京城大肆興建寺廟、舉行法事,景德鎮御窰遺址成化晚期堆積層更出土大量瓷器書寫梵藏文佛經、佛教圖案,見劉新園著作,載於1993 年香港出版《成窰遺珍:景德鎮珠山出土成化官窰瓷器》,29-30 頁。

本盤內外壁飾蓮托八寶紋,並不常見。近似例子包括上海博物館藏品,載於2007年陸明華著上海博物館藏品研究大系《明代官窰瓷器》,224 頁,圖4-20;以及大英博物館大維德中國藝術基金藏品;區百齡藏品。參考另一款蓮托八寶紋盤,外壁飾纏枝蓮紋,臺北故宮博物院收藏一例,載於2003年台北出版《成化瓷器特展圖錄》,圖版24號。參考景德鎮御窰遺址成化堆積層出土另一例,該盤底書雙方框六字款,見《成窰遺珍》,228 頁,編號C70。以及美國西雅圖美術館Eugene
Fuller 珍藏中一例,館藏編號36.57。

此器源自吳賚熙舊藏(約1870-1950 年);1937 年5 月26 日於倫敦蘇富比拍賣,拍品26號;1938年以15英鎊購自倫敦Sydney L. Moss。著錄於1987 年克羅伊登博物館出版《Riesco Collection of Chinese Ceramics Handlist》,編號91。

里埃斯科收藏編號176。
來源
Wu Lai-hsi (circa 1870-1950)
Sold at Sotheby's London, 26 May 1937, lot 26
Sydney L. Moss, London, 1938, purchased for 15 pounds
Raymond F.A. Riesco Collection, no. 176
出版
London Borough of Croydon, Riesco Collection of Chinese Ceramics Handlist, Croydon, 1987, p. 11, no. 91

榮譽呈獻

Ruben Lien
Ruben Lien

查閱狀況報告或聯絡我們查詢更多拍品資料

登入
瀏覽狀況報告

拍品專文

The motif of the Eight Buddhist Emblems with each symbol supported on a lotus bloom, first appeared on porcelain during the Yuan dynasty, and remained popular through the Ming dynasty. The popularity of this motif on porcelain reached an unprecedented height during the later period of the Chenghua reign, a phenomenon attributed by Liu Xinyuan to the emperor's heightened interest in Buddhism and Daoism in his later years, as reflected by the incessant religious activities revived at court, and the enormous amount of resources dedicated to the construction of temples and monasteries. See a discussion on this relationship, of the Chenghua emperor's religious penchant and porcelain production, in the introductory essay in Legacy of Chenghua, Hong Kong, 1993, pp. 29-30.

The design on the current dish is unusual in that a single Buddhist Emblem, Wheel of Law, has been singled out and prominently placed at the centre and surrounded by the remaining seven Buddhist Emblems on the cavetto. An almost identical example is in the Shanghai Museum, illustrated by Lu Minghua in Mingdai guanyao ciqi, Shanghai, 2007, p. 224, fig. 4-20; another is from the Percival David Collection, now housed at the British Museum, published in Oriental Ceramics: The World's Great Collections, vol. 6, Tokyo, 1982, no. 34; and a third in the collection of Lord Au Bak Ling. An example with the same decoration on the interior but with lotus sprays on the exterior is in the National Palace Museum, Taipei, illustrated in Catalogue of the Special Exhibition of Ch'eng-Hua Porcelain Ware, Taipei, 2003, p. 50, no. 24; and another of this type with the mark enclosed within double squares was excavated from Phase III of the Chenghua strata at Jingdezhen, see ibid, p. 228, no. C70. Compare also to another unpublished example from the Eugene Fuller Memorial Collection in the Seattle Art Museum, accession no. 36.57, which is included in the museum's online archive, though showing only an image of the interior.

更多來自 英國里埃斯科珍藏重要中國瓷器

查看全部
查看全部