Footnotes

• Provenance 來源:
  Hugh M. Moss Ltd., London, early 1970s
  
  Illustrated 出版:
  Paul Moss, I-Hsing-Tea-Taste, Journal of the International Chinese Snuff Bottle Society, vol.10, no.3, September 1978, pg.6, fig.3.
  
  The inscription reads 'Chen mingyuan zuo' ('made by Chen Mingyuan').
  
  For an almost identical 'double-gourd' brushwasher in the Shanghai Museum, see Themes and Variations. The Zisha Pottery of Chen Mingyuan, Hong Kong, 1997, pg. 100, pl. 17 (fig.1).
  
  For another Yixing lotus brush washer made by Chen Mingyuan, dated to the Kangxi period, see P.Moss, The Literati Mode. Chinese Scholar Paintings, Calligraphy and Desk Objects, London, 1986, p.228, cat.104.
  
  Chen Mingyuan is renowned as an important figure in the history of the art of Yixing stoneware, although there are few extant historical records of his life. The dates of his birth and death are not recorded anywhere, though current scholarship has come to a general consensus that Chen was active during the Kangxi/Yongzheng period (1662-1735), or as early as Shunzhi/Kangxi period (1644-1722). Chen's artistic names are usually seen as hefeng, hecun, shixia shanren and huyin. His superb skill and craftsmanship has been extensively recorded in traditional Yixing connoisseurship. In Yangxian shahu tu kao, or A Pictorial Study of Yangxian Pottery Teapots (Li Jingkang, Zhang Hong , 1937:12), Chen's outstanding craftsmanship on teapots and scholar's objects is recorded as being comparable to that of Xu Youquan and Shen Ziche, whose skills were equally matched with their contemporaneous master, Shi Dabin. Extant examples of Chinese sculptures illustrate the intense interest in the production of objects for the scholar's studio and a great development of sculptural tradition at the end of the Ming dynasty. Chen Mingyuan of the early Qing was arguably the great successor and innovator of such development.
  
  清早期 紫泥葫蘆水洗
  
  「陳鳴遠」篆文方印
  「陳鳴遠作」行書刻款
  
  水洗以半隻剖開葫蘆為形，豬肝泥色，紫泥泥質細膩，摻細黃砂，瑩潤中金光點點。四壁薄胎，頂端蜿蜒伸出一枝藤蔓，流暢轉折至一葉緊貼側面壁身，葉片一角翻捲入內，葉上露出六個蟲蛀孔，一小瓢蟲正蛀食葉肉，頗有生趣。水洗葫蘆造型自然，枝葉線條圓潤流暢，工藝細膩精湛，巧奪天工。
  
  上海博物館藏一件葫蘆水洗，攜「鳴遠」行書刻款，「陳鳴遠」篆文方印，與本件拍品幾近相同，詳見黎淑儀、謝瑞華編，《紫泥清韻-陳鳴遠陶藝研究》，香港，1997年，頁100，圖版17。另外一件陳鳴遠作荷葉水洗，其流暢線條及逼真工藝可為作比較，見莫斯，The Literati Mode. Chinese Scholar Paintings, Calligraphy and Desk Objects，倫敦，1986年，頁228，圖版104。
  
  陳鳴遠，清康熙、雍正年間（1662 – 1735年）宜興紫砂名師，一說順治至康熙間人。江蘇宜興人上袁村人，生卒不詳。本名遠，號鶴峰、隺村、石霞山人，亦號壺隱。在宜興紫砂器歷史中，陳鳴遠是清初第一大家，也是時大彬後最富盛名的紫砂陶人。陳鳴遠的作品近百年來都一直收到鑑賞家的珍視，雖然對其文獻記載及收藏記錄都極為稀少，其獨特過人的陶塑技藝，仍能代表清初宜興陶藝的高度成就。如從傳世品來看，一般雕塑性較強的紫砂文玩、像生陳設及以自然為主題之茶壺，皆鐫有陳鳴遠款印。民國李景康、張虹編著《陽羨砂壺圖考》記載：「（鳴遠）工製壺、杯、瓶、盒、手法在徐有泉、沈子澈之間而所製款識書法雅健，勝於徐、沈。『宜興縣志』張燕昌謂其手製茶具雅玩不下數十種，如梅根筆架之類......」（香港中文大學文物館，1998年重印，頁12-13）。雖然無充足文獻詳細記錄陳鳴遠生平，但其藝術風格傳前繼後，即傳承明代器物造型樸雅大方的形式，又在此基礎上發展了仿生寫實的技法，其藝術地位在宜興陶藝史上不容置疑。

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Category: Asian Art / Chinese Works of Art

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