Footnotes

• Provenance 來源：
  Sir Percival Victor David, 2nd Baronet (1892-1964) 英國大衛德舊藏
  Sydney L. Moss Ltd., London, 1964
  
  Illustrated 出版:
  Transactions of the Oriental Ceramic Society, London, 1936-37, Vol. 14, pl. 35c.
  
  The inscription reads:
  
  'Wanli jiachen nian bingyutang zhi, Dabin' literally translates as:
  
  'Made in the Ice Jade Hall during the jiachen year of the Wanli period (1604), by Shi Dabin'.
  
  It is worth noting that the miniature vase was also witnessed and mentioned in a letter from Professor Fu Zhenlun when he was sent by the government to represent China in the International Exhibition of Chinese Art at the Royal Academy of Arts, London in 1935. The letter was written to Mr Mian Zhi and Mr He Panfa along with a list showing pieces of Yixing stoneware that were exhibited in the exhibition. He noted at the end of the list that a Yixing pot that belonged to the Sir David Percival, where identical inscriptions and signature of Shi Dabin were incised was seen in the storeroom without being exhibited in the exhibition venue. (He Panfa, 'memoir of the Xiangshan conference', in Jiangxi Taoyi, Ceramic Art of Jiangxi, vol.1, part 2, 2007.)
  
  The collection formed by Sir Percival David in the earliest 20th century is undoubtedly the greatest collection of Chinese porcelain ever formed outside of the Imperial Court. Many of the rarest masterpieces, which range from Southern Song dynasty ruyao, through to Chenghua doucai and Yongzheng falangcai, are equal or superior to those now preserved in the principle depositaries of the former Qing court collection in Beijing and Taipei. A substantial part of his collection, possibly including lots 223 and 224, was purchased by Sir Percival David in 1927 from the Yuin Yeh Bank, where they had been taken from the Imperial collection and deposited as collateral for a substantial loan granted to the Dowager Empress Cixi on her departure from the Forbidden City in 1901
  
  The date of Shi Dabin's birth and death appears to be unrecorded in historical records. However, according to Li Jingkang and Zhanghong (Li Jingkang, Zhang Hong , 1937:7), his family can be traced back to the Song dynasty, during which his grandfather was Shi Yan, a high court office. His superb craftsmanship was taught by his father, Shi Peng. As a master potter, Shi Dabin is known to have taken special care in the preparation of his clay material. Sometimes he would pound old shards into a fine powder, then sieve and mix it with quarts, to give the clay an archaic yet elegant and even texture. His early works are in the style Gong Chun, for whom he had the highest admiration. However, after travelling to Loudong in South China and being introduced to the literary circle led by Chen Meigong, whose members were all tea connoisseurs, he learned their preferences of using small teapots and shifted his style in order to follow the trend. In addition to his excellent craftsmanship in teapot making, the elegant style of his incised signature was often used to distinguish other copies of inferior quality.
  
  清中期 紫泥仿古如意耳小方壺
  
  「萬曆甲辰年冰玉堂製，大彬。」
  
  器仿青銅方壺，方口，垂腹，圈足微撇，器形工整。口沿弦紋與迴紋一周，下凸雕繩索紋，壺身兩側如意頭環耳水平對稱，壺身一面刻「萬曆甲辰年冰玉堂製，大彬。」，紫泥略摻黃色細沙，器形樸拙雅緻，足可寶玩。
  
  時大彬，明萬曆、崇禎間（1573 – 1644年）宜興製壺名家。號少山，生卒不詳。時大彬為宋代尚書時彥裔孫，時鵬之子，其製壺技藝傳至其父。大彬所製紫砂器與他本人一樣，敦雅古穆，製壺時對泥料配製、成形技法、造型設計和銘刻都十分講究。製壺時善用各色陶土，或在陶土中摻雜砂缸土和碎瓦片，有「沙粗質古肌理勻」之美贊。大彬製壺及其認真，稍有不滿意便敲碎棄之。大彬作品初仿供春，喜作大壺，但遊婁東後，聽聞陳繼儒以及太原諸公包括王錫爵、隨後的王衡、王時敏、王原祁等文人「茶壺以小為貴」的議論之後，便開始做小壺。《陽羨砂壺圖考》記載，大彬製壺銘款起初清書家落墨，再用竹刀刻出，隨後自己運刀成書，其書法嫻雅並在黃庭與樂毅之間，因他人難仿而被作為當時藏家賞鑑的依據。
  
  該件拍品曾為傅振倫老先生1977年所寫書信中提及。傅先生1935年被作為中國政府派出的工作人員赴英國倫敦參加中國藝術品國際展覽會，會後傅先生即將展會所展出之宜興陶瓷陳列材料以書信方式寄給勉之與賀盤發先生。書信中，除提及七件於展會展覽的宜興紫砂器以外，傅先生還提到一件於展覽會庫房所見的「萬曆甲辰冰玉堂製『大彬』款」砂壺。信中指明該器物為大衛德收藏，但並為在展覽陳列。（見《江蘇陶藝》2007年，第一期下）

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Category: Asian Art / Chinese Works of Art

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