Footnotes

• Provenance 來源:
  Japanese private collection
  
  Ceramic production in the Ming dynasty achieved unprecedented breakthrough during the Yongle period (1403-1424) when reign marks for Imperial wares were introduced and became an example for future periods. However, there are no Zhengtong, Jingtai or Tianshun reign marks present in the history of Ming ceramic production under the rule of Yingzong and Daizong between 1436-1463. Scholars name this period of uncertainty the 'Interregnum' period, where even ceramics during this period is extremely rare.
  
  The current lot is dated to the Zhengtong period. Ceramics produced during this period resemble much to those produced during the Xuande period in terms of generic ceramic forms. The ceramics produced under the Zhengtong period also have a few unique stylistic attributes, notably the use of the rockwork motif. As examplified by the current lot, the rockwork motif has been made the focal point within the centralised circular cartouche. Under twelve years of Zhengtong period, Imperial decree has been declared and banning minyao from firing ceramic wares with yellow, aubergine, red, green, blue and white colours. The current lot, although unmarked like other rare examples of this period, would most probably have been made specifically for Imperial use.
  
  A similar blue and white charger dated to the Zhengtong period is illustrated and highlighted on the divider page in, Wenwan Pinjian. Mingdai Qinghuaci, Shandong, 2007, p.21.
  
  Other examples from the Interregnum period are currently in exhibition, Filling the Interregnum - Ming Mid-15th century Ceramics from Jingdezhen, at Gallery I, Art Museum, The Chinese University of Hong Kong from 18 December 2012 - 9 December 2012.
  
  明正統 青花湖石牡丹紋盤
  
  敞口，弧腹，平底，圈足。青花紋飾，內底繪湖石牡丹紋，內外壁為纏枝牡丹紋，外底無釉泛火石紅色。為正統時期的青花瓷的作品。整器胎質潔白細膩，釉面光潤，畫面枝蔓翻轉，紋飾繁縟，有密不透風之感，線條舒展柔美，強烈地表現出牡丹雍榮華貴的特性，青花翠藍濃豔，繪畫技法嫺熟，極具裝飾效果。而畫工蒼勁有力，筆力遒勁，豪放生動。繪製枝繁葉茂，鮮花怒放，表現出姹紫嫣紅，春意盎然的景致，令人賞心悅目。
  
  明代正統、景泰、天順三朝在中國歷史上多事之秋，政治動盪紛亂，先後有「土木之變」和「奪門之變」，干戈不息，災荒頻現，社會動盪，是一個混亂的時代。許之衡《飲流齋說瓷》記有：「瓷雖小道，而與國運世變亦隱隱相關焉」。景德鎮瓷業不甚發達。史書載在不足三十年內統治者屢次對瓷器的生產有禁燒、減燒的戒令，加上傳世品帶有紀年的瓷器十分罕見，正統至天順時期燒瓷面貌不清，陶瓷史界稱為明代瓷器發展史上的「空白期」或「黑暗期」。隨著陶瓷界對傳世品的造型裝飾紋飾、工藝特徵、胎釉等方面的排比研究，以及景德鎮御窯廠的發掘和各地紀年墓出土器物的研究，揭示出「空白期」瓷器「不空白」的真正面目。它正處在宣德與成化兩個制瓷高峰，孕育著從宣德雄健渾厚的藝術風格向成化玲瓏秀麗的轉變。「空白期早期」筆致俊巧，紋飾嚴謹秀麗，與宣德瓷器風格相近，「空白期後期」瓷器，繪製柔軟，紋飾線條纖細，畫風接近成化風格。「空白期」瓷器多見青花瓷器，
  
  青花是明清瓷器重要品種之一，由於各時期使用鈷料的不同，藝術風格各異，各領風騷。形體較大，胎體厚重，潔白細膩，釉面青白肥潤，青花色澤藍中閃灰，構圖飽滿，畫法古拙，描繪自然，紋飾描繪盤曲迂回，生動活潑，瀟灑自然，畫風淋漓奔放、縱橫豪肆，線條舒展，紋飾繁縟，繪製筆法奔放活潑粗獷，繪製灑脫遒勁，筆法酣暢，風格樸實，體現出自由豪放的藝術特色，許之衡《飲流齋說瓷》記有：「明瓷之畫也，用筆粗疏而古氣橫溢，且有奇趣。其地之色釉濃厚深穆，卻非後來所有」。展現出正統瓷器的藝術風采，為空白期青花瓷的代表作。用筆豪放不羈，線條挺健有力，畫意灑脫飄逸，藝術風格活潑豪放，有文人畫的筆情墨意。展示出明代中期民窯青花瓷灑脫飄逸的藝術風格。青花塗染的技法，筆觸粗獷豪放，畫意生動。
  
  吉祥圖案是陶瓷裝飾的主要內容，清代瓷繪更是「圖必有意，意必吉祥」， 牡丹為富貴之花。牡丹紋為典型的瓷器裝飾紋樣。牡丹花有「花中之王」、「富貴花」的美稱。唐代開元詩人李正封詠牡丹名句：「天香夜染衣，國色朝酣灑」，牡丹又有了「國色天香」之美稱。宋周敦頤《愛蓮說》記：「牡丹，花之富貴者也」。宋人歐陽修有「天下真花獨牡丹」的讚譽。「牡丹花開，花能蓋世，色絕天下」。人們將牡丹花視為「富貴榮華」的象徵，並成為傳統文化藝術中永恆的創作題材之一。瓷器裝飾有折枝、纏枝、串枝等形式。纏枝牡丹紋，因其結構連綿不斷，常與花卉、鳥獸、人物組合成裝飾紋樣，寓意吉祥。牡丹花頭豐滿，枝葉疏朗，線條流暢。襯以疏密有致的枝葉，連綿不斷，象徵著「聖潔」，寓意著吉祥。纏枝花卉紋是瓷器裝飾的典型紋樣，因其結構連綿不斷，寓有「生生不息」之意，纏枝紋又稱為「萬壽藤」，常與花卉、鳥獸、人物組合成裝飾紋樣，寓意吉祥。
  
  江西景德鎮御窯廠專為皇家燒造精緻的瓷器，而民窯生產以廣大民眾為對象。民窯器雖質量略遜於官窯，但其繪製技法奔放身如，構圖簡潔，紋飾豐富多樣，充滿民間質樸的藝術風格。此器純熟的筆法，點染皴擦，兼有丹青之妙，藝術風格清新明快，與官窯器相比有過之而無不及。

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Category: Asian Art / Chinese Works of Art

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