Footnotes

• 宋或以後 瑪瑙嵌銀鎏金葵花式盌
  
  嵌銀鎏金或為十六/十七世紀
  
  Provenance:
  Baron Eugène Fould-Springer (1876-1929), and thence by descent
  Le Palais Abbatial de Royaumont (inventory label no.335)
  
  來源：
  尤金·查爾斯·姚阿幸·福爾德-施普林格男爵舊藏（1876-1929），後由家族繼承
  雷蒙修道院大皇宮（標籤編號335）
  
  Baron Eugène Charles Joachim Fould-Springer (1876–1929), of French-Jewish ancestry, descended from one of the most distinguished financial and industrial French families of the 19th century. He married Marie-Cécile von Springer (1886-1978), who hailed from a well-known family of Austrian industrialists. Born Eugène C.J. Fould, in 1908 he was ennobled by Emperor Franz-Joseph of Austria as Baron Fould-Springer, and changed his name by decree in 1912. He and his wife divided their time between their Parisian residence on Avenue d'Iéna and Le Palais Abbatial de Royaumont. He died in Shanghai in 1929.
  
  Flower-shaped agate bowls of this early period are exceptionally rare with few published attributed to this early date. See a lobed agate 'mallow' bowl, Song dynasty, bearing a later incised Jiaqing mark, and another lobed agate 'mallow' bowl and stand, Song dynasty, illustrated in Compendium of Collections in the Palace Museum: Jade 5. Tang, Song, Liao, Jin and Yuan Dynasties, Beijing, 2011, pp.82-83, pls.73-74. In their lobed mallow form they are related to lobed wares produced in lacquer; for examples of seven-lobed mallow-shaped lacquer dishes, Song dynasty, see: Sō Gen no bi: denra no shikki o chūshin ni, Tokyo, Nezu Bijutsukan, 2004, pls.19-20; and P.Y.K. Lam, ed., 2000 Years of Chinese Lacquer, Hong Kong, 1993, pl.17.
  
  The remarkable silver chi dragon handles and mount, with traces of gilt, are similar in style to handles on Ming dynasty jade cups, such as those illustrated in Compendium of Collections in the Palace Museum: Jade 7 Ming Dynasty, Beijing, 2011, pls.117-119, 123-126, 133, 135-136, 139-141, 147 and 148 (compare also the details on the dragon handles carved on this cup). It is also interesting to compare the mounts on the present bowl to a silver cup, 12th century, with a related high-relief chi dragon clambering over the sides and rim, found in a hoard dated to circa AD 1190 in Pengzhou, Chengdu, Sichuan Province, currently in the Pengzhou Museum, illustrated in Sō Gen no bi: denra no shikki o chūshin ni, Tokyo, Nezu Bijutsukan, 2004, pp.183-184, pl.480.
  
  The appreciation of the agate stone saw a revival during the Yongzheng reign; records in the archives of the Imperial Jade Workshops, yuzuo, dated 1724-1729, noted that the Yongzheng emperor ordered for agate brush washers and bowls to be kept undecorated in order to show the original pattern of the agate stone; pieces with 'intricate' designs or of unsatisfactory quality were rejected and sent back to the Imperial Palace Workshops. The Imperial collections in Taipei and Beijing hold a number of extant agate vessels, bearing the Yongzheng mark and of the period; see Feng Mingzhu, Harmony and Integrity: The Yongzheng Emperor and His Times, Taipei, 2009, pp.235-245; and in the Palace Museum, Beijing, an agate cup and dish; are illustrated by Yang Boda, Zhongguo Yuqi Quanji, Hebei, 2005, pp.553 and 550, nos.10 and 62.
  
  尤金·福爾德-施普林格男爵（1876-1929）為法國十九世紀知名猶太裔金融企業家族之後裔，他的妻子瑪麗-希塞爾·施普林格（1886-1978）亦出生奧地利企業名門世家。1908年，尤金受到奧地利皇帝法蘭茲·約瑟夫一世的加冕並授予男爵爵位，1912年尊皇旨改名。兩夫婦生前大部分時間居住在巴黎耶拿大道以及雷蒙修道院大皇宮。施普林格男爵1929年於上海逝世。
  
  年代較早之瑪瑙製葵花式盌非常少見，出版在冊者更是寥寥可數，見北京故宮博物院清宮舊藏一件宋代葵花式盌，底部後刻「嘉慶御玩」楷書款，以及另一件宋代葵花式杯，著錄於《故宮博物院藏品大系：玉器編5》，北京，2011年，頁82-83，圖版73-74。這種七瓣葵花口設計亦在宋代漆器上可見，見《宋元の美 : 伝来の漆器を中心に》，東京，根津美術館，2004年，圖版19-20。另見林業強編，《中國漆藝兩千年》，香港，1993年，圖版17。
  
  此瑪瑙盌上嵌銀鎏金螭龍耳，其風格與明代玉雕雙龍耳杯非常接近，見《故宮博物院藏品大系：玉器編5》，北京，2011年，圖版117-119、123-126、133、135-136、139-141、147及148（此玉杯龍身陰刻紋飾與此銀鎏金螭龍類似）。四川彭州市宋代窖藏中出土一件宋代銀螭龍紋銀杯，現藏於彭州市博物館，其螭龍表現手法亦可資比較，見《宋元の美 : 伝来の漆器を中心に》，東京，根津美術館，2004年，頁183-184，圖版480。
  
  瑪瑙製器皿在清宮中似乎亦受到寵愛，在雍正二年至雍正七年之間，清宮《活計檔》中就有對雍正皇帝下旨製作或者改作瑪瑙器皿的記錄，其中很多都透露出雍正皇帝對於瑪瑙器皿素雅、簡潔的線條以及注重瑪瑙天然紋理的審美概念。例如雍正五年十月十二日，「郎中海望持出：花瑪瑙酒圓一件。奉旨著將口上不圓處收拾。」清宮舊藏帶有雍正年款的瑪瑙器，見馮明珠著，《雍正：清世宗文物大展》，台北，2009年，頁235-245；另見北京故宮博物院藏兩例，楊伯達，《中國玉器全集》，河北，2005年，頁553及550，圖10及62。