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全球拍卖首页 > Bonhams HK > 中国古董及乐器 > Lot 34
A fine blue and white 'dancers and musicians' brushpot, bitong Chenghua six-character mark, Kangxi
香港 北京时间
2020年12月01日 开拍 / 2020年11月29日 截止委托
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拍品描述 翻译
A fine blue and white 'dancers and musicians' brushpot, bitong Chenghua six-character mark, KangxiFinely and delicately painted around the straight sides of the body with four elegant ladies playing the transverse flute or dizi, clapper or paiban, drum, and yunluo or 'clouds gongs', accompanying two ladies dancing with long sleeves on mats before a dignitary seated in front of a large screen, with four further ladies-in-waiting standing beside him, holding a fan, fly-whisk and covered vessels. 18cm (7in) diam. 注脚 清康熙 青花畫堂起舞圖筆筒Provenance: S.Marchant and Son, LondonThe Harriet Szechenyi collection, SwitzerlandBonhams London, 10 November 2011, lot 137來源：倫敦S.Marchant and Son公司瑞士Harriet Szechenyi舊藏倫敦邦瀚斯，2011年11月10日，拍品編號137Harriet Szechenyi was born to the well-known Bodmer family of collectors in Zurich. Though her interest was focused on Japanese art from the early 1960s she also ventured to buy Chinese art. Among her principal advisers was Luigi Bandini of Eskenazi Ltd. However, as her scholarship grew she also acquired fine examples from other dealers and auction houses around the world such as the present brushpot which was acquired from Marchant in London.The motif of a lady dancing before a dignitary is most likely derived from the Ming dynasty novel and play Yuanyang Tao (鴛鴦絛), 'The Mandarin Duck Sash'. The book tells the story of the talented scholar Yang Zhifang and the lady Zhang Shu'er and their various romantic twists and turns. The name of the book comes from the white jade ornament carving of mandarin ducks on a sash which Zhang Shu'er gives to Yang Zhifang. The scene in the present lot narrates the story of Yang Zhifang's friend General Hu Ping receiving the Imperial order to set off on campaign. Zhang Shu'er dances in the centre to see him off. In the story it is clear that Zhang Shu'er dances alone for General Hu Ping, while his wife watches. Furthermore, on other published examples of porcelain painted with this scene, it always depicts one lady dancing. Compare with the scene in the woodblock print of Yuanyang Tao, see X.Tao, ed., Yuanyang Tao, Xiyongxuan congshu, vol.1, 1926, p.6. This scene was popular in the late Ming and early Qing period, and widely depicted on porcelain. See for example, a related blue and white brushpot, Kangxi, with the same motif but depicting only one lady dancing in the Palace Museum in Beijing, illustrated in Qing Shunzhi Kangxi chao qinghua ci, Beijing, 2005, pp.340-341, no.220. Another blue and white jar, Kangxi, with similar design of a lady dancing 'for an Imperial concubine', is illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red III, Hong Kong, 2000, p.26, no.21. This brushpot depicts an ensemble playing the flute or di, clapper or pai, drum or gu, and gongs or yunluo, which are frequently seen in many regional folk music performances even today. This quartet probably emerged together around Wenzhou in Zhejiang Province, in the early Southern Song dynasty, as an accompaniment to Yongjia zaju (Yongjia Opera), or Nan Xi (Southern Opera). However, another type of folk vocal music, Chang Zhuan was also popular in Hangzhou in the early Southern Song dynasty, and was also accompanied by the di, pai, gu and luo. For further discussion see L.Gou, Suyuan zhongguo chuantong wenhua zhilü (Tracing the Origins: A Journey to Chinese Traditional Culture), Shanghai, 2017, pp.455-456. The painting on the present brushpot suggests a continuity of this form of ensemble in folk music from the Southern Song dynasty to the early Qing dynasty. 筆筒圓唇，直壁，平底，底心内凹，内書「大明成化年製」六字寄託款，筒身外壁繪「張淑兒畫堂起舞」，描繪主人公楊直方好友胡平奉旨出征塞北，張淑兒起舞為之送行的場景。胡平端坐中堂，右側兩女於方毯之上翻然起舞，或為張淑兒和胡妻，外側有伴奏侍女四人，分司笛，板，鼓，鑼，胡平左側立侍女四人，二人捧盒，二人執拂塵及紈扇，畫面以蕉石作區隔。笛，板，鼓，鑼的組合在南宋早期的民間曲藝中常見，至今不絕。南宋初期，浙江溫州地區興起「永嘉雜劇」，即所謂「南戲」，以和北方的宋元雜劇相區隔。永嘉雜劇音樂伴奏的主要樂器便是笛，板，鼓，鑼。另有南宋紹興年間流行於杭州的「唱賺」，由杭人張五牛根據鼓板中的「四片太平令」改變節奏而成，演唱者擊板，一人擊鼓，一人吹笛，亦可能是這一組合的早期形態。相關討論見茍琳著，《溯源：中國傳統文化之旅》，上海，2017年，頁455-456。「張淑兒畫堂起舞」為明代傳奇《鴛鴦縧》之一出，原書附有插圖，後世以為粉本，見陶湘編，《喜詠軒叢書》石印本，卷上，1926年，頁6。此題材在明清之際頗為流行，瓷器多有描繪。可參考北京故宮藏一件青花繪畫堂起舞筆筒，惟畫面僅一人起舞，見《故宮博物院藏清代瓷器類選（一）清順治康熙朝青花瓷》，北京，2005年，圖220，頁340；另可比較一件北京故宮藏青花行樂圖觀音尊，畫面類似，見《故宮博物院藏文物珍品全集·青花秞裡紅（下）》，香港，2000，編號21，頁26。

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