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A crisply molded 'Ding' 'mandarin ducks' dish, Northern Song / Jin dynasty | 北宋 / 金 定窰白釉印花荷塘鴛鴦圖盤
美国 北京时间
2023年03月21日 开拍 / 2023年03月19日 截止委托
拍品描述 翻译
Lot Details Description A crisply molded?'Ding' 'mandarin ducks' dish Northern Song / Jin dynasty together with a Sotheby's London catalogue of the Edward T. Chow Collection, Part Two: Early Chinese Ceramics and Ancient Bronzes, 16th December 1980 (2) 及 倫敦蘇富比仇焱之收藏專拍圖錄,第二場:《Early Chinese Ceramics and Ancient Bronzes》,1980年12月16日 Diameter 5???in., 14.3 cm? Condition report For more information on and additional videos for this lot, please contact?serina.wei@sothebys.com In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE. Provenance Collection of Edward T. Chow (1910-1980). Sotheby's London, 16th December 1980, lot 255. Collection of T.Y. Chao (1912-1999). Sotheby's Hong Kong, 19th May 1987, lot 222. J.J. Lally & Co., New York.? 仇焱之(1910-1980)收藏 倫敦蘇富比1980年12月16日,編號255 趙從衍(1912-1999)收藏 香港蘇富比1987年5月19日,編號222 藍理捷,紐約 Literature Jan Wirgin, Sung Ceramic Designs, Stockholm, 1970, pl. 97b. 韋俊,《Sung Ceramic Designs》,斯德哥爾摩,1970年,圖版97b Catalogue note Quiet Harmony by a Summery Pond Regina Krahl The intimate scene on this dish of two mandarin ducks at the shores of a pond or lake is among the most enchanting designs encountered on the Ding wares of Hebei and is exceptional among ceramics of this Song/Jin period (960-1279). In its close viewpoint and striking diagonal composition, the charming motif immediately evokes the album leaves and fan paintings in ink and colors on silk or paper that were so popular in the Song dynasty. Such painterly motifs are extremely rare among the decoration of Ding wares, particularly on vessels with molded designs, which tend to be covered with more formal, ornamental patterns. The nature sketch on this dish, carried only by the faint difference in tonality between plain and raised areas, is extremely subtle in its effect and can only be successful if the impression is clear and crisp, as in this case. This was by no means guaranteed, since the molds were repeatedly used and could get worn, and the pressure of the soft clay onto the mold had to be even across the whole design. Pond scenes with pairs of ducks were a popular painting genre since the beginning of the Song dynasty. Among the most famous and earliest extant examples is Pair of Mandarin Ducks on a Shore in Autumn, attributed to Huichong (965-1017), a monk-painter from Fujian, who specialized in the depictions of water fowl and small landscapes, see Huali zhenqin / A Treasured Aviary of Chinese Painting, National Palace Museum, Taipei, 1988, no. 1, with another of his duck paintings illustrated as no. 2. An anonymous fan painting in the Cleveland Museum of Art, Birds on an Autumn Inlet (ex Kelvin Smith Collection, CMA 1985.369), depicts the birds at greater distance, but is more closely comparable in emphasizing the bond between the two birds (fig. 1). This quiet lake view, which features similar jutting strips of embankment, is illustrated in Michael R. Cunningham, 'Painting the Poetry of the Natural World', The Bulletin of the Cleveland Museum of Art, vol. 75, no. 7 (September 1988), p. 285, fig. 6 and col. pl. X, where he writes 'This is rather a 'small scene,' a type of modest-sized landscape favored since the Northern Song. It typically portrays waterfowl in their habitat, in relatively close rather than distant view. The mandarin ducks are the principal residents of this landscape with its dramatic linear embankment …'. The promontories reaching into the water depicted on the dish, foreshortened to narrow strips, are clearly modeled after paintings such as this. Not having at his disposal an instrument comparable in finesse to the hairs of a brush, the potter carving the mold had to zoom in more closely and thus made the relationship between the two birds his main topic. The present scene has an undoubtedly emotional quality, as we are drawn right into the intimate sphere of the ducks' habitat and the obvious connection between this couple, whose heads and eyes are turned towards each other. We cannot but read a moving personal attachment into the way they look at each other. Although pairs of ducks were a popular motif on carved Ding wares, there the two birds are usually not revealing any relation to one another, but are swimming side by side as part of a rather neutral nature scene. Mandarin ducks are considered to be monogamous and to mate for life and thus the design expresses wishes for a harmonious marriage. The male displays an elaborate courtship ritual, and this species of bird seems indeed to exhibit a rather tighter bond between male and female than is customary in the bird kingdom, with a couple often seen staying close to each other. As a seasonal scene, Birds on an Autumn Inlet does not feature lotus plants, but camellias. Lotus ponds evoke the idealized regions of southern China associated with scenic places such as the West Lake in Hangzhou, Zhejiang, but lotus plants–here represented by a bloom, a pod and large leaves–are also flowering well in the Hebei region, where the Ding kilns are located. In the north, they would be associated with the warmer months of summer, and on our dish summer time is also evoked by the dragonfly. The lotus itself is a symbol of harmony, the two terms being homophonous in Chinese (he), and according to Terese Tse Bartholomew signifies the early arrival of sons, as it forms seed pods already while still in bloom (Hidden Meanings in Chinese Art, Hong Kong, 2006, p. 49). In addition to the lotus, the birds here are surrounded by several other water plants, with on the right arrow-head and trefoil water clover, while the heart-shaped leaves with flowery stem on the left may be either a kind of anthurium or the climber metaplexis japonica (rough potato) winding around a spike of cattail; duckweed and some other leaves are floating in between. Together with the insect overhead, this is a very individual rendering of a pond scene. The design of pairs of mandarin ducks among lotus and other water plants became one of the most popular motifs later, on Yuan blue-and-white (1279-1368). While the Yuan porcelain painters seem to have emulated motifs of this type in their blue-and-white designs, even down to copying the thin wavy lines suggesting the rippling water surface, they stylized the water plants rather differently; see a related scene on a Yuan dish in Regina Krahl, Early Chinese Blue-and-white Porcelain. The Mingzhitang Collection of Sir Joseph Hotung, n.p., 2022, no. 3. The almost abstract border around the well is an admirably fluid and elegant design of scrolling cloud-like volutes incorporating elements reminiscent of flowers, fruits, leaves and fungi, but probably representing a highly stylized pomegranate motif. Similar decoration can be seen, for example, in the center of a Ding dish, surrounding a dragon, see Dingzhou hua ci. Yuan zang Dingyaoxi baici tezhan / Decorated Porcelains of Dingzhou. White Ding Wares from the Collection of the National Palace Museum, National Palace Museum, Taipei, 2014, no. II-112. This motif may be unique to the repertoire of Ding potters, as it is difficult to find parallels elsewhere. A dish of this design appears to have delighted the Qianlong Emperor (r. 1736-95) in particular, since he had it 'portrayed' in an album of ten leaves, depicting and describing ten pieces of Song porcelain, titled Zhen tao cui mei, 'Precious Ceramics of Assembled Beauty'. The album was produced between 1786 and 1790 and bears many of his imperial seals, see De jia qu. Qianlong Huangdi de taoci pinwei / Obtaining Refined Enjoyment: The Qianlong Emperor's Taste in Ceramics, National Palace Museum, Taipei, 2012, p. 213 (fig. 2). At least two dishes of the same shape and design as the present example are in the National Palace Museum, Taipei: one may be the dish depicted in the album, since it comes with a wooden stand engraved gu xi Tianzi yu wan, 'Rare and ancient imperial trinket for the Son of Heaven'; this dish was included in the Museum's 2012 exhibition, op. cit., cat. no. 98, together with the album leaf; the other, also seemingly from the same mold, but apparently published with wrong (larger) measurements, was included in the Museum's 2014 exhibition, op. cit., no. II-132. A companion dish in the Palace Museum, Beijing is illustrated in Ding ci ya ji. Gugong Bowuyuan zhencang ji chutu Dingyao ciqi huicui / Selection of Ding Ware. The Palace Museum's Collection and Archaeological Excavation, Palace Museum, Beijing, 2012, pl. 119. The mold used for the present dish appears to have been used also for a number of other examples, not all of them as crisply molded: a dish from the Helen Nichols Cabot collection in the Boston Museum of Fine Arts is illustrated in Oriental Ceramics. The World's Great Collections, Tokyo, New York and San Francisco, 1980-82, vol. 10, col. pl. 17; one from the Lucy Maud Buckingham collection in the Art Institute of Chicago, is published in Yutaka Mino, Chūgoku no tōji [China's ceramics], vol. 5: Hakuji [White wares], Tokyo, 1998, col. pl. 56; one of a pair, formerly in the collection of N.M. Heeramaneck, now in the Cleveland Museum of Art from the Severance and Greta Millikin collection, is illustrated in Warren E. Cox, The Book of Pottery and Porcelain, New York, 1944, vol. 1, no. 346; for other similar dishes see Robert D. Mowry, 'Ding Ware in the Collection of the Los Angeles County Museum of Art', Orientations, June 2000, p. 78, fig. 9; Jiena Huo, Fire and Earth. Chinesische Frühkeramik im Museum für Ostasiatische Kunst, K?ln [Cologne, Germany], Cologne, 2008, no. 101; and Ryūsen Shūhō. Sōgyō shichijū shūnen kinen?/ Mayuyama. Seventy Years, Tokyo, 1976, vol. 1, no. 389, a dish later sold at Christie's Hong Kong, 26th November 2014, lot 3224. A line drawing of an unidentified dish of this design, where details of the impression are obscured, mistakenly described as being carved, is illustrated in Zhongguo gu ciyao daxi. Zhongguo Dingyao / Series of China's Ancient Porcelain Kiln Sites: Ding Kiln of China, Beijing, 2012, p. 285, fig. 46. A dish of this design was also included in the exhibition Chinese Ceramics in Black and White, J.J. Lally & Co, New York, 2010, no. 19. Christie's sold a similar piece in New York, 20th March 1997, lot 152, another 19th September 2007, lot 256; and one from the Yangdetang collection in Hong Kong, 30th November 2016, lot 3111. Molded Ding dishes and bowls of this type, although made in Northern China, appear to have been very popular also at the Southern Song court as is suggested by many fragments of such pieces discovered at the site of the residence of the wife of Emperor Ningzong (r. 1194-1224) in Hangzhou; see Nan Song Gongshengrenlie huanghou zhai yizhi / The Remains of the Mansion of the Empress Gongshengrenlie of the Southern Song Dynasty, Beijing, 2008, pls 46-7, 49-50, 52-3, 98 and 120. A few molded Ding bowls and dishes have been excavated from precisely datable tombs and several Ding molds are dated, including one with a different ducks' motifs, all of them pointing to a similar creation period in the last two decades of the 12th or first decade of the 13th century; see Liu Tao, Song Liao Jin jinian ciqi / Dated Ceramics of the Song, Liao and Jin Periods, Beijing, 2004, pp 11-12 and 18-19. At that time, the Ding potters had mastered the technique of firing pieces upside down, stacked in saggars, resting on their lips, which enabled them to fully glaze the base. For pieces such as the present dish, both the potting and the stacking had to be extremely precise since the lip protrudes only very slightly above the rim. With its uninterrupted plain surface, the base here excellently show-cases the unique ivory-colored glaze of the Ding kilns, which has acquired a deeper tone where a second layer overlaps the first. 寧靜雅韻:宋代定窰中的盛夏荷池 康蕊君 本盤的紋飾近距離描繪荷塘鴛鴦,構圖意趣盎然,是宋、金時期河北定窰的經典紋飾,與宋代水墨設色絹或紙本的冊頁、扇畫頗具異曲同工之妙。這些秀雅如畫的主題在定窰器當中非常罕見,其中模具印花的作例就更加難得。模具印花紋飾多數以簡單的裝飾性圖案為主。本盤描繪大自然景物的紋飾非常細膩,平面錯落有致、清雅含蓄,引人近窺。此外,用來製作紋飾的印模多數重複使用,因而不免磨損,所以要做到模印清晰更不容易。同時,印花時力度亦必須非常均匀,才可將整幅圖案完好地印於軟泥之上。本品正是體現模印技藝的上佳典例。 荷塘鴛鴦紋飾在宋代初期開始流行,現存最早及最著名的作例是畫僧惠崇(965-1017)所作的《秋浦雙鴛》。惠崇原籍福建,善畫水鳥,並以小景著稱,他的《秋浦雙鴛》見於《畫裏珍禽》,國立故宮博物院,臺北,1988年,編號1,同書並錄惠崇另一幅以水鴨為主題的書畫(編號2)。 另一件可參考的作例是一幅扇畫(圖1),收藏於克利夫蘭藝術博物館,曾屬Kelvin Smith收藏(館藏編號CMA 1985.369),畫面滿溢二鳥相親相愛的溫馨氣氛,與本品對比頗為合適。畫中池塘景色寧靜安謐,池塘邊緣土地呈長條狀延伸至水中,圖載Michael R. Cunningham,〈Painting the Poetry of the Natural World〉,《The Bulletin of the Cleveland Museum of Art》,卷75,期7,1988年9月,頁285,圖6及彩圖版X。作者在文中論述:「這是一個『小景』,是中等大小的山水景色,自北宋年間開始流行,通常近距離而非遠景刻劃水禽及其棲息地,以鴛鴦為主題,池塘邊緣綫條富戲劇性......」。本盤紋飾描繪池邊呈長條狀的描繪手法,靈感顯然來自這類畫作。 由於瓷匠的工具不及毛筆精細,所以這件瓷器的紋飾改而將鴛鴦的親昵情境作爲重點主題。本盤紋飾充滿感情,引領觀者神游鴛鴦相依相偎的溫馨情境。二鳥回頭互望,眼神相通,夫妻深情躍然畫上。成對鴛鴦的紋飾雖然常見於定窰印花,然而大部份紋飾都是刻劃雙鳥並排而游,二鳥之間並無明顯聯係,描繪的是大自然景象而不帶明顯感情。 有説鴛鴦一旦成配便終生廝守,所以是祝賀新人百年好合的常見紋飾。雄鳥求偶的過程相當繁複,而鴛鴦成對的形像非常恩愛,比其他鳥類更加專情。此扇畫雖然是刻劃季節風景,可是畫中花卉卻是山茶而非荷花。荷花很多時候都會讓人想起杭州西湖的美景,可是本盤紋飾連帶枝、葉及蓬描繪整株花卉的形態,卻是來自盛放於河北的荷花。荷花在河北茂盛生長,所以河北的定窰以荷為紋飾也是順理成章。在中國北方,荷花令人想起夏季,而本盤紋飾上的蜻蜓,也是夏季的代表。荷與和諧音,根據學者謝瑞華論述,蓮花開放時已經成莢,所以也是多子的代表(參考《中國吉祥圖案》,舊金山,2006年,頁49)。 除了荷花之外,畫中鳥兒身伴還有其他水生植物,右邊是茨菰和三葉草,左邊葉呈心形、連帶花枝的也許是紅掌或蘿藦,圍繞香蒲而生;幾種植物之間還有浮萍及其他葉子,植物上方並以昆蟲襯托,構圖別具一格。荷池鴛鴦或以其他水生植物襯托的鴛鴦紋飾到了元代變得非常流行,尤以青花瓷器爲甚。元代畫師模仿這類紋飾用來裝飾青花瓷器,連代表水面波紋的細綫也一一仿照,只有水草的刻劃明顯不同;參考一件元代青花盤例,康蕊君,《Early Chinese Blue-and-White Porcelain. The Mingzhitang Collection of Sir Joseph Hotung》,香港,2022年,編號3。 本盤口沿内環飾一圈卷葉紋,優雅流麗,接近幾何風格,相信是以抽象手法描繪的石榴紋飾,但隱然也可以見到花果、葉紋、靈芝等形態。比較一件定窰盤例,盤心紋飾相近,環飾龍紋,參考《定州花瓷?院藏定窰系白瓷特展》,國立故宮博物院,臺北,2014年,編號II-112。這款紋飾可能屬於定窰瓷器獨有,其他瓷窰的作例甚爲罕見。 清乾隆皇帝似乎對一件帶相近紋飾的盤例特別青睞,乾隆年製圖冊《珍陶萃美》中收錄十件宋瓷珍品,其中一件正是帶這款紋飾的盤例。該冊製於1786年至1790年間,蓋有多個乾隆璽印,參考《得佳趣:乾隆皇帝的陶瓷品味》,國立故宮博物院,臺北,2012年,頁213(圖2)。臺北國立故宮博物院現藏至少兩件與本品器形和紋飾相同的盤例:一件木座上刻「古稀天子御玩」,可能就是《珍陶萃美》畫冊中所描繪的作例,該例與《珍陶萃美》畫冊本身都曾見於《得佳趣》展覽(前述出處,編號98);另一例印花或出自同一印模,記載尺寸有誤(比真實尺寸大),曾展於臺北國立故宮博物院2014年展覽,前述出處,編號II-132。北京故宮博物院,也有收藏一例,圖載《定瓷雅集:故宫博物院珍藏及出土定窰瓷器薈萃》,故宮博物院,北京,2012年,圖版119。 本盤紋飾所用的模具也可見於其他作例,但後者印花不及本盤清晰:來自Helen Nichols Cabot收藏、現存波士頓美術博物館的一件盤例圖載《東方陶瓷》,東京、紐約和舊金山,1980至1982年,卷10,彩圖版17;另一例出自Lucy Maud Buckingham收藏,現藏於芝加哥藝術博物館,載於蓑豊,《中国の陶磁》,卷5:白磁,東京,1998年,彩圖版56;另比一例,與另一盤成對,曾屬N.M. Heeramaneck收藏,現屬克利夫蘭藝術博物館Severance及Greta Millikin伉儷收藏,見Warren E. Cox,《The Book of Pottery and Porcelain》,紐約,1944年,卷1,編號346;其他相近盤例可參考Robert D. Mowry,〈Ding Ware in the Collection of the Los Angeles County Museum of Art〉,《Orientations》,2000年6月,頁78,圖9;Jiena Huo,《Chinesische Frühkeramik im Museum für Ostasiatische Kunst》,德國科隆,2008年,編號101;以及繭山順吉,《龍泉集芳 : 創業七十周年記念》,東京,1976年,卷1,編號389,後售於香港佳士得2014年11月26日,編號3224。 《中國古瓷窰大系》圖載一幅瓷盤線描圖,印痕細節模糊,書中誤述為刻花紋飾,北京,2012年,頁285,圖46。另一例紋飾相同,曾展於《Chinese Ceramics in Black and White》,藍理捷,紐約,2010年,編號19。紐約佳士得於1997年3月20日售出一件相近作例,編號152,另一例售於2007年9月19日售出,編號256;尚有一例,香港養德堂舊藏售於香港佳士得,2016年11月30日,編號3111。 同類模印定窰盤及盌製於中國北方,但也深受南宋宮廷喜愛,宋寧宗(1194-1224年在位)皇后御居處遺址出土多件相近作例殘片,參考《南宋恭聖仁烈皇后宅遺址》,北京,2008年,圖版46-7、49-50、52-3、98及120。比較數件模印定窰盤及盌例,出土的墓葬年份記載清晰,包括一件水鴨紋飾與本品相異,全部出自十二世紀最後二十年或十三世紀第一個十年的創作時期,參考劉濤,《宋遼金紀年瓷器》,北京,2004年,頁11-12及18-19。 本盤燒製的年代,定窰已經掌握覆燒技術,窰燒時,瓷匠將上下倒轉的瓷坯摞叠於匣中,以瓷盤口沿作支撐,故此瓷器底部可以罩施釉料。由於唇口只是稍微突出,塑形和疊燒兩道工序都必須非常精確。本盤底部光素無紋,積釉處顏色略深,呈典型定瓷特徵,且加倍突顯了定窰白釉的獨特美態。

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* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输, 您只需要支付相关的运费及保险费(如您需要)即可;有的海外拍卖行会推荐几家长期合作的运输公司, 这些运输公司有着良好的信誉和高质量的工作效率,您大可放心。您只需要提供您的收货地址, 竞得拍品账单。 运输公司会根据您提供的信息给您报价, 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了, 信用卡是最常用的支付手段, 当然还有其他像PayPal,转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税,需由包裹接受人(即买家)自行承担。 征收标准:具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品,如枪支、管制刀具、象牙、犀角等;中国买家不得通过本平台参与上述物品的拍卖活动;任何情形下,买家均须对自己的竞拍行为独立承担责任。
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