拍賣筆記 vol.166 佳士得香港：明永樂青花竹石芭蕉紋梅瓶 - A Yongle Period Blue And White ‘Bamboo, Rock And Plantain’ Vase, Meiping
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- 5 days ago
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此梅瓶傳承有緒，曾由世界頂級權威古董商埃斯肯納齊掌眼，早年為台北鴻禧美術館蓄珍，後又入藏亞洲重要私人雅蓄。其瓶身繪有卷軸般庭園雅景，竹石參差、芭蕉掩映，風致高逸。芭蕉作為繪畫題材，其淵源可追溯至唐代，初時多與奇石相配，作為人物畫之背景，逐漸成為文人雅士及佛教玄學之象徵。
其後，芭蕉漸次轉變為畫作之主體。竹石芭蕉之題材，尤盛行於永樂時期。翠竹、山石、蕉葉、忍冬、朵花等元素構成寓意吉祥、福壽康寧之 「五瑞圖」 ，不僅蘊含祥瑞之意，更與文人、士大夫所崇尚之清雅風骨、堅韌不屈之精神情操相契合。
明永樂 青花竹石芭蕉紋梅瓶
高：13 ¾ 英寸（35 公分）
來源
倫敦埃斯卡納齊（Eskenazi Ltd.）
臺北鴻禧美術館（Chang Foundation），1990年前收藏
出版記錄
鴻禧美術館，《鴻禧美術館開館專輯》，臺北，1990年，第41頁
鴻禧美術館，《中國歷代陶瓷選集：漢至清代》，臺北，1990年，頁196-197，圖版79
鴻禧美術館，《鴻禧美術館珍藏精品展》，臺北，1996年，第7頁，編號7
Giuseppe Eskenazi、Hajni Elias合著，《古董商之手：埃斯卡納齊眼中的中國藝術世界》，倫敦，2012年，第310頁，圖版331
展覽紀錄
北京中國歷史博物館，「鴻禧美術館珍藏精品展」，1996年5月5日至7月5日，圖錄編號7
此件永樂青花梅瓶，形制端莊典雅，構圖精妙細緻，為永樂時期青花瓷器中之傑作，亦充分體現當代藝術成就與文化哲思。
目前已知僅存兩件帶蓋的類似藏品，一件收藏於北京故宮博物院，著錄於《故宮博物院藏文物珍品全集—青花釉裏紅（上）》，香港，2000年，第29頁，編號27（圖1）；另一件則藏於中國國家博物館，載於《中國國家博物館館藏文物研究叢書》，上海，2007年，第36頁，編號11（圖2）。此次拍賣之梅瓶似乎為僅存於私人收藏的孤品，且首次現身拍賣市場。
芭蕉紋飾的運用最早可追溯至唐代，常與石頭搭配呈現，寓意陰陽相生，剛柔相濟。此圖式亦經常出現在園林場景中，並伴隨文人形象出現，彰顯玄學理念與士人雅趣。元代時期，芭蕉由配角轉為畫面的主體，如柯九思（1290-1343）所繪之冊頁（圖3），其中所描繪之芭蕉與石頭，與本件梅瓶之圖案十分相似。
至十五世紀初，竹、石、芭蕉的組合成為青花瓷紋飾中的主流，象徵長壽、健康與平安，亦寄託忠貞與文人清雅之精神。此類圖樣也可見於其他永樂青花瓷器，例如故宮博物院收藏之玉壺春瓶，載於《故宮博物院藏文物珍品全集—青花釉裏紅（上）》，香港，2000年，第35頁，編號33（圖4）；以及一件碗，見同書第75頁，編號72（圖5）。
此後，清代宮廷亦曾下令仿製明代原型之竹石芭蕉紋瓷器，延續此圖案的藝術傳統，然而至今尚未見有清代仿製的梅瓶存世之例。其他清代相關瓷器，參見香港蘇富比2021年4月22日拍賣會上售出的一件乾隆款玉壺春瓶，拍品編號3622。
明朝是中國陶瓷發展史上最鼎盛的時期之一，瓷器品質精良，呈現出多姿多彩的面貌。青花瓷於明初已然躋身景德鎮燒造官方用瓷常見品類，如宣德年間（1426-1435），專司宮廷宴饌之光祿寺即有記載，命燒飾以青龍、鳳凰紋之白瓷，以應御宴所需。本件青花梅瓶便是宴饌用器的佳作。
青花瓷自泥土中脫胎，於窯火中淬煉，瓷胎質如羊脂，潔白細膩，釉面光可鑒人，透潤瑩潔，鈷料勾勒出精巧的紋飾，沁入胎骨。藍白相映間，千年的文化底蘊與藝術匠心盡顯。
青花瓷於唐時初見雛型，至元代大放異彩，更於明、清兩朝持續發展，成爲中國陶瓷史上燒製規模最大的品種之一。每個朝代的工藝革新和風格演變不僅記錄著中國製瓷技藝的突破，更折射出不同時代的審美潮流與文化交融，堪稱一部用釉彩書寫的華夏文明微觀史。
2025年5月2日，佳士得香港推出 「靛藍若化 - 重要私人珍藏官窯青花器」 單一藏家專場拍賣，呈獻明永樂、清雍正、清乾隆三朝御窯巔峰之作。三件珍品橫跨四個世紀，既有描繪山水意趣的雅器，也有彰顯皇權威儀的重器，展現青花瓷從工藝技法到藝術風格的傳承與變遷，這些帶著歷史溫度的作品，將帶我們穿越時空，見證中國青花最璀璨的黃金時代。
此梅瓶傳承有緒，曾由世界頂級權威古董商埃斯肯納齊掌眼，早年為台北鴻禧美術館蓄珍，後又入藏亞洲重要私人雅蓄。其瓶身繪有卷軸般庭園雅景，竹石參差、芭蕉掩映，風致高逸。芭蕉作為繪畫題材，其淵源可追溯至唐代，初時多與奇石相配，作為人物畫之背景，逐漸成為文人雅士及佛教玄學之象徵。其後，芭蕉漸次轉變為畫作之主體。竹石芭蕉之題材，尤盛行於永樂時期。翠竹、山石、蕉葉、忍冬、朵花等元素構成寓意吉祥、福壽康寧之 「五瑞圖」 ，不僅蘊含祥瑞之意，更與文人、士大夫所崇尚之清雅風骨、堅韌不屈之精神情操相契合。
永樂青花的特色在於 「聚縮」 現象的呈現：鈷料易流動漸融於胎釉中，遂生 「聚縮」 現象，使畫面間隱現深色斑塊。此聚縮效應於該瓶身園景數處可見，亦於圈帶紋飾內諸元素深色輪廓間隱然浮現。已知形制及紋飾相同之近似例僅兩件，兩者皆帶蓋，一為北京故宮博物院藏品，另一為中國國家博物館藏品，此例為公開市場上僅見之孤品，今春亦是首次現身拍場。
景德鎮窑場在明朝覆滅後遭嚴重破壞，導致御器生産中斷超過五十年。直至康熙十九年（1680年）御窑廠重建，方重啓青花瓷的輝煌篇章。及至雍正、乾隆統治時期，宮廷不僅追求技藝精進，更掀起仿古之風。
明代青花瓷常見問題集
明代為何在中國陶瓷史上尤其是青花瓷領域具有重大意義？
明代（1368-1644）是中國陶瓷史上最為繁盛的時期之一，該時期生產的瓷器質量卓越，風格多樣。從明初開始，景德鎮便成為官方御用青花瓷的重要產地。宣德年間（1426-1435）甚至有明確的宮廷記載，指明為皇家宴席特別訂製有青花龍鳳紋的瓷器，彰顯青花瓷在宮廷中的重要地位。
明代青花瓷的藝術特徵與意義有哪些？
明代青花瓷以精緻的工藝與高雅的美學價值著稱。胎質潔白細膩，有如「羊脂玉」般溫潤，施以透明的釉層，以鈷藍料繪製複雜精美的圖案，經高溫燒製後呈現青白相間的色彩對比，展現了中國數百年的文化傳承與藝術創造力。青花瓷的發展歷經唐、元、明、清各代，反映了陶瓷技術的進步與審美觀念的變遷，宛如中國文明濃縮於瓷器之上。
即將舉辦的佳士得香港拍賣會對明永樂青花瓷有何特殊意義？
2025年5月2日佳士得香港「藍彩蛻變—重要私人珍藏御製青花瓷」拍賣會將推出明永樂、清雍正及乾隆時期重要的御窯青花瓷，均出自同一私人藏家。這批珍稀文物跨越四個世紀，體現青花瓷技術與藝術風格的傳承與轉變，為觀賞中國青花瓷巔峰之作提供難得機會，具有重大歷史意義。
此次拍賣的明永樂青花竹石芭蕉紋梅瓶有何特殊之處？
此次拍賣的永樂時期（1403-1424）青花梅瓶極為罕見且重要，其瓶身以細膩優雅的竹、石、芭蕉紋繪成卷軸式園林場景。該梅瓶來源顯赫，曾為倫敦著名古董商埃斯卡納齊、臺北鴻禧美術館以及重要亞洲私人收藏。這是目前市場上僅有的一件同類型梅瓶，而已知的類似藏品（均帶有瓶蓋）只有北京故宮博物院和中國國家博物館各藏有一件。
永樂青花竹石芭蕉紋的象徵意涵為何？
竹、石、芭蕉紋飾流行於十五世紀初，象徵長壽、健康與平安。此外，竹寓意堅韌與高潔，石象徵穩重與穩定，而芭蕉紋可追溯至唐代，最初常與石頭一同象徵陰陽調和，後來發展成文人精神與哲學思想的象徵。竹石芭蕉紋與忍冬、花卉紋等元素共同組成「五瑞圖」，象徵福壽康寧，符合文人與官員推崇的雅致品味與精神追求。
永樂青花瓷的特色有哪些？
永樂青花瓷顯著的特徵之一即「聚縮」效果，由於鈷料的特殊性質，在燒製過程中容易流動融入釉面，形成深淺不一的藍色暈散與小斑點。此種效果在該梅瓶的園林圖案及瓶身裝飾帶的輪廓內明顯可見。
明代滅亡後，景德鎮御窯生產狀況如何？
1644年明朝覆滅後，景德鎮的御窯受到嚴重破壞，御窯瓷器的生產中斷超過五十年，直至清康熙十九年（1680年）重建後，方才恢復青花瓷的輝煌。
清代皇帝是否對明代青花瓷有特別興趣？
清代康熙、雍正、乾隆年間的宮廷不僅追求陶瓷技術的進步，更熱衷於模仿前朝尤其是明代的瓷器風格。宮廷持續訂製竹石芭蕉紋瓷器，命工匠仿效明代原作設計，但至今尚未見到清代製作此類梅瓶存世，更凸顯此次永樂梅瓶的珍稀性。
A Yongle Period Blue And White ‘Bamboo, Rock And Plantain’ Vase, Meiping
13 ¾ in. (35 cm.) high
PROVENANCE
Eskenazi Ltd., London
Chang Foundation （鴻禧美術館）, Taipei, prior to 1990
LITERATURE
Chang Foundation, Chang Foundation Inaugural Catalogue, Taipei, 1990, p. 41
Chang Foundation, Selected Chinese Ceramics from Han to Qing Dynasties, Taipei, 1990, pp. 196-197, pl. 79
Chang Foundation, Treasures from the Chang Foundation, Taipei, 1996, p. 7, no. 7
Giuseppe Eskenazi n with Hajni Elias, A Dealer’s Hand: The Chinese Art World Through the Eyes of Giuseppe Eskenazi, London, 2012, p. 310, pl. 331
EXHIBITED
Beijing, National Museum of Chinese History, Treasures from the Chang Foundation, 5 May- 5 July 1996, cat. no. 7
This extremely rare meiping, distinguished by its well-balanced, elegant form, refined composition, and intricate painting, stands as one of the finest examples of blue and white wares from the Yongle period. Its distinguished features not only reflect the artistic achievements of the period but also embody the cultural and philosophical ideals prevalent at the time.
There are only two known comparable examples with covers in museums, one is in the collection of the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Blue and White Porcelains with Underglaze Red (I), Hong Kong, 2000, p. 29, no. 27 (fig. 1); and the other is in the collection of the National Museum of China, illustrated in Studies on the Collection of the National Museum of China, Shanghai, 2007, p. 36, no. 11 (fig. 2). The current meiping appears to be the only one of this type in private hands and to be offered at auction.
The motif of the plantain can be traced back to the Tang dynasty, where it was frequently depicted alongside rocks, symbolising the harmonious interplay between softness and hardness. This pairing, often integrated into garden settings, served to accompany scholarly figures and underscored the philosophical tenets of metaphysics. Over time, the plantain evolved from a secondary element into a primary subject, as evidenced in the work of Ke Jiusi (1290-1343) (fig. 3), in which the plantain and rock on this album leaf closely resembles to the ones on the present meiping.
This shift is also evident in porcelain decoration, where the motif of bamboo, rock, and plantain gained prominence in the early 15th century. Their popularity stemmed from auspicious connotations associated with longevity, health, and peace, as well as their representations of loyalty and scholarly spirit. Such subject matter can be found on Yongle blue and white wares of various forms, including a blue and white yuhuchunping, illustrated in The Complete Collection of Treasures of the Palace Museum, Blue and White Porcelains with Underglaze Red (I), Hong Kong, 2000, p. 35, no. 33 (fig. 4); and a bowl, ibid., p. 75, no. 72 (fig. 5).
Vessels adorned with motif of bamboo, rock, and plantain were commissioned by the imperial court throughout the Qing dynasty, with potters instructed to emulate designs from the Ming originals. Despite this continuity in aesthetic tradition, no examples of meiping featuring these specific motifs seemed to survive. For other Qing examples, see a Qianlong-marked yuhuchunping sold at Sotheby’s Hong Kong, 22 April 2021, lot 3622.
Frequently Asked Questions on Ming Dynasty Blue and White Porcelain
1. What makes the Ming dynasty a significant period in the history of Chinese ceramics, particularly blue and white porcelain?
The Ming dynasty (1368-1644) is considered one of the most flourishing periods in the history of Chinese ceramics due to the exceptional quality and diverse styles of porcelain produced. Blue and white ware became a prominent category of official porcelain commissioned in Jingdezhen from the early Ming onwards. By the Xuande period (1426-1435), records indicate imperial orders for white porcelain decorated with blue dragons and phoenixes for court banquets, highlighting the established importance and use of blue and white porcelain in imperial settings.
2. Can you describe the key characteristics and artistic significance of Ming blue and white porcelain?
Ming blue and white porcelain is renowned for its refined craftsmanship and aesthetic appeal. The porcelain body often exhibits a texture likened to lamb's fat – pure white and delicate – covered with a glossy, translucent glaze. Cobalt blue was used to paint intricate designs that fused with the glaze during firing. The resulting blue and white contrast embodies centuries of cultural heritage and artistic ingenuity. The evolution of blue and white porcelain throughout the Tang, Yuan, Ming, and Qing dynasties reflects advancements in ceramic technology and changing aesthetic preferences, offering a microcosm of Chinese civilization written in glaze.
3. What is the significance of the upcoming Christie's Hong Kong auction featuring Ming Yongle blue and white porcelain?
The Christie's Hong Kong auction, "Indigo Transformation - Important Private Collection of Imperial Blue and White Porcelain," on May 2, 2025, will present exceptional imperial kiln blue and white pieces from the Ming Yongle and Qing Yongzheng and Qianlong periods, all from a single private collection. Spanning four centuries, these rare artifacts showcase the continuity and transformation of blue and white porcelain in terms of technique and artistic style. The auction offers a unique opportunity to witness the pinnacle of Chinese blue and white porcelain production and appreciate its historical significance.
4. Tell me more about the specific Ming Yongle blue and white 'Bamboo, Rock and Plantain' Meiping being offered at auction.
The featured blue and white meiping (a type of vase) from the Yongle period (1403-1424) is an exceptionally rare and important piece. It depicts a scroll-like garden scene with bamboo, rocks, and plantain leaves in an elegant and refined composition. This particular meiping has a distinguished provenance, having been in the collections of the renowned antique dealer Eskenazi Ltd., the Chang Foundation (Hongxi Art Museum) in Taipei, and later a significant Asian private collection. It is considered a unique piece in the public market, with only two known similar examples (both with lids) housed in the Palace Museum, Beijing, and the National Museum of China.
5. What is the symbolism behind the "Bamboo, Rock and Plantain" motif prevalent on this Yongle meiping?
The motif of bamboo, rock, and plantain gained popularity in the early 15th century and carries auspicious connotations of longevity, health, and peace. Furthermore, bamboo symbolizes resilience and integrity, while rocks represent stability. The plantain, whose depiction dates back to the Tang dynasty, initially paired with rocks to symbolize the harmony between softness and hardness, evolved to represent scholarly figures and philosophical ideas. The combination of bamboo, rock, plantain, along with other elements like honeysuckle and floral sprays, formed the "Five Auspicious Emblems" ("五瑞圖"), embodying good fortune, long life, and well-being, aligning with the refined taste and unwavering spirit valued by scholars and officials.
6. What are the distinguishing characteristics of Yongle period blue and white porcelain, as exemplified by this meiping?
A notable characteristic of Yongle blue and white porcelain is the "heaping and piling" or "聚縮" effect of the cobalt blue glaze. Due to the nature of the cobalt material, it tended to flow and slightly melt into the glaze during firing, resulting in areas of darker, concentrated blue that appear as subtle dark spots within the painted design. This "聚縮" effect is visible in several areas of the garden scene on the meiping, as well as within the outlines of the decorative bands.
7. What happened to the production of imperial porcelain in Jingdezhen after the fall of the Ming dynasty?
The Jingdezhen kilns, the center of imperial porcelain production, suffered severe damage following the collapse of the Ming dynasty in 1644. This devastation led to a significant interruption in the production of imperial wares for over fifty years. It wasn't until the nineteenth year of the Kangxi reign (1680) in the Qing dynasty that the imperial kilns were rebuilt, marking the revival of blue and white porcelain's splendor.
8. Did later Qing dynasty emperors show any interest in Ming dynasty blue and white porcelain?
Yes, during the reigns of the Qing emperors Kangxi, Yongzheng, and Qianlong, the imperial court not only pursued advancements in ceramic techniques but also developed a strong interest in emulating antique styles, particularly those of the Ming dynasty. Vessels adorned with the motif of bamboo, rock, and plantain continued to be commissioned by the imperial court during the Qing, with potters instructed to imitate designs from Ming originals. Despite this continuation of aesthetic tradition, it is noted that no other examples of meiping specifically featuring these motifs seem to have survived from the Qing period, further highlighting the rarity of the Yongle meiping being offered.
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