藏器待時，擁抱收藏之樂：清翫三十週年展器物召集人李明德
Embracing the Joy of Collecting - Interview with Li Ming-De, Convener of Objects for Ching Wan Society 30th Anniversary Exhibition
清翫三十周年展器物召集人李明德。攝影／江采蘋。
為紀念清翫雅集三十年來的收藏歷程，睽違十二年，清翫再度於國立歷史博物館推出展覽，將文物欣賞與研究精神分享給大眾。繼清翫二十週年展，瑩久企業董事長李明德再次擔任器物類召集人，接受《典藏．古美術》專訪，暢談展覽器物精華與收藏心得。器物向為清翫雅集重點收藏項目，考量展場空間限制，本次展覽分為圖錄與實體展出二部分，圖錄收錄瓷器、佛教文物、漆器及掐絲琺瑯。
（本文出自《典藏．古美術》388期〈藏器待時，擁抱收藏之樂：清翫三十週年展器物召集人李明德〉，作者：江采蘋。https://artouch.com/gumeishu/content-166237.html）英文翻譯 SACA學會
由臺灣頂尖藏家所組成清翫雅集，乃全球最負盛名的華人收藏團體，自1992年成立以來，走過藝術市場的風雲與起落，持續懷抱對收藏的熱忱，享譽國際。為紀念清翫雅集三十年來的收藏歷程，睽違十二年，清翫再度於國立歷史博物館推出展覽，將文物欣賞與研究精神分享給大眾。繼清翫二十週年展，瑩久企業董事長李明德再次擔任器物類召集人，接受《典藏．古美術》專訪，暢談展覽器物精華與收藏心得。
器物向為清翫雅集重點收藏項目，考量展場空間限制，本次展覽分為圖錄與實體展出二部分，圖錄收錄瓷器86件，佛教文物42件，漆器及掐絲琺瑯14件，展覽精選部分呈現。總件數雖較上次減少，但年代跨度更大、類項更為多元，如二十週年的瓷器展出隋唐到明清，本次上溯至漢代。「這是一個團體的展覽，選件要面面俱到，原則上希望大家可以多多參加、多多分享，想展出的品項都能盡量展出。選件以會員的為主，如果有缺的，再以我自己的收藏為輔，盡量凑齊年代的完整連貫性，不能說只挑最好的。也許不是每件都special，但基本都有到一定的水平，拿去博物館都可以展覽，用臺語來說就是『袂失人禮』啦！」
豈只不失禮，本次展品組成華麗，瓷器囊括各朝代經典之作，如晉唐南青北白、宋代五大名窯、元明青花、清三代粉彩等，以官窯為主力，專論由北京故宮博物院研究員、高齡102歲的耿寶昌執筆，在瓷器通史中選介會員收藏，宛如中國瓷器教科書。除了各朝精華，當中亮點不乏意義別出的孤品，李明德指著目錄如數家珍：出土的磁州窯刻花長頸瓶、罕見無雲形板的永樂青花龍紋執壺、完整未經修補的宣德青花龍紋大罐⋯⋯另一重磅亮點，是三件雍正、乾隆時期的天球瓶將一次在史博館展出，放眼海內外，少有公私單位可媲美。
也並非所有選件皆以御用、精緻為考量，李明德特別介紹專為年輕人挑選漢代綠釉犬和北魏陶馬，綠釉犬如臘腸狗般長身短腿，雙耳Q彈豎起，不就像卡通中的狗？陶馬的脖頸、身軀誇張粗壯，配著纖細的四肢，令人覺得似曾相識，不就是小時候看《花木蘭》裡面的馬？西元五、六世紀的藝術家創作，和漫畫卡通竟然是相通的！「現在年輕人對中國古董有排斥感，覺得古董對他們很遙遠，門檻很高，我想告訴他們其實離得很近。」
北魏〈陶馬〉，高27公分。
佛教文物一樣有看頭，兼顧時序與地區多樣性，媒材由二十週年的鎏金佛，增加了早期石雕、宋元木雕，年代涵蓋北魏至清代，當展品羅列眼前，可自然觀察出瘦骨清像演變至漢化豐腴的體態，網羅造型之變。早期石雕佛像是本次的特色之一，李明德說明：「石雕以各朝官方石窟為主，包含龍門石窟、雲岡石窟、天龍山石窟、山東青州等具有代表性者，一方面這些佛像雕於石窟上，難度較高；另一方面，因為是皇家宗教許願，所聘請的匠師等級也不同。」除了漢傳佛教，圖錄亦收錄大理國、藏傳、藏中丹薩替寺、尼泊爾等區域之作，南詔與大理國信奉的阿嵯耶觀音、印度八十四成就者的諸位尊者，均反映著各地獨特的信仰。
「清翫收藏器物實力很強，展覽裡出現的品項並不是全部，還有更多精品還沒有機會可以展示。除了器物實力是世界性的，西畫這幾年也不斷增強，以亞洲收藏界來說排名該很前面。我希望透過收藏團體的成果分享，凝聚大眾對中華文化的向心力，提升大家對中華文化認同和理解。」
收藏醍醐味，在清翫
1980、1990年代，日本泡沫經濟破裂，香港發生97回歸，房地產大跌，中國文物拍場上的兩大主力退場，而臺灣人恰好補入，占得先機，造就清翫成立的特殊機緣。在步調愈發快速的拍賣世界，拍品如波波潮水，不分季節地向眾人拍湧，進出不歇；時光在清翫雅集會內，卻彷彿慢速流淌，典藏越陳越香，韻味綿長。有別於利益掛帥的投資客，清翫堅守「收藏」理念，因喜愛而出手，因喜愛而珍藏。李明德形容：「清翫的優點之一，就是東西放得久。會員買東西以收藏為目標，很多一放就是二、三十年，當然也有一些交流出去，但進來的絕對比出去的多。」
採訪所在的辦公室，書架滿是圖錄與藝術書籍，書桌靜陳筆墨文房，暗示著收藏背後的閱讀養成。李明德說，以前作功課需要手抄圖錄，現在網路資訊發達，一查即有。除了讀書，親眼看東西是累積實力的不二法門，飛至各地參加拍賣預展、參觀博物館、進庫房是必要功課，不僅要上手文物，最好看不只一次，「只看一次，你能記多少？第二次看，你會多看到一些，第三次可能也不一樣。」需要長期付出時間和金錢，是學習的難點之一。即使勤奮，個人的專業終究有侷限，多認識專家學者便顯得格外重要。「去跟全世界交流吧！其實所有專家學者也跟我一樣，還在學習中。每個人不可能樣樣精通，還是需要靠朋友、靠專家學者，現在email或是Wechat、LINE問一下就好了。好的顧問是收藏的條件之一，而清翫的會員就是這樣的資源。」
北魏 龍門石窟〈石雕彌勒菩薩頭像〉，高33公分（連座）。
入會多年以來，是否有受其他成員影響？「絕對有，三人行必有我師，三十幾個會員就有三十幾個師父，各有自己的個性、審美觀，且都收藏不錯。成員互相交流切磋很多，特別是收相同類型的成員更可以互相交流心得。我記得我的第一張林風眠，就是經其他會員介紹給我的，當時那位成員除了把畫介紹給我，甚至幫我換了畫框。那張畫自從買了之後就一直留到現在。有時候成員看到喜歡的拍品，也可以互相打招呼讓給對方。在這樣的交流環境互相影響，可以增加視野，也更容易去了解不熟悉的領域，提升收藏的深度和廣度。從我一開始只收瓷器，到後來多看多交流，現在也收一些珍玩、古字畫、木雕和青銅器。」
放眼世界，清翫雅集是少見歷史悠久且至今仍保持活動的重要收藏團體， 已為中國文物收藏樹立標竿，受國際古董界廣泛認可，其典範性由圖錄受重視的程度可見一斑。李明德分享，有一次至香港古董店想買東西，店主原本堅持原價，聽聞他是清翫二十週年展器物負責人，便希望索取一本圖錄、加上簽名，如此就願意折讓萬餘港幣。還有一次，清翫會員至北京參訪，致贈地方官員一套二十週年圖錄，令同行的拍賣公司高層驚訝「送這麼貴重的東西」，原來上次公司才拍出一套人民幣五萬元的價格，此話一出，會員們皆笑稱得回家看看還剩多少本。業內將圖錄奉為圭臬，無非是對清翫肯定的具體表現。
給新進藏家的話
對於新入場的藏家，李明德推薦將中國文物列為選項。他分析，臺灣美術和當代藝術選擇多，但「要選對很難」，臺灣藝術家的價格二十年來未見明顯上漲，一些曾被大力推廣的當代藝術家，也可能在兩三年後銷聲匿跡。相較之下，中國瓷器如上市公司，擁有堅實的基礎：「中國瓷器是一千年的世界第一，相當於250屆的奧運金牌，『中國』（China）之名也來自於瓷器，這個基礎是空前絕後的。」
和西洋美術相比，中國文物有機會以更划算的價錢入手世界頂尖之作。李明德舉達文西〈救世主〉和明代雞缸杯為例，二者的年代相去不遠，皆是15世紀末至16世紀的世界之最，價格卻差逾十倍（〈救世主〉美金4.5億元，雞缸杯人民幣2.8億元），何不改買中國文物？再者，西洋美術經典多已為美術館蒐羅，拍場數量稀少，價格近乎封頂，入手難度頗高，但中國文物卻有機會收到連兩岸故宮沒有的作品。
明永樂〈青花雲龍紋執壺〉，高22.5公分。
中國十四億人口，是全世界都無法忽視的市場。中國買家在21世紀後大量進場，讓文物價格翻倍，和他們競舉經常元氣大傷。如今中國經濟下滑，拍品估價下修，李明德認為現在正是進場機會。「不管是瓷器或中國器物，我覺得都還有空間。」即使景氣不如以往，中國買家仍在拍場持續展現能量，如日前轟動的佳士得藍田山房古玉專場，全場幾乎是中國年輕藏家，競舉之熱烈讓人咋舌，可見文物市場仍有活水注入，況且三四十歲的藏家，說不定還可再活躍五十年，前景依舊可期。
「不管收藏什麼東西，你要去思考，首先瞭解你的目標是這個項目的哪個層級？對新手藏家來說，不要想撿便宜，便宜的東西不是一般剛進場的人買的，撿便宜要功力夠，因為便宜的大部分是假的。」怕遇到假貨，就善用網路資訊，或選擇大拍賣公司，也可挑選1990、2000年前有拍賣紀錄者，避免收到新近仿品。
「收藏也不要用太投資的心態，要以保值的立場看，真的要投資，不如買股票和房地產。你收古董要出於喜歡，在那之中學習，會得到另外一個快樂，不是賺錢的快樂──因為我比你懂，可以講故事給你聽，告訴你這個東西的價值在哪裡，這樣的快樂。」
宋 定窯〈白瓷刻牡丹紋瓜棱執壺〉高17.8公分。
定窯白瓷馳名天下，裝飾技法以刻花、劃花為美，元人劉祁《歸潛志》一書有「定窯花瓷甌，顏色天下白」之讚譽。本件定窯〈白瓷刻牡丹紋瓜棱執壺〉為早期定窯極為精美的一例，釉色白皙溫潤，結合神獸與自然主題，造型罕見。執壺之流作螭首，把手裝飾乳丁般的圓點，側看如螭龍脊背，曲線優美。壺身雕牡丹大花，圖案微微浮凸，質感立體，與五代高級耀州窯做法相似。同類的工藝技法，可見於大阪東洋陶瓷美術館藏安宅英一舊藏之北宋〈白瓷刻花牡丹紋瓶〉（缺瓶口）。
明宣德〈青花五爪雲龍紋大罐〉「宣德年製」款，高48.5公分。
明宣德時期，青花技術已發展出濃淡不一的色調，胎質細膩純淨，紋式多彩多姿，被稱為「開一代未有之奇」。清《景德鎮陶錄》評價宣德瓷器「諸料悉精，青花最貴」，《南窯筆記》：「宣窯一種，極其精雅古樸，用料有濃淡，墨勢渾然而莊重，青花有滲青，鐵皮鏽者。」
本宣德〈青花龍紋大罐〉體量碩大，高45.8公分，肩部繪四獸面紋，中間書「宣德年製」楷書橫款；龍紋蒼勁老辣，環頸回首，五爪飛張，雙目炯炯逼人，飛騰於祥雲之間，令人聯想南宋陳容〈九龍圖〉。脛部繪一圈蓮瓣紋。青花發色濃艷青翠，濃處有鐵鏽斑痕。
宣德四字款的器皿少見，應為特殊的皇家儀式或典禮所燒造。類似的宣德青花龍紋罐，亦見於紐約大都會博物館及東京出光美術館，但皆是三爪龍，且器身經修補，本品為完整的五爪龍，極為珍罕。此大罐曾為法國私人家族代代相傳，置於其宅邸穿堂作擺放杖之用，後經鑑定為宣德重器，頗富傳奇色彩。
明宣德〈青花五爪雲龍紋大罐〉「宣德年製」款，高48.5公分。
天球瓶的原型來自西亞金屬器，流行於明朝永樂、宣德時期，體大端正，屬宮廷祭品與大型陳設用瓷，曾有長期中斷生產，至清初重新開始燒製。由於體積碩大，天球瓶燒造時鼓腹容易凹陷，有相當技術難度。本次展覽推出三件清代天球瓶，讓觀眾一飽眼福。
清雍正〈粉彩玉蘭富貴天球瓶〉「大清雍正年製」款，高51.7公分。
清雍正〈粉彩玉蘭富貴天球瓶〉繪玉蘭、牡丹花叢，寓意「玉堂富貴」，粉紅、淡黃、粉白，美不勝收，蘋果花苞粉嫩點綴其中，兩隻蜜蜂穿梭飛翔，底座有楷書釉下青花雍正六字款。
清雍正〈粉彩玉蘭富貴天球瓶〉「大清雍正年製」款，高51.7公分。
清雍正〈鬥彩團花福山壽海天球瓶〉「大清雍正年製」款，高51公分。
清雍正〈鬥彩團花福山壽海天球瓶〉頸部頂端飾萬字緞帶，中部為八吉祥與纏枝花卉，瓶身繪壽菊、繡球團花，底下海波和壽石，寓意「壽山福海」。彩繪極為工細，顏色變化細膩討喜。中國國家博物館藏有一圖案相類之天球瓶。
清雍正〈鬥彩團花福山壽海天球瓶〉「大清雍正年製」款，高51公分。
清乾隆〈鬥彩暗八仙纏枝蓮紋天球瓶〉「大清乾隆年製」款，高53.9公分。
清乾隆〈鬥彩暗八仙纏枝蓮紋天球瓶〉，通體鬥彩加粉彩紋飾，肩部飾如意雲肩，內繪花卉紋。頸部飾如意瓔珞紋，間以雙魚及磬，口沿畫黃地綠彩如意雲頭一周。腹部繪暗八仙紋，各纏綬帶。近足處飾蓮瓣一周。釉下青花六字篆書年款，應為乾隆初年製品，做工一流、端凝典雅。
清乾隆〈鬥彩暗八仙纏枝蓮紋天球瓶〉「大清乾隆年製」款，高53.9公分。
南宋／金〈木雕菩薩坐像〉高91公分。
宋元時期山西地區單體大型的木雕藝術造像，線條大氣磅礴，氣韻承繼盛唐，造型精美而數量珍稀，世界重要博物館多擁宋元木雕為東亞收藏鎮館之寶，如紐約大都會藝術博物館、克里夫蘭藝術博物館、堪薩斯城納爾遜和阿金斯藝術博物館、加拿大多倫多皇家安大略博物館、法國吉美博物館等，遂有「無宋木，不成館」之說。
宋〈木雕菩薩坐像〉得自古董商Eskenazi，高91.5公分，結構造型嚴謹，雕工細膩，菩薩束髮髻，垂目端坐，面相雍容，眉心原應有鑲嵌寶石，法相莊嚴。胸前配戴瓔珞，肩披帔帛，髮絲和衣物自然垂綴，表現仍可見加彩痕跡。
南宋／金〈木雕菩薩坐像〉高91公分。
12世紀 大理〈鎏金阿嵯耶觀音立像〉高53公分（連座）。
阿嵯耶觀音又稱真身觀世音、細腰觀音、雲南觀音，是大理地區特有的觀音信仰。學者李玉珉認為此信仰可追溯至豐佑時期（824－859），當時豐佑為了表示南詔王室的威權與統治的合法性，創造出阿嵯耶觀音點化南詔始祖細奴羅並幫助建立南詔國的神話，之後南詔王室代代崇奉阿嵯耶觀音，直至大理國時期仍盛行不衰。
此尊阿嵯耶觀音男相，高髮髻內安住坐化佛，面相祥和，右手施說法印，左手施予願印，體態修長，薄衣貼體，赤雙足，足下各有榫頭，具濃厚的九、十世紀東南亞雕塑風格。其他近似例見諸於歐美博物館，包括聖地雅哥博物館、紐約大都會博物館、巴黎吉美博物館，及美國華盛頓弗利爾博物館。
12世紀 大理〈鎏金阿嵯耶觀音立像〉高53公分（連座）。
15世紀早期〈掐絲琺瑯蕃蓮紋蓋盒〉徑14公分。
宣德時期（1426－1435）前後，掐絲琺瑯流行花體圓潤、雙勾轉枝之連續纏枝番蓮紋，圖案布局規範，講究對稱。琺瑯釉色純正，表面溫潤光澤，氣泡較少。本品盒蔗段式，直壁，上下對開。通體施藍色琺瑯釉為地，蓋面飾紅釉盛開蓮花一朵，邊沿飾搖曳多姿的纏枝綠葉一周。盒、蓋壁飾纏枝蓮紋。此器做工精緻細膩，所飾蓮紋充滿動感，花筋葉脈轉折流暢，填釉飽滿工整。
15世紀早期〈掐絲琺瑯蕃蓮紋蓋盒〉徑14公分。
元末／明初〈剔紅張成造花卉紋大盤〉徑44.5公分。
雕漆工藝始於晚元，至明初進入高峰。南方雕漆從民間裝飾發展為宮廷製品，技藝愈加精湛，工序繁複且耗時，成品往往需歷經數年才能完成，因此同期漆器的稀有程度遠超瓷器。
此盤直徑44.5公分，器形碩大，通體飾有十餘種花卉植物，花葉蜿蜒交錯，枝葉高低穿插，呈現豐富多樣的視覺效果。三種紋飾層層覆蓋，同時可見紋飾下黃漆地，佈局精妙，富有堂皇氣韻。盤身以多層漆料厚施，表面細膩光潤。器底針刻元代工匠「張成造」款，曹昭洪武二十一年著《格古要論》有述：「元末西塘楊匯有張成楊茂剔紅最得名」，是為漆藝名匠，至洪武年間應仍健在，或享壽至永樂早年。本件來源顯赫，曾為大維德爵士（1892–1964）舊藏。
元末／明初〈剔紅張成造花卉紋大盤〉徑44.5公分。
展期｜2025.01.17–2025.03.23地點｜國立歷史博物館
（本文出自《典藏．古美術》388期〈藏器待時，擁抱收藏之樂：清翫三十週年展器物召集人李明德〉，作者：江采蘋。）
清翫雅集的收藏理念如何影響其展覽？
清翫雅集的核心收藏理念，是以對文物的熱愛與長期保存為優先，而非追求短期利潤或投資回報。正因如此，清翫的展覽往往呈現出豐富而多樣的藏品面貌，不少展品更是會員珍藏數十年的心血，充分體現出對藝術研究與文化傳承的熱忱。以下幾點，便是此理念在展覽中具體的體現方式：
專注研究與分享：
清翫雅集秉持將收藏樂趣與研究成果分享給大眾的宗旨。透過在國立歷史博物館等機構舉辦的展覽，他們致力於提供教育內涵，激發觀眾對中華文化更深層次的理解。
強調完整的時代跨度：
展覽希望展示一個盡可能連貫的時代序列，有時亦會由擔任召集人的成員拿出自家收藏來補足不足之處。例如三十週年展的展品時代從漢代一直延續至清代，提供了中國藝術史更全面的面貌；二十週年展則以隋唐至明清為主要範圍。
品項多元：
清翫展覽涵蓋多種類別的文物，包括：
瓷器：青瓷、白瓷、青花瓷、粉彩瓷等。
佛教文物：鎏金、石雕、木雕等不同材質。
漆器與掐絲琺瑯。
三十週年展中還展出來自皇室石窟的早期石雕，以及大理國、藏傳、尼泊爾等多元地域的佛教藝術。
不只選「最頂級」：
為了展現收藏之全貌，並非僅挑選最稀世或最昂貴的珍品，而是注重時代與品類的完整度，當然仍維持足以在博物館展示的高水準。重點在於展現收藏廣度，而不僅僅是追求「唯一」或「最貴」。
著重長期收藏：
許多文物在會員手中一放就是二、三十年，強調長期保存與持續研究的精神，也顯示出雅集成員以「珍藏」而非「投資」為目標的特質。
重視學習與交流：
會員之間積極互相切磋，擴充彼此的知識與收藏領域。有人在拍賣中遇到自己並不急需但其他會員鐘意的標的，也可能主動禮讓。這種互助與分享的氛圍，讓整個團體的視野更為宏大。
面向教育：
展覽同時關注年輕族群，嘗試將古董文物與現代生活產生聯結。比方說，三十週年展展出的漢代綠釉犬、北魏馬等，都能喚起年輕觀眾的親切感，縮短他們與古代藝術之間的距離。
拒絕純粹投資導向：
清翫雅集的成員皆以藏家自居，而非投資客。他們收藏的動機源於對文物本身的喜愛與研究，希望從中獲得知識與賞玩的愉悅，而非藉此賺取投資利潤。
因此，清翫雅集舉辦的展覽並不僅是珍貴文物的集合，更是成員多年來累積的熱情、學術研究，以及對中華藝術文化傳承與共享的實踐。
關於清翫雅集三十週年展的常見問題（FAQ）
1. 何謂清翫雅集？本次展覽有何重要意義？
清翫雅集成立於1992年，由臺灣多位在中國藝術領域具有重要地位的收藏家組成，會員不僅藏品質量高、視野廣闊，也在國際間享有盛譽。此次三十週年展，對清翫雅集而言意義非凡：一方面象徵雅集走過三十年的收藏與研究歷程，另一方面則透過公開展示，讓各界得以近距離欣賞並探討豐富而優質的中國藝術珍藏——包括瓷器、佛教藝術、漆器與掐絲琺瑯等多樣門類，展現清翫雅集在收藏與學術研究上的深厚實力。
2. 三十週年展與過往清翫展覽有何差異？
相較於二十週年展，三十週年展的實際展品件數雖略少，卻橫跨更廣的時代與品類。二十週年展的瓷器以隋唐至明清為主要範疇；三十週年展則追溯至漢代，並囊括更多材質與風格的佛教藝術，如石雕、木雕、鎏金等。此番更全面的時代跨度與材料多樣性，使得觀眾能更完整地理解中國藝術發展的連續性與豐富性。
3. 本次展覽有哪些亮點文物？
三十週年展展品豐富而多元，涵蓋各類藝術精粹。例如：
瓷器：除了典型的青花、粉彩，還可見少見的磁州窯刻花長頸瓶，以及保存完整的宣德青花大罐等。
佛教藝術：包含早期石窟造像（如龍門、雲岡等），以及來自大理國、藏傳、尼泊爾等不同地域之作品。其中大理國阿嵯耶觀音等尤具特色。
瓷器重器：值得一提的是三件清雍正、乾隆時期的天球瓶將同台亮相，實屬難得。
其他門類：包括漆器中的元末／明初張成造剔紅大盤，或明清時期的掐絲琺瑯珍品等。
4. 展品如何篩選與籌備？
本次展覽以清翫雅集會員的藏品為主，旨在凝聚會員心力並呈現多元的收藏面貌。如遇到特定時代或類型的空缺，則由本次展覽的器物召集人李明德先生從其個人收藏中加以補足。篩選原則除重視文物水準外，也講求在整體藝術史序列上的連貫性與豐富度，不只挑選「最稀有」或「最貴重」者，而是讓各時期代表性藏品都有機會同場展出。
5. 清翫雅集的收藏特色為何？
清翫雅集成員多以長期珍藏、深入研究為目標，而非單純追求投資報酬。在國際藝術市場競爭激烈的背景下，清翫成員往往持有文物達數十年；同時，每位會員也在收藏過程中互相交流、交換訊息，以擴大知識面和鑑賞力。他們秉持對文物本身的熱愛，營造出一個以學術探討與審美交流為中心的收藏社群氛圍。
6. 本次展覽的器物召集人李明德對新進收藏家有何建議？
李明德先生鼓勵新手在考慮收藏時，不妨將中國藝術與古董列為重點選項。他建議：
明確研究目標：先確定自己想鑽研的領域或時期，並透過大量閱讀、實物觀察與專業交流來增進鑑別力。
避免盲目撿便宜：新進藏家若缺乏經驗，容易因「價格便宜」而購得贗品；因此，選擇可信賴的拍賣公司或對照早期拍賣紀錄更為穩妥。
堅守收藏初衷：收藏應以對藝術的喜愛和探究為核心，而非單純投資；從學習文物背後的歷史與價值中得到樂趣，才是最持久也最有意義的動力。
7. 漢代綠釉犬、北魏馬等展品的意涵是什麼？
這些以動物形象為題材的文物，雖是古代製品，但其造型往往能與現代卡通或影視形象產生出人意料的連結。清翫雅集希望透過這類展品拉近年輕世代與古董藝術的距離，使觀眾體認到中國古代藝術中所蘊含的「跨時代親和力」。同時，亦展現出雅集推廣與弘揚中華文化的用心。
8. 國際藝術界對清翫雅集的評價如何？
清翫雅集在國際古董界被視為華人收藏的標竿之一。其學術性與會員藏品的珍貴程度受到各大拍賣公司、研究機構與美術館的高度肯定；所出版的圖錄更常被視為重要參考資料，在業界屢屢創下拍賣高價。這些榮譽與認可顯示出清翫雅集對中國藝術收藏的深刻影響力。
Frequently Asked Questions about the Ching Wan Society’s 30th Anniversary Exhibition
What is the Ching Wan Society, and why is this exhibition significant?
Founded in 1992, the Ching Wan Society is a prestigious association of prominent Taiwanese collectors specializing in Chinese art. Its members are highly regarded internationally for their extensive knowledge, passion for collecting, and the exceptional quality of their collections. This 30th-anniversary exhibition celebrates three decades of the Society’s collecting and research efforts and offers the public a rare chance to view a remarkable selection of Chinese artworks—ranging from ceramics to Buddhist art, lacquerware, and cloisonné. It thus highlights the depth and breadth of the Society’s scholarship and collecting accomplishments.
How does the 30th-anniversary exhibition differ from previous Ching Wan exhibitions?
Compared to the 20th-anniversary show, the 30th-anniversary exhibition presents fewer items overall but encompasses a broader historical and material scope. While the 20th-anniversary exhibition focused on ceramics from the Sui and Tang dynasties through the Ming and Qing, the current exhibition extends back to the Han dynasty and showcases a more extensive range of Buddhist art, including stone, wood, and gilt-bronze sculptures. This expanded timeline and inclusion of varied materials allow viewers a more comprehensive perspective on the continuum of Chinese art.
What are some noteworthy objects on display?
This exhibition features a diverse selection of standout pieces, including:
Ceramics: Ranging from rare Cizhou ware to a well-preserved Xuande period blue-and-white jar.
Buddhist Art: Early stone sculptures from significant imperial cave sites (e.g., Longmen, Yungang), as well as works from the Dali Kingdom, Tibetan, and Nepalese traditions—such as a gilt-bronze Asaya Avalokiteshvara.
Signature Pieces: Three tianqiuping vases from the Yongzheng and Qianlong periods, shown together in an exceptional grouping.
Other Categories: A carved red lacquer dish attributed to Zhang Cheng (late Yuan–early Ming), along with cloisonné works and lacquerware treasures.
How were the objects for this exhibition selected?
The curatorial process prioritized works belonging to Ching Wan Society members, encouraging a wide-ranging showcase of their collections. To ensure a cohesive overview of Chinese art history, the exhibition’s convener, Li Ming-De, supplemented any gaps with his personal pieces. The primary goal was to present a museum-level survey of varied periods and styles rather than focusing exclusively on the rarest or most expensive objects.
What distinguishes the Ching Wan Society’s approach to collecting?
The Society emphasizes long-term commitment and in-depth research over investment-driven concerns. Many members have held certain pieces for decades, reflecting their dedication to connoisseurship and preservation. They also maintain a dynamic community for knowledge exchange—members often share insights, and occasionally even step aside in auctions to allow fellow members to acquire a piece of interest. This collaborative spirit underlies all aspects of the Society’s activities.
What advice does Li Ming-De, the Objects Convener, offer to new collectors?
Li Ming-De suggests that newcomers consider Chinese art and antiquities for their historical significance and lasting value. He advises:
Focused Research: Determine a specific area or period of interest, then strengthen one’s expertise through reading, viewing exhibitions, and seeking expert opinions.
Avoid ‘Bargain Hunting’: Most fakes are offered cheaply; starting with reputable auction houses or items with proven records is safer.
Collect for Passion: Genuine interest in an object’s cultural and historical value is crucial. A purely investment-oriented mindset often overlooks the educational and aesthetic enjoyment inherent in collecting.
Why include pieces like the Han green-glazed pottery dog and Northern Wei pottery horse?
Though ancient, these animal figures visually resonate with contemporary pop culture, bridging ancient art and modern life. The Ching Wan Society aims to inspire younger audiences by illustrating the enduring creativity and accessibility of Chinese antiquities—revealing how centuries-old art can still feel fresh and relatable today.
How is the Ching Wan Society regarded in international art circles?
Renowned for its scholarly rigor and high-caliber collections, the Ching Wan Society is viewed as a benchmark for Chinese art collecting. Its exhibition catalogs are particularly coveted as valuable reference materials, frequently appearing at auctions and commanding premium prices. Such recognition reflects the Society’s long-standing influence and leadership in the field of Chinese art.
How Does the Ching Wan Society’s Collecting Philosophy Shape Its Exhibitions?
The Ching Wan Society’s core collecting philosophy prioritizes a love for cultural artifacts and long-term preservation over short-term profit or investment. As a result, their exhibitions often showcase a broad array of items—many of which have been held by members for decades—demonstrating a deep commitment to research and appreciation. Below are some ways this philosophy manifests in the Society’s exhibitions:
Focus on Scholarly Appreciation and Sharing
The Ching Wan Society places great emphasis on sharing members’ enthusiasm for collecting, along with their scholarly research, with the public. Their exhibitions at the National Museum of History aim to educate attendees and inspire a deeper understanding of Chinese culture.
Comprehensive Chronological Scope
Exhibitions are designed to reflect as complete a timeline as possible. To fill any gaps, the convener may contribute items from personal collections. For instance, the 30th-anniversary exhibition spans from the Han dynasty all the way through the Qing, offering a broad overview of Chinese art history. By contrast, the 20th-anniversary exhibition covered the period from the Sui and Tang dynasties through Ming and Qing.
Diverse Range of Objects
Ching Wan’s exhibitions showcase a variety of categories, including:
Ceramics (e.g., celadons, white wares, blue-and-white porcelains, and famille rose)
Buddhist Art (e.g., gilt-bronze, stone, and wood sculptures)
Lacquerware and Cloisonné Enamel
The 30th-anniversary exhibition, for example, includes early stone sculptures from imperial cave sites and Buddhist art from regions such as the Dali Kingdom, Tibet, and Nepal.
Not Only the “Finest” Pieces
To ensure a broad and representative display, the Society does not limit exhibitions to the rarest or most expensive items. While the works remain at a museum-worthy level, they also reflect the full scope of the collection rather than solely showcasing “the best of the best.”
Long-Term Holdings
Many objects have remained in members’ collections for two or three decades, reflecting the Society’s commitment to preservation and sustained study. This underscores their attitude of collecting for the sake of collecting, rather than for quick resale.
Emphasis on Learning and Exchange
Society members frequently learn from one another and expand their collecting interests collaboratively. It is not uncommon for a member to forgo bidding on a piece if another member has shown strong interest. This spirit of cooperation and sharing allows the group to maintain a far-reaching perspective.
Appeal to Younger Audiences
The Society also strives to connect younger visitors with historical art. For example, the 30th-anniversary exhibition includes a Han-dynasty green-glazed pottery dog and a Northern Wei pottery horse that resonate with modern cartoons—making ancient art more approachable.
Rejection of Purely Investment-Driven Approaches
The Ching Wan Society comprises collectors driven by passion rather than profit. They view their holdings as a means of study and enjoyment, not merely as investments for financial gain.
Thus, the Society’s exhibitions are far more than displays of valuable artifacts. They represent the culmination of its members’ passion, scholarly dedication, and commitment to preserving and sharing Chinese art and culture.
Embracing the Joy of CollectingAn Interview with Li Ming-De, Convener of the Objects Section for the Ching Wan Society 30th Anniversary Exhibition
Originally published in Art and Collection: Classical Chinese Art, reported by Chiang Tsai-Ping on January 17, 2025.
A Celebration of Thirty Years of Collecting
Founded in 1992, the Ching Wan Society is composed of some of Taiwan’s foremost collectors and is one of the most renowned Chinese art-collecting associations worldwide. Over three decades, its members have navigated numerous changes in the art market while maintaining a deep passion for collecting. To mark its 30th anniversary, the Society has returned—after a 12-year hiatus—to the National Museum of History in Taipei with a new exhibition. This event continues the Society’s tradition of sharing its scholarly research and appreciation of cultural artifacts with the public.
Following his role as the Objects Convener for the Society’s 20th-anniversary exhibition, Mr. Li Ming-De—Chairman of Yingjiu Enterprise—has once again taken on the role of Convener for the 30th-anniversary show. In an interview with Art and Collection: Classical Chinese Art, Mr. Li discusses the highlights of the objects on display and shares insights into the art of collecting.
Curating Across Eras: Ceramics, Buddhist Art, Lacquer, and Cloisonné
From the very beginning, objects have been a cornerstone of the Ching Wan Society’s collecting focus. Given the limited gallery space for this anniversary exhibition, the Society decided to present the objects in two parts: a comprehensive catalog and a selection in the actual galleries. The catalog features 86 ceramics, 42 Buddhist artifacts, and 14 pieces of lacquerware and cloisonné enamel. The physical exhibition showcases highlights selected from these categories.
Although the overall number of works is smaller than in the Society’s 20th-anniversary show, the range of time periods has broadened, and the variety of objects has increased. For example, at the 20th-anniversary exhibition, ceramics ranged from the Sui and Tang dynasties to the Ming and Qing dynasties; this time, the examples reach as far back as the Han dynasty.
“This is an exhibition by a community of collectors, so the selection has to be wide-ranging. Ideally, many members can participate and exhibit what they want to share. We prioritize items owned by the members; if there are gaps in a certain era or style, I fill them in with pieces from my own collection to ensure we maintain a complete chronological sequence. It’s not just about choosing the very best. Maybe not every piece is exceptionally rare, but all are of a level suitable for museum display—what we call in Taiwanese ‘無失禮 (not losing face).’”
Yet this is far beyond “not losing face.” The roster of ceramics is dazzling, spanning iconic wares from every era: celadons from south China and white wares from northern kilns of the Jin and Tang dynasties, the Five Great Kilns of the Song dynasty, Yuan- and Ming-dynasty blue-and-white, and the famille rose porcelains of the Kangxi, Yongzheng, and Qianlong emperors in the Qing dynasty—particularly imperial wares. Leading ceramic scholar Geng Baochang, a 102-year-old researcher from the Palace Museum in Beijing, contributed an essay to the catalog, discussing the Society members’ pieces in the broader context of Chinese ceramic history, making the text akin to a textbook on Chinese ceramics.
In addition to acknowledged masterworks, the exhibition features unusual rarities: a carved Cizhou ware long-necked vase that was excavated from a burial site, a rare Yongle blue-and-white ewer with a dragon motif lacking the typical “cloud-shaped” handle, and an un-restored large blue-and-white jar bearing a Xuande reign mark—all carrying significant historical and artistic value. Another major highlight: three monumental tianqiuping (globular vases) from the Yongzheng and Qianlong eras will be displayed simultaneously at the National Museum of History. Very few institutions, whether public or private, can match such a lineup.
Not all selected works are imperial or intricately refined. Mr. Li points in the catalog to two Han-dynasty green-glazed pottery dogs and a Northern Wei pottery horse, chosen with young visitors in mind. The dog, resembling a dachshund with long body and short legs, sits perkily with ears raised—adorably reminiscent of a cartoon character. The Northern Wei horse features an exaggeratedly robust neck and torso with thin, spindly legs, bringing to mind the horse from the classic tale Mulan. Despite having been created in the 5th or 6th century CE, these ancient sculptures unexpectedly resonate with modern cartoons. “Young people today may feel distant from Chinese antiquities. They think ancient artifacts are unapproachable. I want them to realize that, in fact, these objects can be surprisingly close to our own experience.”
The Buddhist artifacts section is equally noteworthy. It presents a broad chronological sweep and regional diversity in its selection of gilt-bronze, stone, wood, and other materials, spanning from the Northern Wei to the Qing dynasty. Lined up together, these works show an evolution of styles, from the slender, ascetic forms of early Buddhist sculptures to later, more sinicized and fuller-bodied representations. Early stone sculptures are a particular highlight this time, representing major imperial cave sites—including the Longmen Grottoes, Yungang Grottoes, Tianlongshan Grottoes, and Qingzhou in Shandong. “These sculptures were carved in imperial cave temples, which required very high levels of skill. Because they were commissioned for royal religious vows, the artisans employed were of the top caliber,” Li explains. Alongside Han Chinese Buddhism, the catalog also includes pieces from the Dali Kingdom in Yunnan, Tibet (including Densatil Monastery), Nepal, and other regions. From the Asaya (Atsarya) Avalokiteshvara revered in Nanzhao and Dali, to the Indian Eighty-Four Mahasiddhas, each piece demonstrates the distinctive local beliefs and imagery of different regions.
“In terms of objects, the Ching Wan Society’s holdings are incredibly strong. The items in this exhibition are by no means exhaustive—many other outstanding pieces remain unshown. Beyond objects, the Society’s strength in Western paintings has also continued to grow; it ranks quite highly in the Asian collecting community. I hope that through sharing our passion for collecting, we can foster a sense of affinity and a deeper understanding of Chinese culture, strengthening cultural identity.”
The Essence of Collecting at Ching Wan
In the 1980s and 1990s, Japan’s economic bubble burst and Hong Kong’s real estate market declined around the 1997 handover—two factors that removed major players from the Chinese antiques market. At that moment, Taiwanese collectors stepped in, seizing a significant opportunity and laying the groundwork for the Ching Wan Society’s formation.
Where the pace of today’s auction world never stops—sale lots turn over continuously, season by season—time within the Ching Wan Society feels more measured, its collections ripening like fine wine over the years. Contrary to profit-driven investors, Society members truly cherish their acquisitions, holding on to them for the long term. Li explains, “One of our Society’s strengths is that members keep pieces for a long time. We buy primarily to collect, and some pieces have been held for 20 or 30 years. Of course, a few items change hands, but overall, more has come in than gone out.”
In Mr. Li’s office, shelves are filled with auction catalogs and art books, and the desk is set with the accoutrements of Chinese literati writing—calligraphy brushes, inkstones, seals—underscoring how scholarship supports his collecting. “In the past, I’d copy references by hand from catalogs. Now, digital resources make it easy to search online. But no matter what, seeing real objects is the best way to build expertise: traveling to preview auctions, visiting museums, studying their storage facilities. It’s essential to examine artworks in person, ideally multiple times. The first time you see something, you might only remember a portion of it. The second or third time, you’ll notice more details. This requires consistent investment of time and money, which makes it challenging. And because everyone has limitations in their personal knowledge, it’s crucial to consult scholars and specialists. Today, you can easily share photos and questions via email, WeChat, or LINE. Having reliable experts is an important factor in successful collecting. And the members of Ching Wan also serve as such resources for each other.”
When asked whether his collecting has been influenced by fellow members, Li replies, “Absolutely. ‘From three people walking, one can be my teacher’; here, we have over 30 members, so that’s over 30 teachers, each with their own collecting style and aesthetic appreciation. We all learn from each other, especially if two members collect the same category of artwork. I remember my first painting by Lin Fengmian was introduced to me by another member. Not only did he recommend the work, but he even helped reframe it for me. I still have that painting. Sometimes, if someone sees a piece they know another member wants, they might step aside at auction so their friend can buy it. Through this environment of mutual exchange, your vision expands; it becomes easier to explore unfamiliar areas, deepening and broadening your collecting. I initially collected only ceramics, but over time, through interactions with others, I now also collect curios, classical Chinese paintings, wood sculptures, and bronzes.”
Globally, it is rare to see a collectors’ group as longstanding and active as the Ching Wan Society. It has set a benchmark for Chinese art collecting and enjoys widespread recognition in the international antiques community. One indicator of its prestige is the desirability of its exhibition catalogs. Mr. Li recounts a story of visiting an antiques dealer in Hong Kong who insisted on a fixed price until realizing that Li was the convener of the objects section for the Society’s 20th-anniversary exhibition. The dealer requested a signed copy of the Society’s catalog—offering in return a discount of over HKD 10,000. In another anecdote, a delegation of Ching Wan members visited Beijing, presenting a set of the 20th-anniversary catalogs to a local official. A senior representative from an auction house, who was traveling with them, was astonished and exclaimed, “That’s an extremely valuable gift—the same catalog set was just sold at auction for 50,000 RMB!” The members laughed, remarking they ought to go home and see how many copies remained in their possession. Such esteem reflects the deep respect the art world has for Ching Wan.
Advice for Aspiring Collectors
For newcomers, Li strongly recommends considering Chinese art and antiquities. While there is a wide range of options in Taiwanese modern art or contemporary art, “it’s difficult to pick the right artist. Over the past twenty years, the prices of some Taiwanese artists haven’t risen significantly, and many contemporary artists who once received enthusiastic promotion have since disappeared from the scene. In contrast, Chinese ceramics are like blue-chip stocks, backed by a thousand-year history of global supremacy—equivalent to winning the gold medal in 250 consecutive Olympic Games. Even the English word for porcelain—‘china’—comes from the name ‘China.’ That foundation is truly extraordinary.”
Compared to Western art, one can often acquire top-quality Chinese artworks at relatively more affordable prices. “Think about Leonardo da Vinci’s Salvator Mundi and the Ming-dynasty ‘chicken cup’ (chicken motif cup). They’re both from around the late 15th to early 16th century and are each the very finest in their categories. Salvator Mundi sold for USD 450 million, while the Ming ‘chicken cup’ went for around RMB 280 million—more than a tenfold difference. So why not invest in Chinese art?” Furthermore, many Western masterworks are already housed in museums or remain in private collections and rarely appear on the market, meaning that prices are near their ceiling and acquisitions can be extremely difficult. Chinese artworks, by contrast, still offer opportunities to acquire pieces that even the Palace Museums in Beijing or Taipei may not have.
With a population of 1.4 billion, China is a market impossible to ignore. In the early 21st century, the large-scale entry of collectors from mainland China drove up prices for Chinese art. Today, with the mainland economy slowing and auction estimates lowered, Mr. Li believes this may be a good time to enter the market. “Whether it’s porcelain or Chinese antiquities in general, I see potential for growth.” Even if the overall market feels less robust than it once was, mainland Chinese collectors continue to be a driving force. For instance, a recent Christie’s auction of the Lantian Shanfang archaic jades saw overwhelmingly enthusiastic bidding, mostly from young Chinese collectors, underscoring that new blood continues to flow into the field. Many are still in their thirties or forties, suggesting they may remain active for decades to come, leaving long-term prospects bright.
“No matter what you collect, you need to consider your target level in that category. If you’re just beginning, don’t assume you can scoop up bargains. That kind of ‘treasure hunting’ requires expertise—most ‘bargains’ are fake. A good way to reduce risk is to leverage internet resources or bid through major auction houses; another approach is to focus on pieces with pre-1990 or pre-2000 auction records, to avoid modern counterfeits.
“And above all, don’t treat collecting purely as an investment. If you are solely seeking returns, stocks and real estate might be more straightforward. Collecting antiquities should spring from genuine appreciation. Through the process of learning, you gain another kind of happiness. Not the happiness of flipping for profit, but the enjoyment that comes from having deeper knowledge. You understand why something has value and can share its story—that’s the real joy.”
Selected Highlights
Song Dynasty, Ding Ware White-Glazed Gourd-Shaped Ewer Carved with Peony Design
Height: 17.8 cm
Ding ware was famed for its elegant white glaze and carved or incised floral designs. The Yuan-dynasty writer Liu Qi praised “Ding ware with floral designs, its whiteness unsurpassed.” This piece—a white-glazed gourd-shaped ewer carved with peonies—is an exceptional example of early Ding ware, notable for its creamy luster and rare combination of mythical-beast elements and floral motifs. The handle is shaped like a horned dragon with small raised dots, recalling archaic animal designs. The carving of large peony blossoms in shallow relief is reminiscent of the highest-quality Five Dynasties or Northern Song practices. A comparable piece, though missing its mouth, is in the collection of the Osaka Museum of Oriental Ceramics (formerly the Ataka Eiichi Collection).
Ming Dynasty, Xuande Reign (1426–1435), Blue-and-White Jar with Five-Clawed Dragon Amid Clouds
Marked “宣德年製” (Made in the Xuande Reign), Height: 48.5 cm
By the Xuande reign, blue-and-white porcelain had reached a pinnacle of refinement, featuring subtle tonal gradations and meticulously refined clay bodies. Contemporary texts noted the unrivaled standards of the Xuande kiln, describing its blue-and-white as especially prized for its rich cobalt underglaze that could exhibit ‘iron-tinged’ speckling in darker areas. This jar, measuring an impressive 48.5 cm in height, bears a shoulder decoration of four taotie masks, with the horizontal four-character reign mark “宣德年製” in regular script. The dragon motif—five-clawed and depicted with fierce energy—soars amid swirling clouds, reminiscent of the painter Chen Rong’s Nine Dragons from the Southern Song period. Similar Xuande jars exist in the collections of the Metropolitan Museum of Art in New York and the Idemitsu Museum of Arts in Tokyo. However, those examples depict three-clawed dragons and have undergone restoration. This example, preserved intact with a rare five-clawed dragon, is exceedingly precious. Legend has it that it was handed down for generations in a French family’s ancestral home, used in a hallway to hold canes. Only later was it identified as a Ming-dynasty masterpiece.
Qing Dynasty Tianqiuping (Globular Vases)
The tianqiuping form originally derived from Middle Eastern metalware and was popular in the Yongle and Xuande reigns of the Ming. Large in scale, these vases served as ceremonial or decorative objects for the court. Production halted for some time before resuming in the early Qing. Because of their large size, they were notoriously difficult to fire without collapsing during the kiln process. Displaying three Qing examples together—Yongzheng and Qianlong—is a particular rarity.
Qing Yongzheng, Famille Rose Vase with Magnolia and Peonies
Marked “大清雍正年製” (Yongzheng Reign), Height: 51.7 cm
This tianqiuping is decorated with magnolia blossoms and peonies—a motif conveying “Jade Hall and Wealth” (yutang fugui). Delicate pink, pale yellow, and white blossoms mingle with buds, while bees flutter among them. The reign mark in underglaze blue is on the base.
Qing Yongzheng, Doucai Vase with Auspicious Symbols of Longevity
Marked “大清雍正年製” (Yongzheng Reign), Height: 51 cm
The neck is encircled by a wan (卍) ribbon, with Eight Auspicious Emblems and scrolling flowers below. The body is further adorned with chrysanthemums and hydrangeas above rolling waves and a “longevity rock,” symbolizing “boundless fortune and longevity.” The painting is exceptionally meticulous, with vibrant color transitions. A similar example is in the National Museum of China.
Qing Qianlong, Doucai Tianqiuping with the “Eight Immortals” Hidden amid Lotuses
Marked “大清乾隆年製” (Qianlong Reign), Height: 53.9 cm
Finely worked in doucai and famille rose enamels, with stylized cloud collars, pendants, and lotus petals. The “Eight Immortals” symbols are discreetly woven into the lotus scrolls, each with fluttering ribbons. The six-character seal mark in underglaze blue suggests an early Qianlong date, and the craftsmanship is superb.
Southern Song/ Jin Dynasty, Wooden Bodhisattva Seated Figure
Height: 91 cm
Large-scale single-block wooden sculptures from the Song and Yuan periods in Shanxi Province are prized worldwide. Many major museums, including The Metropolitan Museum of Art in New York, the Cleveland Museum of Art, and the Royal Ontario Museum in Toronto, regard such sculptures as the crown jewels of their Chinese collections—hence the saying “Without a Song-dynasty wooden sculpture, a museum is incomplete.” This 91.5 cm seated Bodhisattva from Eskenazi’s gallery is robustly carved with serene expression, downcast eyes, and traces of original polychromy. The figure’s hair is swept into a high chignon that once contained a miniature Buddha figure; the shoulders are draped in a sash, while strands of hair and the edge of the garment flow in naturalistic detail.
12th Century Dali Kingdom, Gilt-Bronze Asaya (Atsarya) Avalokiteshvara
Height (including base): 53 cm
Asaya (Atsarya) Avalokiteshvara, sometimes referred to as “the True Form of Guanyin” or “Yunnan Guanyin,” is a distinctive regional form venerated in the Dali Kingdom of Yunnan. Scholar Li Yumin traces this belief to the reign of Feng You (824–859) in the Nanzhao Kingdom, when legends arose that this bodhisattva assisted the founding king in establishing the realm. Hence, from Nanzhao through the Dali Kingdom, Asaya Avalokiteshvara was revered as a royal protector deity.Depicted here in male form with a tall chignon holding a seated Buddha, the figure stands gracefully with the right hand in vitarka mudra (teaching gesture) and the left hand in varada mudra (wish-granting gesture). The body is slender and draped in clinging fabric, revealing the bare feet pinned with tenons. Similar Dali Kingdom gilt-bronzes can be seen in major Western museums, including the San Diego Museum of Art, The Metropolitan Museum of Art, and the Guimet Museum in Paris, as well as the Freer Gallery of Art in Washington, D.C.
Early 15th Century, Cloisonné Enamel Box with Lotus Design
Diameter: 14 cm
From around the Xuande reign (1426–1435) onward, cloisonné enamel pieces frequently feature lush floral patterns of continuously scrolling lotuses with symmetrical designs. The enamels are of high quality and purity, presenting a smooth, lustrous surface with few bubbles. This piece, formed as a cylindrical box with straight sides and a tightly fitting lid, uses a rich cobalt-blue background enamel. A large red lotus blossom decorates the top, encircled by swirling green stems and leaves. The sides of both lid and box also show scrolling lotus motifs. The confident wirework, filled with vibrant and precisely applied enamels, exemplifies the superb craftsmanship of the period.
Yuan-Ming Transitional “Carved Red Lacquer Dish” by Zhang Cheng
Diameter: 44.5 cm
Carved lacquer techniques began in the late Yuan dynasty and flourished in the early Ming, particularly in southern China, evolving from folk decorative art into a highly refined courtly craft. These lacquerwares required multiple coats of lacquer, sometimes applied over years, making them significantly rarer than contemporary porcelains.This large dish measures 44.5 cm in diameter and is carved with over a dozen distinct flowers and plants whose branches intertwine in overlapping layers, creating a striking visual complexity. The arrangement is opulent and masterfully executed, revealing glimpses of a yellow-lacquer ground beneath the floral motifs. On the underside is an incised mark reading “Zhang Cheng,” a famous lacquer artisan cited in the Gegu Yaolun (Criterion of Antiquities) written by Cao Zhao in 1388. The dish’s provenance is distinguished, formerly belonging to the collection of Sir Percival David (1892–1964), a legendary collector of Chinese ceramics and works of art.
Exhibition Information
Treasures Gathered—Ching Wan Society 30th Anniversary
ExhibitionDates: January 17 – March 23, 2025
Venue: National Museum of History, Taipei
(This article is adapted from “Embracing the Joy of Collecting: An Interview with Li Ming-De, Objects Convener of the Ching Wan Society 30th Anniversary Exhibition,” Art and Collection: Classical Chinese Art 388, by Chiang Tsai-Ping.)
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