鈞窰水仙盆，又稱鼓釘洗，胎骨厚實，器形穩健，厚施釉色呈藍紫，沿邊釉薄而透徹，自燒造伊始，備受宮廷與鑑藏家推崇。
關於這類器物是宋代還是明代，學術屆備有爭論。耿寶昌認為是北宋，而有些學者則認為是明代。不管如何，這類器物都是宮廷之物。近期在巴黎拍賣一隻，但顏色沒有本品好，藍色和紫色對比，紫色為上。紫色，一直是貴族的顏色，在器物中的級別不言而喻。
2069，456万成交。竞争激烈。
There is a debate in the academic community as to whether these objects are of Song or Ming dynasty origin. Geng Baochang believes it is from the Northern Song dynasty, while some scholars believe it is from the Ming dynasty.
In any case, these wares were courtly objects. One was recently auctioned in Paris, but the colour was considered inferior, in the context of ceramics, when blue was put against purple, the latter prevails. Purple has always been the colour of the nobility, and its rank among the wares is self-evident.
巴黎佳士得，217萬人民幣
此類陳設鈞瓷燒造年代素具爭議，眾說紛紜，但近年研究與考古資料均指向明初。鈞窰遺址曾出土「宣和元寶」錢範殘器，但銘文與北宋元寶實物不符，應乃偽託。上海博物館也就鈞瓷碎片進行熱釋光測試，結果推翻北宋之論；詳見陳克倫，〈鈞台窰「北宋鈞窰」產品時代的再探討〉，《2005中國禹州鈞窰學術研討會論文集》，鄭州，2007年，頁66-70。
鈞窰模製陳設花器，多刻數字，一至十，彷似與器物尺寸相關。然而有別於常見的一器一字，此盆一足內刻「八」字，器底刻「五」字，旁另後鑴「八」字。雖然罕見，卻有他例可資對比。如兩岸故宮六瓣花式三足水仙盆，台北之例鑴有「一」和「四」，北京之例則有「七」和「九」字，分別收入《瓶盆風華：明清花器特展》，台北，2014年，編號I-09，以及《鈞窰雅集：故宮博物院珍藏及出土鈞窰瓷器薈萃》，北京，2013年，圖版111，書中指「七」字或乃清宮後刻，以便與其他花器配對使用。
觀其紫藍釉與支釘痕，與2004年河南禹州藥廠工地出土器例甚似。參考一出土紫釉鼓釘三足水仙盆，同上註，圖版114。現時學術界對其具體斷代及燒造背景尚未有定論，劉濤等主張此批陳設器，比常見帶有較少、較細支釘痕者年代略早（劉濤，〈近十年來鈞窰考古與研究述評〉，《故宮博物院院刊》，總191期，2017年3期，頁54）。王光堯卻認為它們與附近其他鈞窰遺址所出燒造時間相同，雖有參差，純屬正常（《明代宮廷陶瓷史》，北京，2010年，頁176）。
鈞窰紫釉鼓釘三足水仙盆 底刻「五」及「八」字、一足內刻「八」字
A Junyao purple and blue-glazed tripod narcissus bowl, Ming dynasty
Estimate
800,000 - 1,500,000 HKD
明 鈞窰紫釉鼓釘三足水仙盆
底刻「五」及「八」字、一足內刻「八」字
potted with shallow rounded sides raised on three ruyi-feet, the exterior bordered by a band of evenly spaced studs between two raised ribs around the rim, and another band of studs above the feet, applied overall with a two-tone glaze, the interior with a sky-blue glaze, the exterior with a purple glaze transmuting to lavender-blue and thinning to a mushroom tone at the raised edges, the base wheel-cut with numeral wu (five) and later engraved with ba (eight), surrounded by a ring of spur marks revealing the stoneware body, the interior of one foot carved with another ba (eight)
Provenance
The Canton Collection, Hong Kong, and thence by family descent.
小聽颿樓收藏，香港，此後家族傳承
Catalogue Note
This form of this narcissus bowl, also known as ‘drum nail’ basins, belongs to a distinct group of Jun flower receptacles with robust forms and thick luminous glaze. Enveloped in varied purplish-blue glazes that gently drape along the sides, these vessels have been prized by the imperial families and connoisseurs alike since their production.
The dating of these wares has been long debated, but recent research and archaeological evidence suggest they were most likely made in the early Ming dynasty. Scholars had previously relied on a mould for coins inscribed with the reign of Xuanhe (1100-1126) unearthed at the kiln site. This inscription is, however, stylistically different from that found on genuine Xuanhe yuanbao coins. Thermoluminescence (TL) tests carried out by the Shanghai Museum have further challenged the conventional Northern Song attribution, suggesting that they were made at the height of the early Ming dynasty (Chen Kelun, ‘Juntaiyao “Bei Song Junyao” chanpin shidai de zai tantao [Re-dating the ‘Northern Song dynasty Jun ware’ from Juntai kiln], 2005 Zhongguo Yuzhou Junyao xueshu yantaohui lunwenji [Compilation of presentations at the 2005 Yuzhou Junyao academic conference], Zhengzhou, 2007, pp. 66-70).
This type of Jun narcissus bowl is often inscribed with numerals from one to ten that seem to correspond to the size of the vessels. The present example, however, is incised with two different numerals at three locations: one foot is incised with the numeral ba (eight) on the inside, and the same character is again later engraved on the exterior base, where a further character wu (five) is wheel-cut at the centre. Although uncommon, there are other instances of vessels inscribed with more than one numeral. Compare two hexafoil purple-glazed tripod narcissus bowls in the Palace Museum collections in Taipei and Beijing. The Taipei example is inscribed with the numerals one and four, and the Beijing one with seven and nine; see The Enchanting Splendor of Vases and Planters: A Special Exhibition of Flower Vessels from the Ming and Qing Dynasties, Taipei, 2014, cat. no. I-09 and Selection of Jun Ware. The Palace Museum’s Collection and Archaeological Excavation, Beijing, 2013, pl. 111. The author of the latter suggests that the numeral seven was later incised in the palace to match its companion piece.
In terms of the glaze quality and the arrangement of the spur marks, the present vessel is closely related to the examples unearthed in 2004 from the Yuzhou Pharmaceutical Company premises in Henan. See an excavated purple-glazed ‘drum nail’ tripod narcissus bowl, illustrated ibid., pl. 114. There is yet a consensus on the exact dating and manufacturing background of this group of receptacles. Some scholars, such as Liu Tao, believe that the production of these vessels shortly precedes those with fewer and finer spur marks (Liu Tao, ‘The Review of Jun Porcelain Archaeology Research over the Past Decade’, Palace Museum Journal, vol. 191, 2017, no. 3, p. 54). Wang Guangyao, on the other hand, suggests these two groups of receptacles were made concurrently, and the discrepancies should be considered as normal variations of the kiln production (Mingdai gongting taoci shi [History of Ming imperial ceramics], Beijing, 2010, p. 176).
Dating Junyao Narcissus Bowls: Song or Ming?
There is an ongoing debate among scholars regarding the dating of Junyao narcissus bowls, specifically those with "drum-nail" bosses and often marked with numerals. While some scholars believe these bowls originate from the Northern Song dynasty (960-1127), others argue for a later production date in the early Ming dynasty (1368-1644).
Here's a breakdown of the arguments:
Arguments for a Northern Song Origin:
○ Geng Baochang, a renowned ceramics expert, supports this attribution.
○ The bowls' thick, luminous glazes and robust forms align with aesthetics favored by the Song imperial court.
○Some scholars initially relied on a coin mold inscribed with the Xuanhe reign (1100-1126) found at a Jun kiln site.
Arguments for an Early Ming Origin:
○ Recent archaeological and scientific evidence increasingly points to a Ming dynasty origin.
○ The Xuanhe reign coin mold proved to be stylistically different from genuine coins, suggesting it was a fake.
○ Thermoluminescence (TL) tests conducted by the Shanghai Museum on Jun ware shards indicate a Yuan (1279-1368) or early Ming dynasty production date.
○ Excavations at the Juntai kiln site in Yuzhou, Henan province, unearthed "numbered" Jun wares in a pit alongside turquoise-glazed ceramics, typically associated with the Yuan dynasty.
○ Similarities between excavated Jun forms and Jingdezhen imperial wares from the Yongle reign (1403-1424) and Xuande reign (1426-1435) further support an early Ming dating.
Further Points:
○ Regardless of the dating, these bowls were highly prized by the Qing dynasty (1644-1912) imperial court, particularly by the Qianlong Emperor (reigned 1735-1796).
○ Many Junyao narcissus bowls bear Qing dynasty inscriptions indicating their placement within specific palace buildings and gardens.
○ These bowls appear in Qing court paintings, further demonstrating their significance and appreciation during that era.
○ While the debate over their origin continues, these bowls are widely regarded as exquisite examples of Jun ware, characterized by their mottled purplish exteriors, opalescent blue interiors, "drum-nail" bosses, and numerical markings.
參考：《宋代筆記 Vol.92 宋仁宗、宋高宗臨蘭亭序合卷：小聽風樓潘氏家族收藏 - Emeperor Rezong, Gaozong’s Preface to Lantingxu Scroll, the Heirloom Treasures from the Poon Family.》
盡善與尊榮: 潘氏家族珍藏OF REVERENCE AND EXCELLENCE:
THE STORY OF THE POON FAMILY COLLECTION
潘氏家族藏珍，承載的不只是個人傳記，而是從十八世紀肇始歷經沉澱的史詩。家族庋藏，由十九世紀初潘有為奠基，經過潘正煒聽颿樓的擴展，傳到潘祖堯 所立的小聽颿樓，集思博識，是累積兩世紀品鑑、學問的結晶。縱歷中國社會興衰變遷，九代傳承至今， 歷史意義無庸置疑。
The Poon family collection carries the imprints of not just one but many fascinating personalities and histories of the same family, stretching from the beginning of the 18th century up to the present day. At the heart of the Poon family collection - pioneered by Pan Youwei in the early 19th century, followed by the Tingfanlou Collection of Pan Zhengwei and the Canton Collection of his descendent Ronald Poon - are treasures curated over two centuries of scholarly interest and refined connoisseurship. The story of how the collections came into existence and evolved in response to the vicissitudes of social changes in China within one single family, over nine generations, is remarkable to historians in its own right.
「余夙有書畫癖;三十年來，每遇名人墨蹟，必購而藏之。」潘正煒 1
“I am addicted to calligraphies and paintings. I have been compelled to acquire all the renowned artists’ works I have ever chanced upon in the past thirty years.”
Pan Zhengwei1
fig. 1. Anon., A portrait of Poankeequa III (1791-1850), hanging scroll, Qing dynasty, 19 Century 圖一 清十九世紀 《潘正煒像》 掛軸
聽颿樓的故事，得從第三代啟官潘正煒(1791-1850 年， 圖一)說起。潘正煒學有所成，授翰林院編修。他又通 法書、擅鑑辨，在潘家大院建聽颿樓庋藏墨蹟、丹青、 銅印等，當中名家書畫罕珍，時人稱絕。莊申列為清末 廣東五家名藏，實不為過。2
fig. 2. A rubbing of the Dingwu-version Orchid Pavilion Preface, Tang dynasty, Taito City Calligraphy Museum, Tokyo 圖二 唐 東晉王羲之《定武蘭亭序》韓珠船本拓片 冊頁 東京台東區立書道博物館
聽颿樓藏珍首推宋仁宗與高宗臨王羲之《蘭亭序》卷 (拍品編號 861)，宸翰稀珍。王羲之《蘭亭序》其文膾炙人口，其書被奉為法書至高經典，歷代書家無不 精研臨摹。宋代第四位君主仁宗，在位時間最長，史評「為人君，止於仁。帝誠無愧焉。」雖然日理萬機，閑暇時寄情筆墨。仁宗法書著錄已稀，傳世作品更罕。趙室四代後，宋朝第十位皇帝高宗，又即南宋開國君主， 也臨《蘭亭》。二帝法書合裝一卷，題跋自南宋至清代道光，跨越七世紀。直至道光年間，宋代宸翰乃與《定武蘭亭唐榻本》共裱一卷(圖二)，但現已分道揚鑣。 3 潘家珍存此卷，從潘正煒聽颿樓到潘祖堯的小聽颿樓， 逾一百七十寒暑。
The story of the Tingfanlou Collection officially began when Pan Zhengwei (also known as Poankeequa III, 1791-1850, fig. 1) built a pavilion in the family compound to house his exceptional collection of calligraphy, paintings and seals. A discerning connoisseur and renaissance man who excelled in literature and calligraphy, Pan Zhengwei was also editor of the Hanlin Academy, an elite group of scholars attached to the imperial court. He named his beloved pavilion Tingfanlou (the mansion for listening to the sails'). The collection contained an impressive array of artworks, including some of the rarest calligraphies and paintings in Chinese art history, and was named by the Chinese art historian Zhuang Shen as one of the top five art collections in Guangdong in the late Oing dynasty. 3
Chief among the treasures in the Tingfanlou Collection was the Preface to the Poems Composed at the Orchid Pavilion after Wang Xizhi by the Song Emperors Renzong and Gaozong (lot 861), an incredibly rare extant scroll of imperial calligraphy. Universally appreciated as a brilliant piece of prose and an unparalleled example of running script, calligraphers through the ages have studied and emulated Wang Xizhi's Preface to the Poems Composed at the Orchid Pavilion. Emperor Renzong, the fourth and longest-reigning emperor of the Song dynasty, is remembered by history as a benevolent leader whose "conduct as an emperor was beyond reproach." When not preoccupied by the myriad affairs of the state, Emperor Renzong devoted himself to the brush and ink. Written descriptions of his
fig. 3. Shitao (1642-after 1707), Most Spectacular Peaks, Qing dynasty. Ink on paper, handscroll. Courtesy of the Palace Museum, Beijing
圖三 清 石濤(1642-1707年後) 《搜盡奇峰圖》卷 紙本水墨 圖片鳴謝:北京故宮博物院
聽颿樓舊藏書畫，還得須提及石濤(1642-1718 年後) 的《搜盡奇峰圖》卷(圖三)，筆墨豪放，峻嶺雄渾，公認乃其頂峰絕作，展中國古代山水繪畫之極至，現藏北京故宮博物院。
潘正煒為所存書畫古物，出版詳細著錄，有《聽颿樓書畫記》、《古銅印匯》 、《聽颿樓集帖》傳世，至今仍 見再版印行，極為難得。前者附價目表，為史家提供了 絕佳的文獻資料，可從中窺視當時廣東文人品味，見證 士紳透過締結姻親、拜師學徒、財政贊助、交朋識友等 組成錯綜複雜的社會網絡。是以藝術史學家官綺雲指， 由文人主導定義的經典，長期向北京和長江下游江南地 區的文化中心傾斜，聽颿樓卻為抗衡此狹隘思路引來一 股重要清流。4
在中國貿易與社會發展的歷史背景下，聽颿樓的故事強調尊榮尚古的傳統。
calligraphic work are incredibly rare, let alone surviving examples. Four generations later, Emperor Gaozong, the tenth emperor of the Song dynasty and the first of the Southern Song, composed his own version of the famed Preface to the Poems Composed at the Orchid Pavilion. The scroll contains inscriptions spanning the Southern Song to the Daoguang era of the Qing dynasty, and before the Daoguang era was in fact mounted together with an ancient rubbing of the Dingwu-version Orchid Pavilion Preface (fig: 2). For more than 170 years the scroll was privately held by the Poon family, from Pan Zhengwei's Tingfanlou Collection to Ronald Poon's Canton Collection.
Another noteworthy masterpiece that passed through the Tingfanlou Collection was Shitao's (1642- after 1718) Most Spectacular Peaks (fig: 3), now in the collection of the Beijing Palace Museum. It is widely considered to be the finest surviving work of the legendary Qing dynasty artist.Rather unusually for the time, Zhengwei authored and published a series of detailed catalogues of the best calligraphies, paintings, and other artworks in his collection. Of these volumes, Tingfanlou shuhua ji [A record of paintings and calligraphy at Tingfanloul, Gu tong yin hui [The collection of ancient bronze seals], and Tingfanlou ji tie [The Tingfanlou collection of calligraphies] survive and are still in print to this day. Importantly for historians, Zhengwei included a price list, which provided insights into elite tastes within the Canton region, as well as the complex networks of social identity formed by marriage, mentorship, patronage and friendship. His collection thus came to represent an important counterweight to the "parochialism of a literati-biased canon that favoured the cultural centres of Beijing and Jiangnan (the Lower Yangtze region)," in the words of the art historian Yeewan Koon.4
潘家原藉福建，正煒屬家族立業廣州、定居番禺後的第三代。他的袓父潘振承(1714-1788 年，圖四)，洋人以啟官稱之，奠定家族基業，功不可 沒。生於福建，振承少時隨父在呂宋從事貿易生意，在馬尼拉信奉基督教、通曉西班牙語。十八世紀中葉，振承返國定居廣州，乘著「一口通商」之利，與丹麥、法國、 英倫多地均有貿易往來，經營絲綢、茶葉等買賣。
The origin story of the Tingfanlou Collection espouses the classical values of filial honour and reverence for the past, amidst the wider historical backdrop of Chinese trade and societal development. Pan Zhengwei was the third Guangzhou-based generation of a Fujian merchant family that settled in Panyu. His grandfather, Pan Zhencheng (1714-1788, fig. 4), also known as Poankeequa I, laid the foundation of this influential Canton merchant house. Born in Fujian, he worked with his father in the trading business in Manila, where he converted to Christianity and became a fluent Spanish speaker. He returned to China in the mid-18th century and settled in Guangzhou, at the time the only port open to foreign trade in the whole of China. There he traded silk, tea and porcelain with countries such as Denmark, France and England.
潘振承促成公行重設，並出任商總，在廣東叱吒風雲。 公行除了管理貿易事務，還得負責徵收關稅，以及保證外國商人與海員在華操守。公行在滿清政府與外商中間 擔當緩衝的角色，有需要時更暫代外交官員，協助處理與歐州各國關係，負起斡旋、簽約之責。1760 年代， 隨著自家商號同文行(圖五)的成立，以及個別洋行退出競爭，潘氏在貿易 76 份額中便佔了 12。
Zhencheng became a prominent figure in Canton, especially in diplomatic relations with European powers. He initiated the re-establishment of and chaired the Co- Hong, a powerful regulatory body that officially engaged in trade management, collected duties and oversaw the conduct of foreign traders and crews. The body also assumed quasi-diplomatic duties, signing contracts on behalf of the Qing government and mediating on its behalf with Western powers. By the 1760s, with the opening of his own company, Tongwen Hang (fig. 5), and the retreat of some of his major competitors, Zhencheng reportedly controlled 12 out of 76 shares into which the trade was divided.
fig. 5. Anon., The Alexander Hume Scroll Painting of Foreign Factories in Canton, 1772, gouache on silk, handscroll, 91.5 by 276.5 cm. Left detail: Tongwen Hang © Copyrights by Hong Kong Maritime Museum, no. HKMM2015.0020.0001 / 圖五 1772年 《廣州十三行洪氏卷軸》 絹本水粉 手卷 91.5 x 276.5 公分 左圖局部乃同文行舊貎 © 香港海事博物館版權所有 編號HKMM2012.0016.0001
到了 1770- 1780 年代，潘振承同文行的生意蒸蒸日上，尤其在絲綢出口及與西班牙的貿易上獨佔鰲頭。5 在清廷出口限制與 歐洲市場需求之間，面對原材料供給不穩、海難損失等， 潘振承總是沉著應對，在滿清官員之間，更是游刃有餘， 深得外商信賴，備受敬重。
By the 1770s-80s Zhencheng was one of the top players in Chinese maritime trade, dominating the silk trade and business with the Spanish in particular." He was well respected by the Europeans as a trustworthy businessman who expertly navigated the Qing court's export restrictions and the surging demands of European markets, whilst formulating solutions to key issues of the day such as the unpredictable supply of raw materials and long-distance sea voyage casualties.
1788 年潘振承辭世，四子潘有度(1755-1820 年，圖六) 繼承父業，接管同文行。潘有度為人低調，但隨著歲月 增長，他成為行商元老，在海上貿易中的地位無庸置疑， 先後兩回出任商總，廣受尊重。6 然正因如此，即使他後來決心辭退職務、結束經營近半世紀的同文行時，滿 清政府迫使潘有度重返商壇。在 1814 年，退休不過七 年後，潘有度以新商號同孚行續營外貿。7
Zhencheng's fourth son Pan Youdu (Poankeequa II, 1755-1820, fig: 6) inherited Tongwen Hang after his passing in1788. Initially reticent about assuming the limelight, he emerged as an influential player in maritime trade in his own right, serving two tenures as the chief merchant of the Co-Hong.' Such was his success that when he decided to retire and close Tongwen Hang after almost half a century in business, the Qing government urged him to return to the trade. Somewhat reluctantly, just seven years after retiring in 1814, Youdu resumed business under the new banner of Tongfu Hang.7
在潘振承的基礎上，潘有度續為家族子嗣的仕學前途籌 謀。受益於父親潘振承的支持，門第溢書香，潘有度多 名弟兄科舉有成，功名既得，供職清廷。有度在番禺的 宅第潘園中設私塾，積極栽培後代。他的兒子潘正煒， 即前述聽颿樓主人，在他辭世後接管同孚行，經營得道， 同受景仰。
Youdu also continued laying the foundations of his family's future. Many of his brothers had benefited from his father's support in the civil examinations, going on to serve the Qing court in various capacities, and Youdu founded a private school within the Panyu family compound to oversee the education of the family's younger members. His son, the aforementioned Pan Zhengwei, inherited the family business after Youdu's passing and became a successful and respected merchant in his own right.
「潘氏以至聽颿樓的源起故事，不是個
別富商的和寡曲高，而是整個家族對
中外事物的好知敏求、孜孜不怠，共
同以書香學養，讓廣州成為不可忽視
的文化樞紐。」
潘氏以至聽颿樓的源起故事，不是個別富商的和寡曲高， 而是整個家族對中外事物的好知敏求、孜孜不怠，共同以書香學養，讓廣州成為不可忽視的文化樞紐。以潘有度兄長潘有為(1743-1821 年)為例，他曾參與校對《四庫全書》。乾隆帝下旨編修《四庫全書》，收錄書目數千， 是中國歷代叢書之最。潘有為辭官後醉心蒐集書畫古物， 藏藝番禺潘園中，收蓄甚豐。潘正煒堂弟仕成(1804- 1873 年)，同樣經營海貿致富，在粵築建海山仙館以藏書畫。
The story of the Poon family and the origins of the Tingfanlou Collection is not one of wealthy, isolated individuals who indulged in esoteric interests, but rather of a family whose innate curiosity in the world within and beyond China fostered a culture of scholarly excellence and reframed the Canton region as a centre of cultural importance. For example, Youdu’s elder brother Youwei (1743-1821) was one of the editors of the Siku Quanshu (“The Complete Library of the Four Treasuries”), a Chinese encyclopedia commissioned by the Qianlong Emperor which forms the largest collection of books in imperial Chinese history, and his retirement residence in the Panyu compound housed a rich collection of calligraphies, paintings and antiquities. Zhengwei’s cousin, Pan Shicheng (1804-1873), who had also experienced enormous financial success through trade, built an enviable collection of paintings and calligraphy that he named Haishan Xianguan (‘The Seamount House of Divinity’).
十九世紀中葉，國運逆轉，但憑著百折不撓的家族精神， 潘氏乘風破浪，奮力進取。隨著清廷與西方列強關係逐步惡化，對外貿易首當其衝。潘正煒身為三代行商，第一次鴉片戰爭前後，多次捐資抗英。但首次鴉片戰爭失敗後，清政府被迫開放其他港口，從此十三行不再壟斷市場，同孚行步向夕陽。清末時勢所逼，潘家各房更是顛沛流離。
This hard-won familial culture of resilience and adaptability was able to withstand the headwinds of ill- fortune. By the mid-19th century, as relations between the Qing court and Western powers deteriorated, foreign trade suffered. Zhengwei provided financial support for the Qing’s defensive campaign against the British during the First Opium War, but their defeat resulted in the forced opening of additional ports in China. The Canton merchants lost their exclusive access to international trade, and the heyday of Tongfu Hang and the Poon family business was over. Further turmoil towards the end of the Qing dynasty displaced many members of the clan.
縱然如此，仗賴前人慧智，奠基立業，潘家人才輩出， 族中多人入仕，或能書、或擅繪。潘正煒四子師徵 (1831-1894 年，圖七)乃國學生，翰林院待詔、登仕佐郎，書法得歐陽詢意韻，擅畫梅花。8 師徵三子寶珩 (1862-1927 年，圖八)，光緒八年(1882 年)中舉從仕，又歷任咨議局、財政局議紳。
辛亥革命後，投資廣州電力公司，出任總理，對粵地電力發展貢獻良多。他又樂善好施，創辦廣東公醫學堂(現廣州中山大學中山 醫學院)、河南仁濟留醫院，澤延後世。9 除了祖傳古物，潘寶珩也嗜好蒐集陶古物，豐富其藏，尤好鈞瓷之雅澤麗彩，蒐集不少絕世禹州佳品，為世傳頌(拍品編號 808、圖九)。
Yet the family continued to flourish from the wisdom and foundations laid by their forefathers. The following generations produced numerous writers, painters and high officials serving the imperial court. For example, Zhengwei’s fourth son, Pan Shizheng (1831-1894, fig. 7), also a scholar of the elite Hanlin Academy, reputedly excelled in painting prunus and writing in the calligraphic style of Ouyang Xun (557-641).8 Shizheng’s third son, Pan Baoheng (1862-1927, fig. 8), served the Qing government in its last days and led the Consultative and Finance Bureaux at the turn of the century. A successful businessman and politician whose investment and involvement in the leadership of the Canton Electric Power were instrumental in developing the region’s infrastructure, he was also a noted philanthropist who founded the Guangdong Public Medical School (now the Sun Yat-sen University Zhongshan School of Medicine) and the Henan Renji Hospital.9 Fascinated by the elegance of ancient works of art, Baoheng expanded the family’s inherited art collection by acquiring some of the finest examples of dazzling blue and purple glazed Jun ceramics (lot 808, fig. 9).
fig. 9. A Junyao purple-splashed dish, Song dynasty. Sotheby’s Hong Kong, 22nd April 2021, lot 16 / 圖九 宋 鈞窰天青釉紫斑折沿盤 香港蘇富比2021 年4月22日，編號16
二十世紀初，部分族人移居香港，心仍緊繫社稷，續寫文化傳承美史。潘寶珩次子恩愷(1912-1973 年)在牛津大學攻讀法律，回港後成為首位華人法官，曾任中央裁判處首席法官，為人尊敬。潘恩愷也以藏物為好，主攻郵票、鼻煙壺。香港淪陷日治期間，悉心存珍，力保家藏器物免受損傷佚失。10
Even as members of the family migrated to Hong Kong in the early 20th century, their sense of public duty and love of their cultural heritage did not waver. Poon Yan Hoi (1912-1973), Baoheng’s second son, studied law at The University of Oxford, became the first Chinese judge in Hong Kong and served as Chief Justice of the Central Magistrate’s Office. A philatelist and a collector of snuff bottles, he managed to safeguard many heirlooms amidst the turbulent years of the Japanese occupation in Hong Kong.10
「收藏的原則只要曾經擁有，不在乎天長地久或留給子孫永享⋯⋯只要有其他藏家接手，那保存古物的使命就得到落實。 潘祖堯"11
“The principle of collecting should be one of transitional ownership and not permanent ownership... As long as there are other collectors to continue the possession of the pieces, the preservation of antiquity will be accomplished.” Ronald Poon11
潘恩愷次子祖堯（1942-2022年，圖十）建築事業有成，且熱心公共事務，對社會貢獻良多。少時因著熱忱，原以藝術家為理想。及後受恩師啟迪，望能對社會所需有更直接的貢獻，決心立志，終成建築名家。歷任多項公共要職，包括香港建築師學會會長、世界華人建築師協會創會會長、亞洲建築師學會第一任會長、香港房屋協會主席、中國全國第八、九、十及十一屆政協委員，在不同崗位惠澤社群。
Yan Hoi’s second son, Ronald Poon (1942-2022, fig. 10), enjoyed a distinguished career in architecture and public service. In his youth, he planned to become an artist as he was passionate about the arts. Yet under a mentor’s inspiration, he eventually became an architect as he believed that through architecture he could do more to positively contribute to the needs of society. Ronald served (among other roles) as President of the Hong Kong Institute of Architects, Founding President of the World Association of Chinese Architects, First Chairman of the Architects Regional Council Asia, Chairman of the Hong Kong Housing Society and 4-term Member of the National Committee of the Chinese People’s Political Consultative Conference (CPPCC).
眼見不少聽颿樓舊物流散，潘祖堯在祖傳瑰寶的基礎上，擴建收藏，命名「小聽颿樓」，以念先恩。受惠於黃寶熙（樂在軒主人，1907-1979年）及其子黃仲方（藝術家、樂常在軒主人，1943-2022年）的指導，祖堯尋珍集雅。又時與知音雅集，如建築師鍾華楠（1931-2018年）、書法家林悦恒（1935年生）、現代畫家如朱屺瞻（1892-1996年）、程十髮（1921-2007年）、黃永玉（1924-2023年）與黃胄（1925-1997年），志同道合，相知相交。祖堯博觀約取，搜羅法書、繪畫、陶瓷、家具等，門類寬廣，精品琳瑯。且又竭誠推廣中國藝術知識，積極提高賞鑑品味，1991-1993年更出任香港收藏家協會敏求精舍主席，對文化事務不遺餘力。
Although many of the Tingfanlou’s treasures had been dispersed over the centuries, Ronald set about assembling a revitalised collection of Chinese art with his inherited heirlooms, which he named the Canton Collection (or Xiaotingfanlou, “Little Tingfanlou”, in Chinese) in honour of his great-great-grandfather. Ronald embarked upon his collecting journey under the guidance of Wong Pao- hsie, master of Lezaixuan (1907-1979) and his son Harold Wong, an artist and master of Lechangzaixuan (1943- 2022). He surrounded himself with like-minded friends, including the architect Chung Hua Nan (1931-2018), calligrapher Lin Yue-hang (b. 1935), and renowned artists such as Zhu Qizhan (1892-1996), Cheng Shifa (1921-2007), Huang Yongyu (1924-2023) and Huang Zhou (1925- 1997). Ronald never sacrificed depth for breadth, building an outstanding collection which ranged from museum- worthy calligraphies and modern Chinese paintings to ceramics and furniture. From 1991 to 1993, he chaired the prestigious Min Chiu Society, the elite Hong Kong collectors’ association, cultivating the understanding and appreciation of Chinese art in his family’s new homeland.
「從潘振承到潘祖堯，作為收藏家，他們以尊古臻善為旨，追求至善至美，勉力不懈。對探索的好奇、對生命的禮贊、對真諦的渴求，正是潘氏家族的故事。」
“From Pan Zhengcheng to Ronald Poon, being a collector reflected their reverence for the past, it was an overflow of their pursuit of splendour and beauty. This intense curiosity to explore. This fascination with the wonders of life. This spiritual thirst to seek deeper truths. This is the story of the Poon family.”
潘氏成就，九代傳承，豈能以一個收藏概之？他們共創的卓犖峻業，是望族的傳奇。他們的文化足跡，猶如其海貿輝煌，永垂青史。從潘振承到潘祖堯，作為收藏家，他們以尊古臻善為旨，追求至善至美，勉力不懈。對探索的好奇、對生命的禮贊、對真諦的渴求，正是潘氏家族的故事。
Over nine generations, the Poon family achieved something more than a collection; they created a legacy of excellence that would leave its mark on the Chinese art world as much as 18th- and 19th-century international maritime trade. From Pan Zhengcheng to Ronald Poon, being a collector reflected their reverence for the past, it was an overflow of their pursuit of splendour and beauty. This intense curiosity to explore. This fascination with the wonders of life. This spiritual thirst to seek deeper truths. This is the story of the Poon family.
Comments