拍賣筆記 vol.264 覺是軒：戰國至西漢 彩繪陶鸭 - Priestley & Ferraro, A Lacquer-Painted Pottery Figure Of A Wild Duck, Warring States Period to Western Han Dynasty

此件彩繪陶鴨以陶胎塑成，頸項前伸微弓，喙尖細長，造型生動。通體施以黑、赭、米白等色之彩繪，其用色及描繪方式均以漆為主要顏料，而非以漆作整體塗飾，為戰國至西漢早期以漆作繪畫媒材的稀見例證。翼羽之細部以黑線勾勒，風格自然，並具寫實之趣。尤為重要者，是本件以「漆作顏料」的方式施彩，而非漆胎器傳統意義下的「漆塗」。此類以漆為繪畫媒材者在戰國、漢代遺器中仍屬罕見，為研究早期漆料應用及工藝分化提供了關鍵標本。

This painted pottery duck is modelled in clay with a gently arched, forward-stretching neck and a slender pointed beak, rendered with notable naturalism. The surface is decorated in black, ochre, and creamy white pigments, the application and chromatic layering indicating the use of lacquer primarily as a colorant, rather than as an overall lacquer coating. Such use of lacquer specifically as a painting medium constitutes a rare early example from the Warring States to Western Han period. The details of the wings and feathers are delineated with fine black lines, imparting a natural and subtly realistic effect.

Particularly significant is the employment of lacquer as pigment, as opposed to the conventional “lacquer coating” of lacquered objects. Instances in which lacquer functions as the pictorial medium on earthenware, rather than as a surface finish, remain uncommon among surviving works of the Warring States and Han dynasties. This piece therefore provides important material evidence for the study of early lacquer technology and the differentiation of its craft applications.

通長16公分。後配木座與收藏盒。

來源

東京・古美術下條，2003年12月8日

展覽與著錄

Priestley & Ferraro，《The Immortal Surface: Ages and Expressions of Chinese Lacquer》，倫敦，2020年，編號2

科學檢測

本品經牛津熱釋光檢測（Oxford Authentication Ltd.），編號 C104d65，報告日期 2004年3月8日，結果與其斷代相符。

鴨形俑在戰國至漢代的墓葬中屢見，通常取自然姿態而塑，象徵和順、連理與家庭倫理中的和諧之意，亦反映當時審美趣味向現實生活題材的轉向。

可比資料見《梅耶廷藏中國陶瓷》（Chinese Ceramics from the Meiyintang Collection），第一卷，倫敦，1994年，頁49，圖14，錄一對漢代彩繪陶鴨，形制與本例相近。

另一可資比較者為紐約大都會藝術博物館所藏佛羅倫斯與赫伯特‧歐文（Florence & Herbert Irving）舊藏西漢彩繪陶鴨一對（館藏編號 2015.500.7.8 a,b），其頸部較長，彩繪風格與本件密切相類。

A VERY RARE LACQUER-PAINTED POTTERY FIGURE OF A WILD DUCK

Warring States Period/Western Han Dynasty

Modelled in the shape of a duck with arched neck and pointed beak, the body lacquered and painted in shades of ochre and cream detailed in black to suggest the wings and feathers, mounted on a modern wood stand, fitted box. 16cm (6 1/4in) long. (3).

Provenance:

Shimojo Art Co., Ltd., Tokyo, 8 December 2003

Published, Illustrated and Exhibited:

Priestley & Ferraro, The Immortal Surface: Ages and Expressions of Chinese Lacquer, London, 2020, no.2

The result of Oxford Authentication Ltd. thermoluminescence test no.C104d65, dated 8 March 2004, is consistent with the dating of this lot.

本拍品經牛津熱釋光檢測，編號C104d65（2004年3月8日），結果與其斷代相符

Typically intended as funerary offerings, such figures were placed in tombs to accompany the deceased in the afterlife. The duck, often depicted in naturalistic poses, symbolises harmony and fidelity, reflecting the period's aesthetic and symbolic values. See also a pair of painted-pottery ducks, Han dynasty, illustrated in Chinese Ceramics from the Meiyintang Collection, vol.1, London, 1994, p.49, fig.14.

Examples of the early use of lacquer as a pigment, as seen in the present lot, rather than as a surface coating, are rare. Compare, for example, with a pair of related painted earthenware ducks with longer necks and similar lacquer-painted decoration, Western Han dynasty, from the Florence and Herbert Irving collection, in the Metropolitan Museum of Art, New York (acc.no.2015.500.7.8 a,b).