拍賣筆記 vol.318 蘇富比倫敦2015：38.9萬英鎊售出，明代萬曆龍紋梅瓶 - Sotheby’s London 2015, A Gilt-Bronze Mounted Blue And White ‘Dragon’ Meiping Wanli Mark And Period, Sold for 389,000 GBP

Important Chinese Art

13 May 2015 • London

Sale Total: 10,367,125 GBP Sale Number: L15210

38.9萬英鎊售出

明代萬曆龍紋梅瓶

Lot 118

A FINE GILT-BRONZE MOUNTED BLUE AND WHITE ‘DRAGON’ MEIPING WANLI MARK AND PERIOD

估價

250,000 - 300,000 GBP

已售出

389,000 GBP

描述

《大明萬曆年製》款

Porcelain

sturdily potted with high rounded shoulders rising to a short waisted neck and lipped rim, boldly painted in rich cobalt-blue tones with a ferocious four-clawed dragon grasping a sprig of lingzhi in its mouth, the sinuous scaly body with trailing flame-like extensions, the head detailed with whiskers and a long mane, all between lappet bands around the shoulder and the foot, inscribed with a six-character reign mark, mounted with a gilt-bronze base

Condition

The meiping is in very good condition with the exception of some minor glaze firing imperfections including iron spots, blisters and burst glaze bubbles, and light glaze scratches.

拍品資料

本梅瓶妙繪銜芝游龍，尺寸碩大，瓶肩及近足處環飾蓮瓣紋，誠為稀珍，與明萬曆皇帝定陵（北京）出土梅瓶極為相近，可見本品與明室帝后淵源深厚。

宋元兩代期間，梅瓶為酒器，清朝則以之為花瓶，或作裝飾陳設。大明年間，梅瓶亦為祭器，置於帝后王孫、高官貴胄陵丘墓之中。定陵出土八件帶蓋梅瓶，斷代嘉靖至萬曆年間。萬曆年陵墓中放置嘉靖年器，表示梅瓶並非純為陪葬而製，而為皇室之珍藏。上述梅瓶，四件發現於萬曆帝墓室，兩件於其皇后墓室。其中三件飾纏枝花卉龍紋，瓶肩及近足處環飾蓮瓣，與本品非常相近，帶萬曆年款，圖錄於《中國出土瓷器全集》，北京，2008年，卷1，圖版164-165。另一例載於《中國文物精華大全‧陶瓷卷》，香港，1993年，圖版789。明靖江王墓（廣西桂林）出土數例，斷代大明各朝，見《靖江藩王遺粹：桂林博物館珍藏明代梅瓶》，上海，2000年。北京故宮中國古陶瓷學會2000年於桂林舉行大型會議，研討上述例作、中國各地博物館館藏及出土梅瓶例，載於《中國古陶瓷研究》，第六輯，北京，2000年。

上海博物館收藏兩例，圖見陸明華，《上海博物館藏品研究大系：明代官窯瓷器》，上海，2007年，圖版3-97及3-98 ；另有一例，尺寸略小，載於《龍泉集芳：創業七十周年記念》，卷1，東京，1976年，圖版952；大衛德爵士亦故藏一例，現存於英國大英博物館，圖見《Illustrated Catalogue of Underglaze Blue and Copper Red Decorated Porcelains》， 倫敦，1976年，圖版 669；尚有一例，現藏於英國大英博物館，Jessica Harrison-Hall，《 Ming Ceramics in the British Museum》，倫敦， 2001年， 圖版11:32；再比一例，尺寸較小，售於紐約佳士得2010年3月26日，編號1356。此外，尚可參考鳳紋梅瓶例作，飾祥鳳於雲海間，瓶肩及近足處環飾相近蓮瓣紋；見東方陶瓷學會展覽《Ming Blue and White Porcelain》，倫敦，1946年，編號60，售於倫敦蘇富比1958年7月8日，編號13；另可參比三例，分別售於倫敦蘇富比2007年5月16日，編號469；香港蘇富比2005年5月2日，編號646，以及倫敦佳士得2007年5月15日，編號223。

如本品之梅瓶，以宣德年梅瓶為雛作；見一青花四爪銜芝游龍紋梅瓶，尺寸甚大，出土自景德鎮御窰宣德地層，曾展於《景德鎮珠山出土永樂宣德官窰瓷器展覽》，香港藝術館，香港，1989年，編號88。

FAQ｜明萬曆青花龍紋梅瓶

A Gilt-Bronze Mounted Blue and White ‘Dragon’ Meiping, Wanli Mark and Period

1️⃣ 這是一件什麼等級的梅瓶？

What level of meiping does this represent?

本品為明萬曆官窯青花龍紋梅瓶，帶「大明萬曆年製」六字楷書款，尺寸碩大，胎體厚實，青花發色濃豔穩定，屬萬曆官窯中等級極高、且帶明確制度背景的典型作品。此類梅瓶不屬於一般外銷或民窯系統，而是直接服務於宮廷、祭祀與皇室制度的重器。

This meiping is a high-ranking example of Wanli imperial porcelain, bearing a six-character Wanli reign mark. Robustly potted and richly painted in cobalt blue, it belongs to a small and elite group of imperial wares closely tied to court ritual, display, and dynastic symbolism, rather than to commercial or export production.

2️⃣ 為何學界與市場反覆強調「定陵出土對比」？

Why is comparison with the Dingling excavations so important?

北京定陵（萬曆帝陵）出土八件帶蓋梅瓶，其中多件在器形、紋樣配置（龍紋＋肩、足蓮瓣）、尺寸比例與本品高度一致。更重要的是，定陵中同時出現嘉靖與萬曆年款器物，顯示梅瓶並非單為陪葬而製，而是皇室長期珍藏、制度性使用後入葬，這一點徹底改變了梅瓶的功能認知。

The Dingling excavations yielded eight lidded meiping dated from the Jiajing to Wanli reigns. Their close correspondence in form, scale, and decorative scheme demonstrates that such vessels were not made solely as burial goods, but were imperial treasures used during life and later interred—fundamentally elevating their historical and cultural significance.

3️⃣ 「銜芝游龍」的圖像寓意是什麼？

What is the meaning of the ‘dragon grasping lingzhi’?

龍為皇權象徵，靈芝（芝草）則寓意長生、祥瑞與天命延續。龍口銜芝，使圖像超越單純的威權表現，而進一步轉化為對國祚延綿、皇權正當性的祝頌語言，尤其契合萬曆朝後期的政治與宗教語境。

The dragon symbolizes imperial authority, while lingzhi represents longevity and divine favor. Depicting the dragon grasping lingzhi transforms the image into a visual blessing for dynastic continuity and legitimacy—an iconography particularly resonant in the late Wanli period.

4️⃣ 為何是四爪龍，而非五爪？

Why does the dragon have four claws instead of five?

明代官窯中，五爪龍並非唯一皇權圖像。四爪龍在宮廷器物中廣泛存在，尤其見於祭器、陳設器與制度性用瓷。關鍵不在爪數，而在器物是否進入皇室制度體系；本品結合年款、形制與出土對比，其皇室屬性毋庸置疑。

In Ming imperial practice, five claws were not the sole marker of imperial use. Four-clawed dragons frequently appear on official ritual and display wares. Here, reign mark, form, and archaeological parallels firmly establish the vessel’s imperial status regardless of claw count.

5️⃣ 鎏金銅座是否影響原始性？

Does the gilt-bronze mount affect authenticity?

鎏金銅座屬後加裝置，可能為清代或近代歐洲收藏體系中的展示需求，並不屬原始燒造結構。此類加座在西方館藏與早期收藏中相當常見，並不構成對器物本體真實性的否定，但在學術研究時需清楚區分。

The gilt-bronze mount is a later addition, likely made for display purposes. Such mounts are common in Western collections and do not compromise the authenticity of the porcelain itself, though they should be distinguished from the original ceramic structure.

6️⃣ 為何博物館與重量級舊藏如此集中？

Why are so many comparable examples in major museums?

上海博物館、北京故宮、大英博物館，以及大衛德爵士舊藏，皆保存同類梅瓶，顯示此類器物在20世紀初即被視為「制度級官窯代表作」，是早期學術收藏體系優先納入的對象，而非後起市場追逐的偶然結果。

The presence of closely related meiping in institutions such as the Shanghai Museum, the British Museum, and the Sir Percival David Collection underscores their long-recognized status as canonical examples of imperial Ming porcelain.

7️⃣ 為何 38.9 萬英鎊的成交價值得注意？

Why is the £389,000 result significant?

在 2015 年倫敦市場以「高古」為主導的背景下，一件萬曆官窯梅瓶能突破估價上限成交，反映頂級明代官窯器物在制度清晰、來源可靠的前提下，仍具穩定且跨文化的吸引力。

Achieving £389,000 above estimate in a market focused on earlier periods demonstrates the sustained global appeal of top-tier Ming imperial wares when their provenance and institutional context are clear.

8️⃣ 應如何在收藏與研究中理解此類梅瓶？

How should such meiping be understood today?

此類梅瓶不宜僅作「裝飾瓷」或「龍紋官窯」概括，而應放入明代宮廷制度、陵寢考古與圖像政治的交叉脈絡中理解。它們既是器物，也是制度與權力視覺化的載體。

These meiping should be understood not merely as decorative dragon porcelains, but as material expressions of Ming imperial systems—objects where ritual, politics, and visual language converge.