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大漆筆記 vol.1 2184萬港元,宋代剔彩龍紋折沿盤為什麼這麼貴? - Lacquer Notes, the Very Rare And Finely Carved Song Dynasty Polychrome Lacquer Circular 'Dragon' Dish.



該漆盤競爭過程激烈,由南京藏家、台灣藏家和香港藏家三方爭奪,最後2184萬港元成交由香港藏家奪得。中國古代漆器與皇家的關係密切,此龍盤傳承顯赫,來源清晰,實為研究中國古代宮廷文化和工藝的極佳範本資料。


宋 剔彩龍紋折沿盤

近兩次拍賣紀錄:


一、佳士得香港拍賣 2012年11月28日

千文萬華-李氏家族重要漆器珍藏 (III)


估價:港元 1,500,000 – 港元 2,000,000

成交價:港元 8,180,000


二、保利香港拍賣 2023年10月8日

估價待詢

成交價 HKD  21,840,000



D 18cm


来源

1. 伦敦苏富比,1981年7月14日,编号13

2. 李汝宽家族递藏,日本

3. 香港佳士得,2012年11月28日,「千文万华—李氏家族重要漆器珍藏 (III)」,封面作品,编号2082


展览

《宋元の美—伝来 の漆器を中心に》,日本东京根津美术馆,东京,2004年,编号114

出版

《宋元の美—伝来 の漆器を中心に》,日本东京根津美术馆,东京,2004年,编号114



盤坦底,折沿,矮圈足。通體剔彩,備紅、黑、綠、黃四色。盤心黑面雕回首龍紋,雙眼圓瞪,毛髮飛揚,肢體捲曲,手握靈芝騰躍於雲海之中。盤外壁雕菊花、茶花、荷花、牡丹等四季花卉。底髹黑漆,有牛毛斷。


明黃成《髹飾錄》曰:「剔紅,即雕紅漆也。宋元之製,藏鋒清楚,隱起圓滑,纖細精緻。」此盤漆層肥厚,由黃、紅、黑、綠等色更疊髹成,刀口圓熟。傳世宋代雕漆器如鳳毛麟角,只見剔紅、剔黑,剔彩者更為難見,實為稀世珍品。


雕漆始於唐代,興於宋、元。宋朝雕漆工藝在唐代的基礎上有了很大發展,其刀法嫻熟,藏鋒不露、磨工圓滑,在此盤上表露無遺。


此器曾於2004年展覽於日本東京根津美術館《宋元の美—伝来 の漆器を中心に》,展覽目錄114號。

展覽


The Nezu Institute of Fine Arts, Tokyo, 2004, The Colors and Forms of Song and Yuan China, Catalogue, no. 114



專文(一):


绝品——宋代剔彩灵芝云龙纹折沿盘

故宫博物院 张荣


漆器在我国已有8000年历史(1),最新考古发掘表明,浙江余姚井头山遗址出土的两件木器上的黑色涂层为天然大漆,这是迄今为止发现的中国最早的漆器,距今7800-8300年。它与传统手工艺中的陶器、瓷器、玉器等皆是中国人的发明与创造。

我国第一部见于著录的专门漆书是五代时期朱尊度撰写的《漆经》,可惜已失传。《髹饰录》是目前保存最完整的古代漆器专著,作者黄成,号大成,又名黄平沙,明代隆庆(1567-1572)前后的一位著名漆工。明天启五年(1625)《髹饰录》又经浙江嘉兴斜塘的著名漆工杨明逐条加注,并撰写了序言。黄成的《髹饰录》比较全面地记述了有关漆器工艺的方方面面。《髹饰录》共分干、坤两集,十八章,一百八十六条。《髹饰录》是今人了解中国古代漆器的发展历史、制作技艺、漆器品种的一部重要的历史文献。特别值得一提的是,当代大家王世襄先生用毕生精力为其作注,终成《髹饰录解说》,变原书隐晦难懂为通俗易懂,并引用231件文物来说明问题,并将自己多年的研究成果和《髹饰录》的内容结合起来加以分析研究,不仅提高了《髹饰录》原有的史料价值,而且使《髹饰录解说》成为一部重要的漆工艺研究著作。《髹饰录》中记载唐代已有雕漆:“剔红,即雕红漆也。髹层之厚薄,朱色之明暗,雕镂之粗精,亦甚有巧拙。唐制多印板刻平锦朱色,雕法古拙可赏;复有陷地黄锦者。(2)”


图1 宋 剔红双螭灵芝纹圆盘

©上海博物馆藏


雕漆是在木胎上或金属胎上层层髹漆,待达到一定厚度时,再按所需图案雕刻出花纹。雕漆器具有层次分明,主题突出的浮雕效果。因所雕漆色的不同,雕漆又分为剔红、剔黄、剔彩、剔绿、剔黑、剔犀等若干品种。雕漆成为唐代以降漆器的主要品种,明清时期发展到了顶峰。考古发掘尚未有唐代雕漆出土,上海博物馆收藏的剔犀云纹小盒从漆质、造型、纹样皆早于唐代,值得关注与研究(3),这件剔犀小盒是李经泽先生捐献的。


出土与传世的宋代漆器有单色素漆、描金漆、戗金漆和雕漆。雕漆只见剔红、剔黑和剔犀三个品种。浙江温州博物馆收藏有出土的剔红残片,花卉纹样雕刻的十分精美,弥补了国内出土宋代剔红漆器的空白(4)。


上海博物馆近年公布了一件非常重要的南宋剔红双螭灵芝纹圆盘(5)(图1)。宋代剔黑漆器过去一直认为主要收藏在日本,著名的有婴戏图盘和醉翁亭图盘等(6)。十几年前浙江省博物馆公布了一件北宋剔黑牡丹纹带柄铜镜盒,弥补了国内无剔黑漆器的空白(7)。


南宋剔犀漆器国内出土了十几件,主要出土地点是福州闽清、茶园山,山西大同,四川彭山,江苏武进、张家港、江阴、金坛等(8)。南宋剔彩漆器2012年在香港佳士得拍卖中亮相,即李氏家族漆器拍卖的第三场封面作品(9)。此件宋代剔彩螭龙云纹盘圆形,直径17.9厘米,折沿,平底,矮圈足。髹红、黑、绿、黄四色漆。漆匠充分利用各色彩漆,雕成一条黑色螭龙,回首,双眼圆瞪,毛发飞扬,肢体卷曲,手握灵芝腾跃于云海之中,灵芝花叶随云纹飘荡。龙身灵动自然翻转,朱黑二色随身影显色,层次分明,浑然天成。螭龙游弋在波涛汹涌的云海之中,随剔刻显现朱、黑、绿三色,画面气韵生动。剔彩最下一层以黄色为底色,在剔刻时遇黄色层则止,黄色既是装饰色也是提示色。盘外壁雕菊花、茶花、荷花、牡丹等四季花卉。底髹黑漆,有牛毛断纹。此盘2004年曾于日本东京根津美术馆展出(10)。


图2 明宣德款剔彩林檎双鹂大捧盒

©故宫博物院藏


剔彩是雕漆中的一个品种。明黄成《髹饰录》曰“剔彩,一名雕彩漆。有重色雕漆,有堆色雕漆,如红花、绿叶、紫枝、彩云、黑石、轻重雷文之类。绚艳悦目。”《尊生八笺》:“有五色漆胎,刻法深浅,随妆露色。如红花、绿叶、黄心、黑石之类,夺目可观,传世甚少”。剔彩漆器就是在器物上用不同颜色的漆,分层漆上去,每层若干道,使各色都有一个相当的厚度,然后用刀雕刻,剔彩的漆色一般有红、黄、绿、紫、黑等色,需要某种颜色时,便剔去在它以上的漆层,露出需要的色漆,并在上面雕刻花纹,一器之上具备各个漆层的颜色,达到五色灿烂的效果。


所谓红花、绿叶、紫枝、黄果、彩云、黑石就是用这种方法雕刻出来的。剔彩漆器何时出现,各种文献均无记载。在这件剔彩螭龙纹盘出现之前,最早的剔彩漆器是故宫博物院收藏的宣德款剔彩林檎双鹂大捧盒(图2)。笔者多年前曾撰文说“从这件作品的完美程度看,剔彩漆器很可能在宣德之前已出现,只是目前尚无足够的材料和实物证明,有可能在以后的考古发掘中会有早于宣德时期的剔彩作品出现。”李氏家族递藏的宋剔彩灵芝螭龙云纹盘虽不是考古发掘品,但也证明了笔者早年的判断。


历代文人、工匠对宋代雕漆无不极尽赞美之词,明张应文《清秘藏》:“宋人雕红漆器,多以金银为胎,妙在雕法圆熟,藏锋不露,用朱极鲜,漆坚厚而无敲裂痕。所刻山水楼阁人物鸟兽,俨然若图画,为绝佳耳。”明黄成《髹饰录》:“宋元之制,藏锋清楚,陷起圆滑,纤细精致。”谢堃《金玉琐碎》:“宋人有雕漆盘盒等物,刀入三层,书画极工,竞有黄金为胎者,盖大内物也。”明人陈继儒《泥古录》中记载了宋代剔红桂花香盒。


图3 北宋 定窑白釉内刻花螭荷莲纹折腰洗

©故宫博物院藏


图4 北宋 剔黑螭龙纹盒

©美国旧金山亚洲艺术博物馆藏


图5 宋 剔黑双螭龙云纹盒

©日本冈山市林原美术馆藏


图6 宋 剔黑双螭龙衔灵芝纹盒

©美国大都会博物馆藏


此件宋代剔彩螭龙云纹盘,虽为一例孤品,但从器形看,宋代定窑、钧窑皆有相同造型的盘;从纹样看,螭龙云纹与故宫博物院收藏定窑盘(图3)、上海博物馆收藏的剔红螭龙纹盘(见图1)有异曲同工之妙。还有三件海外博物馆收藏的定为宋代剔黑漆盒的纹样与该件剔彩漆盘的螭龙纹、云纹具有相同的时代风格。第一件是美国旧金山亚洲艺术博物馆藏北宋剔黑螭龙纹盒(图4),两条灵动的螭龙在云海中遨游,螭龙形象与宋代玉器纹样也相同(11)。


第二件是日本冈山市林原美术馆藏宋剔黑双螭龙云纹盒(图5),此盒通体施黑朱二色漆,黑漆雕成花纹,纹饰间露朱漆素地。盖面双螭龙皆口衔灵芝,盒壁雕饰云纹一周(12)。第三件为欧文伉俪捐赠,纽约大都会博物馆珍藏(13),盒上所雕双龙亦衔灵芝,周围祥云缭绕,深色朱漆为地,而盒身立面与盖同样饰以祥云(图6)。三件黑漆盒的造型皆相同,特别是盖的纹样,都是盖面及盖壁纹样为一体设计,李经泽先生称为“盖连肩式”。是次保利香港拍卖的宋代剔彩灵芝螭龙云纹盘,器型雅致,纹样设计精妙,螭龙灵动飘逸,历经千年,仍品相完美,堪称宋代雕漆巅峰之作。


张荣

2023年9月8日


1) 浙江省文物考古研究所将考古研究结果发表在国际期刊《Archaeometry》。

2) 张荣,《中国古代雕漆的发展》,《文物天地》2009年第3期。

3) 上海博物馆,《千文万华——中国历代漆器艺术》图44,页82。上海书画出版社,2018年11月。

4) 感谢温州博物馆吴显军老师提供帮助。

5) 上海博物馆,《千文万华——中国历代漆器艺术》图62,页104。上海书画出版社,2018年11月。

6) 东京国立博物馆,《东洋的漆工艺》,图441和图444,东京美术,1977年。

7) 石超,《浙江省博物馆藏雕漆器》,《收藏家》2011年第9期,页19-24。据说是绍兴砖瓦厂宋墓发现。

8) 陈晶,《中国漆器全集-4》,福建美术出版社,1998年。

9) 香港佳士得 2012年11月28日, “千文万华-李氏家族重要漆器珍藏 (III)”,lot2082

10) 《宋元の美—伝来 の漆器を中心に》,展览目录114号。

11) 高树经泽:《漆缘汇观录——剔黑篇》,图10,页20。未正式出版。

12) 《The Colours and Forms of Song and Yuan China》,编号 85,2004 年东京出版。

13) 高树经泽:《漆缘汇观录——剔黑篇》,图11,页22。未正式出版。



專文(二):

蘇玫瑰—國際亞洲藝術部學術總監


此宋代剔彩螭龍紋折沿盤品相絕佳,應是南宋剔彩工藝的巔峰之作。漆匠充份利用各色彩漆,雕成一條黑色蟠龍,其背景為波濤汹湧的多色波紋,畫面氣韻生動。龍的脊樑和腹部兩側均刻出朱色漆層,使其蟠曲起伏之姿更立體逼真,而崢嶸的龍首也以相同的方式來表達,效果層次分明。 這種表現技巧在宋代漆器中極為罕見,用之裝飾龍紋漆器者更是少之又少。


已發表作品中有三個類似漆盒,但其色澤略淺。三盒的蓋面各飾二螭龍,一龍盤旋而上,一龍纏繞而下。其中一例為三藩市亞洲美術館藏(見1987年臺北故宮博物院出版《海外遺珍:漆器圖集》,28頁),盒壁的螭龍盤繞縈迴,蓋面的螭龍則在雲海中翻騰游弋,其中一龍口啣三頭靈芝一朵。另一例為岡山市林原美術館珍藏,見2004年東京出版《The Colours and Forms of Song and Yuan China》,編號85,書中斷代為南宋。此盒的裝飾風格與另外二例略有不同,通體施黑朱二色漆料,黑漆雕成花紋,紋飾間露朱漆素地。蓋面雙龍皆口啣靈芝,盒壁雕飾雲紋一道。 第三例源自艾爾凡伉儷舊藏(Florence and Herbert Irving Collection),見1991年紐約出版James C.Y. Watt、Barbara Brennan Ford合著《East Asian Lacquer》,62-63頁,編號16,現為紐約大都會博物館珍藏。盒上所雕雙龍亦啣靈芝,身旁祥雲繚繞,深色朱漆為地,而盒身立面與蓋同樣以祥雲為飾。在已發表的傳世品中,尚有一例宋代剔黑波浪雲龍紋盞托,此器為香港藝術館珍藏,似乎尚未發表,但圖像可見於藝術館網站(購藏編號C1997.0008)。最引人入勝的是,其螭龍紋與本拍品一樣,皆伴以祥雲,但以海水紋為地。此外,該盞托的波浪紋是用重叠的弧線來呈現,而不似本拍品的波濤般生動立體。 早於漢代,無角螭龍這類紋飾題材已大行其道,其造型修長,龍首寬厚,尾分叉呈卷草狀,時至公元十二、十三世紀,這類裝飾題材又再度流行。《呂氏春秋》成書於公元前239年,書中的孔子自比螭龍:「龍食乎清而遊乎清,螭食乎清而遊乎濁,魚食乎濁而遊乎濁。


今丘上不及龍,下不若魚,丘其螭邪。」古代文獻常將螭與水相提並論,可見此盤的海水螭龍紋其來有自。許多古籍均提到螭龍體黑,所以宋代漆器皆奉此為圭臬。即使漆層顏色不一,但雕成龍身的面漆確以黑色居多。 定窰宋瓷常以螭紋為飾,而且同樣是以海水紋作為襯托。以臺北故宮博物院藏刻花定窰盌(見2000年台北出版《千禧年宋代文物大展》,163頁,圖III-17)為例,其蟠螭在蓮池游弋。臺北故宮尚有一件印花定窰盤(見前述著作,237頁,編號IV-55),其盤心飾二螭,輔以海水祥雲紋,內壁四螭纏繞盤旋,其螭紋造型與本拍品及上述多例漆盒如出一轍。 螭紋也是常見的玉器紋飾。漢代的螭龍裝飾大多是立體浮雕,就此可證諸當時的玉璧,《Chinese Jade Throughout the Ages》展覽便有二例(見1975年倫敦出版展覽圖錄,編號97、98),或用作小型器物的獸耳。時至宋代,螭龍間或也會以立體造型裝點仿古之作,但更常見的是以淺浮雕的形式裝飾器表,就此可參見北京故宮博物院的兩件白玉佩(見1995年香港出版故宮博物院藏文物珍品全集《玉器‧下》,編號64、69)。 古時「螭」與「魑」通,後者泛指鬼怪,但螭龍一直被視為祥瑞之徵。相傳,螭龍還可辟邪消災。它們經常像本拍品的蟠螭般口啣或足踏靈芝,暗指長生不老。螭紋寓意吉祥,而且與海水波紋搭配得宜,用之裝飾各類器物,可謂最適合不過。至於雕工精絕如本拍品的宋代作品,即使時至今日,其生動傳神處仍令人愛不釋手、回味再三。



A Rare Song Dynasty Dragon Dish Rosemary Scott, International Academic Director, Asian Art


This exceptional dish is arguably one of the finest examples of Southern Song dynasty polychrome lacquer carving. The lacquer artist has fully utilised all the colours to create a vibrant design in which the black writhing dragon appears against a turbulent background of multicoloured waves. The powerful arch of the creature's back is highlighted by the red lacquer revealed on either side of the spine and belly, while the angular head is brought to visual prominence in the same manner.


This technique is very rare amongst Song dynasty lacquers, and those decorated with chi dragons even more so, Three boxes of this type have been published, but the colours on these are somewhat more muted. The tops of all three boxes are decorated with two chi dragons - one ascending and one descending. One of these boxes is in the Asian Art Museum of San Francisco (illustrated in Chinese Art in Overseas Collections - Lacquerware, Taipei, 1987, p. 28). The San Francisco box also has chi dragons perambulating around the sides of the box. The dragons on the top of the lid are shown amongst scrolling clouds, and one of the dragons holds a three-headed lingzhi fungus in its mouth.


Another box is in the Hayashibara Art Museum in Okayama (illustrated in The Colours and Forms of Song and Yuan China, Tokyo, 2004, no. 85, where it is dated to the Southern Song dynasty). This example is of a slightly different style to the others in the group and is executed in black and red lacquer with the design appearing in black against a red ground. Both dragons on the lid of this box carry lingzhi fungi in their mouths. The sides of this box are decorated with a band of clouds. A third box is in the collection of the Metropolitan Museum of Art, New York. This box from the Florence and Herbert Irving Collection, is illustrated by James C.Y. Watt and Barbara Brennan Ford in East Asian Lacquer, New York, 1991, pp. 62-3, no. 16. Again, both dragons carry lingzhi in their mouths and appear amongst scrolling clouds on a dark red ground.


Clouds also adorn the sides of both the box and the cover. One further example of Song carved lacquer decorated with chi dragons is known. This is a cup stand in the collection of the Hong Kong Museum of Art, which does not appear to have been published but which can be seen on the museum's website - acquisition number C1997.0008. The chi dragons on this cup stand are of particular interest in that, like those on the current dish, they are shown with clouds, but against a background of waves. In the case of the cup stand the waves are shown as linear overlapping arcs, as opposed to the higher relief turbulent waves on the dish. The slender chi dragon with blunt head and bifurcated tail was a popular motif during the Han dynasty, and once again gained popularity as a motif on the decorative arts in China during the 12th and 13th centuries.


In the Lushi Chunqiu (The Spring and Autumn Annals of Master Lu), compiled around 239 BC, Confucius is reported to have compared himself to a chi dragon. He notes that a long dragon eats and swims in clear water; a chi dragon eats in clear water, but swims in muddy water; and a fish eats and swims in muddy water. Confucius admits that he has not risen to the level of a long dragon, but has not descended to the level of a fish, so regards himself as being on a level with a chi dragon. The association of this type of dragon with water occurs quite frequently in ancient texts and thus the fact that the chi dragon on the current dish appears amongst waves is wholly appropriate. Such dragons are also often described as black in ancient literature, which is also reflected in their colouration on Song lacquer wares.


Although the lacquer is applied in layers of different colours, the top layer, which gives the dragon his main colour, is usually black. One of the fine Song ceramic wares on which chi dragons often appear is Ding ware, and here too the dragons are often shown in association with water. A Ding ware bowl with incised decoration in the collection of the National Palace Museum, Taipei (illustrated in China at the Inception of the Second Millennium - Art and Culture of the Sung Dynasty, Taipei, 2000, p. 163, no. III-17) even shows a chi dragon swimming in a lotus pond. A moulded Ding ware dish in the same collection (illustrated ibid., p. 237, no. IV-55) depicts two chi dragons in the centre with waves or clouds, and four more perambulating around the interior sides of the dish. The postures of these dragons is very similar to that of the chi dragons on the current dish and the boxes discussed above. Chi dragons were also popular motifs on jade. In the Han dynasty they were often carved as three-dimensional decorations, especially on archaistic bi discs, such as the examples in the exhibition Chinese Jade Throughout the Ages, London, 1975, nos. 97 and 98, or providing the handle for small vessels.


In the Song dynasty they also occasionally appear carved three-dimensionally on archaistic vessels, but are more frequently seen in low relief surface decoration, as on two white jade plaques in the collection of the Palace Museum, Beijing (illustrated in The Complete Collection of Treasures of the Palace Museum, Jadeware (II), Hong Kong, 1995, nos. 64 and 69. While their etymology may suggest otherwise, chi dragons have long been regarded as auspicious creatures. They were believed to have the power to combat evil and prevent disasters. Like the chi dragon on the current dish, they often carry a spray of lingzhi fungus either in their mouths or in their claws which links them with a wish for long life. These features, combined with their association with water, commended them as ideal motifs for the decorative arts, and, as can be seen on the current dish, when carved by a skilled craftsman they could attain a vitality which as impressive today as it was in the Song dynasty.


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