A biscuit-enamelled sancai dish, Mark and period of Kangxi | 清康熙　素三彩暗雲龍花果紋盤　《大清康熙年製》款

A Japanese private collection.

Kochukyo Co., Ltd, Tokyo.

Shincho Kogei no bi [The Beauty of Qing Dynasty Art: Masterpieces of Exquisite Qing Porcelain], Osaka Municipal Museum of Fine Arts, Osaka, 1992, cat. no. 58.

Sato Masahiko, Toki Koza [Lecture of Ceramics], vol. 12: China IV. Qing dynasty, Tokyo, 1975, pl. 7.

Painted with auspicious fruits symbolising the abundance of offspring, in an elegant palette of understated beauty, the present dish belongs to one of the most representative types of porcelain from the imperial kilns of the Kangxi Emperor (r. 1662-1722). It was first incised in body, both inside and outside, with fine designs of lively dragons and inscribed on the base with the imperial reign mark in cobalt blue. Only the base was then covered with a clear transparent glaze, and the pieces submitted to a first firing at a high porcelain temperature. The biscuit-fired areas were then applied with a coating of opaque cream-coloured glaze, painted with fruiting branches in brown outlines and coloured washes and fired a second time at a lower enamel temperature.

Similar decoration can also be found on bowls, but due to the complicated and long manufacturing process, such dishes and bowls were produced in fairly small numbers. Yet they are represented in prominent museums and private collections, for example, in the Taipei Palace Museum, illustrated in Enamelled Ware of the Ch’ing Dynasty, vol. I, Hong Kong, 1969, pl. 8; in the Tokyo National Museum, included in Oriental Ceramics. The World's Great Collections, vol. 1, Tokyo, 1982, pl. 158; and in the exhibition Splendour of the Qing Dynasty, Hong Kong Museum of Art, Hong Kong, 1992, cat. no. 144.

來源

日本私人收藏

壺中居，東京

展覽

《清朝工芸の美—秀麗な清朝陶磁を中心に》，大阪市立美術館，大阪，1992年，編號58

出版

佐藤雅彦，《陶器講座》，卷12：中國IV．清，東京，1975年，圖版7

此盤繪吉祥瑞果，寓意多子多福，配色雅緻，突顯樸素低調之美，屬康熙御瓷典型，為世所慕。此類素三彩盤，紋飾獨特，技藝要求極高，難得佳器。匠人先於素胎盤內外暗刻龍紋，靈動逼真，並以鈷青書康熙年製款，僅器底施以透明釉，先經高溫窰燒，後於素燒區域塗奶白色不透明釉，以深棕繪折枝瑞果輪廓，填以各色彩料，再經二次低溫窰燒。

類似暗刻龍紋素三彩果紋，亦見於盌例，然因其燒製工序繁雜，且頗費時日，不論盌或盤，產量均甚少。世界知名博物館以及私人收藏中有數例，可資比較，例如台北故宮藏品，錄於《故宮藏瓷》，卷1，香港，1969年，圖版8；東京國立博物館藏例，載於《東洋陶磁大觀》，卷1，東京，1982年，編號158；且見一例，展於《清朝瑰寶》，香港藝術館，香港，1992年，編號144。