青花纏枝牡丹紋葫蘆瓶葫芦瓶

Description

青花纏枝牡丹紋葫蘆瓶

参考：佳士得
28 3月 2006 | 現場拍賣 1639
拍品 421 元 青花葫芦瓶
AN IMPORTANT LARGE EARLY BLUE AND WHITE DOUBLE-GOURD VASE
THE PROPERTY OF A PRIVATE COLLECTOR
YUAN DYNASTY, MID-14TH CENTURY

成交價 USD 2,032,000
估價 USD 1,000,000 – USD 1,500,000

細節
AN IMPORTANT LARGE EARLY BLUE AND WHITE DOUBLE-GOURD VASE
YUAN DYNASTY, MID-14TH CENTURY
The body and neck dramatically painted with a bold overall pattern of tree peony rising from two pierced garden rocks on opposite sides of the base, the voluptuous blossoms depicted in bud, in full bloom and as if viewed from different angles, the leaves and petals unusually combed with very dense, naturalistic veins showing through a heavily ‘heaped and piled’ underglaze blue of a deep and exceptionally vibrant color, with extensive blue flecks from excess cobalt around the design, the base unglazed within the shallow-cut, broad foot ring
20 1/8 in. (51 cm.) high

來源
The Property of a Private Collector; Christie’s, London, 13 December 1982, lot 500.

出版
Christie’s Review of the Season 1983, p. 366.
A. du Boulay, Christie’s Pictorial History of Chinese Ceramics, New Jersey, 1984, p. 114, fig. 2.

拍品專文
A Magnificent and Rare Yuan Dynasty Double-gourd Vase
Rosemary Scott, Senior Academic Consultant, Asian Art Departments

This magnificent double-gourd vase, which combines a monumental form with an unusual, freely disposed scrolling decoration painted in a deep, brilliant, cobalt blue, would have been an important and expensive commission when it was made in the mid-fourteenth century. Both its form and its decoration are very rare among Yuan dynasty blue and white porcelains. It has become clear from the material excavated at the site of the imperial kilns in recent years that certain shapes and decorative motifs became established in this period and were then carried on into later dynasties. The large double-gourd vase form and the overall split-peony scroll motif fall into this category. The current double-gourd peony vase is an exceptionally rare vessel combining both features.

It may be noted that relatively few large double-gourd vases are known from the Yuan period, and the majority of them are octagonal. Among the best known of these are the octagonal vase with insect and bird decoration in the Kikusui Kogeikan Museum, Yamagata Prefecture, Japan illustrated by Tsugio Mikami (ed.), Sekai Toji Zenshu, vol. 13, Liao, Jin, Yuan, Tokyo, 1981, pp. 78-9, fig. 61 and 62; the octagonal vase with ogival panels containing insects, reptiles and plants in the collection of the Topkapi Saray, Istanbul illustrated by J. Ayers and R. Krahl, Chinese Ceramics in the Topkapi Saray Museum Istanbul, vol. 2, Yuan and Ming Dynasty Ceramics, London, 1986, no. 577; and the octagonal double-gourd vase from the same collection decorated with birds, flowers and fruit illustrated by Zhu Yuping, Yuandai qinghua ci, Shanghai, 2000, p. 139, no. 6-15. The remains of a fourth octagonal double-gourd vase can be found in the collection of porcelains from the Ardebil Shrine, now in the Iran Bastan Museum in Teheran. Although only the lower part (height 34 cm.) of the Ardebil vase has survived, it shares with the current vase a well-developed split-peony scroll, albeit confined to a single band. See John A. Pope, Chinese Porcelains from the Ardebil Shrine, London/New Jersey, 1981, p. 27.

Another broken double-gourd vase, which provides an interesting comparison with the current vase is in the Villanueva Collection in the Philippines. Like the Ardebil octagonal vase, the Villanueva piece has retained only its lower section. See Consuelo Abaya, The Villanueva Collection of Oriental Pottery, Philippines, 1974, p. 11. It is, however, interesting in two respects, firstly because it is not faceted but round in section, and secondly because its decoration comprises a single scrolling motif. In this case the scrolling motif is of gourd vines, but their disposition over the surface of the vessel has the same freely undulating quality seen on the current double-gourd vase. A much more modest, but less damaged, double gourd-vase of round section is also in a Philippine collection. See L. Gotuaco, R. C. Tan and A. I. Diem, Chinese and Vietnamese Blue and White Wares Found in the Philippines, Makarti City, 1997, no. Y28. This vase is much smaller than the current example, and has more simply painted decoration, but even among the smaller Yuan porcelains double-gourd vases are rare. Small double-gourd ewers are encountered more frequently, but these are usually simple in both potting and decoration.

The only directly comparable vase to the current piece is in the Topkapi Saray collection, illustrated by Ayers and Krahl, op. cit., p. 406 (col. pl.), p. 500, pl. 580. This Topkapi vase shares with the current vase its size, form and decoration. In the 19th century, the Ottoman owners of the Topkapi vase had it mounted with a very elaborate, finely wrought, silver neck rim and domed cover. This may be seen as an expression of their great admiration for the vase. Even the Topkapi vessel, however, does not share the extravagant use of fine cobalt seen on the current vase. It is worth bearing in mind that all the cobalt used at the Jingdezhen kilns in the Yuan period was imported and exceedingly expensive. Its use was strictly controlled and one of the suggested reasons for the abandonment of decoration reserved in white against a blue ground in the mature Yuan style was related to the cost of the cobalt. The extremely generous use of high-quality cobalt on the current vase, which accounts for the jewel-like quality of its decoration, would have made this a very precious vessel even when it was first produced. The decorator’s brush was so laden with cobalt that tiny specks of blue have fallen on some of the upper surfaces of the vase. This is a phenomenon which does occasionally occur on fine Yuan dynasty porcelains, as can be seen, for example, on the fragment of a large, very handsome, dish excavated from the Hutian kiln site. See Jingdezhen Institute of Ceramic Archaeology and Fung Ping Shan Museum, Ceramic Finds from Jingdezhen Kilns, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1992, no. 136.

The decoration on the current double-gourd vase is particularly well adapted to this form, but is rare on Yuan porcelains. Most Yuan blue and white wares have bands of decoration. Thus the use of a single motif in the form of a freely disposed, undulating peony scroll, both on this vase and the similar piece in the Topkapi Saray Museum, is particularly rare. Such treatment of vertical forms is not without precedent, however. There is a group of pear-shaped vases (yuhuchun) from the fourteenth century, which are also decorated with a single scrolling motif. One such vase in the Philippines is covered with a well-painted lotus scroll, see L. Gotuaco, R. C. Tan and A. I. Diem, op. cit., no. Y16; another in the Nelson Atkins Museum in Kansas City, Missouri, which has a white peony scroll reserved against a background of painted blue waves, is illustrated by Tsugio Mikami, op. cit., no. 209; while a third vase is decorated with a scrolling melon vine is illustrated, no. 210. A further pear-shaped vase, which was excavated in Southeast Asia, has been decorated, like the Kansas City example, with a peony scroll reserved in white against a ground of underglaze blue formal waves composed of concentric arcs. See Zhu Yuping, Yuandai qinghua ci, op. cit., p. 274, no. 10-8. Two late Yuan or early Ming blue and white pear-shaped vases have been published which are completely decorated with chrysanthemum scrolls. One of these in the Art Institute of Chicago is illustrated in Masterpieces of Chinese Arts from the Art Institute of Chicago, Museum of Oriental Ceramics, Osaka, 1989, p. 96, no. 84, and the other in the collection of the British Museum is illustrated by J. Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, p. 72, no. 1:27.

A few other forms are occasionally decorated all over without minor bands and with a single theme, such as the guan jar in the Fitzwilliam Museum, Cambridge decorated with ducks on a lotus pond illustrated ibid. no. 192, or the flattened flask in the Ardebil collection with phoenixes and baize amid peony scrolls (see John A. Pope, op. cit., plate 29, no. 29.475). Apart from the current vase, the Topkapi double-gourd vase, and the lower section of a double-gourd vase with scrolling gourd designs in the Villanueva collection, no other Yuan dynasty blue and white double-gourd vases with non-banded, single theme decoration appear to have been published.

The peony scroll on the current vase is of special interest for several reasons. The peonies are depicted growing from rocks painted at the lower edge of the vase. These rocks are interesting because they provide additional information regarding the date of the vase. The majority of ornamental rocks on Yuan dynasty blue and white wares appear on large dishes dating to the second quarter of the fourteenth century. These rocks, like that on the large dish in the Burrell Collection, Glasgow, illustrated by R. Marks, R. Scott, B. Gasson, J.K. Thomson and P. Vainker, The Burrell Collection, London/Glasgow, 1984, p. 52, p. 16, are generally somewhat rounded in profile and without perforating holes. The few rocks which appear on Yuan blue and white porcelains of the mature period in the middle of the century are of a different style. These have sharply angled profiles and are perforated with holes. It is this latter type of ornamental rock which appears on the double-gourd peony vase, and suggests a mid-fourteenth century date for the current vase. Such rocks are the predecessors of the type seen on both underglaze blue and underglaze red-decorated ewers of the early Ming Hongwu reign. An underglaze blue example excavated from the site of the imperial kilns at Zhushan, Jingdezhen is illustrated in Imperial Hongwu and Yongle Porcelain Excavated at Jingdezhen, Chang Foundation, Taiwan, 1996, no. 2, while an underglaze red example from the Matsuoka Museum of Art, Tokyo, is illustrated by Ryoichi Fujioka and Gakuji Hasebe in Sekai Toji Zenshu, vol. 14, Ming Dynasty, Tokyo, 1976, fig. 12. The rare painted rocks of the mature Yuan porcelains are therefore important steps in the development of painting style in the second half of the fourteenth century.

The form of the peonies themselves is also significant. They are richly and elegantly painted, showing several views of the blossom: some directly from above, some in three-quarter view, and some in profile with the lower petals separating from the upper, in the style known as ‘split peony’. This varied peony scroll is typical of accomplished Yuan style. The final point to mention about this peony scroll is the use of parallel lines incised into the body of the vase beneath the cobalt. In the mid-fourteenth century this combed texture was used to great effect on leaves and petals of peony scrolls on large vertical forms. These can clearly be seen on a guan jar illustrated by Wang Qingzheng (ed.) in Qinghua Youlihong, Hong Kong, 1987, no. 22. Since the lines were incised into the body before the cobalt was applied, additional cobalt ran into these lines giving the appearance of even deeper colour. Thus rich blue vein lines are seen on the flowers and leaves. This feature is discussed in detail by Margaret Medley in Yuan Porcelain and Stoneware, London, 1974, p. 55.

This handsome and extremely rare double-gourd vase is a superb example of underglaze blue decoration in the mature Yuan style of the mid-fourteenth century. The fact that the decorator was allowed to be so extravagant in his use of the precious cobalt is an indication of the importance of the piece at the time it was made, suggesting that it was a special commission for a patron of considerable social standing.

参考：Day-1 SOUTHEAST REGIONAL CHINESE ANTIQUES
by Lauren Gallery
November 19, 2021, 9:00 AM EST
Roswell, GA, US
Asian Art & Antiques Chinese Art & Antiques Ceramics & Pottery
Lot 64: 元 青花葫芦瓶
YUAN BLUE AND WHITE GOURD BOTTLE

Description
Chinese Yuan Dynasty Blue and White Flowers Porcelain Gourd Bottle Vase. The porcelain potted in a shape of double gourd bottle vase, with two bulbous bellies conjoined together, round opening lip, raised on round foot base and slighty concave. Hand painted ornamentations are rendered in clean white base color which contrast against blue fine color, depicted of peony flowers blooms interspersed foliage and scrolling interlocking tendril. Blue and white porcelain in Chinese it is called Qing Hua Ci. It is the most important variety of China’s porcelain. It was originated in the Yuan Dynasty. The underside unglazed, revealed the pale-creme ground revealed and dark greyish brown spotted firing marks and edge-cut foot rim.

Dimensions Height: 59.5 cm, Diam: 34.7cm

Condition Report
Over all in EXCELLENT condition. LAUREN Galleries provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

Provenance
From private collectors in Gables Estates, Miami, Florida.

参考：高安市博物馆
元 青花云龙纹兽耳衔环盖罐

1980年11月29日，在江西省高安县城南，江西第二电机厂的一个基建工地中，建筑工人发现了一个大型窖藏。随后出土元青花、釉里红瓷、卵白釉瓷、龙泉窑青瓷、钧窑瓷器239件，其中元青花有19件，其质量之精，器型之美为世人称奇。随后，由于安全因素和展出条件不足，出土的包括高足杯9件、云龙纹盖罐1件、云龙纹荷叶盖罐2件、云龙纹带盖梅瓶3件、缠枝牡丹梅瓶3件和蕉叶纹花觚1件在内的珍贵元青花，被用一米厚的钢筋混凝土储存仓秘密封存于地下，期间除了少数几件借调去外地以及出国展出外，从未同时向观众展出。

2010年，中央及地方政府出资5000多万元，开始建设高安元青花博物馆，2015年8月，珍藏了35年的国宝终于与观众见面。

通高46.5cm

该盖罐采用五段抖接成型。盖呈盔状，直壁，莲苞钮，内带子口。罐洗口，束颈，溜肩，肩部两侧各贴塑模印铺首一只，铺首口中穿铜环各一，鼓腹，腹下渐收，广底浅圈足，涩胎见旋纹、积釉斑。内壁荡釉法施釉，内底见刷釉痕。

以钮尖为中心青花绘向心式弧线，盖面饰变体覆莲纹，花瓣内绘杂宝纹，盖沿绘卷草纹一道，外壁饰回纹一周。口沿绘回纹一周，颈部绘缠枝菊纹一周，罐身纹饰分为四段，中间两段为主体纹饰依次为云龙纹、缠枝牡丹纹一周，首尾两段为辅助纹饰，罐身首段绘变体覆莲纹一周，花瓣内填绘杂宝纹，末段绘变体仰莲纹一周，花瓣内绘变形花头和垂珠纹。

参考：高安市博物馆
元 青花云肩牡丹纹带盖梅瓶 （“禮”字） 带盖梅瓶（“樂”字）

通高48cm

该梅瓶采用五段抖接成型。小口，唇口平折，短颈，丰肩，圆鼓腹下收，矮圈足稍外扬，修胎规整，有跳刀痕，底足中部有一支钉点，配覆杯型盖。盖呈盔状，花苞宝珠钮，子母口套合结构，子口呈锥管状。内壁素胎，一侧墨书楷体“禮”字，瓶底由于年代久远，土壤侵蚀等诸多因素墨书字体无存。

以瓶盖花苞钮尖为中心，青花绘花苞脉弧线，外壁绘覆莲纹一周，莲瓣内填云头托垂珠纹。梅瓶主要纹饰大致分三段，腹部为主体纹饰绘缠枝牡丹纹一周；肩部绘四如意云肩纹，内以海水纹地、蓝地白花荷叶及荷花纹为饰，云肩纹间以折枝灵芝纹；胫部仰莲纹一周，莲瓣内填绘变形花头及垂珠纹。段与段之间，分别用卷草、菱形纹、弦纹、双弦纹相间。该梅瓶主次纹饰多达十层。

该梅瓶小口，唇口平折，短颈，丰肩，圆鼓腹下收，矮圈足稍外扬，修胎规整，出现跳刀痕，底足中部有一支钉点，配覆杯型盖。盖呈盔状，花苞宝珠钮，子母口套合结构，子口呈锥管状，内壁素胎，壁上墨书一楷体“樂”字，瓶底由于年代久远，土壤侵蚀等诸多因素墨书字体几乎无存。

参考：故宫博物院
【青花鱼莲纹罐】

青花鱼莲纹罐，元，高31厘米，口径21厘米，足径20.3厘米。

罐唇口，短颈，溜肩，鼓腹，浅宽圈足。砂底上有不规则的 釉斑。通体青花装饰。颈部绘海水浪花纹，肩部绘缠枝牡丹纹，腹部绘莲池鱼藻纹，近足处绘卷草纹和仰莲瓣纹。

此青花罐以写实手法描绘鲭、鲌、鲤、鳜四条鱼游弋在莲花水池中，青花发色浓艳，使人赏心悦目。绘有鱼莲纹的元代青花罐，在日本大阪市立东洋陶瓷美术馆、日本出光美术馆、土耳其托普卡匹•撒莱博物馆等单位均有收藏。

撰稿人：吕成龙
关键词： 青花 缠枝 鱼藻纹 卷草纹 卷草 莲瓣纹

参考：故宫博物院
【景德镇窑青花飞凤麒麟纹盘】

青花飞凤麒麟纹盘，高7.9厘米，口径46.1厘米，足径26.1厘米。

盘折沿，菱花式口，盘心坦平，圈足。通体施青白釉，底素胎无釉。盘内外绘青花纹饰多层。折沿上绘卷草纹，内壁青花网纹地上突出白色缠枝牡丹纹，盘心边缘环以卷草纹，中央青花地烘托麒麟、翔凤各一，空间衬以白色的莲花及朵云纹。盘外壁绘缠枝莲纹。

此器青花发色纯正，构图严谨。盘心纹饰寓意“威凤祥麟”以示天地祥和。元代青花瓷器装饰有两种形式：一种是以青花料直接在白色胎体上描绘纹饰。另一种是以青花为地，衬托白色花纹。这种装饰形式始于元代。留白纹饰都有凸起。此盘即为蓝地白花器之代表作。

撰稿人：徐巍
关键词： 青花 麒麟 青白釉 卷草纹 卷草 缠枝 缠枝莲 花瓷

参考：故宫博物院
【景德镇窑青花凤穿牡丹纹执壶】

青花凤穿牡丹纹执壶，元，通高23.5厘米，口径4.7厘米，足径7.3厘米。

壶直口，口下渐展，粗颈，垂腹，腹下内敛，圈足微外撇。腹一侧置上细下粗的长弯流，流上绘火云纹。另一侧置曲柄，上端有小系，柄上绘银锭、宝钗等纹饰。附平顶盖，有圆珠纽，盖上绘菊瓣纹。圈足内施白釉，无款识。器身于青白釉下满饰青花纹样，腹两面均绘凤穿缠枝花卉纹，间以火珠云及竹石纹。

此壶通体花纹满密，而主体纹样突出，繁而不乱。青花色泽浓艳亮丽，是传世的元代青花瓷器中少见的佳作。

此器形为元代瓷器的流行样式，除青花器外，还见有龙泉窑青釉制品。造型源自阿拉伯民族使用的铜器。元代瓷器借鉴这种造型时，特别注意到吸取蒙古民族铜壶粗犷豪放的风格特点。

撰稿人：王健华
关键词： 青花 凤穿牡丹 执壶 小系 圆珠 青白釉 缠枝 花卉 花瓷 龙泉窑 青釉

参考：故宫博物院
【景德镇窑青花鸳鸯荷花（“满池娇”）纹花口盘】

青花鸳鸯荷花（“满池娇”）纹花口盘，元，高7.3厘米，口径46.4厘米，足径29.8厘米。

盘十六瓣菱花口，折沿，浅弧壁，圈足，内外青花装饰。内底绘两只鸳鸯游弋在莲池中，一鸳、一鸯顾盼生情。内外壁均绘缠枝莲纹，茎上均结有六朵盛开的莲花。折沿上绘菱形锦纹。圈足内无釉。圈足内墙斜削。

此盘上的主题纹饰为内底所绘人们喜闻乐见的莲池鸳鸯图，这种莲池小景是元代青花瓷器上常见的装饰题材。有的只绘莲池，有的在莲池中绘有禽鸟（只见鸳鸯、鹭鸶），多画在大盘、大碗的内底，亦有画在八棱大罐外壁开光内者。

这种“池塘小景”即古代文献中所记载织绣品上的 “满池娇” 纹样。早在南宋吴自牧撰《梦梁录》卷十三“夜市”条中记载当时临安夜市夏秋售卖的物品中就有“挑纱荷花满池娇背心”。元代画家柯九思（1290～1343年）《宫词十五首》中曰：“观莲太液泛兰桡（ráo 音娆，划船的桨），翡翠鸳鸯戏碧苕。说与小娃牢记取，御衫绣作满池娇。”柯氏自注云：“天历间，御衣多为池塘小景，名曰‘满池娇’。”因“天历（1328～1331年）”系元文宗图帖睦尔的年号，这说明文宗皇帝的御衣上有“满池娇”图案。元代《可闲老人集》（卷二）载：“鸳鸯鸂 满池娇，彩绣金茸日几条。早晚君王天寿节，要将着御大明朝。”由此可见，“满池娇”是一种宫廷服装图案的名称，描绘的是池塘中的花、鸟景色。

撰稿人：徐巍
关键词： 青花 缠枝 缠枝莲 花瓷 开光 柯九思 图帖睦尔

参考：故宫博物院
【景德镇窑青花缠枝牡丹纹罐】

青花缠枝牡丹纹罐，元，高27.5厘米，口径20.4厘米，足径19厘米。

罐直口，短颈，溜肩，鼓腹，浅圈足，砂底。内外施白釉，外壁以青花为饰，自上而下用青花双弦线分隔成4个纹样带。颈上绘缠枝栀子花，肩部绘缠枝莲花，腹部绘缠枝牡丹，近足处绘仰莲瓣。

这件青花罐造型饱满庄重。青花色调明艳，呈宝石蓝色而带黑色斑点，表明使用的是外来青料。画笔流畅，构图繁而不乱，每层纹饰之间因有弦纹相隔，既突出了主题图案，又增加了画面的层次感。
撰稿人：刘伟

关键词： 青花 缠枝 缠枝莲 弦纹

参考：北京故宫博物院
元青花缠枝牡丹云龙纹罐

参考：PDF 文件 元青花瓷器制作中的差异现象研究 ——由高安馆藏元青花荷叶盖罐谈起 (江西省高安市博物馆 江西高安 330800）

参考：高安馆藏 元 青花云龙纹荷叶盖罐 

通高36.8cm

盖呈覆荷叶状，钮作卷曲莲杆状把柄，置有子口。该荷叶盖罐为广口,溜肩，鼓腹, 腹下渐收，胫部略外扬，浅圈足，足部有一支钉点呈内凹状，圈足修胎工艺欠规整，胎呈浅黄色，见积釉斑。该器内见刷釉痕。

该罐纹饰构图疏朗,别出心裁，有别于众多元青花布局繁缛的特点。盖面的四向分别绘有鳜鱼、青鱼、鲶鱼及螃蟹一只，穿戏叶脉之中。盖罐口部绘二方锦地纹一周，罐身仅有三段纹饰，腹部为主体纹饰，绘两条云龙纹；肩部、胫部为辅助纹饰，肩部绘缠枝牡丹一周;胫部绘仰莲纹一周，莲瓣内填绘花头及垂珠纹。

参考： 上海博物馆
元 景德镇窑青花缠枝牡丹纹瓶
年代：元

尺寸：高42.1厘米，口径5.5厘米，足径14厘米

标签：
元 景德镇窑 青花瓷 缠枝牡丹纹 梅瓶 花

简介
此瓶外壁自上而下以青花绘制纹饰五层，依次为：杂宝纹、缠枝莲纹、缠枝牡丹纹、卷草纹、变形莲瓣纹。主次分明，繁而不乱。青花呈色青翠浓艳，可见铁锈斑痕，胎体细密坚致，造型丰满。土耳其托布卡比宫藏有与此瓶造型、纹饰都极为相似的梅瓶。

国内江苏句容房家坝元代窖藏、江西高安元代窖藏、江苏南京江宁县沐英墓、沐晟夫妇合葬墓、湖北钟祥郢靖王墓曾出土过数只元青花梅瓶，纹饰有龙纹、花卉纹、人物纹等。

参考：上海博物馆
元景德镇窑青花缠枝牡丹纹罐
年代：元

重量：5270g
尺寸：高27.5cm 口径20.7cm 底径18.6cm

标签：
元景德镇窑青花缠枝牡丹纹罐

参考：佳士得
2 6月 2015| 現場拍賣 3433
中國宮廷御製藝術精品
重要中國瓷器及工藝精品
拍品 3224
A LARGE BLUE AND WHITE INSCRIBED DOUBLE-GOURD VASE
PROPERTY FROM A SOUTHEAST ASIAN PRIVATE COLLECTION
明嘉靖 青花「風調雨順國泰民安」葫蘆式大瓶 六字楷書款
JIAJING SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1522-1566)

成交價 HKD 1,120,000
估價 HKD 1,000,000 – HKD 1,500,000

明嘉靖　　 青花「風調雨順國泰民安」葫蘆式大瓶　　 六字楷書款
JIAJING SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1522-1566)

來源
倫敦佳士得，1984 年6 月20 日，拍品308 號 佛羅里達私人珍藏，紐約佳士得，1989 年12 月2 日， 拍品290 號 香港佳士得，2003 年10 月27 日，拍品620 號

展覽
英國薩塞克斯大學Barlow 珍藏

狀況報告
We have sought to record changes in the condition of this piece acquired after its initial manufacture.
– The cylindrical neck has been restored and overpainted.
– There are 3 hairline cracks radiating upwards from the foot and a portion of the luting line on the foot has been overpainted.
– There is an original potting flaw on the base which appears to have been lacquered.

拍品專文
The characters on the upper bulb read Fengtiao Yushun, ‘Soft wind and gentle rain’, and on the lower bulb, Guotai Minan, ‘May the country prosper and the people enjoy peace’.

Compare three other very similar double-gourd vases: the first illustrated by J. Ayers, The Baur Collection, Geneva, 1974, vol. 2, fig. A157; the second at the Princesschof Leeuwarden, illustrated by N. Ottema, Chinesche Ceramik Handboek, Amsterdam, 1946, pl. 134; and the last one sold at Christie’s New York, 5 June 1986, lot 290.

参考：故宫博物院
明成化【青花缠枝莲纹葫芦瓶】

青花缠枝莲纹葫芦瓶，明成化，高41厘米，口径6厘米，足径16.5厘米。

瓶呈葫芦式，小口，束腰，双球形腹，圈足。圈足内无釉露胎。通体青花装饰，青花呈色蓝中泛灰。上、下腹部均绘缠枝莲纹，口部绘回纹、覆莲瓣纹，束腰处绘仰莲瓣纹和覆变形莲瓣纹，近底处绘如意云头纹。 五款。

此瓶形体秀美，上下比例协调，线条自然流畅，青花发色淡雅。传世的明代成化青花瓷器多为盘、碗、杯等小件器皿，此器为当时较大的器物。葫芦与道教有关，莲花是佛教圣花，葫芦瓶上画莲花，是成化时佛、道合一的体现。

撰稿人：陈润民
关键词： 青花 缠枝 缠枝莲 葫芦瓶 葫芦式 束腰 回纹 莲瓣纹 成化青花

参考：佳士得
13 9月 2012 | 現場拍賣 2580
重要中國瓷器及工藝精品 (1 及 2)
拍品 1426
A RARE SMALL BLUE AND WHITE DOUBLE-GOURD VASE
THE PROPERTY OF A GENTLEMAN
明嘉靖 青花仙鶴紋葫蘆小瓶 六字楷書款
JIAJING SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1522-1566)

成交價 USD 80,500
估價 USD 20,000 – USD 30,000

明嘉靖 青花仙鶴紋葫蘆小瓶 六字楷書款

來源
Sotheby Parke Bernet, Hong Kong, 24 November 1981, lot 60.
Tsui Museum of Art, Hong Kong, acquired in 1991.

狀況報告
We have sought to record changes to the condition of this piece acquired after its initial manufacture.
There are small shallow chips to the bottom of the foot which may be original to manufacture. There are a few minute pinprick burst glaze bubbles on the body. There is a small iron spot on the upper bulb below the rim. There is some minor fritting to the inner edge of the mouth rim. The vase is well potted and nicely painted.

参考：苏富比
中國藝術珍品
11 九月 2019 • 紐約
885
明嘉靖 青花祝壽紋大葫蘆瓶

估價 15,000 – 25,000 USD
已售出 18,750 USD

参考：佳士得
7 12月 2017 | 網上拍賣 15031
中國藝術：冬季網上拍賣
拍品 106
北歐私人珍藏
明嘉靖 青花纏枝蓮紋葫蘆瓶
JIAJING PERIOD (1522-1566)

成交價 USD 6,000
估價 USD 2,000 – USD 3,000

明嘉靖 青花纏枝蓮紋葫蘆瓶
JIAJING PERIOD (1522-1566)
13¾ in. (35 cm. high)
拍品賣家為： Christie’s eCommerce SA

狀況報告
拍品的狀況可能存在極大差異，而由於其性質使然，拍品難以處於完美無瑕的狀態。拍品均以拍賣時的狀況出售。

We have sought to record changes in the condition of this piece acquired after its initial manufacture.
– There is a star crack to the lower body (the cracks extending approx. ¾ around the circumference of the lower section) with associated losses.
– There are two tiny flake chips to the mouth rim (max. approx. 0.3 cm.)
– There are hairline cracks to the base.
– There is minor surface wear consistent with age.

拍品專文
此次榮幸呈獻一位北歐藏家所珍藏的中國藝術品及家具。

拍品是1950年代，該藏家供職於北歐駐華使館時所獲得。時值眾多西方外交使節收藏中國藝術的潮流，他開始購買中國藝術品，用於室內裝飾。藏品精美典雅，主要來源於當地藝術畫廊及古董店鋪。此次拍品不僅是他們日常生活的寫照，更見證了一代藏家的不凡眼光與高雅品味。

参考：苏富比
Two Americans in Paris, The Collection of Sam and Myrna Myers
4 November 2021 • 10:00 GMT • London
拍品 361
A blue and white ‘crane’ double gourd vase Mark and period of Jiajing
明嘉靖 青花云鹤八卦紋瓶 《大明嘉靖年製》款.

估價：15,000 – 20,000 GBP
拍品已售 75,600 GBP

詳情
A blue and white ‘crane’ double gourd vase
Mark and period of Jiajing
明嘉靖 青花云鹤八卦紋瓶 《大明嘉靖年製》款
the upper bulb of slightly compressed globular form rising to a circular mouth, the large lower bulb of globular form and separated by a curved waist, finely decorated around the exterior with eight trigrams interspersed with ruyi-shaped clouds and flying cranes

Height 23.5 cm, 9¼ in.

狀況報告
The vase is in good condition.
品相良好。

参考：佳士得
30 11月 2010 | 現場拍賣 2830
曄兮如華 – 葛沃得珍藏御製瓷器
拍品 2809明嘉靖 青花雲鶴紋葫蘆瓶 六字楷書款
A LARGE BLUE AND WHITE DOUBLE-GOURD VASE
JIAJING SIX-CHARACTER MARK AND OF THE PERIOD (1522-1566)

成交價HKD 2,180,000
估價HKD 600,000 – HKD 800,000

細明
拍品專文
瓶葫蘆式，直口，雙圓腹，束腰，圈足外撇。通體青花紋飾，口繪蕉葉紋，束腰處飾四組纏枝靈芝紋，上、下腹底部均繪江崖海水紋，幾羽仙鶴飛舞於祥雲瑞果之中，頂端各四個圓形開光，上腹分別書「風」、「調」、「雨」、「順」、下腹書「國」、「泰」、「民」、「安」，足牆繪纏枝靈芝及花果紋。底青花書「大明嘉靖年製」楷書款。

嘉靖帝尊崇道教，癡迷煉丹修齋，日求長生不老，故用以盛裝仙丹的葫蘆瓶風行一時。青色又稱玄色，為道家所喜愛的顏色，老子曰：「玄之又玄，眾妙之門」。傳說鶴千年化為蒼，又千年變為黑，謂之玄鶴，寓長壽之意。嘉靖在位期間曾多次爆發農民暴亂，國力衰弱，此瓶上所書之「風調雨順」、「國泰民安」祈福語句，頗有粉飾太平之意。

此器1986年6月5日於紐約佳士得拍賣，拍品290號。

來源
Previously sold at Christie’s New York, 5 June 1986, lot 290
Greenwald Collection, no. 37

出版
Gerald M. Greenwald, The Greenwald Collection, Two Thousand Years of Chinese Ceramics, 1996, Catalogue, no. 37

狀狀況報告
– In good condition with exception of very minor fritting along the edges of the mouth rim and also a crack on the mouth rim (approximately 1.5 cm. wide).
– There are some minor wear to the glaze surfaces but not obtrusive to the overall design.

拍品專文
The upper bulb inscribed with four characters reading: Fengtiao Yushun, meaning ‘seasonable weather’; whilst the lower bulb reads: Guotai Minan, ‘May the State prosper and the people enjoy peace’.

Compare with similarly inscribed and decorated double-gourd vases: the first, illustrated by J. Ayers, Chinese Ceramics in the Baur Collection, Geneva, 1999, p. 75, no. 75; formerly from the Barlow Collection, Sussex University, sold at Christie’s New York, 2 December 1989, lot 290; and from the Toguri Museum collection, sold at Sotheby’s London, 9 June 2004, lot 26.

参考：苏富比 138
A LARGE BLUE AND WHITE ‘PEONY’ JAR YUAN DYNASTY |
元 青花纏枝牡丹紋罐

Estimate: 250,000 – 350,000 GBP

Description
A LARGE BLUE AND WHITE ‘PEONY’ JAR

YUAN DYNASTY
元 青花纏枝牡丹紋罐
the broad sturdily-potted baluster body rising from a spreading foot to a short straight neck with everted rim, painted around the body in rich cobalt-blue tones with six large peony blossoms each rendered with a luxuriant array of petals, borne on the undulating scroll with attendant buds and foliage, all above a classic scroll band, the shoulder encircled with a composite floral scroll and the foot with a band of upright lappets enclosing pendent cloud-like trefoils and rings, the neck painted with a band of composite floral scroll, the broad foot ring and recessed base unglazed

Height 27.8 cm, 10⅞ in.

Condition Report
This large and freely painted jar has a light polish to the rim, a 4cm., four-pointed hairline glaze star crack to the interior, minor glaze firing imperfections and glaze scratches.

口沿一處經輕磨，罐內有一4公分之毛細釉紋從四方延伸，有窰燒微瑕及釉面劃痕。

Provenance
L. Michiels Antiquitiés, Bruxelles (according to label).
L. Michiels Antiquitiés，布魯塞爾（標簽）

Catalogue Note
Sturdily potted guan jars painted with bold designs in cobalt blue are undoubtedly the Yuan dynasty’s greatest contribution to Chinese porcelain tradition. These jars diverge dramatically from the elegant simplicity of the Song dynasty (960-1279), which favoured subdued monochromatic wares in smaller formats, and evidence the flamboyant style preferred by the Mongol rulers of the Yuan dynasty. This change in direction accelerated the demise of most other kiln centres in China, and established the kilns at Jingdezhen as the most important centre of ceramic production for centuries to come.

The painting seen on this jar encompasses the most characteristic elements of Yuan porcelain design: the peony scroll on the body, lotus scroll on the shoulder, classic scroll on the rim and lappets. This lively new decorative vernacular was particularly well-expressed in underglaze blue. The vast trading networks of the Yuan dynasty ensured rapid transmission of styles and tastes throughout the empire. Persian traders supplied the kilns at Jingdezhen with cobalt ore from Kashan providing the vibrant blue for which the period is known. Demand for blue and white guan was considerable from its initial manufacture, not only in China but in Southeast Asian and particularly in the Middle East.

Guans of nearly identical decoration include a jar in the Idemitsu Museum of Arts, Tokyo illustrated in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, pl. 617; an example from the Ataka collection published in Gakuji Hasebe, Masterpieces of Chinese and Korean Ceramics in the Ataka Collection. China, Tokyo, 1980, pl. 86; and a further jar in the collection of Baotou City Cultural Relics Administrative Bureau, Inner Mongolia illustrated in Zhongguo Wenwu Jinghua Daquan. Taoci Juan [Gems of China’s cultural relics. Ceramics section], Hong Kong, 1993, pl. 550.

Variations on this design include a jar with a four-petal band rather than the classic scroll border illustrated in Yoshiaki Yabe, Toji Taikei. 41. Gen no Shimitsu [Compendium of Ceramics. 41. Blue and white ware of the Yuan dynasty], Tokyo, 1974, pl. 27; a jar without a scroll border in the Palace Museum, Beijing illustrated in The Complete Collection of Treasures of the Palace Museum, Blue and White Porcelain with Underglazed Red (I), Hong Kong, 2000, pl. 6; and an example with a band of waves around the collar in the Shanghai Museum included in the Museum’s exhibition, Splendors in Smalt: Art of Yuan Blue-and-white Porcelain, Shanghai, 2012, cat. no. 7.

元代青花罐紋飾鮮明，罐形穩實，無疑乃元朝對中國瓷器傳統最偉大之貢獻。宋瓷簡約優雅，崇尚之品多屬單色釉器及小巧珍瓷，與此類元代瓷罐對比鮮明，後者更能反映蒙古族君王對 華麗風格之喜愛。如此風尚改變，另中國各地瓷窰衰落更為迅速，並奠定景德鎮以後數世紀作為瓷都之重要地位。

本品紋飾，具備元瓷紋飾特質：罐身飾牡丹紋，肩部飾蓮紋，口沿飾纏枝紋飾及葉紋，生意盎然，新穎於當時，以青花描繪尤其靈動。元朝商務網絡龐大，藝術風格品味皇朝之內流行迅速，波斯商人從卡尚進口鮮豔鈷料，供景德鎮瓷窰所用。自首先燒成開始，青花罐需求一直甚高，無論於中土或東南亞及中東均受歡迎，尤以後者為甚。

東京出光美術館收藏一罐例，紋飾幾乎完全相同，圖載於《中国陶磁：出光美術館蔵品図錄》，東京，1987年，圖版617；另比一例，出自安宅收藏，載於《安宅コレクション东洋陶磁名品図录》，東京，1980年，圖版86；再比一例，出自內蒙古包頭市文物管理處收藏，圖載於《中國文物精華大全，陶瓷卷》，香港，1993年，圖版550。

相近紋飾，可比較一例，無纏枝紋飾但繪四瓣環紋，圖載於藤岡了一，《陶磁大系：元の染付》，卷41，東京，1974年，圖版27；北京故宮博物院收藏一例，無纏枝環紋，載於《故宮博物院藏文物珍品大系·青花釉里紅（下）》，上海，2000，圖版6；上海博物館亦收藏一例，罐頸飾波紋，曾展於《幽藍神采：元代青花瓷器特集》展出，2012年，編號7。

伊朗国家博物馆
伊斯兰馆—中国青花瓷器
来自微博：悦目赏心de古风遗韵

参考: 苏富比 89
重要中國瓷器及工藝品
元 青花纏枝牡丹紋罐

150,000 — 200,000英鎊

拍品詳情
元 青花纏枝牡丹紋罐
28cm., 11in.

狀況報告
一道約16.5公分呈L形的口衝，被部分清洗過但仍隱若可見。 3公分口磕經修復。頸和口沿稍有不平。除此以外整體品相良好，有表面劃痕和磨損、輕微窰燒瑕疵。青花發色比圖例稍微偏灰。

相關資料
論形制、設計和畫風，本品可稱十四世紀青花瓷典型之作。小圓唇，短直頸，豐肩，弧腹漸歛，臥足。瓷罐線條自然流暢，恢弘穩健，氣派大方。此類大罐，形制可上溯宋代龍泉窰、青白、磁州窰等，惟元代綴以層次分明之青花紋飾，為其形增添新鮮美感。

本品飾纏枝牡丹、水波、卷草及蓮瓣紋，乃元代瓷器常見題材。此類大罐多屬出口中東、東南亞之外銷瓷，然從考古發掘器例可見，中國本土也有使用。每罐從拉坯、繪畫、上釉至完成均為獨立製作。

此類大罐肩上多飾纏枝蓮紋，例見上海博物館收藏，載於汪慶正，《青花釉裏紅》，香港，1993年，圖版24；另一作例售於紐約蘇富比2007年9月18日，編號246；第三例售於倫敦蘇富比2010年11月10日，編號32。 Charles A. Dana收藏一罐例，飾四時花卉紋，2000年9月20日售於紐約蘇富比，編號101。

重要中國瓷器及工藝品
2013年11月6日 | 上午 10:00 GMT
倫敦

参考：佳士得拍賣 2811
中國宮廷御製藝術精品、重要中國瓷器及工藝精品
Hong Kong|2010年5月31日
拍品1985|元 青花纏枝牡丹紋罐
THE PROPERTY OF A FAR EASTERN COLLECTOR
A FINELY PAINTED BLUE AND WHITE BALUSTER JAR, GUAN

成交總額 HKD 6,500,000
估價 HKD 2,800,000 – HKD 3,500,000

罐直口，短頸，圓肩，斂腹，圈足。內外施白釉，外壁通體繪青花紋飾，由上至下以雙絃線間四層紋飾。頸上繪纏枝梔子花，肩部繪纏枝蓮花，腹部繪纏枝牡丹，六朵牡丹婀娜多姿，或仰或覆，互相纏繞，葉片豐腴，花邊作白色聯珠狀。近足處繪仰蓮瓣。

此罐造型規整，端莊飽滿。紋飾繪畫自然流暢，構圖繁而不亂，有層次感。元代大青花器用外來青料，發色如此器呈寶石藍色而帶黑色斑點，鮮艷明亮。北京故宮博物院藏一件與此器非常相似的青花罐，見香港商務印書館出版北京故宮博物院藏文物珍品全集《清花釉裡紅‧上》圖版6。

此罐源自靜觀堂收藏，1992年及1997年分別於星加坡和香港大學展出，1997年3月20日於紐約佳士得靜觀堂專拍中拍出，拍品69號。

來源
The Jingguantang Collection, Part II, sold at Christie’s New York, 20 March 1997, lot 69

文獻及展覽
展覽
Gems of Chinese Art, The Empress Place Museum, Singapore, 1992, Catalogue no. 73
Art Treasures from Shanghai and Hong Kong, The University of Hong Kong, 9 November 1996 – 25 January 1997, Catalogue no. 43

拍品專文
A few Yuan dynasty jars decorated with this peony design are published. The present jar is among a group that is considered to be successfully fired resulting in its bright sapphire-blue colour and well rendered in its painting style. This same decorative pattern, also with the ‘blackberry lily’ band encircling the short neck, is found on a slightly smaller jar (27.2 cm.) in the Tokyo National Museum, illustrated in Oriental Ceramics, the World’s Great Collections, Kodansha Series, vol. 1, 1982, no. 111. Compare with three other jars of similar size but all with a band of ‘breaking waves’ design encircling the short neck instead. The first jar is illustrated in Sekai Toji Zenshu, Shogakukan Series, vol. 13, fig. 123; the second, in the Shanghai Museum, illustrated by Wang Qingzheng, Underglaze Blue and Red, 1987, p. 38, no. 22; and the third was sold at Christie’s Hong Kong, 24 October 1993, lot 716.

Another group of peony jars decorated with a band of classic scrolls below the main band of peony scroll are published. Cf. a jar found in 1979 at Yenjialing, Baotou City, Inner Mongolia, included in the exhibition, The Silk Road, The Empress Place Museum, Singapore, 1991, p. 139; and another was included in the Exhibition of Oriental Ceramics, Tokyo National Museum, 1978, and illustrated in the Catalogue, no. 61.

編製圖錄及詳情
拍品前備註

THE PROPERTY OF A FAR EASTERN COLLECTOR

參考：紐約大都會博物館 青花 葫芦纹葫芦瓶 Gourd-Shaped Vase with Design of Gourds and Vines, Porcelain painted with cobalt blue under transparent glaze (Jingdezhen ware), China
early 18th century

On view at The Met Fifth Avenue in Gallery 202

Object Details
Period:Qing dynasty (1644–1911), Kangxi period (1662–1722)
Date:early 18th century
Culture:China
Medium:Porcelain painted with cobalt blue under transparent glaze (Jingdezhen ware)
Dimensions:H. 14 1/2 in. (36.8 cm); Diam. 7 1/2 in. (19.1 cm); Diam. of rim: 2 1/16 in. (5.2 cm); Diam. of foot: 4 3/4 in. (12.1 cm)
Classification:Ceramics
Credit Line:Purchase by subscription, 1879
Accession Number:79.2.467
Provenance
Samuel Putnam Avery Sr. American, New York (until 1879)
Timeline of Art History
Timelines
Central and North Asia, 1600-1800 A.D.
China, 1600-1800 A.D.
MetPublications
China: Through the Looking Glass

參考： 伊朗國家博物館藏

参考：紐約大都會博物館
明 青花纏枝牡丹紋 玉壺春
Bottle Vase, Porcelain, China
14th century
China

Object Details
Date:14th century
Culture:China
Medium:Porcelain
Dimensions:H. 11 7/16 in. (29.1 cm); Diam. (body) 6 3/4 in. (17.1 cm)
Classification:Ceramics
Credit Line:Seymour Fund, 1970
Accession Number:1970.215
Provenance
[ Mayuyama & Co., Ltd. , Tokyo, until 1970; sold to MMA]
Timeline of Art History
Timelines
Central and North Asia, 1000-1400 A.D.
China, 1000-1400 A.D.

参考：紐約大都會博物館
明 嘉靖 青花缠枝花卉纹葫芦瓶 Vase

China
Object Details
Period:Ming dynasty (1368–1644), Jiajing mark and period (1522–66)
Culture:China
Medium:Porcelain painted in underglaze blue
Dimensions:H. 18 1/2 in. (47 cm)
Classification:Ceramics
Credit Line:Gift of Stanley Herzman, in memory of Adele Herzman, 1991
Accession Number:1991.253.47
Signatures, Inscriptions, and Markings
Marking: Jiajing mark
Provenance
Stanley Herzman , New York (until 1991; donated to MMA)
Exhibition History
New York. The Metropolitan Museum of Art. “A Selection of Chinese Ceramics from the Adele and Stanley Herzman Collection,” June 1, 1990–August 26, 1990.

Timeline of Art History
Timelines
Central and North Asia, 1400-1600 A.D.
China, 1400-1600 A.D.

Ref.:广州华艺国际拍卖有限公司
2018-11-16 2018秋季拍卖会
余香集——宫廷及重要艺术珍品
LOT号： 1202 明嘉靖 青花缠枝莲纹葫芦瓶

拍品信息
尺寸 高26cm
作品分类 陶瓷>明代青花瓷器
创作年代 明嘉靖
估价 RMB 　200,000-300,000
成交价 RMB 　460,000 HKD 　518,602USD 　69,000EUR 　50,600

大明嘉靖年制款

说明 本双节葫芦形器，品型饱满，通体施釉平滑，呈“鸭蛋青”色。直口处圈纹“大明嘉靖年制”六字。瓶底处以两圈青花同心圆做封，底为圈足。嘉靖帝崇信道教，而使谐音为“福禄”的葫芦瓶大行其时。此瓶器形端正，口沿与瓶腰部均饰 以锦地开光装饰相互对应，口部的六组锦地开光内分书“大明嘉靖年制”六字，腰部开光内则绘十字花卉纹。瓶上、下两部分绘缠枝牡丹纹和缠枝莲纹图案，寓意万年富贵。通体青花发色鲜艳，釉质晶莹，绘画技法熟练老辣。

本品形制与故宫博物馆所藏的明成化时期“青花缠枝莲纹葫芦瓶”十分相似，以葫芦与莲花分别代表佛教与道教，是佛、道文化的交融表现，亦是明代面对不同文化冲突时包容气魄的体现。

来源：北京诚轩2006年春拍Lct.023

参考：北京保利2018年春拍
2018年6月19日
景元（一）——亚历山大瓶与元青花诸器名藏
LOT号：5141青花缠枝「福禄万代」大葫芦瓶（亚历山大瓶）
北美十面灵璧山居旧藏

尺　寸：高47cm
估　价：RMB 35,000,000~~55,000,000
成交价：RMB 56,810,000

溜肩、束腰、雙鼓腹，形似葫蘆而得名。上繪九只飽滿「葫蘆」，發色濃淡有致，自纏枝「蔓帶」而生，取兩者諧音，是為福祿萬代。

作品描述：
出版
1.《The Gourd of Long-lasting Happiness and Prosperity-A New Departure for Porcelain》，康蕊君，Orientations，3月，2005年
2.《Twelve Years – Twelve Treasures》，Woolley and Wallis， 2017， 图版1

2018年06月19日晚，北京保利2018年春拍“景元（一）——亚历山大瓶与元青花诸器名藏”在北京四季酒店举槌，本场共31件精品上拍。其中，元青花缠枝“福禄万代”大葫芦瓶 （亚历山大瓶）以3200万元起拍，电话委托率先应价，随后新买家加入，场内买家加到4200万，李移舟的电话委托出到4920万，场内买家在片刻斟酌中考虑加价到4940万，最终落槌，加佣金以5681万元成交。（拍前估价：RMB 35，000，000-55，000，000）

这件“亚历山大瓶”其传承有序，最早的书面收藏纪录可追溯至约一个半世纪以前，甚至比现藏于大英博物馆的大威德爵士旧藏至正型元青花龙纹瓶还要早，具有极其重要的文物和学术价值。

本品为北美十面灵璧山居旧藏，器形硕大饱满，呈双节葫芦形。通体施釉平滑，釉水明润，正是老古玩行鉴定术语中所谓之“鸭蛋青”色。其青花发色浓淡有致，整体色调明快，青料聚集处可见明显锡斑，正是自波斯进口之“苏麻离青”钴料之特征。

瓶身所绘纹饰亦颇可考究玩味，所绘九枝葫芦同根相连，九为数之极，取六爻三三衍生之数，是“生”的极致。九亦为阳数的极数，即单数最大的数，于是多用九这一数字来附会帝王及与帝王有关的事物，亦合于“大哉干元”的元朝国号，故此瓶极有可能为帝王御瓷，寓意“福禄万代”、“子孙万代”，并且九只画面中的葫芦再加上瓶子本身，正是十只葫芦，又赋予了“十全十美”的吉祥寓意。

此件葫芦瓶融合中国福禄多子的观念，是否为元朝统治者赏赐“黄金家族”中尊元朝皇帝为蒙古大汗的其他兄弟汗国君主的礼物，值得进一步研究。如元史记载元文宗（1328-1332在位）好文多艺，重视文治，同时十分重视和关系密切的同裔伊利汗国的交往，经贸密切，而伊利汗国正是忽必烈的同母胞弟旭烈兀击败阿拉伯帝国所建，统治波斯地区，并于1264年接受元朝册封，成为伊儿汗，而陶瓷学者研究认为，元文宗时期正是早期元青花的试验期，此时应当已有波斯人将“苏麻离青”矿料运到景德镇，开始进行钴料的提纯工艺试验。元文宗后二十年正是元青花生产技术迅速提高，品质最为成熟的时期，代表作如大英博物馆所藏至正十二年铭龙纹瓶，以本品的上佳品质推断，制作时间也应在这一成熟阶段。

此瓶为元青花立件中极为难得的传世作品，葫芦造型为上下接胎而烧造，工艺极繁，是为英国藏家威廉亚历山大（William Alexander 1849-1916）旧藏，他于1876年8月9日购自古董商Thomas Goode & Co，。亚历山大先生为当时极为著名的中国陶瓷收藏家、鉴赏家，其收藏始于1867年，由伦敦各大古董商购入藏品。其收藏囊括中国唐代至清代陶瓷、玉器、掐丝珐琅器等。其去世后，部分藏品由著名收藏家大维德爵士Sir Percival David购买入藏，现如今部分亚历山大先生的藏品仍展于大英博物馆，展品中著名的以“亚历山大碗”命名的宋青釉碗，原定为汝窑，现为唯一博物馆藏传世张公巷窑作品，可见其收藏品质之精良。

本品于2005年于英国Woolley & Wallis公司以300万英镑售出，是继鬼谷子下山图罐之后，又一元青花重要作品。同类葫芦瓶，纹饰绘缠枝牡丹纹者，仅见土耳其托普卡帕宫收藏。北京故宫博物院藏有一例乾隆青花仿烧例，伦敦苏富比(微博)1994年售出一例，编号148，为此类元青花葫芦瓶之下半部分残器，青花发色绘画与本品极为类同，疑原为一对，余者于公私收藏未见，本品应为市场中可流通例中孤品。八棱葫芦瓶见有两例，一为土耳其托普卡帕宫藏，绘青花开光花鸟草虫纹，一为日本掬粋巧芸馆藏，绘凤凰纹。

参考：土耳其托普卡帕宫收藏 元青花

在土耳其托普卡帕皇宫戒备森严的库房里收藏着40件元青花，其中不乏举世孤品，在收藏界名声远播，土耳其托普卡帕皇宫收藏的40件元代青花瓷器，无论是数量还是质量，都是世界第一, 今天大家跟着知名收藏家马未都一起看看托普卡帕宫里的中国瑰宝。

“研究中国陶瓷，不去看土耳其藏的中国瓷器，对一名陶瓷学家来说，是死不瞑目的事。”这是中国古陶瓷研究会前会长冯先铭先生在生前说过的一句话。

在土耳其托普卡帕皇宫戒备森严的库房里收藏着40件元青花，其中不乏举世孤品，在收藏界名声远播，土耳其托普卡帕皇宫收藏的40件元代青花瓷器，无论是数量还是质量，都是世界第一, 今天小编带着大家跟着知名收藏家马未都一起看看托普卡帕宫里的中国瑰宝。

青花是一个非常文学化的名字，极富诗意，中国古代陶瓷中只有它这么浪漫。其他品种无论在它之前还是它之后，都以一种科学冷静的态度面世，与它同时代异曲同工的陶瓷品种“釉里红”也不叫红花，而青花也从不叫釉里蓝。

这是托普卡帕宫收藏的体形最大的一只青花碗，其尺寸是超群的，在全世界都极为罕见。这只碗的碗心绘有一朵翘枝莲花，四周环绕白云锦文、海浪等。外壁绘有翘枝莲花等精美纹饰，青花及留白交相辉映。

高清细节图再来一波

全世界范围内只有托普卡帕皇宫收藏的元青花有明确的传承记录，而且这些元青花中有多件为世界孤品。

托普卡帕皇宫收藏的这件蓝釉反白大盘极为独特，工匠在制作完成后，在整个纹饰上喷洒了一层斑驳细密的色点。这种装饰手法未见于世界其他元青花藏品。

像蓝釉白花菱口大盘这类作品虽充分表达着伊斯兰文化的色尚，蓝色饱满，但为何并未呈现流行趋势？而青花作品无可争议地成为这种蓝色瓷器的主流，在伊斯坦布尔的参观中，在伊斯兰文化对蓝色的理解上，渐渐让人悟出其蓝色的表现力，疏密，浓淡，内容，都让神秘之蓝不再是简单之蓝。

这只龙纹瓶身上通体绘有一条青龙，体型大，从单一角度只能“见首不见尾”或“见尾不见首”。

托普卡帕宫收藏的这两只八方梅瓶因其独特而成为世界孤品。

草虫是中国文人的情趣，也是元青花纹饰中的传统题材。上图中的葫芦瓶为托普卡帕皇宫的藏品，以其八方棱形的造型显示出与众不同的特色，下图的葫芦瓶则是以硕大的身形见长。中国国内尚未发现身形如此巨大的葫芦瓶。

元青花的研究专家蒋奇栖博士认为中国瓷器有确切年代记录出口到中东地区的，是在公元800年。在托普卡帕皇宫里还挂有一幅波斯细密画，描绘了奥斯曼苏丹梅赫梅特二世宴请外国使臣的场面，宴会上用的全是中国的瓷器。

古陶瓷专家许明先生曾经撰文认为，托普卡帕皇宫里的中国瓷器来源主要有两条线路：首先，它的来源是土耳其东南方向的陆路，这就是历史上著名的丝绸之路。

土耳其东南方向的贸易之路还有一条陆—海路，它是公元8世纪发达起来的阿拉伯世界与中国和亚洲东部的海上来往通道，这也是被称为“海上丝绸之路”的航线。阿拉伯和波斯商人从波斯湾取道马六甲海峡北上交州(越南北部)、广州。阿拉伯人的海上优势，一直保持到15世纪。我们不难设想，大量的中国瓷器通过商船，在波斯湾登陆，再北上陆运到土耳其。

如今，几百年之后的托普卡帕宫，一旁是湛蓝的马尔马拉海、博斯普鲁斯海峡和金角湾，你仿佛还可以感受到那个遥远而伟岸的苏丹手中捧着他挚爱的元青花瓷，眺望东方，露出一抹神秘的笑容。这里的每一件元青花，都是对那个时代，和伟大“丝路”的最好见证。

纏枝牡丹紋葫蘆瓶

於2006年3月29日紐約佳士得拍賣會，以203.2萬美元（約2864.4萬元人民幣）成交。

拍品 421
AN IMPORTANT LARGE EARLY BLUE AND WHITE DOUBLE-GOURD VASE
YUAN DYNASTY, MID-14TH CENTURY

成交总额 USD 2,032,000
估价 USD 1,000,000 – USD 1,500,000

AN IMPORTANT LARGE EARLY BLUE AND WHITE DOUBLE-GOURD VASE
YUAN DYNASTY, MID-14TH CENTURY
The body and neck dramatically painted with a bold overall pattern of tree peony rising from two pierced garden rocks on opposite sides of the base, the voluptuous blossoms depicted in bud, in full bloom and as if viewed from different angles, the leaves and petals unusually combed with very dense, naturalistic veins showing through a heavily ‘heaped and piled’ underglaze blue of a deep and exceptionally vibrant color, with extensive blue flecks from excess cobalt around the design, the base unglazed within the shallow-cut, broad foot ring
20 1/8 in. (51 cm.) high

来源
The Property of a Private Collector; Christie’s, London, 13 December 1982, lot 500.
文獻及展覽
文献

Christie’s Review of the Season 1983, p. 366.
A. du Boulay, Christie’s Pictorial History of Chinese Ceramics, New Jersey, 1984, p. 114, fig. 2.

拍品专文
A Magnificent and Rare Yuan Dynasty Double-gourd Vase
Rosemary Scott, Senior Academic Consultant, Asian Art Departments
This magnificent double-gourd vase, which combines a monumental form with an unusual, freely disposed scrolling decoration painted in a deep, brilliant, cobalt blue, would have been an important and expensive commission when it was made in the mid-fourteenth century. Both its form and its decoration are very rare among Yuan dynasty blue and white porcelains. It has become clear from the material excavated at the site of the imperial kilns in recent years that certain shapes and decorative motifs became established in this period and were then carried on into later dynasties. The large double-gourd vase form and the overall split-peony scroll motif fall into this category. The current double-gourd peony vase is an exceptionally rare vessel combining both features.

It may be noted that relatively few large double-gourd vases are known from the Yuan period, and the majority of them are octagonal. Among the best known of these are the octagonal vase with insect and bird decoration in the Kikusui Kogeikan Museum, Yamagata Prefecture, Japan illustrated by Tsugio Mikami (ed.), Sekai Toji Zenshu, vol. 13, Liao, Jin, Yuan, Tokyo, 1981, pp. 78-9, fig. 61 and 62; the octagonal vase with ogival panels containing insects, reptiles and plants in the collection of the Topkapi Saray, Istanbul illustrated by J. Ayers and R. Krahl, Chinese Ceramics in the Topkapi Saray Museum Istanbul, vol. 2, Yuan and Ming Dynasty Ceramics, London, 1986, no. 577; and the octagonal double-gourd vase from the same collection decorated with birds, flowers and fruit illustrated by Zhu Yuping, Yuandai qinghua ci, Shanghai, 2000, p. 139, no. 6-15. The remains of a fourth octagonal double-gourd vase can be found in the collection of porcelains from the Ardebil Shrine, now in the Iran Bastan Museum in Teheran. Although only the lower part (height 34 cm.) of the Ardebil vase has survived, it shares with the current vase a well-developed split-peony scroll, albeit confined to a single band. See John A. Pope, Chinese Porcelains from the Ardebil Shrine, London/New Jersey, 1981, p. 27.

Another broken double-gourd vase, which provides an interesting comparison with the current vase is in the Villanueva Collection in the Philippines. Like the Ardebil octagonal vase, the Villanueva piece has retained only its lower section. See Consuelo Abaya, The Villanueva Collection of Oriental Pottery, Philippines, 1974, p. 11. It is, however, interesting in two respects, firstly because it is not faceted but round in section, and secondly because its decoration comprises a single scrolling motif. In this case the scrolling motif is of gourd vines, but their disposition over the surface of the vessel has the same freely undulating quality seen on the current double-gourd vase. A much more modest, but less damaged, double gourd-vase of round section is also in a Philippine collection. See L. Gotuaco, R. C. Tan and A. I. Diem, Chinese and Vietnamese Blue and White Wares Found in the Philippines, Makarti City, 1997, no. Y28. This vase is much smaller than the current example, and has more simply painted decoration, but even among the smaller Yuan porcelains double-gourd vases are rare. Small double-gourd ewers are encountered more frequently, but these are usually simple in both potting and decoration.

The only directly comparable vase to the current piece is in the Topkapi Saray collection, illustrated by Ayers and Krahl, op. cit., p. 406 (col. pl.), p. 500, pl. 580. This Topkapi vase shares with the current vase its size, form and decoration. In the 19th century, the Ottoman owners of the Topkapi vase had it mounted with a very elaborate, finely wrought, silver neck rim and domed cover. This may be seen as an expression of their great admiration for the vase. Even the Topkapi vessel, however, does not share the extravagant use of fine cobalt seen on the current vase. It is worth bearing in mind that all the cobalt used at the Jingdezhen kilns in the Yuan period was imported and exceedingly expensive. Its use was strictly controlled and one of the suggested reasons for the abandonment of decoration reserved in white against a blue ground in the mature Yuan style was related to the cost of the cobalt. The extremely generous use of high-quality cobalt on the current vase, which accounts for the jewel-like quality of its decoration, would have made this a very precious vessel even when it was first produced. The decorator’s brush was so laden with cobalt that tiny specks of blue have fallen on some of the upper surfaces of the vase. This is a phenomenon which does occasionally occur on fine Yuan dynasty porcelains, as can be seen, for example, on the fragment of a large, very handsome, dish excavated from the Hutian kiln site. See Jingdezhen Institute of Ceramic Archaeology and Fung Ping Shan Museum, Ceramic Finds from Jingdezhen Kilns, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1992, no. 136.

The decoration on the current double-gourd vase is particularly well adapted to this form, but is rare on Yuan porcelains. Most Yuan blue and white wares have bands of decoration. Thus the use of a single motif in the form of a freely disposed, undulating peony scroll, both on this vase and the similar piece in the Topkapi Saray Museum, is particularly rare. Such treatment of vertical forms is not without precedent, however. There is a group of pear-shaped vases (yuhuchun) from the fourteenth century, which are also decorated with a single scrolling motif. One such vase in the Philippines is covered with a well-painted lotus scroll, see L. Gotuaco, R. C. Tan and A. I. Diem, op. cit., no. Y16; another in the Nelson Atkins Museum in Kansas City, Missouri, which has a white peony scroll reserved against a background of painted blue waves, is illustrated by Tsugio Mikami, op. cit., no. 209; while a third vase is decorated with a scrolling melon vine is illustrated, no. 210. A further pear-shaped vase, which was excavated in Southeast Asia, has been decorated, like the Kansas City example, with a peony scroll reserved in white against a ground of underglaze blue formal waves composed of concentric arcs. See Zhu Yuping, Yuandai qinghua ci, op. cit., p. 274, no. 10-8. Two late Yuan or early Ming blue and white pear-shaped vases have been published which are completely decorated with chrysanthemum scrolls. One of these in the Art Institute of Chicago is illustrated in Masterpieces of Chinese Arts from the Art Institute of Chicago, Museum of Oriental Ceramics, Osaka, 1989, p. 96, no. 84, and the other in the collection of the British Museum is illustrated by J. Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, p. 72, no. 1:27.

A few other forms are occasionally decorated all over without minor bands and with a single theme, such as the guan jar in the Fitzwilliam Museum, Cambridge decorated with ducks on a lotus pond illustrated ibid. no. 192, or the flattened flask in the Ardebil collection with phoenixes and baize amid peony scrolls (see John A. Pope, op. cit., plate 29, no. 29.475). Apart from the current vase, the Topkapi double-gourd vase, and the lower section of a double-gourd vase with scrolling gourd designs in the Villanueva collection, no other Yuan dynasty blue and white double-gourd vases with non-banded, single theme decoration appear to have been published.

The peony scroll on the current vase is of special interest for several reasons. The peonies are depicted growing from rocks painted at the lower edge of the vase. These rocks are interesting because they provide additional information regarding the date of the vase. The majority of ornamental rocks on Yuan dynasty blue and white wares appear on large dishes dating to the second quarter of the fourteenth century. These rocks, like that on the large dish in the Burrell Collection, Glasgow, illustrated by R. Marks, R. Scott, B. Gasson, J.K. Thomson and P. Vainker, The Burrell Collection, London/Glasgow, 1984, p. 52, p. 16, are generally somewhat rounded in profile and without perforating holes. The few rocks which appear on Yuan blue and white porcelains of the mature period in the middle of the century are of a different style. These have sharply angled profiles and are perforated with holes. It is this latter type of ornamental rock which appears on the double-gourd peony vase, and suggests a mid-fourteenth century date for the current vase. Such rocks are the predecessors of the type seen on both underglaze blue and underglaze red-decorated ewers of the early Ming Hongwu reign. An underglaze blue example excavated from the site of the imperial kilns at Zhushan, Jingdezhen is illustrated in Imperial Hongwu and Yongle Porcelain Excavated at Jingdezhen, Chang Foundation, Taiwan, 1996, no. 2, while an underglaze red example from the Matsuoka Museum of Art, Tokyo, is illustrated by Ryoichi Fujioka and Gakuji Hasebe in Sekai Toji Zenshu, vol. 14, Ming Dynasty, Tokyo, 1976, fig. 12. The rare painted rocks of the mature Yuan porcelains are therefore important steps in the development of painting style in the second half of the fourteenth century.

The form of the peonies themselves is also significant. They are richly and elegantly painted, showing several views of the blossom: some directly from above, some in three-quarter view, and some in profile with the lower petals separating from the upper, in the style known as ‘split peony’. This varied peony scroll is typical of accomplished Yuan style. The final point to mention about this peony scroll is the use of parallel lines incised into the body of the vase beneath the cobalt. In the mid-fourteenth century this combed texture was used to great effect on leaves and petals of peony scrolls on large vertical forms. These can clearly be seen on a guan jar illustrated by Wang Qingzheng (ed.) in Qinghua Youlihong, Hong Kong, 1987, no. 22. Since the lines were incised into the body before the cobalt was applied, additional cobalt ran into these lines giving the appearance of even deeper colour. Thus rich blue vein lines are seen on the flowers and leaves. This feature is discussed in detail by Margaret Medley in Yuan Porcelain and Stoneware, London, 1974, p. 55.

This handsome and extremely rare double-gourd vase is a superb example of underglaze blue decoration in the mature Yuan style of the mid-fourteenth century. The fact that the decorator was allowed to be so extravagant in his use of the precious cobalt is an indication of the importance of the piece at the time it was made, suggesting that it was a special commission for a patron of considerable social standing.

上海震旦博物馆|：艺文飨宴　　元青花缠枝牡丹纹葫芦瓶

上海震旦博物馆|：艺文飨宴　　元青花缠枝牡丹纹特征　2018/03/30

缠枝花卉纹兴于宋，元、明、清三代达到鼎盛，其被大量运用在陶瓷、织物及玉器装饰之中。这种缠枝花卉纹在构图元素上虽略有差异，但构图机理却相对稳定，即是将波状线与切圆线组合安置，作二方或四方连续展开，形成婉转缠绵的基本样式。

元代青花瓷器上的缠枝花卉纹。其适应不同造型之瓷器分区装饰的特点，采取刻、印、绘等方式，将花卉置于中心，四围辅以细密枝茎与丰硕叶片，发展出多层次的纹饰样态。

位居纹饰中心的花卉种类常见有牡丹、荷莲及菊花等，其中以牡丹的形貌表现最为多样。为避免纹样重复环绕铺陈而产生的视觉疲劳，牡丹花冠的描绘选取前、后、俯、仰等不同视角。花瓣内部填色、边缘留白，叶片对称饱满、大叶3-5裂、随装饰部位灵活分布，从而使元代青花瓷上的缠枝牡丹纹呈现出环状、带状、片状及依形铺排等不同样式。

一、环状牡丹纹

“环状牡丹纹”由牡丹花朵、涡旋枝梗及肥硕叶片构成缠枝状，花冠形态各异，或俯、或仰、或上、或下……长条状枝梗从花间穿延而出，回绕于花朵外侧，形成环状样式。各组纹样以枝梗反向涡旋形态相连，犹如分岔枝枒连绵不断，空白处填饰的叶片大小不等、方向各异，使回旋相连的枝条更显丰灵。

这种缠枝牡丹纹样式通常作为主体纹饰出现在元代青花大罐、梅瓶及葫芦瓶等的腹部，也有部分位于圆形大盘内部盘心处。上海博物馆元青花缠枝牡丹纹罐、土耳其托普卡比宫元青花缠枝牡丹纹梅瓶以及日本大阪市立东洋陶瓷美术馆元青花牡丹纹圆口大盘上均见有此类纹饰。

二、带状牡丹纹

“带状牡丹纹” 花冠虽分别采用俯视、侧视、背视等多角度取像，花朵之间亦以枝梗相连，枝梗两侧分岔，并以叶片填饰空白，但各牡丹花朵间是以同一主梗连贯，不同于环状牡丹纹的回旋交缠。

这种缠枝牡丹纹样式多以附属纹样的形式出现在青花大罐肩部以及大盘、大碗内壁处，日本东京富士美术馆元青花鱼藻纹大罐、河北围场县博物馆元青花敛口龙纹大盘以及日本出光美术馆元青花牡丹双凤纹碗之上均有此种样式。值得注意的是，带状牡丹纹多环饰于云龙、鱼藻、十字金刚杵等主纹旁侧，藉由波状律动增加流畅而华丽的美感。

 

三、面状牡丹纹

“面状牡丹纹” 保有缠枝牡丹纹的基本样态，但其布局既非回旋交缠，亦非平环带状，整体铺陈仅具备面状特性，不存在规律排布，通常围绕孔雀、凤鸟、仙鹤等题材伴生出现，似有补白之功。

这种缠枝牡丹样式主要施于元代青花大罐及四系扁瓶等器物之上，以较大的面积及自由伸展的走向呈现花朵盛开、枝繁叶茂的自然意象，突显整体纹饰画面的华美祥和。此样式可见于伊朗巴斯坦国家博物馆收藏的元青花仙鹤牡丹纹大罐及日本松冈美术馆所藏元青花孔雀牡丹纹四系扁瓶。

四、依形牡丹纹

“依形牡丹纹”是指缠枝牡丹纹依照器形设计，不必分区布局，作为全器唯一纹饰出现。

这种样式是葫芦瓶、水注等器物可能采取的装饰方式。土耳其托普卡比宫所藏的元青花牡丹纹葫芦瓶全器作8字形圆体，表面满布缠枝牡丹纹，各形态花朵以由下而上、随形而走的方式排列，长短不一、方向互异的枝叶漫布其间，以繁密的布局建构出花团锦簇的美感，呈现明显的纹随形走趋势。

元代青花缠枝牡丹纹采用不同的视角呈现花形，运用相异的形态灵活布局，让相同的题材产生丰富的样态，从而产生出特殊的节奏韵律与美感经验。这种纹饰秩序井然、繁而不乱，极符合传统中式审美，故成为中国传统文化中使用最为广泛的纹饰之一。

參考： 元青花纏枝牡丹紋梅瓶

1127萬元成交

分类： 陶瓷
(雅昌藝術網訊)1月8日晚，保利廈門2017秋季拍賣會“玄覽—重要古董器物專場”在廈門瑞頤大酒店舉槌，共41件拍品上拍。 其中，元青花纏枝牡丹紋梅瓶現場以720萬元起拍，980萬元落槌，加佣金1127萬元成交。 (拍前估價：RMB 8,000,000-12,000,000)

拍品唇口外侈，短頸，豐肩，鼓腹至下漸收，至底微外撇，淺圈足，器型飽滿豐潤，古樸壯碩，極富元代游牧民族所崇尚的粗獷之美，具有鮮明而獨特的民族風采。 此梅瓶通體以青花描繪紋飾，自上而下層次分明，以纏枝牡丹為主體，呈帶狀分佈於肩部及腹部，肩部短窄故紋飾巧雅，腹部闊大故花卉更為繁茂圓碩，枝蔓蜷曲纏繞，牡丹一仰一覆妍姿盛放。 足脛處繪變形蓮瓣紋，花瓣內繪朵雲，並加飾圓圈，每片花瓣均用一道粗線和一道細線平行勾勒出輪廓，花瓣間不相連，留有一定空隙，盡見元青花特色。 不同紋飾間以唐草紋或菱形紋相隔，構圖雖滿，但密而不亂，紋飾主次分明，視覺衝擊力極強。 青花成色蒼翠妍麗，濃淡相宜，砂底微泛火石紅色。 製作精美而傳世極少，故異常珍貴，本件即為傳世元青花中的一例精品，其臻美之態彌足珍貴。

元代青花瓷普遍出現並趨於成熟，作為記錄元代景德鎮瓷業情況的唯一書籍，元人蔣祁所著《陶計略》雲：「窯火既歇，商爭取售，而上者擇焉，謂之撿窯。交易之際，牙儈主之……運器入河，肩夫執券，次第件具，以憑商籌，謂之非子」於字裡行間足見元代瓷器熱銷於世的盛況。 元青花在器型和紋飾上，展現出不同的審美取向與風格。 就造型而論，有著濃郁的游牧民族色彩，壯碩而簡潔，但在裝飾紋樣上，則主要來源於漢文化，故主體紋飾大多是中國傳統題材，如牡丹、束蓮、龍鳳、麒麟、松竹梅等，輔助紋飾如波浪紋、迴紋、蕉葉紋等，也大多出現在中國傳統器物的裝飾中。 元青花瓷以景德鎮為代表，是漢族文化、蒙古族文化、伊斯蘭文化的結晶，其造型大氣磅礡而不失精緻感，是不同民族生活習俗集結的產物。

翻閱公私典藏，與本品相似度極高者僅見伊朗國家博物館館藏一例，其器型、紋飾、佈局等均與拍品相契合。 另主體紋飾相同僅肩部繪製其他紋飾者可見上海博物館館藏三例，其紋飾均以纏枝牡丹為主體，僅肩部分別飾雲肩、山茶、佛教八寶紋，可資比較。 其餘傳世者多見孔雀紋、雲鳳紋等，紋飾較為繁雜，相較可見論疏朗秀雅本品更勝一籌。