拍卖信息

藏品描述

鸡缸杯，即饰子母鸡图之盛酒小杯，环绘公鸡偕母鸡领幼雏觅食。其色彩缤纷鲜明，抚之柔润如玉，绘画更是率真可人，堪称神品。数百年来享负盛名，上至宫廷、下至民间，天下慕向，诚中国瓷器收藏家梦寐以求之品。成化一朝，瓷作精益求精，质优量寡，时至如今，成化真品更是一器难求，仅另三鸡缸杯尚存私人珍藏，尤如凤毛麟角。过往成化鸡缸杯拍卖，悉由苏富比领理，首回见于六十年代，七十年代又先后两回，八十年代三回，九十年代仅一（现拍品），此后绝迹，如今复见，极为难得。成化鸡缸杯，无论胎质、塑形、绘饰、窑烧，皆一丝不茍，臻埏埴之巅，诚希世之珍、亘古重宝。然鸡缸杯奥妙并不止于斯。百载春秋，故为明清帝王、明鉴文士惜藏颂赞，鸡缸杯早已超尘拔俗，堪称中国瓷器传奇，永垂不朽。宪宗一朝，御窑厂烧瓷登峰造极，巧绝天工。成化早中期，景德镇以先帝治下巧工佳瓷为范，尤尚宣德高风。至末年，始见如鸡缸杯一类独辟蹊踁、艺臻技绝之品。刘新园与蔡和璧均认同此论点，参阅二人就成化瓷发表之两篇重要文章（刘新园，〈景德镇出土明成化官窑遗迹与遗物之研究〉，刊于展览图录《成窑遗珍：景德镇珠山出土成化官窑瓷器》，徐氏艺术馆，香港，1993年，页18-87，以及蔡和璧，《传世品成化瓷》，台北，2003年）。二人虽没有就烧造新品的确切时间及原因达到共识，但均指向万千宠爱之万贵妃。成化二十一年（1485），御窑厂耗费庞大，有上书劝止烧造瓷器之录，是以此类珍品之制作年代，应为二十一年以前十载左右。成窑以其晚期瓷器著称，多为小巧静谧之品，乍看谦逊，不为陈列而制，却宜于把玩掌中，惟精品鉴者，观之抚之，始能体会个中真髓。当时朝廷对御窑厂监控严谨、要求缜密。是以成化瓷质较前朝大大提升，实在不出为奇。艺匠在这样的前提下，仍能绘制如此率真纹饰，诚甚难得。成瓷绘饰，少了数分先朝惯见之工整拘谨，却添了数分前所未见之幽雅婉柔。刘新园认为成化年款以宪宗少时墨迹为范，而斗彩上惯见之双方框款，则为成化晚期创新。The chicken jar cup, also known as the wine filled small cup decorated with a picture of a rooster and a hen, depicts a rooster and a hen leading their chicks to search for food. Its colors are vibrant and vivid, soothing it like jade. Its paintings are even more sincere and charming, making it a masterpiece. For hundreds of years, it has enjoyed a great reputation, from the palace to the people, and is admired by the world. It is a coveted item for Chinese porcelain collectors. During the Chenghua era, porcelain was constantly striving for excellence with limited quantity and quality. Today, genuine Chenghua products are even more difficult to obtain, and only the other three chicken jar cups still have private collections, like rare and rare. In the past, the Chenghua Chicken Bowl Auction was led by Sotheby's, first seen in the 1960s, followed by two more in the 1970s, three in the 1980s, and only one in the 1990s (current auction). It has since disappeared and is now rare to see it again. The Chenghua Chicken Bowl Cup is meticulously crafted in terms of material, shaping, painting, and kiln firing, reaching the pinnacle of the world and a precious treasure from ancient times. The mystery of the chicken jar cup goes beyond that. For a hundred years of spring and autumn, it has been cherished and praised by emperors of the Ming and Qing dynasties, as well as literati of the Ming Dynasty. The chicken jar cup has long been extraordinary and can be called a legend of Chinese porcelain, immortal. During the reign of Emperor Xianzong, the imperial kiln factory achieved the pinnacle of porcelain firing and exquisite craftsmanship. In the early and middle stages of the Chenghua period, Jingdezhen took the example of skillful craftsmanship and excellent porcelain under the rule of the previous emperor, with a particular emphasis on promoting high moral standards. By the end of the year, unique and technologically advanced products such as chicken jars and cups were first seen. Liu Xinyuan and Cai Hebi both agree with this argument and refer to their two important articles on Chenghua porcelain (Liu Xinyuan, "Research on Ming Chenghua Official Kiln Ruins and Relics Excavated in Jingdezhen", published in the exhibition catalog "Chengyao Relics: Chenghua Official Kiln Porcelain Excavated in Zhushan, Jingdezhen", Xu's Art Museum, Hong Kong, 1993, pp. 18-87, and Cai Hebi, "Inherited Chenghua Porcelain", Taipei, 2003). Although the two did not reach a consensus on the exact time and reason for firing the new product, they both pointed to the beloved Consort Wan. In the 21st year of the Chenghua reign (1485), the Imperial Kiln Factory spent a huge amount of money, and there was a record of dissuading the firing of porcelain. This is the production year of such treasures, which should be around ten years before the 21st year. Cheng Kiln is known for its late period porcelain, which is often small and quiet. At first glance, it may seem humble and not designed for display, but it is easy to play with in the palm. Only by appreciating and caressing the exquisite pieces can one truly appreciate the essence behind it. At that time, the court had strict monitoring and meticulous requirements for the imperial kiln factory. It is not surprising that the quality of Chenghua porcelain has greatly improved compared to the previous dynasty. It is truly rare for a craftsman to be able to draw such sincere patterns under such circumstances. Porcelain painting decoration, lacking a few points of the usual neatness and restraint seen in previous dynasties, but adding a few points of unprecedented elegance and softness. Liu Xinyuan believes that the Chenghua era is modeled after the ink of Emperor Xianzong during his youth, while the commonly seen two sided box designs on Doucai are innovative in the late Chenghua period.