參拾方 A Pilgrimage To The Ten Directions by Ping Art Space

CONTENTS

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Exhibit Item 1

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明代十五 / 十六世紀

Ming Dynasty, 15th/16th century

護法像

Scroll Painting of a Dharmapala

明代十六世紀

Ming Dynasty, 16th century

大威德明王像

Scroll-painting of Yamantaka

明代十六世紀

Ming Dynasty, 16th century

羅漢眾

A Group of Luohans

十九世紀藏中可能西藏拉薩地區

Middle Tibet, 19th Century, Likely from the Lhasa area of Tibet

宗喀巴唐卡

A Thangka Depicting Lama Tsongkhapa

清代十九 / 二十世紀早期

Qing Dynasty, 19th/ Early 20th Century

噶瑪巴刺繡唐卡

Embroidered Thangka of the First Karmapa (Dusum Khyenpa)

元代十四世紀

Yuan Dynasty, 14th Century

木胎觀音菩薩立像

Wood Figure of Standing Guanyin (Avalokitesvara)

明代十六 / 十七世紀

Ming Dynasty, 16th/17th Century

木胎文官立像

Wood Figure of Standing Civil Official

元代十四 / 十五世紀

Yuan Dynasty, 14th/15th Century

木胎自在觀音坐像

Wood Figure of Standing Guanyin in an Easeful Posture

元 / 明代十四 / 十五世紀

Yuan/ Ming Dynasty, 14th /15th Century

木胎漆金觀音坐像

Polychromed Wood Figure of a Seated Guanyin Bodhisattva

明代十六 / 十七世紀

Ming Dynasty, 16th/17th Century

夾紵漆金自在觀音坐像

Gold Lacquer with Ramee Figure of Guanyin in an Easeful Posture

明代十五 / 十六世紀

Ming Dynasty, 15th/16th Century

木雕加彩阿彌陀佛立像

Polychrome Wood Sculpture of Standing Amitabha

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Exhibit Item 12

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清代康熙御製

Commissioned by the Emperor Kangxi of the Qing Dynasty

夾紵釋迦牟尼說法像

Ramee-lacquer Sculpture of the Buddha Preaching

室町時期十四 - 十六世紀

Muromachi period of Japan, 14th-16th Century

阿彌陀佛坐像

A Seated Gilt-lacquered Wood Figure of Amitabha

江戶時期十七 - 十九世紀

Edo Period of Japan, 18th Century

木胎漆金一佛二菩薩像

A Gilt-lacquered Wood Figure of the Buddha and two Bodhisattvas

清代康熙年間十七世紀

Qing Dynasty, Kangxi Reign, 17th Century

康熙御製銅鎏金戴冠釋迦牟尼佛坐像

A Gilt-bronze Figure of Sakyamuni Buddha

清康熙年間十七世紀

Qing Dynasty, Kangxi Reign, 17th Century

銅鎏金四臂文殊菩薩

Gold-gilded Bronze Sculpture of a Four-armed Manjushri Bodhisattva

清代乾隆時期十八世紀

Qing Dynasty, Qianglong Reign,18th Century

黃銅金蓮花手觀音

Bronze Figure of Padmapani Bodhisattva

明代十六世紀

Ming Dynasty, 16th Century

石叟銅嵌銀絲觀音立像

Standing Guanyin Bronze Figure Inlaid with Silver Threads

明代成化三年 (1467)

Ming Dynasty. The 3rd year of the Chenghua reign (1467)

銅鹿銜靈芝

Brass Figure of a Deer

元代十四世紀至正元年 1341 年

Yuan Dynasty. The inaugural year of the Zhizheng reign (1341), 14th Century

銅甪端香薰

Bronze Luduan Censer

明代十六 / 十七世紀

Ming Dynasty, 16th/17th Century

銅嵌銀絲甪端香薰

Silver-inlaid Bronze Luduan-form Censer

明代十六 / 十七世紀

Ming Dynasty, 16th/17th Century

銅鎏金甪端香熏

Copper Gold-gilded Luduan-form Censer

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Exhibit Item 23

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清代十八世紀

Qing Dynasty, 18th Century

銅甪端香薰

Brass Luduan-form Censer

明代十六 / 十七世紀

Ming Dynasty, 16th/17th Century

銅製獅形香薰

Bronze Lion-form Censer

清代十七 / 十八世紀

Qing Dynasty, 17th/ 18th Century

銅鰲魚香薰

Bronze Dragon Fish-form Censer

明代十六 / 十七世紀

Ming Dynasty, 16th/17th Century

大型銅英雄雙聯瓶

Large Champion Conjoined Vase

明代十七世紀

Ming Dynasty, 17th Century

銅製英雄瓶

Bronze Champion Vase

清代十八世紀

Qing Dynasty, 18th Century

銅瓶一對

A Pair of Brass Vases

明代可能山西地區

Ming Dynasty, Possibly from the Shanxi area

鐵製火爐（寺廟用）

Iron Furnace (for temple use)

北齊

Northern Qi Dynasty

石灰岩菩薩殘體立像

Incomplete Limestone Figure of Standing Bodhisattva

宋代十～十二世紀

Song Dynasty, 10th ～ 12th Century

砂岩觀音頭像

Sandstone Sculpture of Head of Guanyin

北魏六世紀（公元 508 年）

Northern Wei Dynasty, 6th Century (circa 508)

砂岩造像碑

Sandstone Buddhist Stele

北魏六世紀（公元 508 年）

Northern Wei Dynasty, 6th Century (circa 508)

砂岩造像碑

Sandstone Buddhist Stele

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明代十六 / 十七世紀

Ming Dynasty, 16th/ 17th Century

灰白大理石獅子坐像

Gray-white Marble Statue of a Sitting Lion

唐代（或可能新羅時代）

Tang Dynasty (or Silla Kingdom)

褐釉淨瓶

Brown-glazed Holy Water Vase

明代空白期十五世紀

Ming Dynasty, 15th Century

青花攜琴訪友圖梅瓶

Blank Period: Blue-and-white Meiping With “Bringing a Qin-Zither to Visit Friends” Image

明代空白期十五世紀

Ming Dynasty, 15th Century

青花大罐攜琴訪友圖

Blank Period: Blue-and-white Jar With “Bringing a Qin-Zither to Visit Friends” Image

明代空白期十五世紀

Ming Dynasty, 15th Century

青花大罐攜琴訪友圖

Blank Period: Blue-and-white Jar With “Bringing a Qin-Zither to Visit Friends” Image

清代十九世紀

Qing Dynasty, 19th Century

德化白瓷觀音立像

Dehua Blanc De Chine Standing Guanyin Figure

元 / 明代

Yuan/ Ming Dynasty

黑釉內府大罐

Black-glazed Neifu Jar

清代十八 / 十九世紀

Qing Dynasty, 18th/ 19th Century

黃花梨頂箱櫃

Huanghuali Compound Cabinet

明代十五 / 十六世紀

Ming Dynasty, 15th/ 16th Century

朱紅漆供桌

Vermillion Lacquer Altar Table

許志平

應真藏主人

James Hsu Director of PING Fine Chinese Art & Co.

A Pilgrimage to The Ten Directions

從壹數到拾，是我們最初認識世界的根基，會了一到十後才能繼續往十一邁進，後續至百、千、萬則都不是難事。拾是一個完整的數，形成了一個完整的概念，包含了起點與終點。數年前，筆者聽聞一位師父說起十方之意，十方作為一種佛教用語，意指無邊無量的世界。古代印度粗略地以「東、南、西、北、東南、西南、東北、西北、上與下」十個方位來涵蓋一切方向，這樣的概念延伸至佛教經文裡，常可見「十方世界」、「十方眾生」來泛指整個法界眾生。參拾方，是謂參訪十方。身為一個古董商必須得踏尋千里，與眾人交流，方能獲得一、二件好東西，這是作為古董商令人稱羨的地方，然箇中滋味也是遊走過才能體會。

此次重要展品其中一件為四十八開的「善財童子五十三參」冊頁，描繪善財童子參拜五十三位聖賢而受到了啟發，全部應有五十四頁，但筆者所收僅有四十八頁，短少了六頁，雖不完全，但已十分知足。四十八頁中有一頁有銘文「大明萬曆三十年慈聖皇太后供奉」記有年號及載明為慈聖皇太后（萬曆皇帝之母）所

展品明代萬曆年間善財童子五十三參冊頁

The Pilgrimage of Sudhana to the Fifty-Three Teachers Ming Dynasty, Wanli reign (1602) 42 x 41 cm

供，北京首都博物館也有一組數十張的水陸畫，同樣記載為慈聖皇太后所供，因此應真藏此次平面展品中最重要的即是這一

品可供參考；木雕也有一件尺寸 60 公分高的元 / 明木雕觀音，

套明代萬曆年間慈聖皇太后供繪的善財童子五十三參冊頁。

十分素雅大方；今年更難得的有二件夾紵的展品，一是明代自在式夾紵金漆觀音，二是一高 62 公分的清康熙夾紵漆作佛

具型展品同樣十分精彩，銅器部分有明代成化年的「鹿銜靈芝」

說法坐像，皆是製作精良、肅穆莊嚴的佛像；此展中也集結了

（成化三年劉定之製）造型銅器及本年的銅嵌銀絲石叟觀音

六件香薰，其中一件為元代至正元年款（1341 年）的甪端，造

立像，筆者關注石叟近二十年，經手的本朝款也不過五件，今

型穩重，工藝精湛，通體青綠，極具代表性。具型展品總量也

年有幸得已收藏此件立姿銅觀音，北京故宮亦有極相似的藏

有四十餘件，可在圖錄中一一窺見。

今年十一月初，川普訪中，東西二大國元首會面。以往美國總以世界領導者自居，然此次會面許多媒體給予中國高度評價，略可看出二大國勢均力敵的氛圍，也望未來兩國皆能為民謀利，製造雙贏的局面。

中國逐漸的崛起，今年在藝術界也有幾件大事值得記載，例如今年九月甫開幕的北京松美術館即是一例，為王中軍先生由自家馬場所改建的，園區內種下 199 棵蒼松，故名。淨白的建物與如雕塑般佇立於草皮上的松木讓人立即感受到東方的靜謐之美。筆者十月中旬專程前往參訪，頗受震撼，中國的博物館已達到世界級的水平，不只是中西方的經典收藏，連空間的規劃也絕不輸國外知名美術館。

展品十九明代成化三年 (1467) 銅鹿銜靈芝 Exhibit item 19 Ming Dynasty, The 3rd year of the Chenghua reign (1467) Brass Figure of a Deer L. 50cm

11 月 16 日早上打開微信朋友圈，相信藝術圈內的朋友都被西元 1500 年左右的達文西《救世主》給刷屏了，在紐約佳士得拍場上以 4 億五千萬美元成交，創下目前單一藝術品最高價的紀錄，由沙烏地阿拉伯王子拜德（Prince Bader）所拍得。這基本上是達文西唯一可以流通的一件作品，描繪著西方的救世主耶穌，幾經波折後此幅作品終以絢爛的方式呈現於世人面前。據傳拍賣喊至 3 億 7 千萬美元時仍有上海的藏家在競標，會後得知拜德志在必得，確實難以超越。達文西此件作品無疑振奮了世界藝術品市場，也同時拉提了市場買氣及價格。

今年是應真藏第十四年度的佛教文物專展，同時出版這些唐卡、畫軸、冊頁、造像、器物等 40 餘件，皆由十方世界搜奇而來。一年的時間，尋訪各處搜羅準備，願觀者能受到感動，盼望各方聖賢指教，也願明年依舊，參拾方，供十方。

李奧納多 ·達文西救世主

S a l v a t o r M undi Leonardo da Vinci (1452-1519)

油彩畫布 Oil on canvas 66 x 45 cm

1490

紐約佳士得 Christie's New York, Lot 9B, Nov. 15, 2017 US$ 450,000,000

PREFACE

'A Pilgrimage to The Ten Directions' Introduction by Mr. Hsu Chih Ping of PING Fine Chinese Art & Co.

Our initial understanding of this world is rooted in counting from

which comprises tens of paintings, is also noted as being an

one to ten. Once we learn to count up to ten, we can move on to

offering by the Empress Dowager Cisheng. Therefore, this album

eleven, and going on to a hundred, a thousand, or ten thousand

depicting the pilgrimage of Sudhana to 53 teachers, which was

is not so difficult after that. Ten represents a complete number

commissioned and proffered by the Empress Dowager Cisheng

and a concept of comprehensiveness, encompassing both a

during the Wanli reign of the Ming Dynasty, represents one of the

beginning and an end. A few years ago, I heard a master speak

most important flat work exhibits of this PING Fine Chinese Art &

about the concept of ten directions, which as a Buddhist term

Co. exhibition.

refers to the limitless, boundless world. In Ancient India, the ten positions of “North, South, East, West, Southeast, Southwest, Northeast, Northwest, Up, and Down” were used to roughly describe all possible directions. This concept was assimilated into Buddhist scriptures and texts, and it is not uncommon to see the terms, “worlds of the ten directions”, or “sentient beings of the ten directions”, used to describe the entire Dharma-realm. The theme of this exhibition, A Pilgrimage to the Ten Directions, alludes to my visits to all corners of the globe. Being an antiques dealer necessitates journeying thousands of miles and interacting with many people, in order to acquire one or two select pieces. This is generally viewed as being glamorous and appealing, but must be experienced to be truly understood. One of the most important pieces of this exhibition is a 48-panel album, “The Pilgrimage of Sudhana to the Fifty-Three Teachers”, which depicts Sudhana’s path to enlightenment through his studies under 53 spiritual guides. The entire album originally consisted of 54 panels, and although only 48 are in my collection, I am sufficiently content, notwithstanding the absence of 6 panels. Among these 48 panels, one is inscribed with the words, “Proffered in homage by the Empress Dowager Cisheng, in the 30th Year of the Wanli reign (1602) of the Great Ming Dynasty”. The inscription gives the regnal year and specifies the Empress Dowager Cisheng (mother of the Wanli Emperor) as the benefactor. A set of WaterLand icons now housed at the Beijing Capital Museum, and

展品十八明代十六世紀石叟銅嵌銀絲觀音立像 Exhibit item 18 Ming Dynasty, 16th Century Standing Guanyin Bronze Figure Inlaid with Silver Threads H. 34cn

The object-based exhibits are equally enthralling. The bronzes include the Bronze Deer Holding a Sprig of Lingzhi Fungus (made by Liu Dingzhi in the 3rd year of the Chenghua reign, circa 1467) sculpture, which dates to the Chenghua reign of the Ming Dynasty; as well as a Standing Guanyin Bronze Figure Inlaid with Silver Threads, made by Shisou. I have closely tracked Shisou’s works for almost 20 years, yet during this time, only five of his Ming Dynasty pieces passed through my hands. This year I was fortunate to include this standing bronze figure of Guanyin, for which another strongly similar bronze figure currently housed in the Palace Museum at Beijing can serve as a reference. Of the wood carvings, there is a simple and elegant wood sculpture of Guanyin (about 60 centimeters in height) dating from the Yuan/Ming Dynasties; and impressively, two ramee-lacquer pieces are included in this year’s exhibition. The first is a Gold Lacquer with Ramee Figure of Guanyin in an Easeful Posture, dating from the Ming Dynasty, while the second is a Ramee-lacquer Seated Preaching Buddha (about 62 centimeters in height) from the Kangxi reign of the Qing Dynasty; both are well-crafted, and carry a dignified air of solemnity. This exhibition also includes six censers, one of which is in the form of a luduan dating from the first year of the Zhizheng reign of the Yuan Dynasty (1341), with a highly representative green body combining stately design with exquisite workmanship.

展品二十元代十四世紀至正元年（1341）銅甪端香薰

Exhibit item 20 Yuan Dynasty. The inaugural year of the Zhizheng reign (1341), 14th Century Bronze Luduan Censer H. 36cm

In summary, a total of more than 40 object-based exhibits have been included in this exhibition, and can be viewed at length in the accompanying catalogue. In early November this year, Donald J. Trump, the President of the United States, visited China for a summit meeting between the leaders of these two great nations of the West and East. Previously, the United States always considered itself to be the undisputed leader of the world, but during this summit, China was held in high regard by several media outlets, and the two nations were perceived to have equal standing. It is hoped that both countries can work together for the benefit of their respective citizens, and 北京松 . 美術館 Song Art Museum, Beijing opened on September 27, 2017

create a win-win situation for the future.

The gradual rise of China is also marked by several notable events

painting by Da Vinci available for circulation. Even so, it was only

in the art world this year, of which the opening of the Song Art

able to make a glorious debut on the world stage after a long and

Gallery in Beijing this September is one such example. The Gallery

complicated history. It was rumored that an anonymous collector

was established on the former stables of its founder, Mr. Wang

from Shanghai remained in the bidding up to US$ 370 million, but

Zhongjun, and is named after the 199 green pines (known as

learned after the auction that Prince Bader’s resolve to acquire the

“song” in Chinese) planted throughout the Gallery grounds. The

piece was unshakable and hard to surpass. This work by Da Vinci

pure white main building and sculpted pines on the Gallery lawns

has certainly galvanized the global art markets, and raised market

instantly imbues visitors with a sense of tranquil oriental beauty.

interest and prices considerably.

I made a purposeful visit to the Gallery in mid-October, and it was quite an awe-inspiring experience. It is heartening to see that

This year marks the 14th Special Exhibition of Buddhist Artifacts

museums in China have reached world-class standards, and the

hosted by PING Fine Chinese Art & Co., with over 40 thangkas,

collected Chinese and western works of the Gallery, as well as the

scroll paintings, albums, sculptures, and other objects on display.

interior space and design, would compare favorably to any of the

Detailed information about these exhibits have been collated

famous galleries abroad.

and published in the accompanying catalogue. All these exhibits were painstakingly collected from the ten directions of the world,

On November 16 this year, I opened my WeChat Moments, and

through many visits, long quests, and hours of preparatory work

I am certain that other friends in the art world similarly saw their

over the course of a year. We hope that viewers will be moved by

Moments feed inundated with news regarding Da Vinci’s Salvatore

this exhibition, and that experts and sages from all walks of life can

Mundi (circa 1500), which was sold for US$ 450 million at a

offer their candid comments and suggestions. And we also hope

Christie’s auction in New York to a Saudi prince, setting a record

that next year, as always, we can again continue this pilgrimage

for the highest price ever paid for a single piece of art. Essentially,

and offer homage to the ten directions.

this depiction of the Christian Messiah, Jesus Christ, is the only

阿布達比羅浮宮 The Louvre Abu Dhabi, opened on November 11, 2017

PAINTINGS and THANGKAS

公分 142 x 76 重彩絹本立軸

護法像明代十五十 / 六世紀

展品一

佛教在中國有上千年的歷史，始自東漢，興於南北朝。後在元代與清代都有幾個佛教分支並盛的情況。元、清分別為蒙、滿兩個少數民族統治，元世祖忽必烈信仰佛教，定佛教為國教，且深受藏傳佛教影響（包括後來的清代）。所以到了明代時既有漢傳佛教，藏傳佛教，這是因地域與民情的不同所產生，也是各民族交融的結果。然而須知殊途而同源，在佛像藝術裡，佛陀、菩薩、護法、羅漢等在各大分支中多造型各異，實際則同出一宗。

展品為一幅豎軸單屏怒目天王金剛造像，描繪一尊法力超群的金剛，三頭六臂，肌肉發達，天生神力。三個頭顱無所不瞻，其中著重描繪的中間頭部，開三眼，怒目圓睜，瞳孔極小，兇悍無比，大口張開，露出四顆尖牙，頭髮長且飄逸，如沖天火焰。綠色彩帶在手臂身體四周圍繞，金色鎧甲於胸前護心，有雙手撐握日月，周圍火焰紋有熊熊燃燒之勢，左手持握寶劍，威猛四方，氣震八面。此畫畫風嚴謹，保留日式舊裱，狀況尚佳。

Scroll Painting of a Dharmapala Ming Dynasty, 15th/16th Century Ink and color on silk; hanging scrolls 142 x 76 cm

The history of Buddhism in China extends well over a thousand years, having begun during the Eastern Han Dynasty and reaching a height during the Northern and Southern Dynasties. During the later Yuan and Qing Dynasties, several schools of Buddhism co-existed and thrived. The Yuan and Qing Dynasties were respectively founded by the minority Mongols and Manchus, and Kublai Khan, the founder of the Yuan Dynasty, was a devout Buddhist who designated Buddhism as the state religion. Kublai Khan and the Qing Dynasty emperors were all heavily influenced by Tibetan (Vajrayana) Buddhism. Both Chinese (Mahayana) Buddhism and Tibetan (Vajrayana) Buddhism flourished during the Ming Dynasty, as a result of interracial interactions and regional and cultural differences. However, these different schools all diverged from a single source, and although the designs of buddhas, bodhisattvas, dharmapalas, and luohans differ between schools, their origins remain the same. This exhibit is a single-panel vertical-hanging scroll painting of a glaring vajradhara heavenly king. The painting depicts a muscular vajradhara with three heads, six arms, supernatural capabilities, and matchless Dharma power. The three heads are all-seeing, and the focus of the painting is on the central head, which has three glaring, rounded eyes; tiny, ferocious-looking pupils; a large open mouth revealing four sharp teeth; and long, billowing hair like a flame rushing up to the heavens. A green sash envelops the arms and torso, while a golden breastplate protects the chest and heart. Two hands respectively grasp a Sun and Moon, surrounded by fiercely burning flames. One of the left hands holds a jeweled sword, and a sense of stern majesty and devastating power propagates from the figure in all directions. Characterized by its orderly composition, the painting remains in good condition, and still retains its old Japanese-style mounting.

Exhibit Item 1

111 x 55公分重彩設色紙本

西藏十八世紀陽體獄帝主設色絹本北京故宮博物院藏

大威德明王像明代十六世紀

fig. 2.1

展品二 Tibet,18th Century Yamaraia of Father Tantra Ink and color on silk Collection of the Palace Museum, Beijing 78 x 57cm

此幅豎軸大威德明王像，為紙本設色，日系舊裱。明王、金剛、忿怒像在漢傳佛教藝術中十分常見。本尊香象菩薩變身忿怒像，因降魔軀魔之故，變身比妖魔更加兇惡之狀，以收服群魔亂鬼。此像肉身紅髮，三頭六臂，畫面中央上方有菩薩本尊坐像，六臂手持如意、板斧、寶劍、鈴杵、弓箭等各式軀魔法器。漢傳大威德明王像造型明顯不同於藏傳，而與東傳至日本的造像法式有相像之處。

展品整張畫面色調溫和，以硃砂、淡白、淡粉為基調，含蓄而內斂；與之相對應的是，明王本身的表現張力十足：肌肉發達，有健力士般的威猛，紅髮、紅鬚髯，雙目圓睜，瞳孔極小，闊口大張，露出四支尖牙，十分懾人。收服坐騎黑角巨牛，其有力感與主尊大威德明王相稱協調。整幅作品頗具神力，是一件能震魔、驅鬼的變身像佳作。

Scroll-painting of Yam창ntaka Ming Dynasty, 16th Century Multi-colors on paper; hanging scrolls 111 x 55 cm

This vertical-hanging ink and color on paper scroll painting with an old Japanesestyle mounting depicts Yam창ntaka. Images of vidyarajas (wisdom kings), vajradharas, and wrathful deities are quite common in Chinese Buddhist art. This painting depicts the bodhisattva Gandhahastin as a wrathful deity, in order to appear fiercer than the legions of demons and evil spirits that the bodhisattva is seeking to subdue and exorcise. The bodhisattva has a physical body with red hair, three heads, and six arms, and is presented in a sitting position at the center of the painting. The six hands respectively hold a ruyi scepter, axe, jeweled sword, vajra-mallet with bell, and a set of bow and arrows, all powerful weapons to be used in exorcism. It should be noted that depictions of Yam창ntaka in Chinese Buddhism are more similar in image and style to those that spread east to Japan, and are markedly different from depictions in Tibetan Buddhism. This painting is mild in tone, and uses cinnabar, light white, and pale pink pigments to create a base that exudes subtlety and reserve. In contrast to this, the figure of the vidyaraja is quite dramatic in appearance, with muscular features that project the fierce sternness of the warrior. The red hair and beard, two glaring round eyes, tiny pupils, and grimacing face baring four sharp teeth inspire both fear and awe. Yam창ntaka is depicted as riding atop an enormous black-horned ox, whose power and strength fully matches that of its rider. The entire painting ripples with power and wonder, and is a marvelous work of transformation that will certainly serve to conquer and banish any demons or evil spirits.

24 Exhibit Item 2

公分 192 x 97 重彩設色絹本立軸

羅漢眾明代十六世紀

展品三

羅漢、應真、阿羅漢，是佛陀常駐凡間然已斷卻煩惱、了脫輪迴的得道弟子。各種族、年齡、裝束皆有，漢梵面相皆可見，常見有八羅漢、十六羅漢、十八羅漢，亦有多達五百羅漢的作品。南宋時代寧波畫匠周季常、林庭珪繪製了一百張《五百羅漢圖》，這是歷史上繪製數量最龐大的一組作品。

展品以四位羅漢佔據畫面的中心，比例明顯比其他配角略大，突顯主角的份量。畫軸尺寸不大，高近六尺，山水松雲滿佈。羅漢身旁有童子整理書卷，有僧侶手持茶壺奉茶，圖的上方更有一牛面人身及一侍者雙手托碗朝天。畫面中山石層次分明，筆法工整，樹木自岩石中竄出，樹枝靈動，似隨風搖曳。四位羅漢身著多層衣飾，衣褶明晰流暢。或有長眉羅漢雙手合十，或有羅漢倚坐專注閱讀，形態各異。年長者之表情生動，身形骨瘦，刻劃出常駐世間歲月的痕跡。整幅畫面佈局緊密，層次有序，設色飽和，紅、綠、藍、墨相映成趣，十分賞心悅目。筆者收藏羅漢圖軸數十卷，首見如此圖面佈局，畫面左右下角皆蓋有多方收藏印，想必四、五百年來經手多人珍藏。如今雖由筆者收藏，然人生之於藏品不過短暫數十載，終將也會只是過手，畢竟羅漢仍應遊走四方，度化眾人。

A Group of Luohans Ming Dynasty, 16th Century Multi-colors on silk; hanging scroll 192 x 97 cm

Luohans, arhats, and arahants are followers of the Buddha that have shed earthly cares and escaped the cycle of rebirth to achieve enlightenment, but still reside in the earthly realm. Drawn from a wide range of ethnicities and age groups, both Han Chinese and Indian facial features can be found among the luohans, and their attire is also quite varied. Luohans are typically depicted in groups of eight, sixteen, eighteen, or even five hundred; and the hundred paintings of the Group of Five Hundred Luohans by the Southern Song artists Zhou Jichang and Lin Tinggui represent the largest set of such works in history. Four luohans, significantly larger in size than the characters surrounding them, dominate the center of this exhibit, indicating their central role. The scroll is not particularly wide, but has a height of almost 2 meters. Mountains, waters, pines, and clouds fill the background of the painting, and beside the luohans, boys work to organize their literary scrolls, while monks hold teapots in preparation to serve tea. In the upper part of the painting, a figure with an ox face and human body watches as a servant raises a bowl toward the heavens with both hands. The mountain rocks in the painting are well-structured, with neat, organized brush strokes, and the branches of the trees emerging from the stones are lively and almost appear to wave in the breeze. The four luohans are clothed in multiple layers, with flowing, clearly delineated creases. The luohans are depicted in various attitudes â&#x20AC;&#x201C; one luohan with long eyebrows presses both palms together, while another reads intently in a sitting posture. An aged luohan with a bone-thin frame wears a vivid expression that bears the traces of long years in the mortal world. The overall organization of this painting is close-knit and tightly structured, with rich colors of red, green, blue, and ink all complementing one another in a very pleasing manner. Of the tens of luohan scroll paintings in my possession, this is the first to have such a depiction, and from the numerous collectorâ&#x20AC;&#x2122;s seals that can be found in the bottom left and right corners, it can be inferred that this painting must have been well-cherished as it passed through the hands of many connoisseurs of art over its near 500-year-history. Although this painting now resides in my collections, my life is but a short few decades in the existence of this work, and I am ultimately destined to be another pair of hands through which it passes through, for it is the wont of luohans to roam the four directions, seeking to save the multitudes.

28 Exhibit Item 3

畫心 66x45 公分礦物彩棉布

宗喀巴唐卡十九世紀藏中可能西藏拉薩地區

展品主尊為宗喀巴，頭戴黃色尖，後有圓形綠色頭光，身著橘黃袈裟，雙盤趺坐於蓮花檯，左右上下有弟子眾似在誦經傳教，並用金泥註寫藏文。風格繪畫工藝應為藏中，由達賴喇嘛的十二～十三世的導師出資供繪，為清代晚期格魯派用以發揚與讚頌他們的精神象徵：宗喀巴 ; 並以紅色顏料在背後書寫以下文字，描述委託者與其委製本展品的期望 :

展品四

「吾向文殊菩薩鞠躬致敬！二代佛陀文殊菩薩 ( 指宗喀巴 ) 體現眾明王大智，融合為一，吾向其身體、言行、思想、及品行，帶著信心和虔敬鞠躬。菩薩，您與聖人之所有言行與生平精心繪於本圖，供吾楚臣強巴 ( 委製者 ) 景仰回顧。願繪製本圖所生之功德不只為己，而可度化眾生。願支持、維護、與傳授集佛陀教義菁華之優良傳統 ( 指格魯派 ) 者遍布凡間，願無垢教義與行道興盛至輪迴終止。願所有見者、耳聞者、觸者永與文殊菩薩 ( 指宗喀巴 ) 同在，並為眾生與佛法立下大功。」委製者可能為三世普覺活佛楚臣強巴嘉措 (1825-1901)，其生年與本展品風格定年結果吻合，亦具委製本展品之能力和資源。居住於拉薩附近的三世普覺活佛曾任第十二世和第十三世達賴喇嘛之導師本展品背面之布料亦印有楚臣強巴的手印，更加深其宗教意義和背面銘文記載之大愛發願。學者 Selig-Brown 即分析道：「若能證明確有直接接觸，則本展品與其他類似作品從宗教角度來看，可視為接觸過和加持過該項作品的喇嘛之遺物，如此即可解釋為什麼這些作品對於信眾來說格外神聖。」( 節錄自 Selig-Brown, Eternal Presence, New York, 2004, p.21.)

【來源】比利時范德偉夫婦 The Van Der Wee 藏品，於 1965 年 7 月 9 日獲得。並在家族中傳承至現任擁有者。

【展覽】De Taal van de Thangka, Ethnographic Museum, Antwerp, 1995.

【出版】Pia and Louis Van der Wee, A Tale of Thangkas: Living with a Collection, Antwerp, 1995, pp.41-43, fig.12

A Thangka Depicting Lama Tsongkhapa Likely from the Lhasa area of Tibet Middle Tibet, 19th Century Distemper on cloth 66 x 45 cm

Provenance: The Van Der Wee's Collection, Belgium, acquired by 9 July 1965, and thence by descent. Exhibited：De Taal van de Thangka, Ethnographic Museum, Antwerp, 1995. Published：Pia and Louis Van der Wee, A Tale of Thangkas: Living with a Collection, Antwerp, 1995, pp.41-43, fig.12

The central figure of this exhibit is Tsongkhapa, who is

The excellent tradition of the essence of the Buddha's

depicted as wearing a pointed yellow hat surrounded

teachings [Gelug], may those who uphold, preserve, and

by a circular aura of green light, and orange-yellow

spread the teachings fill the earth. The religious precepts

monastic robes. Tsongkhapa sits cross-legged upon

of the stainless teaching and practice, may it flourish until

a lotus flower pedestal, and to his left, right, top, and

the end of samsara.

bottom, multitudes of followers recite sutras or preach his teachings. The figure is surrounded by explanatory

May all those who have seen, heard or touched this, all

Tibetan text inscribed in gold paint. The style and artwork

those with the teacher Lord Manjushri [Tsongkhapa] not

are of the Middle Tibet region, and the thangka was

separate, following the victorious ones, may they seek

commissioned by the tutor of the 12th and 13th Dalai

great benefit for the sake of all beings and the Dharma.”

Lamas during the late Qing era, in praise of the greatness of the founder and spiritual symbol of the Gelug school,

The patron might be the Third Purchok, Jampa Tsultrim

Tsongkhapa. On the reverse side of the thangka, the

Gyatso (1825-1901), whose life dates are in line with a

following words are inscribed in red ink:

stylistic dating of the painting, and who would have had the means to commission such a set. Based near Lhasa,

“To the bodhisattva Manjushri I bow!

the Third Purchok tutored the Twelfth and Thirteenth Dalai Lamas.

Embodiment of the omniscience of the enlightened conquerors, gathered as one - the second Buddha Lord

Tsultrim Jampa's hand prints are also pressed into the

Manjushri [Tsongkhapa], to the body, speech, mind,

reverse of the painting's cloth, deepening its religious

qualities and activities I bow with confidence and devotion.

significance and the altruistic sentiments conveyed in the inscription. As Selig-Brown explains, "Confirmation

Oh Lord, in this realm [painting] all the activities of the

of direct contact would also mean that, from a religious

virtuous ones, are finely composed with the life story,

perspective, each painting is a relic of the lama who

painted here in order for recollection, created as a worship

touched it and imbued it with his presence. As such it

object for Tsultrim Jampa.

explains why these paintings are exceptionally sacred items for devotees." Selig-Brown, Eternal Presence, New

May all the merit accumulated through creating this, be not only for oneself, but also become a cause of temporary and permanent result [for others].

32 Exhibit Item 4

York, 2004, p.21.

畫心

十四世紀藏中或藏東第一世噶瑪巴杜松欽巴史博曼舊藏

公分 78 x 51

第一世噶瑪巴（都松欽巴）刺繡唐卡清代十九二 / 十世紀早期

fig. 5.1

14th Century, Middle Tibet or Eastern Tibet Düsum Khyenpa Former collection of A&J Speelman H. 33 cm

黑帽大寶法王至今已轉世十七世，相當於北宋晚期至現今二十一世紀，有近九百年的歷史

展品五

傳承，一世噶瑪巴即是展品中的都松欽巴（又譯杜松虔巴，1110 ～ 1193 年），「都松」為藏語的「三世」，指過去、現在、未來三世，「欽巴」是「知曉」的意思，因此都松欽巴即是知曉三世的意思。都松欽巴的父母皆虔誠信仰藏傳佛教，因此自小便學習藏文，接觸佛學知識。至宋宣和七年（1125 年），都松欽巴年滿 16 歲，便至噶查寺剃度出家，取法名確吉達巴。

都松欽巴於公元 1154 年建造了岡波涅南寺，後又陸續建了潘普寺、噶瑪寺。宋淳熙十六年（1189 年），都松欽巴已近八十，在西北拉薩修建了祖普寺（粗朴寺），往後取代丹薩寺成為噶瑪噶舉派的主寺。宋紹熙四年（1193 年）十一月，都松欽巴以八十四歲高齡圓寂，噶瑪噶舉派為了領袖繼承的問題，追認都松欽巴為該派黑帽系第一世活佛，即造就了活佛轉世制度的開始，一直流傳至現在的十七世法王鄔金欽列多傑（1985 年生）。都松欽巴一生留下《四面金剛亥母》、《四續釋》、《夢事三種》、《神鬼饒益之隱身術》等著作，不論是寺廟建築或著作，都松欽巴都為藏傳佛教留下了許多寶貴的史料。

由流傳下來的唐卡及銅像可看出第一世噶瑪巴法相奇特，臉相似猿猴，因此容易辨識。筆者近十年也收藏了多件黑帽法王的造像及唐卡，十分有緣。展品是一件刺繡唐卡，以精細多彩的傳統刺繡工藝所製作而成。主尊法王安座於寶座上，頭戴黑帽，手持念珠，背景有高山雲朵環繞，法王前設有供桌，供桌上擺置諸多供品、法器，供桌前方更有兩隻仙鶴昂首起舞，朝拜法王。刺繡起於宋 / 元，盛於明朝，黃、紅、橘、綠、藍、白等彩線縝密交織於布上，華而不艷，百年前繡，因保存良好色彩依舊鮮明。常見描繪的噶瑪巴一世唐卡，但要看到一件刺繡唐卡是極不易，以當時的工藝難度來說，一件繡品抵百件唐卡不為過。 34

Embroidered Thangka of The First Karmapa (Düsum Khyenpa) Qing Dynasty, 19th/ Early 20th Century 78 x 51 cm The Karmapa of the Karma Kagyu school is currently in

day. Düsum Khyenpa authored several impor tant

the 17th reincarnation, a succession spanning almost

writingsduring his life, including works such as On the

900 years of histor y from the late Northern Song

Four-faced Vajrayogini, Commentaries on the Four

Dynasty to the 21st century. This exhibit depicts the 1st

Tantras, The Three-fold Connection of Dreams, and the

Karmapa (1110-1193), also known as Düsum Khyenpa.

Invisibility Ward Against Gods and Demons. Through

Düsum means “three times or phases” in Tibetan, and

both his monasteries and writings, Düsum Khyenpa left

refers to the three times of the past, present, and future.

a rich legacy of valuable historical material for Tibetan

Khyenpa stands for “knowledge or understanding”, and

Buddhism.

thus Düsum Khyenpa means, “a knower of the three times”. The parents of Düsum Khyenpa were both devout

From the thangka and bronze sculptures that have been

followers of Tibetan Buddhism, and thus Düsum Khyenpa

passed down over the ages, it can be observed that the

studied Tibetan and was exposed to Buddhist teachings

First Karmapa had distinct features resembling that of

from an early age. In the 7th year of the Xuanhe reign

an ape, and therefore his image is quite recognizable.

(circa 1125) during the Song Dynasty, Düsum Khyenpa

Over the past ten years, I have collected several images

turned 16 and was ordained as a monk at Treka Drak

and thangka of the First Karmapa, and I feel there is

(Katrakpa) Monastery, receiving the Dharma name Chokyi

a strong bond of serendipity between us. This exhibit

Drakpa.

is an embroidered thangka, made through traditional embroidery techniques characterized by their fineness

Around the year 1154, Düsum Khyenpa established the

and rich colors. The First Karmapa sits on a throne at

Kampo Nenang Monastery, and thereafter proceeded

the center, wearing a black hat and holding a string of

to establish the Panphuk Monastery and the Karma Gön

prayer beads. High mountains and clouds surround him

Monastery. In the 16th year of the Chunxi reign (1189) of

in the background, and an altar table is placed in front

the Song Dynasty, when he was nearing 80 years of age,

of him, on which several offerings and ritual instruments

Düsum Khyenpa established the Tsurphu Monastery in

have been placed. Two immortal cranes dance before

the northwestern Lhasa region, and this monastery later

the altar table in homage to the First Karmapa. The art of

replaced the Karma Gön Monastery to become the main

embroidery first arose in the Song and Yuan Dynasties,

seat of the Karma Kagyu school. In November of the

and reached a height during the Ming Dynasty. On this

4th year of the Shaoxi reign (1193) of the Song Dynasty,

piece, yellow, red, orange, green, blue, and white threads

Düsum Khyenpa relinquished his physical body and

intertwine closely on the fabric to create a rich display

entered parinirvana at the age of 84. Faced with the issue

that stops short of gaudiness, and as the piece was

of succession, the Karma Kagyu school posthumously

created within the past hundred years or so, the colors

recognized Düsum Khyenpa to be the first tulku, or

have been well-preserved and are still fresh. Thangka

living Buddha, of the Karmapa, and thus established the

depicting the First Karmapa are quite common, but

tulku tradition of reincarnation in Tibetan Buddhism,

embroidered thangka are few and far between, and when

the unbroken lineage of which extends to the 17th and

the difficulties of this artistic technique are considered, it

current Karmapa Ogyen Trinley Dorje (born in 1985) to this

is no exaggeration to say that one embroidered thangka has the worth of a hundred thangka.

36 Exhibit Item 5

STATUES and CARVINGS

高公分 60

木胎觀音菩薩立像元代十四世紀山西風格

石、木、泥、銅、鐵為雕塑的常見材料，古今中外皆然。早期匠人通常專職於一種材質，才能充分了解及掌握材質的特性，力求突顯材質的優點，給予作品最佳的表現方式。由於各種材質在經過漫長歲月後，質地隨著時間遭遇水氣、煙燻、土埋、空氣氧化、人為使用等各種可能因素產生了不同的外觀質地，而最不可測的變化當

展品六

屬戰火或蓄意的破壞。

木材在古時候是最易取得的，其價值低廉，雕刻技術門檻較低，成品也容易滿足供養主的需求，體型可碩大可精小，唯一缺點即是經不起長年的風化、戰火及人為損傷，使得木雕傳世不易。

廣東、福建、浙江、湖南、湖北都有木雕佛像傳世，山西則是木佛的最佳出處，年代久遠，工藝精良，為眾地區木雕品質之首。其中更以宋、金、元時期木雕最具代表性，如能得一等身大小的宋、金、元時期木雕，即可成為一家博物館的鎮館之寶。

展品木雕觀音立像，木質風化明顯，為典型元代山西地區之開相。表面留有殘彩，雙手佚失，依然靜美。臉相祥和喜悅，悲憫之間，充滿菩薩關懷眾生的神情。觀音菩薩衣褶清晰流暢，身形修長，飾有華冠，束高髮髻，兩辮雙分於肩，胸前綴有纓絡，為一靜謐素雅的山西木雕觀音。【來源】瑞士私人收藏，購自 1963 年自 1980 年間。

Wood Figure of Standing Guanyin (Avalokitesvara) Yuan Dynasty, 14th Century Shanxi style H. 60 cm

Provenance: Private collection from Switzerland, acquired from 1963 to 1980. Stone, wood, mud, copper, and iron are the materials commonly used in sculptures throughout history around the world. During the early days, the craftsmen often specialize in one type of material in order to fully understand and grasp the characteristics of the material while striving to highlight the strengths of the material, and to find the best way to express the piece. Over time, the appearance and texture of the materials will change due to various potential factors such as moisture, smoke, burial, oxidation, and human use, and the most unpredictable change would be the ravage of war or deliberate destruction. In ancient times, wood was the most readily available material, which has a low cost and relatively low threshold of carving skills required, while the finished products can easily meet the demands of the hosts, and the size of the sculpture can be either large or small. The only drawback is that it cannot withstand years of weathering, war, and man-made damage, making it difficult for wood sculptures to be passed down. There are Buddhist sculptures that were passed down through the generations in Guangdong, Fujian, Zhejiang, Hunan, and Hubei, while Shanxi is the best production site

for wooden Buddhist sculptures; with long-dated history and

refined craftsmanship, the quality of the wooden sculptures here tops that of all regions. Among the pieces, the wooden sculptures from the Song, Jin, and Yuan Dynasties are the most iconic ones. If one can acquire a life-sized wooden sculpture from the Song, Jin, and Yuan Dynasties, the piece will become the highlight of a museumâ&#x20AC;&#x2122;s collections. The exhibit is a wooden sculpture of Guanyin, a typical piece of the Shanxi region during the Yuan Dynasty. With a visible weathered texture, mottled paint on the surface, and missing hands, the figure is still serene and beautiful. The Bodhisattva has a serene and joyful countenance, with a compassionate expression of caring for all living creatures. With vivid and flowy ruffles of the cloth, a slender figure, a decorated crown, a high hair bun, two braids resting on the shoulders, and tassels laying in front of the chest, it is a tranquil and elegant Shanxi wooden sculpture of Guanyin.

43 Exhibit Item 6

高公分 50

木胎文官立像明代十六十 / 七世紀浙江地區

華中地區，江浙一帶，宋、元、明時期人文薈萃，為漢中文化發源地，尤以南宋時期為其高峰，明代則承襲宋風遺韻，宋代之藝術及工藝水平皆深刻的影響

展品七

了明代的文人雅士。

展品士大夫立像，從工藝、木質、臉相判定可能為浙江工藝。此件刻有明代服飾，帶著近似於浙江菩薩像的開臉，著長袖長袍，披長巾披肩，戴高圓頂帽子，雙袖似順風而起，隨勢飄逸。木雕表面殘留些許金箔，身形挺立，比例恰當。筆者收藏過木雕數百，閱歷數千，首見如此造型，令人欣喜。明代時期，雕塑題材無非神佛、皇帝或偉人賢士才有被塑像的必要，目前尚未考證此像為何人也，筆者將繼續研討，以期正名。【來源】瑞士私人收藏，購自 1963 年自 1980 年間。

Wood Figure of Standing Civil Official Ming Dynasty, 16th/ 17th Century Zhejiang Region H. 50 cm

Provenance: Private collection from Switzerland, acquired from 1963 to 1980. The Yangtze River and the Zhejiang area in Central China was rich in culture and talents during the Song, Yuan, and Ming Dynasties and the cradle for the Han Chinese culture, especially in the Southern Song period, during which cultural development reached its peak, while the Ming Dynasty inherited the legacy of the Song Dynasty; the arts and craftmanship of the Song Dynasty both had a profound influence on the scholars and literati of the Ming Dynasty. The exhibit is a standing sculpture of a scholar-official. Judging from the craftsmanship, texture of the wood, and facial features, it may be an art piece from the Zhejiang Province, as the facial features are similar to that of sculptures of Bodhisattva in Zhejiang. The sculpture is dressed in a Ming costume, with a long-sleeved long robe, a shawl draped around the shoulders, and a tall and dome-shaped hat; the sleeves seem to be flowing with the wind, exuding gracefulness and elegance. A small amount of gold foil remains on the surface of the wooden sculpture, and the well-proportioned figure stands tall and upright. I have seen thousands of wooden sculptures and collected hundreds of them, and it is gratifying to see one with this style for the first time. During the Ming Dynasty, only gods, buddhas, emperors, heroes, or distinguished figures were the subjects of sculptures; as the identity of this sculpture has yet to be verified, I will continue to research and investigate in hope to rectify the name of the piece.

46 Exhibit Item 7

高公分 35

木胎自在觀音像元代十四世紀

筆者有幸於 92 年時首次拜訪位於倫敦的 ESKENAZI，當時由徐政夫老師帶隊，一行台灣藏家共約十五人一同造訪。當時的我感到無比喜悅與震撼，不論是畫

展品八

廊的接待以及空間氛圍都讓人感到十分愉悅；震撼的則是一位古董商的專業達到如此的高度與廣度，舉目皆屬博物館級別的藏品。一晃眼已二十五年，我幾乎收集了全套 ESKENAZI 的展覽圖錄，每本皆仔細翻看，細讀再三，不但可作為研究的範例、收藏的標竿，也可賞心玩味，每每醉心於圖錄中許久。因是頂級的古董商，一直難以入手 ESKENAZI 的展品，有幸自拍場上拍得這尊元代木雕，證書顯示藏家於 1993 年購自 ESKENAZI，終於一了心願。這件為典型山西造型，閒適自在觀音底下有龍盤旋，類似造型在石雕及三彩中也曾見過。木雕因流傳人間數百年，皮殼已油潤光亮，木材質地較硬，表面留有紅彩。自在觀音姿態流暢，盤龍造型生動，為一難得的元代木雕加彩自在觀音坐像。【來源】米蘭私人收藏，1993 年購自 Eskenazi，附購買證明。

Wood Figure of Standing Guanyin in An Easeful Posture Yuan Dynasty, 14th Century H. 35 cm

Provenance: Private collection from Mian, Italy. Acquired from Eskenazi in 1993 with invoice. I was fortunate to visit Eskenazi in London for the first time in 1992. Led by Master Cheng-Fu Hsu at the time, a group of about 15 collectors from Taiwan visited the gallery. That was my first time visiting a premium antique gallery, and I was extremely pleased and astounded. The reception of the gallery and the atmosphere of the space was both very pleasing, and I was astounded by the depth and breadth of professionalism achieved by the antique dealer; all items we saw were museum-grade collections. Twenty-five years have passed in a blink of an eye, and I have collected almost the entire set of Eskenazi catalogs. Each book has been flipped through and perused over and over again. Not only can the books serve as examples for research and benchmarks for collections, you can also enjoy admiring the pieces, and I often immerse myself in the pictorial catalogs. As Eskenazi is a premium antique dealer, it has been difficult to acquire collection pieces from Eskenazi. I was fortunate to acquire this wooden sculpture from the Yuan Dynasty from the auction; the certificate states that the collector purchased the item from Eskenazi in 1993, and my wish was finally fulfilled. This is a typical Shanxi-style piece; the dragon circles beneath the poised Guanyin, and stone sculptures and Sancai pieces with a similar style have also been found. Having been passed down for centuries, the skin and shell of the wooden sculpture has become glossy and bright, with a hard-wood texture and residual red paint on the surface. With a flowy and poised-postured Guānzìzài and the vividly crafted dragon that circles beneath, this is a rare wooden and painted sculpture of Guānzìzài from the Yuan Dynasty.

50 Exhibit Item 8

高公分 62

展品九

木胎漆金觀音坐像元明 / 代十四十 / 五世紀山西地區

宋、明時期晉中地區佛教興旺，雲崗石窟、天龍山石窟、平遙古城、太原古城、遼代應縣木塔等佛教聖地皆位於此區，名寺古剎，佛塔無數，在中國佛教史上佔有舉足輕重的地位。現存遺留海外博物館中的宋、金、遼時期等身大小，甚或更大的木雕，必定是該博物館的鎮館之寶。筆者時常從書上或者出國參訪各大博物館時駐足仰望山西木雕的風采。木雕保存不易，能流傳至今，躲過戰火的洗禮及歲月的侵蝕，因而顯得更為珍貴。

筆者每次展覽都希望能呈現山西木雕的展品，遍地搜尋，終遇見這件流傳於美國地區的木雕觀音，今日重回漢土，令人欣喜。展品為元或明初的木胎觀音造像，整木刻成（有時也可見佛像本尊與檯座分開雕刻的），典型山西地區造型。此尊表面仍留有原裝彩，白灰底上加紅底漆，表面紋飾以泥線施工，最後平塗金漆，保存狀況實屬難得。木雕高 61 公分，屬中型的雕塑（如有人等身大小即可稱為大型），觀音雙盤趺坐於蓮花檯上，蓮花殘留紅彩，表面有數道因年代久遠所造成的裂痕。佛像開臉威儀喜悅，雖有五、六百年木雕的小殘損，但是依舊不損觀音木雕的工藝水平。【來源】美國波士頓地區私人收藏。

Polychromed Wood Figure of a Seated Guanyin Bodhisattva Yuan/ Ming Dynasty, 14th / 15th Century H. 62 cm

Provenance: Private collection from Boston, USA. Buddhism flourished in the Jinzhong region during the Song and Ming dynasties. Buddhist shrines such as the Yungang Grottoes, Tianlongshan Grottoes, Pingyao Ancient City, the ancient city of Taiyuan, and Yuxian Wooden Pagoda from the Liao dynasty are all located in this area. With countless famous temples and pagodas, the region plays a pivotal role in Buddhism history in China. The existing life-sized or bigger wooden sculptures from the Song, Jin, and Liao era that are left overseas must be the most treasured pieces of those museums. I often linger and admire the charm of Shanxi wooden sculptures found in books, or during oversea visits of major museums. Preserving wooden sculptures is not easy; the fact that they are able to be passed down until present day, and to escape from the ravage of war and erosion over time makes them even more precious. I have been hoping to display Shanxi wooden sculptures in each exhibit, and is finally able to find this wooden sculpture of Guanyin circulated in the United States after searching all over the world. It is very gratifying to return this piece to the Han territory. The exhibit is a wooden-based sculpture of Guanyin from the Yuan dynasty or early Ming dynasty, which was carved in whole using one piece of wood (sometimes we also see the Buddhist sculptures and the pedestals being carved separately), and the style is typical of the Shanxi region. The surface of the sculpture still retains its original colors, with a red primer on a white ash base, engravings created with mud lines, and finished with gold lacquer; the well-preserved condition of the piece is quite rare. The medium-sized wooden sculpture is 61 cm in height (a life-sized sculpture can be said to be large-sized), with Guanyin sitting cross-legged on the lotus pedestal; there is mottled red paint on the lotus, and a few cracks on the surface resulted from the passage of time. The face of the sculpture has a solemn and joyful countenance. For a five or six hundred years old wooden sculpture, the quality of the craftsmanship is intact despite the small flaws and damages.

54 Exhibit Item 9

高公分 67

夾紵漆金自在觀音像明代十六十 / 七世紀

觀音是佛教題材最受歡迎的，觀音有眾像，多樣式，多可人，多親人，由印度、中亞、尼泊爾、西藏地區在到中國地區，廣受愛戴。唐時代極盛，宋時將觀音之美，達到高峰，中原地區觀音早已融入各地域的信眾心中了，中原地區到了明朝，普及世人，有了唐宋的依歸。明代承襲前人造型發揚光大，繁簡並融，不脫觀音慈悲智慧的格局之內來發揮。展品自在輪王式坐姿，材體為麻布夾紵胎，比例佳、造型典型，明代有高頭巾蓋髮、開臉圓、雙眼慈目鼻挺、微揚嘴角、天衣滿身、胸前纓絡滿佈、衣褶深、溫柔流暢、金漆滿身、底露紅胎，保存狀況良好，內堂物應尚在，由外表貼金、身質硬堅，似銅胎。這顯出工匠掌握了佈胎夾紵特性完美呈現了明代自在觀音之美的高級工藝。

夾紵胎，又稱麻布胎，最早工藝始於春秋戰國時代，主要結構由麻布、桐油、土漆、熟石灰、糯米夯黏布均勻塗於紵布上，再裹在模

展品十

型外成了成品，在造像外表施塗金粉、漆等。主要特性為質地輕，造型佳，防腐、防潮，耐高溫，耐酸鹼，堅固結實，大都會博物館即藏有一件精美唐代佛坐像。

fig. 10.2

唐代夾紵乾漆佛頭像本五郎舊藏二零一三香港蘇富比秋拍

唐代夾紵乾漆觀世音菩薩頭像二零一七香港蘇富比春拍

fig. 10.1

Tang Dynasty A Dry-Lacquer Head of Buddha H. 45.8 cm Sotheby's Hong Kong, October 8, 2013

Tang Dynasty A Dry-Lacquer Head of Avalokitesvara H. 43.3 cm Sotheby's Hong Kong, April 4, 2017

Gold Lacquer with Ramee Figure of Guanyin in An Easeful Posture Ming Dynasty, 16th / 17th Century H. 67 cm

Guanyin is one of the most popular motifs in Buddhist art,

Ramee molds are also known as hemp-cloth molds, and the use

and has a variety of poses and styles that are both appealing

of this technique first emerged during the Spring and Autumn

and affable. Therefore, Guanyin has broad appeal across India,

and Warring States periods. The primary mold is crafted from

Central Asia, Nepal, Tibet, and the inland regions of China.

hemp cloth, tung oil, clay paints, and slaked lime, all held

Sculptures of Guanyin were quite popular during the Tang

together with glutinous rice and then spread evenly upon ramee

Dynasty, and during the later Song Dynasty, artistic expressions

cloth. This is then wrapped around the core and sculpted to the

of the beauty of Guanyin reached a high point. In the regions

desired shape and form, after which the mold is then covered

comprising the Central Plain of China, the image and concept

with gold powder and lacquer. Such figures are characterized by

of Guanyin became deeply embedded in the hearts of followers

their lightness, excellent form, resistance to decay and moisture,

from an early stage, and during the Ming Dynasty, the Central

and ability to withstand high temperatures and acidic or alkaline

Plain areas continued the Tang and Song tradition of spreading

substances, as well as their solid hardiness. One such figure of a

the faith of Guanyin. The Ming designs of Guanyin similarly

Buddha in a sitting posture, dating from the Tang Dynasty, can

worked from and advanced upon the designs of previous

be found in the collections of the Metropolitan Museum of Art.

dynasties, with a style that melded the intricate and the simplistic, and which added new elements while maintaining the merciful and wise features of Guanyin.

唐代彩繪漆金夾紵阿彌陀佛像紐約大都會博物館藏

fig. 10.3

This exhibit depicts Guanyin in the lalitasana royal-ease posture. The body of the figure is crafted from hemp cloth with ramee in an optimal proportion, and the design is in the classical Ming style. A high headcloth covers the hair of the figure, which has an open, round, and full face with kind eyes, a noble nose, and small mouth slightly raised at the corners. The figure is dressed in heavenly robes with deep creases and flowing lines, and beaded tassels cover the entire chest. Covered in gold lacquer except on the underside, where the underlying red core shows through, the figure is quite hard and appears to consist of a copper core that was then covered with gold. The figure is wellpreserved, and the materials sealed inside during consecration should still be present. This figure reflects the expertise of its maker in handling cloth and ramee molds, and this excellent craftsmanship perfectly presents the easeful beauty of a Mingera Guanyin to the full.

58 Exhibit Item 10

Tang Dynasty A Dry-Lacquer of Amitabha H. 96.5 cm Collection of The Metropolitan Museum of Art

高公分 52

木雕加彩阿彌陀佛立像明代十五十 / 六世紀山西工藝

展品十一

佛教在中國流傳超過千年，起源於印度，流入中亞後再傳入中國。佛像雕刻近千年的演化自南北朝時期開始發展出漢化的特徵，漢人的臉相、比例、身型、服飾自此逐漸成型，唐代時期趨於成熟，宋代時達到高峰，而明代時的造像則已經有樣版作為雕刻的依據。雖然明代仍留有宋元時期的遺風，但是細看還是能辨別出不同年代及地區性的風格。

展品木造阿彌陀佛立像，因受到長期的供奉，外表附著長年煙薰的油污，底下仍可見原來的金、紅彩。佛陀站立於整木雕成的蓮花檯上，手勢做來迎狀，常見於佛陀立像。來迎印是阿彌陀佛接引眾生至西方極樂世界時所打的手印，因此佛陀來迎的形象在民間受到普遍的重視。展品為典型山西造像，一目可識，保存良好，帶有些許殘損及風化，外表的油污是數百年的香灰所積累而成，是珍貴的使用痕跡，不捨清除。

Polychrome Wood Sculpture of Standing Amitabha Ming Dynasty, 15th/16th Century Shanxi craftsmanship H. 52 cm

Originally arising in India and spreading to China via Central Asia, Buddhism has been preached in China for over a thousand years. Over these thousand years of evolution, Buddhist sculptures gradually developed Han Chinese characteristics during the Northern and Southern Dynasties, and the facial features, proportions, bodily forms, and attire of Han Chinese slowly took shape, maturing during the Tang Dynasty and reaching a height during the Song Dynasty. By the time of the Ming Dynasty, sculptures already had several model templates available for reference. Although Ming Dynasty sculptures maintained the styles of the Song and Yuan Dynasties, closer scrutiny can still reveal key styles unique to different eras and regions. This wood sculpture of a standing Amitabha was worshipped for quite a long period of time, and therefore the surface is coated with years of incense smoke and grease. However, the original gold and crimson colors are still visible on the underside of the figure. The Amitabha stands on a lotus pedestal carved from a single piece of wood, with the left hand in the welcoming mudra that is commonly seen in standing Buddha sculptures. The welcoming mudra is used by Amitabha to greet and invite believers into the Western Paradise of Sukhavati, and therefore the image of a welcoming Amitabha carried great weight with the common folk. This exhibit is of classic Shanxi craftsmanship, confirmable at a glance, and is well-preserved despite some traces of damage and wear. The surface grease and dirt comes from centuries of incense offerings, and represents vestiges of devotion and worship, too precious to remove.

63 Exhibit Item 11

高公分 61

夾紵釋迦牟尼說法像清代十七世紀康熙御製

展品十二康熙、雍正、乾隆乃是清朝最鼎盛的三個朝代，舉凡政治、經濟、軍事皆強大，領土廣闊，國庫充裕，民間繁榮，佛教興盛。宮廷中擁有各式各樣的傢俱、瓷器、唐卡、佛造像等，藝術工藝水平同時達到高峰，三朝則各有其經典的代表作。

康熙佛教造像即是一例，其水平領先雍正、乾隆時期，如故宮現藏一件四臂觀音即是此時期的上等之作，開相端正，融合了滿、蒙、漢三種臉相特色，鑄造精良，打磨細緻，鎏金工藝精湛，並鑲嵌各色寶石，既展現宮廷的雍容氣度，又不失佛像的莊嚴。此尊蓮座也極具代表性，蓮瓣飽滿，刻工明晰，二層蓮瓣搭上三層連珠紋，層層精細打磨，且飾有捲雲，鎏金呈現飽和的金黃色。另一尊銅鎏金無量壽佛，高約 42 公分，廣泛見於市場，每年均可於拍場中見到數件，內胎標有數字，估計總量可能有 108 件，工藝一流，為典型康熙造辦處模板所製造出來的。

展品夾紵胎佛說法坐像即是以布胎為底，也稱重布胎或裱胎，施工講究，胎體輕薄光潔，易於保存。展品比例、開相端正精準，外表描繪的金泥漆清晰可見，佛像體量較大，高達 62 公分，是極少見的康熙夾紵造像。造像表面質感細緻，視覺上有如青銅般的堅挺牢固，額中嵌有粉色寶石，更顯宮中貴氣，為少見的大型康熙宮廷夾紵佛說法造像。【來源】義大利杜林重要家族收藏。 64

Ramee-Lacquer Sculpture of The Buddha Preaching Commissioned by the Emperor Kangxi of the Qing Dynasty, 17th Century H. 61 cm

Provenance: From a very important Italian family of Turin. The reigns of the Emperors Kangxi, Yongzheng, and Qianlong

清代康熙年間銅鎏金四臂觀音菩薩坐像北京故宮博物院藏

fig. 12.1

represented the prime of the Qing Dynasty in all aspects, and was an era of strong politics, great military prowess, and vast territory, with a vibrant economy, full treasury, and bustling society. Buddhism was quite widespread, and artistic expression and craftsmanship was at a similar height, with the imperial court filled with a variety of furniture, chinaware, thangka, and Buddhist sculptures, of which these three reigns each had their representative masterpieces. The Buddhist sculptures of the Kangxi reign are just such an example, as their quality was far ahead of those in the Yongzheng and Qianlong eras. A four-armed sculpture of Guanyin, currently in the collections of the National Palace Museum, represents one of the top masterpieces of this era; the sculpture has dignified features that meld the facial characteristics of Manchu, Mongol,

Qing Dynasty, Kangxi Reign Seated statue of Four-armed Avalokitesvara Collection of the Palace Museum, Beijing H. 73 cm

and Han Chinese, and is finely casted and delicately polished. The gildwork is exquisite, and the figure is inlaid with precious stones of all colors, reflecting the greatness of the imperial court without compromising the solemnity that befitted a sculpture of Guanyin. The lotus pedestal of the sculpture is also quite representative, with full lotus petals, fine sculpting, and two layers of lotus petals arranged together with three layers of beaded patterns, each layer exquisitely polished. The pedestal was further adorned with cloud-shaped curls and gilded with a rich gold. Another set of gilded bronze sculptures of the Amitayus Buddha (Buddha of Immeasurable Life, also known as Amitabha) is similarly well-known, with each sculpture approximately 42 cm in height and quite commonly seen on the market, as a few pieces always appear at auctions every year. The central mold of these sculptures bears a number, and it is believed that the full set may consist of 108 sculptures, all finely crafted and representative of the quality of works produced from templates of the Kangxi imperial workshop.

66 Exhibit Item 12

This ramee-lacquer sculpture of the Buddha preaching while sitting utilizes a cloth mold, also known as a heavy cloth mold or framing mold. The craftsmanship is intricate, and the mold is light, thin, bright, and clean, thereby facilitating preservation. The proportions and features of the figure are precise and dignified, and the gold lacquer on the surface is plainly visible. The surface of the figure is smooth to the touch, with an appearance as solid as bronze. A pink jewel is inlaid on the forehead of the figure, heightening the sense of imperial luxury. With a height of 62 cm, the figure is rather large, and is a very rare example of a large ramee-lacquer sculpture of the Buddha preaching while sitting from the Kangxi imperial workshop.

高公分 111

木胎漆金阿彌陀佛坐像十六世紀室町時代十四～

展品十三

在 90 年代，筆者探訪了京都的多座百年名城古剎，雖年代久遠，但這些寺廟在定期的維護下皆保存完善，佛像也保存良好。這些遺留下來的文物古蹟多為鎌倉時期（約中國南宋 / 元時期），數量多又精美，猶記這些以往只能從書上參閱之圖片，在當時看到原物內心之讚嘆與折服，更欽佩日本人維護文化古蹟的態度，重視文化藝術下的傳承世界首屈一指。日本在戰後立刻將文物分別列級造冊，以利追蹤保存，各樣文物得以保存至今，更有利於流傳於後世。

本件展品之木雕工藝，在日本工匠巧手之下達到高峰，比例造型尚有中國唐代遺風，添加了日本特色之工藝，但唐風不減，東洋漢傳興起，佛造像如此，寺廟構造上亦有漢唐風格。展品木刻漆金阿彌陀佛座像，雙盤趺坐，右手持蓮，雙目半閉，臉相端正，祥和喜捨，造型厚實，木雕內部幾乎被鑿空，用以安放內容物，像是木片、紙卷等，但應更多 ; 表漆的施作方式與中國不同，沒有麻灰，而是直接在木頭刷上多層金漆多層，手部則以榫接結合，正面寬、側面厚，有大背光，雲紋飾，中間有化佛，可惜底座佚失。本尊造型跟明代京造極相似，這應是兩地交流頻繁下，中日友好的證明吧。

A Seated Gilt-lacquered Wood Figure of Amitabha Japan, Muromachi Period (1336-1573 C.E.) 14th~16th Century H. 111 cm In the 90's, I visited many centuries-old cities and temples in Kyoto. Although these temples are ancient, they are well-preserved under periodic maintenance, and the Buddhist sculptures are also in excellent condition. These artifacts and historical sites are mostly from the Kamakura period (roughly corresponding to the Southern Song Dynasty or Yuan Dynasty in China), and are numerous in numbers and exquisite in quality. I can still recall the overwhelming admiration and awe upon seeing the actual items that were only seen as pictures in books in the past, and the strong sense of respect for Japanâ&#x20AC;&#x2122;s attitude toward the preservation of culture and relics. After the war, Japan immediately classified the artifacts and compiled them into catalogs to facilitate tracking and preservation, which enables all kinds of artifacts to be preserved until present day, making it even more conducive for passing them down to future generations. The wood-carving craftsmanship of this exhibit had reached the peak under the hands of skilled craftsmen in Japan. The proportion and style of the piece is remnant of that of the Tang Dynasty in China, with Japanese characteristics added to the craftsmanship without diminishing the Tangâ&#x20AC;&#x2122;s influence. As the Han culture spread in oriental countries, traces of styles of the Tang Dynasty could also be found in Buddhist sculptures and the architecture of the temples. The exhibit is a goldpainted sitting wooden sculpture of Amitabha, who is sitting crosslegged while holding a lotus in the right hand, with eyes half closed, upright facial features, and a peaceful and kind countenance. The style of the sculpture is thick and solid, with the inside of the sculpture almost completely hollowed out for the placement of contents such as wood chips, paper scrolls, and probably much more. The paint application on the surface is different from that of China; rather than heather grey, multiple layers of gold lacquer was painted directly on the wood. The hands were mortised, and the piece has a wide front, thick side, and a large backlight with cloud engravings with a metamorphosed Buddha in the center, and a missing base, unfortunately. The style of this sculpture is quite similar to the ones made in Beijing during the Ming Dynasty, which is probably evident of the friendly relation between China and Japan as a result of frequent exchanges between the two countries.

72 Exhibit Item 13

高公分 103

木胎漆金一佛二菩薩像十九世紀江戶時代十七～

在中國的唐時期，日本的遣唐使及高僧已跨海至中國，並在八世紀中葉頻繁前往長安，不只在文字、佛學、經史與建築上學習及交流，唐朝輝煌的藝術成就亦推動日本藝術的發展。而此時期，唐代僧人鑒真受到日本留學僧邀請東渡，為日本傳授真正的佛教，鑒真及其弟子一生東渡六次，前五次都失敗，歷經磨難，終抵日本奈良，受到天皇重視禮遇，在日本首次建

展品十四

立起了嚴格的戒律制度，使得日本佛教走上正軌，鑑真除了對日本佛教的啟迪，也為佛教造像藝術、書法以及醫藥帶來深遠的影響。

唐代國力鼎盛，國際地位崇高，經濟、藝術文化成就輝煌，亞洲各國乃至歐洲皆爭相與唐朝交往，也使中國成為亞洲諸國經濟文化交流的中心，首都長安在當時便是一個世紀大城，各國人無不來朝，當然佛教就成了當時絲路的引界線。當時高僧也向印度取經，回國翻譯成經典，唐時玄奘大師（602-664）即遠赴印度十七年取經，取回經論 657 部，並於歸國後，在弘福寺、大慈恩寺、玉華宮三大譯經地潛心翻譯這些佛教經典，歷時十九年，共翻譯了梵文經典 74 部、1335 卷，在中土扎下根基，到了八世紀初，日本來訪的留學僧將佛教寶藏帶回日本，所以現代日本佛教的各類儀軌都跟中國唐代盛世，緊緊相扣影響極深。

展品，木雕漆金造像，一佛（阿彌陀佛）左觀音、右大勢至，三件分別獨立，主尊佛明顯較大，有背光，站立於蓮花檯上，祥雲朵朵，最底下有方形檯座。江戶時期，佛造像承襲傳統，由奈良時代（710 ～ 794）承唐代風格的造像至現今，包括江戶時期，可看出一佛二菩薩的造型比例與中國唐時代造像極為相似，展品全身金漆，因多件組成工藝繁複，有些許小殘斷，不得不佩服，日本傳承工藝與匠人精神的世代傳承。【來源】德國南部私人收藏，購於科隆 Kunsthandel Klefisch 拍賣，第 13 號拍賣，1978 年 12 月 1-2 日，559 號 74

A Gilt-lacquered Wood Figure of the Buddha and two Bodhisattvas Japan, Edo Period (1615-1868 C.E.) 17th~19th Century H. 103 cm

Provenance: Private Collection from Southern Germany, purchased from Kunsthandel Klefisch, Cologne, Sale 12, 1-2 Dec 1978, Lot 559. During the Tang Dynasty in China, Japan’s envoys and

for 17 years and retrieved 657 sutras. Upon return, he

eminent monks had crossed the sea to China and visited

devoted himself in translating these Buddhist sutras at

Chang'an frequently in the mid-eighth century. Not only

the three main translation sites of Hongfu Temple, Dacien

did they learn and exchange knowledge of language

Temple, and Yuhua Palace, and translated a total of 74

and characters, Buddhism, history, and architecture, the

books and 1335 volumes in the span of 19 years, thereby

remarkable artistic achievement of the Tang Dynasty also

establishing the foundation of Buddhism in Chinese

propelled Japan’s development of the arts. During this

territory. By the beginning of the eighth century, the visiting

period, Jianzhen, a monk from the Tang Dynasty was invited

Japanese monks who were studying abroad brought

by Japanese monks that were studying abroad to travel

Buddhist treasures back to Japan, which explains why the

east and teach the real Buddhism in Japan. Jianzhen and

rituals and practices of Japanese Buddhism are deeply

his disciples had travelled east six times in their lifetime,

influenced by and closely tied with the heyday of the Tang

of which the first five attempts failed. After undergoing

Dynasty.

tribulations and hardship, they finally reached Nara, Japan, where they were well-received and treated with courtesy by

The exhibit is a gold-lacquered wooden sculpture with one

the Emperor. They established a strict system of precepts

Buddha (Amitabha) in the center, Guanyin (Avalokiteśvara) at

and rules for the first time in Japan and steered Japanese

the left, and Mahāsthāmaprāpta at the right, with the three

Buddhism to the right track. In addition to providing

independent from one another. There is a golden backlight

enlightenment for Buddhism, Jianzhen also had a profound

behind the main Buddha, which is significantly larger in size,

influence on the art of Buddhist sculpturing, calligraphy, and

and the three stood on lotus stands on top of auspicious

medicine in Japan.

clouds, with a square pedestal at the bottom. The sculpture is from the Edo period and takes the form of conventional

The Tang Dynasty was a period of great prosperity and

styles. By looking at the sculptures since the Nara period

strength. With its high international status and extraordinary

(c. 710~795) until present day that have adopted the

achievements in economy, arts, and culture, countries in

style of the Tang Dynasty (including the Edo period), it

Asia, or even Europe raced with one another to establish

is clear that the style and proportion of the Buddha and

rapport with the Tang Dynasty, making China the center for

two Bodhisattvas appears to be very similar to that of the

economic and cultural exchange among Asian countries.

sculptures during the Tang Dynasty in China. The entire

Chang'an, the nation’s capital at the time, was a city of the

body of the exhibit is painted with gold lacquer, and there

century where people from all countries visited. At the time,

are some minor flaws, as the craftsmanship of the multiple

eminent monks also travelled to India to acquire sutras

components is quite intricate. One must admire the legacy

and translated them into scriptures upon return. Venerable

of craftsmanship that has passed down from generation to

Xuanzang (fl. c. 602-664), for example, had travelled to India

generation in Japan.

76 Exhibit Item 14

高 19 公分「大清康熙年敬造」銘款

銅鎏金戴冠釋迦牟尼佛坐像清代十七世紀康熙御製

「大清康熙年敬造」七字銘款 Inscription “Made in the year of the Qing Emperor Kangxi”

展品十五

近幾年都一直關注明清宮廷金銅造像，而明代永樂宣德時期的金銅造像在 2017 保利香港秋拍中，再次的受到矚目，有幾件也創下高價，其中大威德金剛像，一億三千萬港幣，勝樂金剛六千兩百萬港幣，還有吉祥喜金剛五千五百萬港幣，這三件之高價的永樂宮廷造像，無疑的將明代永宣金銅造像推向更高峰了。緊接著就是清代宮廷金銅造像了，相較於明代，其藝術性、造型工藝相對低，仍有待市場來認可，筆者也將持續關注。

展品是康熙造像中少有帶銘刻，「大清康熙年敬造」楷書陰刻於背後的蓮花檯座上，其特點為五瓣冠上鑲有綠松石與紅珊瑚。面部中央有毫為綠寶石，釋迦左手托缽，右肩袒露，身著天衣，陰刻細緻，通體鎏金，金質黃郁閃亮，銅胎需打磨平滑，才能將金平整鎏上，因此能不易脫金，保存完善。銅胎厚薄適中，上手感到沈穩，底蓋未拆，完封至今，實屬不易。整件保存狀態佳，開相端正法喜，外表有施過泥金，些許掉落，僅有表面局部摩擦，少見大清康熙年敬造款，作為康熙宮廷金銅造像的標準器，殊為難得。

【來源】美國紐澤西巴斯金嶺法國家族收藏，於 2012 年向約翰亞當斯（美國卸任總統）第八代購買， 1960 年代於希爾特德國的 China-Bohlken 購得。

A Gilt-bronze Figure of Sakyamuni Buddha Qing Dynasty, 17th Century Commissioned by the Emperor Kangxi of the Qing Dynasty H. 19 cm

Provenance: Private collection of a French family in Basking Ridge New Jersey, bought from 8th generations of John Adams' (pre USA president) family in 2012.

In recent years, I have been keeping a close eye on gilt bronze sculptures from the royal court of the Ming and Qing Dynasty, and the gilt bronze sculptures from the Yongle and Xuande period attracted attention again in the fall auction of Hong Kong’s Poly Auction, in which a few pieces also hit high prices—HK$130 million for a Yamāntaka sculpture, HK$62 million for a Cakrasaṃvara Tantra sculpture, and HK$55 million for a Shri Hevajra sculpture. Undoubtedly, these three pieces of high-priced Yongle royal court sculptures have taken the gilt bronze sculptures from the Yongxuan period of Ming Dynasty to a new height. Up next would be the gilt bronze sculptures from the royal court of Qing Dynasty; compared to those from the Ming Dynasty, their aesthetic value and quality of workmanship is relatively low, which still need to be approved by the market, and I will continue to follow up. The exhibit is one of the rare sculptures from the Kangxi period that carries the inscription “Made in the year of the Qing Emperor Kangxi” in regular script, which was engraved on the back of the lotus pedestal. The piece is characterized by the five-petaled crown embedded with turquoise and red coral. There is a tiny piece of emerald in the center of the face, with the Gautama Buddha holding an alms bowl in his left hand, baring his right shoulder, and dressed in celestial robe. The carvings are detailed and refined, and the entire body is gilded, with a yellow and shiny golden texture; as the bronze-base needs to be polished first before gold can be applied to the piece smoothly in the gilding process, the gold is not likely to peel off, and the piece is wellpreserved. The bronze-base is moderate in thickness and feels heavy and solid in the hand. The bottom cover has not been removed, and the seal is kept intact, which is no easy task. The piece has an upright and joyful countenance, and gold paint has been applied to the exterior, with slight peeling and only partial abrasions on the surface. As a standard gilt bronze sculpture of the Kangxi royal court with the rare inscription of “Made in the year of the Qing Emperor Kangxi”, it is a hard find.

81 Exhibit Item 15

高公分 17

銅鎏金四臂文殊菩薩清代康熙年間十七世紀

展品十六

中國漢土，歷經兩次由非漢族統治的朝代，一是蒙古族的元代，二是滿族的清代，這兩個北方民族一是草原之蒼狼，二是長白山下的熊絡也，能逐鹿中原，統一中國，尤其滿族清朝一統天下近三百年，是前朝未及的。中國近一千五百年的信仰也多數以佛教為尊，歷代君王多敬仰或信仰佛教，有幸的是元、清兩朝皆信奉佛教，而清代各式佛像及菩薩像開臉亦融合了蒙漢藏三族相貌的特點，三族人皆宜信仰供奉，或許這是清代皇帝正確的決策，與漢、蒙二族共榮共存，因此能安享國祚近三百年盛世。

展品四臂文殊右手揮舞寶劍，另一手持寶箭，左手結說法印，另一手則執寶弓，胸膛壯碩厚實，肩寬腰細，頭冠與身上瓔珞鑲有紅珊瑚與綠松石，華麗莊嚴，典型的多層細緻的蓮花檯座是康熙時期宮廷造像代表，極易識別，通體鎏金，少許磨損，外表光滑，封底未開，通體高 17 公分，尺寸雖小卻有大佛氣場。手持慧寶劍，唯文殊不滅，斬魔除妖，護持正法，國泰民安，四臂文殊菩薩當仁不讓。【來源】荷蘭私人收藏。

A Gilt-Bronze Sculpture of A Four-Armed Manjushri Bodhisattva Qing Dynasty, 17th Century Kangxi Reign H. 17 cm

Provenance: Private collection from Netherlands.

The Han lands of China have been ruled by twice by non-Han peoples, first during the Yuan Dynasty by the Mongols, and then during the Qing Dynasty by the Manchus. The conquest of the Central Plain and unification of China by these two northern peoples, respectively embodied by the wolves of the steppes and the bears of the Changbai Mountains, was quite remarkable; in the case of the almost 300-year reign of the Manchu Qing Dynasty, there was absolutely no historical precedent. In the most recent 1,500 years of Chinese history, Buddhism has been the primary faith of China, and emperors and kings over the ages have mostly respected Buddhism or were themselves followers. Fortunately, Buddhism was the faith of the Yuan and Qing Dynasties, and the painted or sculpted facial features of Qing-era buddhas and bodhisattvas are particularly unique, having amalgamated the characteristics of the Mongol, Han Chinese, and Tibetan peoples, and thus rendering them fit for worship by any member of these three groups. Perhaps this was due to a correct decision made by the Qing Emperors to live and flourish alongside the Han Chinese and Mongols, thereby allowing them to enjoy a prosperous dynasty spanning a period of two to three hundred years. This exhibit is a four-armed sculpture of the Manjushri bodhisattva. The right hands respectively hold a jeweled sword and jeweled arrow, while one left hand holds a jeweled bow and the other forms a preaching mudra. The figure is broad-chested, with wide shoulders and a narrow waist. The crown on the head of the figure and beaded tassels on the body are both inlaid with red coral and turquoise, exuding an air of grandness and solemnity. The figure is set on a classic multi-layer lotus pedestal, exquisitely made and representative of works commissioned by the imperial court during the Kangxi reign, and therefore easily discerned. The figure is completely gilded with gold, and in spite of some traces of wear, the surface is smooth and the seal on the underside remains unopened. The figure maintains an aura of greatness despite its relatively small size at a height of 17 cm. Bearing a jeweled sword of wisdom, the inextinguishable Manjushri bodhisattva holds forth, to strike down demons and eradicate monsters in the defense of true Dharma, and thereby maintaining peace and stability for the country and society.

84 Exhibit Item 16

高公分 33

黃銅金蓮花手觀音清代乾隆時期十八世紀

展品十七

明代的各類材質造像，石、木、銅雕等大都是以漢式風格造型為主，比例約佔七成以上，另一類則為漢藏一體的風格，大多出現在宮廷工藝中 ; 到了清代則比例剛好相反，大多數為藏傳風格，尤其是宮廷造像，民間則保留漢風，或漢藏風格。

展品即是出自清中期，官造藏傳的京作立姿蓮花手觀音像，精煉黃銅造質地佳，打磨講究，表面如黃金的質感，卻未上漆或金，只有保留原有銅的色澤，比例修長，開相端正，鑄造精美，觀音獨立與檯座分鑄榫接而成，類似造型木雕也見過，清室中典型工藝，工藝佳，保存狀況良好，可惜封底已開，靜美搖曳的蓮花手觀音。【來源】美國西北部私人收藏。

Bronze Figure of Padmapani Bodhisattva Qing Dynasty, Qianglong Reign,18th Century H. 33 cm

Provenance: Private collection from northwest of USA.

Most sculptures of the Ming Dynasty that were constructed with various materials including stone, wood, and bronze were Han-style sculptures, which accounted for approximately over seventy percent in proportion, while the rest were a fusion of the Han and Tibetan style, which appeared mostly in the craftworks of the royal court; the ratio became just the opposite in the Qing Dynasty, during which most sculptures were Tibetan in style, especially for palace sculptures, while the ones in folk arts retained the Han-style, or the Sino-Tibetan style. This exhibit is from the mid-Qing Dynasty, a court-made standing Tibetan sculpture of Guanyin (AvalokiteĹ&#x203A;vara) posing in a lotus hand gesture. With a refined brass texture and exquisite polishing, the texture of the surface is similar to that of gold, and yet it has not been painted or gilded and only retained the original bronze color. The sculpture is slender in proportion, with upright facial features and refined casting. The Guanyin and the pedestal were casted separately and joined with mortise and tenon; I have also seen wooden sculptures that are similar in style. This is a well-preserved classic piece of the royal court in the Qing Dynasty with excellent craftsmanship, but the bottom seal has been opened, unfortunately. A serene, beautiful, and graceful Guanyin sculpture with lotus hand gesture.

90 Exhibit Item 17

高 34 公分款識：石叟

石叟銅嵌銀絲觀音立像明代十六世紀

展品十八福建，簡稱閩，境內西北有武夷山，東面靠海，多山川，匠人集萃，於明清時代，領先中原各地，風格獨樹，獨領風騷數百年，佛教類造像就是一絕，有木雕，其中永春、沙縣等地名師名作傳承不少，德化地區，白瓷由國內風行到海外，歐洲人甚愛。如此淨白之釉工完成的造像及器皿讓歐洲人欽慕不已。壽山石雕更是絕品，仙作之工，精緻細膩神態佳，能握於掌上，執玩反覆不能釋手 ; 另有製銅器及鑲嵌銀絲工藝一絕的石叟，石叟為明代晚期冶銅代表，作品可與精煉十二次的風磨銅相較，其冶銅技術精熟，精煉完成後，表皮溫潤與光彩，無人可較於左右，而其挑槽嵌銀技術已成熟至能將銀絲如行雲流雲般嵌於銅器表面，似水般靈動，石叟為第一人，其擅於造像及文房具，如童子、佛、文昌及觀音等都是標的，文房亦極具巧思，更顯雅緻。筆者早期經手過數件。近年也專注於石叟的造像，亦上手過幾件開門本年造石叟，因此幸運的收到展品立姿觀音菩薩像，通體光澤溫潤，流轉自然，銅質地烏亮，表面極細如玉石，胎體較沉，重量佳，開相悲憫，額頭有銀質毫，衣紋清晰，衣摺深且流暢，銀絲鑲嵌於衣襟上，細如髮，銀絲鑲成小篆石叟兩字於背後，方形檯面上亦有鑲有銀線，是筆者上手過最佳的石叟佳作。

A Silver-Inlaid Bronze Figure of a Standing Guanyin Ming Dynasty, 16th Century Inscription: Shisou H. 34 cm

明代銅嵌銀絲佛陀立像北京故宮博物院藏

fig. 18.1

The province of Fujian, referred to by shorthand as Min, is a land of many mountains and rivers, bordering the sea on the east and with the Wuyi Mountains in the northwest. A place where excellent craftsmen abounded and thrived, Fujian led the Central Plain area in unique styles and designs during the Ming and Qing Dynasties, and maintained this position for several hundred years. Buddhist sculptures from Fujian were particularly renowned, with wonderful wood carvings from the masters of Yongchun and Shaxian, as well as beautiful white china from Dehua that was famous both domestically and overseas, and which has long been beloved by Europeans. The finely glazed pure white sculptures and tableware from Fujian were the subject of intense marvel and interest in Europe. Stone carvings from Shoushan were also legendary for their delicate work and exquisite forms, and as these could be held in the palm of the hand, it was easy to lose oneself in admiring and playing with these superb crafts. Shisou, the celebrated master of bronzes and silver thread inlays of the late Ming Dynasty, also hailed from Fujian, and can be considered to be second to none in terms of his bronzework. Comparing

Ming Dynasty A Silver-Inlaid Bronze Figure of a Standing Buddha Collection of the Palace Museum, Beijing H. 21 cm

favorably to wind-milled copper pieces that were said to have been refined twelve times, Shisou’s works are characterized by their mature bronzework and warm, bright sheen after refinement. Futhermore, Shisou’s technique in

明代銅嵌銀絲觀音立像北京故宮博物院藏

fig. 18.2

inlaying silver threads was such that the lines of silver were able to run across the surface of his bronzes like flowing clouds, and were as nimble as streams of water. Shisou was famous for his sculptures and stationery; common motifs for his sculptures included apprentice boys, the Buddha, Wenchang (the God of Learning), and Guanyin, and his stationery was well-known for their deft designs and elegance. Over the past few years, several of his pieces have passed through this gallery, and Shisou sculptures have been a key focus of late, including some works created during the inaugural year of his workshop. As a result, I was lucky to come into possession of this standing figure of Guanyin, which has a warm, bright body characterized by a natural sense of flow. The bronze material is polished to an ebony sheen, and the surface is as fine and smooth as jade. The figure is comfortably heavy, with features exuding compassion. The forehead is inlaid with silver, and the robes of the figure are clearly delineated, with deep, flowing creases. The garments and square pedestal are inlaid with hair-thin silver threads, and similar inlays mark out the maker’s name in xiaozhuan (small seal)-style characters on the back of the figure. Undoubtedly, this is one of the finest works of Shisou ever to grace my collections.

Ming Dynasty A Silver-Inlaid Bronze Figure of a Standing Guanyin Collection of the Palace Museum, Beijing H. 50.3 cm

95 Exhibit Item 18

長 50 公分重公斤 ; 13.7 銘款「成化三年劉定之製」

銅鹿銜靈芝明代成化三年 (1467)

展品十九

「成化三年」「劉定之製」八字銘款 Inscription“In the 3rd year of the Chenghua reign”, “Made by Liu Dingzhi”.

劉定之，生於永樂七年（1409）江西永新人，字主靜，號呆齋，成化年時官拜禮部左侍郎兼翰林學士，1469（成化五年）卒，後追贈禮部尚書，號文安。

劉氏自幼聰慧，父親為授課，每日能背誦數千言，父見他好學，令其博覽群書，但禁止定之寫文章，但定之每每私下嘗試作文。一日定之生病臥床，父親探之發現定之寫的《祀灶文》和《咏桃漿》詩，驚歎道：「子有八面受敵之才，將來必成偉器。」果然，宣德十年（1435）考中舉人，正統元年（1436）殿試又奪探花，一時名揚天下，揚威故里。劉定之為人性情耿直，忠心正義，十分謙卑，勤勉，尤以文學名重一時，又其學問淵博，曾參與編修（《大明一統志》、《明英宗實錄》。著有《呆齋集》45 卷，《易經圖釋》12 卷、《宋史論》3 卷、《否泰錄》1 卷、《六安策略》10 卷，清代均收入《四庫全書》。家刻有《劉文安公文集》。《皇明經世文編》輯有《劉文安公奏疏》一卷。當朝有許多關於他的評論，清代張廷玉評：「呂原、岳正、劉定之雖相業未優，而原之行誼，正之氣概，定之之建白，咸有可稱，故以時次，並列於篇。」《四庫全書•史部• 傳記類•總錄之屬•今獻備遺卷十五》評：「好言事，其所論列皆明辯深切，可見諸行事非無當空言者流也。」劉氏當朝時評價高，深受當朝皇帝喜愛，與下懂得謙讓，實事求是，為明代忠良輔臣。

明成化銅銜芝臥鹿「成化十年」「劉定之製」款史博曼舊藏二零一四香港蘇富比春拍

fig. 19.1

A Cast Bronze Recumbent Deer Ming Dynasty, Chenghua Period, Dated 1474 Former Collection of A&J Speelman Sotheby's Hong Kong, April 8 2014 44 cm

鹿寓意「祿」，《漢書．蒯通傳》：「且秦失其鹿，天下共逐之。」張晏曰：「以鹿喻帝位。」鹿在古代視為神物，有吉祥、幸福、長壽之意。展品臥鹿口銜靈芝，寓高士的仙風道骨，引申為長壽之祝願。漢時記：「商山四皓，渴飲山泉，饑食靈芝，隱居山野，胸懷天下。」展品氣宇軒昂，雙目有神，頭頂犄角槎枒，昂首轉升，頸首朝向背望，四足屈臥於地，鹿尾化為仙桃，又謂，仙桃，食之可保青春，佑長壽，吉果也。展品通體應為黃銅造，手頭沈重，非實心，但胎壁不薄，銅質較佳，通體青綠斑鏽，打磨細緻，背脊線條有力流暢，鹿頭下顎雙頰棱線分明，底背腳足，寫實有力，中間腹部有長方形凹槽，有另一銅片封口，前足刻有幾字，左：「成化三年」，右：「劉定之製」。筆者今年最心喜莫於得此鹿，加註明代成化年款，賢仕官人，劉定之製。望見者有祿，雨露均沾，長壽、幸福、健康。

Brass Figure of A Recumbent Deer The 3rd year of the Chenghua reign (1467), Ming Dynasty L. 50 cm; Weight 13.7 Kg

Liu Dingzhi was born in the 7th year of the Yongle reign

included in the Qing Dynasty Complete Library of the Four

(1409) at Yongxin in Jiangxi Province. His courtesy name was

Treasuries. His family posthumously published the Complete

Zhujing, and his literary name was Daizhai. In the reign of

Works of the Late Liu Wenan, and the Collected Writings on

Chenghua, he served as the Left Vice Minister of Rites, and

Statecraft from the Imperial Ming compiled the Memorials

was also a Hanlin Academician. Liu Dingzhi passed away in

to the Imperial Throne by the Late Liu Wenan in 1 volume.

the 5th year of the Chenghua reign, and was granted the

Much contemporary and later commentary on Liu Dingzhi

posthumous name, Wenan. He was later posthumously

is available, and the Qing Dynasty historian Chang Tingyu

promoted to Minister of Rites.

wrote thus in the History of Ming, “Lu Yuan, Yue Zheng, and Liu Dingzhi, although lacking significant achievement

Liu Dingzhi was quite precocious, and when he received

during their official service, nevertheless are commendable

lessons from his father at an early age, he was already able

in various ways – Lu Yuan for his moral character, Yue Zheng

to memorize several thousand words a day. Marveling at

for his spirit, and Liu Dingzhi for his policy suggestions.

his diligence, his father instructed him to read widely, but

Therefore, they have been ranked according to their time of

forbade him to write any essays. However, Liu Dingzhi

service and are presented together in this chapter.” In Volume

often composed essays in secret, and one day while he was

15 of the Assembled Collection of Miscellaneous Modern

confined to his bed due to illness, his father visited him and

Writings in the Overview Subcategory under the Biographical

discovered an essay, Worship of the Stove, as well as a poem,

Works Category of the History Branch in the Complete

Ode to Peach Sap. Upon reading these two works, his father

Library of the Four Treasuries, it is commented that, “(Liu

exclaimed in wonder, “Your talent can withstand scrutiny

Dingzhi) was good at presenting an argument, and all his

from the eight directions, and you shall surely achieve

dissertations had depth and were well-structured; moreover,

greatness in future.” As predicted by his father, Liu Dingzhi

it can be seen that he was not the type of man who practiced

passed the provincial examinations to become a juren

empty words and no action.” Liu Dingzhi was held in high

(provincial graduate) in the 10th year of the Xuande reign

regard during his service, and was greatly in favor with the

(1435), and subsequently went on to take Third Place in the

Emperors of the time. Even so, he maintained a humble and

Palace Examinations in the inaugural year of the Zhengtong

respectful attitude to his subordinates, and was known for

reign (1436). As a result, his name became known far and

being pragmatic and down-to-earth. Certainly, he was one of

wide, and he gained enormous prestige in his hometown.

the best and most loyal ministers of the Ming Dynasty.

Renowned for his uprightness, frankness, loyalty, and sense of justice, Liu Dingzhi was a humble and diligent man who

In Chinese, the word “deer” (lu) is a homonym for prosperity.

was also famous for his literary prowess and deep learning.

The Biography of Kuai Tong in the Hanshu (Book of the

He participated in the compilation of the Records of the

Former Han) further stated that, “when the Qin Dynasty lost

Unity of the Great Ming and the Veritable Records of Ming

its deer, all under the heavens joined to pursue it”, and this

Yingzong, and authored the Collections of Daizhai in 45

was interpreted by the historian Chang Yen as indicating

volumes, Pictorial Commentaries on the Book of Changes in

that “the deer symbolizes the throne”. Deer were viewed as

12 volumes, Treatise on Song Dynasty History in 3 volumes,

mythical creatures in ancient times, and signified good luck,

Record of Destiny in 1 volume, and Strategies for Six

bliss, and long life. This exhibit depicts a recumbent deer

Dimensions of Security in 10 volumes. All these works were

with a sprig of lingzhi fungus held in its mouth, and this can

100 Exhibit Item 19

be viewed as both an embodiment of the divine poise and

good quality brass weighs pleasingly in the hand. The figure

sage-like features traditionally associated with persons of

is smoothly polished, and is covered with a green patina. The

high virtue, as well as a wish for longevity and prosperity. In

lines of the deer’s back flow with strength and grace, and the

the Han Dynasty, it was said that, “The Four Sages of Shang

ridges of the lower jaw have a chiseled appearance.The legs

Shan drank from mountain springs to quench their thirst

are depicted realistically, and a rectangular trough with a

and partook of the lingzhi fungus to ease their hunger; thus

brass-plate seal can be seen on the underside of the figure.

they dwelled as hermits in the mountain wilds, but opened

On the front legs of the deer are carved Chinese characters;

their bosoms to encompass the entire world.” This exhibit

the characters on the left leg read, “In the 3rd year of the

presents a spirited grace, exemplified by the soulful eyes

Chenghua reign”, while the characters on the right leg state,

and magnificent branched antlers adorning the head. The

“Made by (for) Liu Dingzhi”. This brass deer represents my

deer’s head is raised and turned toward its rear, and the deer

most cherished acquisition of the year, and the inscriptions

reclines on all four limbs on the ground. The deer’s tail is

stating that it was made in the Chenghua reign of the Ming

miraculously transformed into peaches of immortality, and

Dynasty by or for the wise and virtuous official, Liu Dingzhi,

it is said that whosoever partakes of these auspicious fruits

further enhances its appeal. It is my wish that all who view

shall preserve their youth and be blessed with long life. This

this deer shall prosper and enjoy a long, blissful, and healthy

exhibit was crafted from brass, and although the figure is not

life.

solid, the walls of the core are by no means thin, and the

101

Bronze Censer

高公分；重 36 公斤 7.5

銅甪端香薰）元代十四世紀至正元年（ 1341

展品二十款識：鎮宅平安永壽天祿至正元年春季成造甪端壹對甪（音同陸）端似鹿，亦似獅虎，有獨角可日行一萬八千里，通曉四方語言，漢書上記載《上林賦》：「其獸則麒麟、甪端。」郭璞注：「甪端似貊，甪在鼻上，中作弓。」

傳說秦王見此怪物，起名甪端，用甪不用角，意即其僅有獨角而非雙角。「聖主在位，明達方外幽遠，則奉書而至。」表甪端常伴明君，為明君帝王傳書，明君身於寶座而曉天下事。在紫禁城中常見到各式甪端，玉、石、青銅、銅胎珐瑯等材質尺幅不一，可供案上，可上几檯，可落地石檯上，大都是有其功能性，亦能作為香薰和吉器，常伴明君左右。

展品高有 36 公分，體量不小，通身有綠銅本色，皮殼可能年代較早，通身光亮溫潤，四足直立，前雙足踏一長蛇，通體層疊鱗片並飾以火焰紋，捲眉凸目，齜牙咧口，如獅般大鼻，有一獨角，頭頸前有一鈴鐺，是頭與身的連接點，由後往前翻，腹中空，可放香粉塊點燃後蓋上後口部旋即白煙縈繞，十分莊嚴殊勝。有紀年款，胸前有陰刻「鎮宅、平安、永壽、天祿至正元年（1341）春季成造」，元代至正元年的甪端，為元代典型標準器。外表張力十足，大器威猛，鎮宅瑞獸。

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105

Bronze Luduan Censer Yuan Dynasty, 14th Century The inaugural year of the Zhizheng reign (1341) Inscriptions: Household protection | Secure peace | Long life | Heavenly fortune A pair of luduan, made in the spring season, in the inaugural year of the Zhizheng reign H. 36 cm; Weight 7.5 kg

The luduan is a mythical beast that resembles a deer, but also has features akin to a liger. Marked by a single horn atop its head, the luduan was said to be able to travel 18,000 miles in a day, and understand all languages of the world. In the Shang Lin Fu (Rhapsody on the Imperial Park) from the Hanshu (Book of the Former Han), it is stated that, “The beasts (of the Park) included qilin and luduan.” The scholar Guo Pu commented that, “Luduan resemble leopards, with a curved horn on the snout that can be fashioned into a bow.” Legend has it that when the King of Qin saw this strange creature, he named it “luduan” instead of “jiaoduan”, since the character “ 甪 ” (lu, single-horned) was more descriptive of the beast’s single horn than the character “ 角 ” ( jiao, double-horned). From the ancient saying, “when a wise ruler is on the throne, with clear knowledge of all things near and beyond, (the luduan) will appear, bearing tomes of wisdom,” it can be seen that the luduan was believed to be a companion to wise and just rulers, and would bring books to help such leaders become knowledgeable of all things under the sky, even as they sat upon their thrones. Therefore, all manner of luduan in different sizes can be seen in the Forbidden City, variously crafted from jade, stone, bronze, or enamel on copper. These could be placed on tables, platforms, and pedestals, and most of them were functional, serving as censers or auspicious instruments in constant companionship to wise emperors. This exhibit is 36 cm in height, and is fairly large in size. The body is of the original copper color, and the outer covering may date from an earlier time. The figure is polished and smooth, with four standing legs, and a large snake is coiled about the two front legs. Covered in layered scales and decorated with flame patterns, the figure has curling, bushy eyebrows, bulging eyes, a gaping mouth with sharp teeth, a large nose resembling that of a lion, and a single horn. A bell on the neck is positioned where the head joins the body, and a hinge here allows the head to be flipped backward to reveal a hollow body in which lit incense can be placed. White smoke from the incense subsequently wafts out the open mouth of the figure, the effect of which is solemn and remarkable to behold. Inscriptions on the figure give the precise year in which it was made, and on the chest of the figure, characters inscribed in intaglio read, “Household protection; Secure peace; Long life; Heavenly fortune; Made in the spring season of the inaugural year of the Zhizheng reign (1341).” This luduan made in the inaugural year of the Zhizheng reign during the Yuan Dynasty is a classic example of Yuan-era works, and its dramatic appearance, stern visage, and majestic form complement its role as an auspicious beast and household protector.

106 Exhibit Item 20

高公分；重 24 公 5 斤

銅嵌銀絲甪端香薰明代十六十 / 七世紀

展品二十一銅在古代是稀缺之礦，倚賴進口較多，民間產銅開採受管制，直到明晚期，民間採礦鑄銅技術已經超越官方了，煉銅也是如此，眾所皆知，銅器皿等物件需要較高品質的原料，再加上多道精煉，方可製器，打磨之後，光可鑑人，表皮油亮且潤，不易生鏽，又可經歷時間考驗。

展品即是一件民間的煉銅精品，明代晚期實用香氣，甪端造型香薰鑄造精良，銅質細、光亮溫潤、手感佳，特色在於表皮外加了銀絲的鑲嵌，如行雲流水的線條，令人讚歎。小器中少見甪端嵌銀絲，為本次展覽增添光彩，甪端乃吉祥之物，官方或宮廷中陳設重點，極富寓意，應備受重視及悉心收藏。

108

107

Silver-inlaid Bronze Luduan-form Censer Ming Dynasty, 16th/17th Century H. 24 cm; Weight 5 kg

Copper was a rarity in ancient China, so it was mostly imported. Private copper mining was restricted then. By the late Ming dynasty, the copper mining techniques of the private sector had already surpassed those of the public sector. So was the case with copper and bronze smelting, which was a well-known fact. Pieces such as bronze utensils need to be made of raw materials of high quality. Moreover, with multiple smelting procedures, copper can be made into tools and household utensils, and polished to a mirror finish to make its surface glossy and smooth. Not only does it not oxidize easily, it can also stand the test of time. This exhibit is a fine artwork made of copper, which was smelted by private individuals. The use of perfume was prevalent during the Ming Dynasty. This Luduan-form censer was exquisitely casted, and is of delicate copper texture. It is bright, smooth, glossy, and has a good tactile feel. Its uniqueness lies in that it has silver inlaid on its surface. The silver lines are smooth like floating clouds and flowing water, which is quite amazing. It is uncommon to see small Luduanform utensils decorated with silver-inlaid designs, which is a piĂ¨ce de rĂŠsistance in this exhibition. Luduan is a Chinese auspicious creature, and is often the focal decoration in government buildings and palaces. Imbued with a wealth of symbolic meanings, Luduanform pieces should be greatly valued and kept with care.

1 108 Exhibit Item 21

109 111

高公分；重 18 公斤 1.25

銅鎏金甪端香薰明代十六十 / 七世紀

展品二十二展品尺寸僅 18 公分高，是屬較小型的甪端，同類造型常見多為 25 ～ 28 公分左右，將此件香薰把玩於手中，若未標示，大多會認為其應為正常尺寸（25 公分）。展品表面鎏局部金，金黃閃亮，特色在局部鎏金而部分保持了銅的本色，因銅質佳，一上手中，把玩幾下，就見光彩，潤意十足。身型比例佳，四足踏蛇，身型頭部似猛獅，有一長獨角於頭部中央，瑞獸安放室內，點燃沉香，亦可玩賞之，陳設於書房或客廳皆宜，但看展品，精巧小件，較適於小室內獨賞之。

112

113

Copper Gold-gilded Luduan-form Censer Ming Dynasty, 16th/17th Century H. 18 cm; Weight 1.25 Kg

The exhibit is of merely 18 centimeters in height, and is a smaller kind of Luduan-form piece. The heights of similar pieces mostly come in 25 to 28 centimeters. If this piece of censer is held in hand and comes with no specifications, most people would think it is of the normal size, which is 25 centimeters in height. Shiny and golden, the surface of this censer is partly gold-gilded, which keeps the natural qualities of copper and is exactly where its uniqueness lies. Since its copper is of good quality, as soon as you hold the censer in hand and toy it for a few seconds, you can see how shimmery and smooth it is. Its body is well-proportioned, with its four feet trampling on snakes. Its body and head are like those of a fierce lion, with a single horn at the center of the head. Placing this auspicious beast nicely indoors and lighting up the agarwood, you can enjoy and appreciate it. It is suitable for either the study or the living room. However, regarding the small size and exquisiteness of this very exhibit, it is even better to be appreciated alone in a den.

114 Exhibit Item 22

115

高 39 公分；重 7.7 公斤款識：大明宣德年製

銅甪端香薰清代十八世紀

展品二十三底款「大明宣德年製」 Inscription “Made in the Regime of the Xuande Emperor”

展品身型較大，圓潤飽滿，雖表面有濃郁的煙薰痕，但從底腹仍能看出由優質黃銅鑄造，包漿濃郁，筆者較喜歡展品的原始狀態，不會刻意清洗。此件香薰雕飾雲紋圍繞，生動精緻，有陰刻線，胸前有繩紋，中央掛有鈴鐺，四足有爪而未踩踏於蛇，底腹上鑄款六字「大明宣德年製」，為清代仿款不足奇。

有趣的細節在於頭頂上的單角，其尾端有造型似如意，這類工藝大多發現於清代，展品體量碩感，身型渾厚，造型工藝精湛，張力十足，口較大，適合廳堂陳設，可迎客，可鎮宅。

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118 116 Exhibit Item 23

Brass Luduan-form Censer Inscription “Made in the Regime of the Xuande Emperor” Qing Dynasty, 18th Century H. 39 cm; Weight 7.7 Kg

The exhibit is of a bigger size and is round and full in form. Even though its surface has a thick layer of smoked marks, judging from its belly it is still evident that it was made of brass of good quality. Its patina is thick and shiny, and as I prefer its original condition, I would not remove its patina deliberately. This censer has decorative carvings of ruyi clouds, which is quite exquisite and lively. It also has intaglios, rope design on the chest and a small bell at the center of the rope. Its four feet have claws and are not trampling on snakes. Its belly has cast-in inscription reading “Made in the Regime of the Xuande Emperor”. It would not be unusual if it were a Qing dynasty replica. There is an intriguing detail on the single horn on the top of its head. The end of the horn has a ruyi-like shape. This type of craftwork mostly appeared in the Qing dynasty. This exhibit has a strong and muscular body. Demonstrating an extraordinary craftsmanship with its form, the censer exudes much tension. Its mouth is larger than that of other Luduan-form censers, so it is suitable to be displayed in halls, either for entertaining guests or guarding the home.

119 Exhibit Item 23

長公分；重 49 公斤 10.3

銅製獅形香薰清代十七十 / 八世紀

展品二十四獅子到中國後的兩千年左右，因其正直威猛與勇敢忠誠的形象，被視為瑞獸而受到重視，被世人代代相傳在宮廷中、民間，深受愛戴，伴隨的朝代的興衰更替，也成為了中國傳統文化的一部分。獅子造型的石刻、木雕、鑄鐵造型等都是常見的，大型的可至三至五米高，小型的能擱在手中，亦能置於桌上當紙鎮，或作為玉件把玩用。明清時官員服飾上的補子圖案亦有獅子圖像，代表二品武官，足可見官方對獅子形象的重視。

應真藏在前幾次出版中，也有許多獅子造型的展品，這次展品為太獅少獅香薰，成獅兩腿後蹲，一足向前伸展，一足屈起，回首昂揚向上，身上飾以火焰紋，獅尾捲起擺動，幼獅在成獅身上嬉戲花球，動感十足，鑄造工藝精細繁複，表皮黝黑溫潤，應是長期與人共處養護下的產生的包漿皮殼。獅形香薰也是常見的，有可能當朝是王室武將家中重要陳設。

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121

Bronze Lion-form Censer Qing Dynasty, 17th/18th Century L. 49 cm; Weight 10.3 kg

122 Exhibit Item 24

Around 2 millennium after being introduced in China, lions had been greatly valued and seen as auspicious beasts because of their images of nobility, fierceness, bravery and loyalty, which were then passed down from generation to generation whether in palaces or among the common people, and were much loved by all. The image of the lion accompanied the rises and falls of dynasties, and has become a part of traditional Chinese culture. Lion-form stone, wood and cast iron sculptures are very common. Large pieces can reach 3 to 5 meters in height, while small pieces can be appreciated in hand, used as paperweights on desks, or toyed as jade ornaments. The lion also appeared on rank badges during the Ming and Qing dynasties indicating second military rank, from which it is evident how much the officials valued the image of the lion. In previous publications, Ping Fine Chinese Art & Co. also included many lion-form exhibits. This time, this exhibit is a lion and cub-form censer. The lion is squatting on its hind legs, with one foreleg stretched forward and the other bended. It turns it head and looks up in high spirits. Its body is adorned with flames, and its tail is curled up and as if waving. The cub is playing with an embroidered ball on the lionâ&#x20AC;&#x2122;s back. This piece is rich in movement, and the casting craftsmanship involved in its making is exquisite and intricate. Its surface is dark, smooth and glossy, which is probably due to the patina generated as the result of the piece having been around people and kept with good care for a long time. Lion-form censers are also common, and could be an important furnishing for the royal or military officersâ&#x20AC;&#x2122; households of that time.

123

高公分；重 19 公斤 1.3

銅鰲魚香薰清代十七十 / 八世紀

展品二十五款識：鴨綠宮袍錦樣新馬蹄晴陌踏花塵青樓仙子驚相問報到瓊林第一人古老傳說中鯉魚躍龍門，吞了海裡的龍珠後變為龍首魚身的鰲魚，《山海經》海外西經記載：「龍魚陵居在其北，狀如狸。一曰鰕。即有神聖乘此以行九野，一曰鱉魚在夭野北，其為魚也如鯉。」龍頭魚身之獸，又有「螭吻」乃是龍九子之一，鎮水之物，大吉之物。

展品鰲魚香薰龍首魚身，龍首為蓋，可掀起，內部魚身可放置香灰，點燃後蓋上龍首，龍首嘴開能吐白煙。身子能立，尾部有鰭三點支撐，魚身表面陰刻鱗片，龍首寫實生動，魚身有一平面陰刻詩文字七言四行，共為二十八字，少見鰲魚銅薰，案上祥瑞擺件，九龍子之一「螭吻」。

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125

124 Exhibit Item 25

Bronze Dragon Fish-form Censer Qing Dynasty, 17th/18th Century H. 19 cm; Weight 1.3 kg

Inscription: During springtime when the water is green, a new official wearing a robe has great aspirations and prospects. He rides a horse, galloping over fallen blossoms on the city street on a sunny day toward the palace. When the beauties in the palace see him, they all ask of him who he is with astonishment, and to whom he answered that he is the very first official to report for duty. In ancient Chinese legends, after leaping through the Dragon Gate, the carp swallows the dragon’s pearl in the ocean and transforms into a dragon headed fish, i.e. the dragon fish. In The Classic of Mountains and Seas, “Classic of Regions Within the Seas: West” writes: “This is where the dragon fish lives. It looks like a carp, but some thinks it is a giant salamander. Gods can go to heaven by riding on the dragon fish. Some say it is a softshell that inhabits the north of the Fertile Fields, and it looks like a carp as well.” There is also a belief that the dragon-headed fish is chiwen, which is one of the 9 sons of the dragon. It can protect against flood, and is a very auspicious creature. The dragon fish-form censer has the head of the dragon and the body of the fish. The head is the lid and can be lifted up. The interior of the fish body is used to place the incense. After lighting up the incense and closing the lid, you will see clouds of gray smoke ascending from the gaping mouth. It can stand upright, resting on the three points of support on its tail which includes the fin. The surface of the fish body has intaglioed fish scales. The dragon head is realistic and lively, while one side of the fish body has an intaglio inscription of a 7-character quatrain, containing a total of 28 Chinese characters. Bronze dragon fish-form censers are rare. It is a desktop display piece that brings good fortune with its form of chiwen, one of the 9 sons of the dragon.

127 Exhibit Item 25

高公分；重 45 公斤 16.3

大型英雄雙連瓶明代十六十 / 七世紀

展品二十六英雄瓶亦稱為雙連瓶，盛於宋，為明清時期仿古器具的重要器型，形制源自漢青銅器，器身雙管相連，正面連結處刻鷹栖於熊首之上，昂首挺胸，神態威武，取其諧音稱「英雄瓶」，熊首造型亦似虎與獅。此類形制亦有玉質及銅胎琺瑯，在明清時有所見，作為重要陳設銅器亦作為禮器，取其英雄諧音贈與征戰英雄或立功武將。

本件展品為銅鑄而成，由雙瓶身和鷹與熊組合而成，可以看到表面紋理，帶有商周時代的圖騰，刻飾在瓶身上更添古意。筆者也見過銅胎珐瑯的英雄瓶，高近 50 公分，大氣大器。也有一說可能是投壺器，我亦曾見兩瓶口上有蓋者，然本件展品沒蓋，推測其用途可能為禮器，或作為為雅歌投壺之樂，伴隨征戰英雄解乏，亦作為才藝之禮。【來源】英格蘭私人收藏，1920 年代於上海透過一位英籍英美菸草公司至上海工作的員工購得，而後保存於英格蘭林肯郡史坦佛家中。

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130

Large Champion Conjoined Vase Ming Dynasty, 16th/17 th Century H. 45 cm; Weight 16.3 kg

Provenance: Private collection, England, acquired in Shanghai, 1920s, by an English employee of British American Tobacco working in Shanghai, and subsequently kept at the family home in Stamford, Lincolnshire. Champion vases are also known as conjoined vases, and were quite popular during the Song Dynasty. The style of these vases originated in bronzes of the Han Dynasty, and represented an important target for antique reproductions of the Ming and Qing Dynasties. The overall design consisted of two tubular compartments linked together, with a winged eagle carved atop a bear’s head at the points of linkage on the front of the vessel. Together, the eagle (ying), head held high and chest puffed out, and the bear (xiong), stern and majestic, represent the Chinese phrase yingxiong, which is a homonym of the Chinese for “champion”, or “hero”. The bear-head design may be modified to resemble a tiger or lion. Champion vases made from jade or enamel on copper were also seen from time to time during the Ming and Qing Dynasties. In general, these vases were used as important decorative bronzes or ritual vessels that were presented to honor war heroes or successful generals. This exhibit was cast from bronze, and the conjoined compartments were assembled with the eagle and bear components. The surface patterns include motifs from the Shang and Zhou Dynasties, and the designs enhance the sense of vintage. Previously, I have seen enamel on copper champion vases with a height of almost 50 cm, and such large vessels are extremely grand. A theory has been posited that these vases were used as pitch-pot vessels, and I have seen items with lids on both of the conjoined compartments. However, this exhibit does not have a lid, and it is speculated that it may have been used as a ritual vessel, or as a pitch-pot vessel that could relieve the boredom of war heroes as they gathered to recite odes and pitch arrows in a ceremonial tournament of talent and grace.

131 Exhibit Item 26

重

高

公斤 2.5 公分 19

銅製英雄瓶明代十七世紀

展品二十七

筆者收藏此件英雄瓶已有八年了，一直喜歡，就擺在我身後的桌子上，每有訪客看見好奇問起，我也必欣喜告之，有鷹栖於熊首之上，連身有兩口為瓶。鷹熊瓶取其諧音「英雄」，古喻良好，亦十分有趣。銅瓶亦配了出彩的紅木底座，十分講究，工藝絕佳、用心設計、木座四邊，有四個熊頭，匠心獨具，愛不釋手。銅瓶身上花紋，似西周銅器的紋路，寬雲捲，深紋絡，簡約大氣，通體銅綠，表皮溫潤，經常把玩，皮殼佳，手感好，可遠觀，可近收於案上，古代發明此造型者，必然為藝術創作者，巧思的搭配。雙瓶配上鷹（天上猛禽）熊（陸上猛獸）將這兩種動物變形後組配雙瓶，十分恰當，玩賞俱佳，亦作為禮器的最高規格，英雄瓶實至名歸，這就是中國古代人的創意傳承，物與意相襯，英雄惜英雄。【來源】 2009 年購自英國倫敦古董商 Roger Kevern。

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133

Bronze Champion Vase Ming Dynasty, 17th Century H. 19 cm ; Weight 2.5 kg

Provenance: Acquired from Roger Kevern in 2009. This exhibit has been in my collection for eight years now, and I have always enjoyed its company as it rests on the table behind me. When curious guests inquire as to its form, I consistently find it a pleasure to inform them that this piece consists of two vases conjoined together, with a winged eagle set atop a bear’s head. Together, the eagle and the bear represent a homonym for “champion” or “hero” in Chinese, and thus this vessel carries an auspicious and interesting symbolism. This bronze vase is further complemented by a polished mahogany base, finely crafted, well-designed, and reflecting exquisite taste. In a stroke of unique craftsmanship, the four sides of the mahogany base each have a carved bear’s head, enhancing the overall attractiveness such that I find it hard to put down at times. The patterns on the bronze vase resemble that of bronzes from the Western Zhou Dynasty, with broad cloud-shaped curls and deep lines, exuding elegance and majesty. I frequently turn the piece over and over in my hands, as the vase is covered in a green patina that is smooth to the touch, and its agreeable textures and surfaces are quite a comfort. Good for both distant viewing and close scrutiny upon a desk, it is clear that the original inventor of champion vases was an artist with wonderful attention to detail. To pair a conjoined vase with a modified eagle (a fierce raptor of the air) and a bear (a fierce beast of the land) is perfectly appropriate and easily appreciated, and the term “champion vase’ is certainly a fitting name for ritual vessels of such a high standard. These vases reflect the creative heritage of the Chinese, and in the same way that the vessel and its symbolism complement one another, so do heroes respect heroes, and non-heroes love heroes just the same.

134 Exhibit Item 27

135

高公分 23

銅瓶一對清代十八世紀

展品二十八平與瓶，取其諧音寓意平安，雙瓶一對則意指平平安安。展品銅瓶取形自戰國常見的壺類青銅器，直頸略束，溜肩收腹，肩部一圈菱形錦地花紋，胸部兩圈紋飾，分別是團花靈芝紋和變形番蓮紋。此兩種紋飾又不同於瓷器常見的如意紋和番蓮紋，應是專為此瓶設計的變形紋飾，當屬獨一無二，下腹一圈蕉葉紋也是取材自青花器中常見的包腳蕉葉紋，內部開光鑄有變形的花卉紋，卻又是瓷器中未見的題材，由此可知，清代仿古器皿除了器形取自上古青銅器，紋飾大多還和當時的瓷器多有交集。本件展品銅質細密，黃銅合金鑄成，胎薄但重量佳，銅質古穆，金黃之中泛有紫黑，蓋為長年保養之故，亦可見時人之珍。筆者亦將於展覽時將此作為花器之用共賞之。

136

A Pair of Brass Vases Qing Dynasty, 18th Century H. 23 cm

Vases (ping) are a homonym for the Chinese phrase for peace, and therefore symbolize peace and tranquility, with paired vases signifying doubly enhanced wishes for peace. The style of this pair of vases originated from bronze vessels commonly seen in the Warring States period, with a straight, slightly narrowed neck, rounded shoulders, and a tapered body. The shoulders of the vases are encircled with a rhombus and floral ground pattern, and the bodies are encircled by two patterned rings, one with a rounded flower and lingzhi pattern, and the other with a modified passionflower pattern. These two patterns are different from the typical ruyi and passionflower patterns seen on porcelain vases, and were likely uniquely modified patterns designed specifically for this set. A plantain leaf pattern ring on the lower bodies of the vases was derived from the curled plantain leaf patterns commonly seen on blue-and-white porcelain, but the modified floral patterns cast on the burnished interiors are not typical for porcelain. From this, it can be seen that although antique reproductions of the Qing Dynasty often drew their forms from ancient bronzes, their patterns generally remained similar to those used in porcelain of the day. This set of vases was cast from a brass alloy, and the texture of the metal is fine and smooth. Though thinly-walled, the vases have a comfortable weight, and the vintage hue of the brass shows traces of purplish-black among the original gold color, likely the result of long years of careful maintenance that point to the high regard in which this set was held at the time. For this exhibition, this pair of vases will hold flowers, to share their tranquil beauty with all visitors.

138 Exhibit Item 28

直徑

清代姚文瀚繪《歲朝歡慶圖》台北故宮博物院藏

公分；高 158 公分 43

鐵製火爐（寺廟用）明代可能山西地區

fig. 29.1

展品二十九

Qing Dynasty New Year's Celebration Attributed to Yao Wen-han Collection of National Palace Museum, Taipei 82.4 x 55 cm

古代大型銅器或大型鐵器在鑄造時因體量龐大而製作不易，在當時可算是高超的工業技術，工匠經驗須老道，才不會事倍功半。大型銅件精品首推北京故宮太和殿前的青銅獅一對，約兩米多高，以及仙鶴及麒麟門鎮一對，還有近高兩米的大銅缸，此件銅缸以前表面是有鎏金的，為儲水用缸，消防用水，甚至到了冬天要在銅缸下燒水才不用結冰，而唯有皇城內方能起用銅缸，而在民間或寺廟中多數為石缸、陶缸、或是鐵缸。

140

155

Iron Furnace (for temple use) Possibly from the Shanxi area Ming Dynasty Dia. 158 cm; H. 43 cm

清代郎世寧、丁觀鵬繪《乾隆行樂圖》北京故宮博物院藏

fig. 29.2

In ancient China, large pieces of copper or iron ware were not easy to make because of their huge sizes. Therefore, at that time, it required high industrial technologies to make them. Moreover, Qing Dynasty Qianlong emperor and royal children on New Yea's Eve Attributed to Giuseppe Castiglione and Ding Guanpeng Collection of the Palace Museum, Beijing 275 x 160.2 cm

the artisans had to be well-experienced so that the making process would not be less productive. Famous fine works of art that are of large sizes and made in copper can be found in front of the Hall of Supreme Harmony in Beijing Forbidden City, including the pair of bronze lion statues, which are of more than 2 meters in height, two pairs of gatekeeping statues that are red-crowned cranes and qirins, and a giant bronze jar that is almost 2 meters high. The surface of this bronze jar used to be gold gilded. The jar was used to store water and act as a part of the fire suppression system. During winter times, the jar of water even needed to be boiled as to prevent the water from freezing. In addition, bronze jars can only be used in the imperial palace. Regular households or temples mostly use stone, pottery or iron jars.

142 Exhibit Item 29

157

高公分 48.5

石灰岩菩薩殘體立像北齊六世紀可能青州

展品三十

北齊（550-577），又稱高齊，由東魏權貴高歡次子高洋取代東魏建立，國祚僅二十八年的北齊，首都位於河南安陽北「鄴」領土占有黃河下流的河北、河南、山東、山西及蘇北。與北齊同時並存的王朝：西魏、南梁、南陳所信仰的主要教派是佛教道教，雖然齊朝帝荒淫為多，朝政荒亂，但民間不減對佛教的敬仰，依舊留存下大量的佛教遺珍，山東、青州一帶，於二十世紀九十年代，即發現大量北齊為主的石造像，河北、河南、山東、山西，亦是有大量的佛教遺珍。

展品為石灰岩製，可能為一佛二菩薩的石碑，現僅存一菩薩。菩薩滿身土漿，土漿已經跟石相接一體，不易清理，但是依舊可看出青州北齊時代的高超石刻水平，身型比例佳，刀工流暢，開相端正，臉較方圓，與當地北齊風格相似。參考青州出土石雕即能清晰斷為北齊青州地區殘石碑菩薩一尊。【來源】台灣資深藏家舊藏。

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145

Incomplete Limestone Figure of Standing Bodhisattva Northern Qi Dynasty, 6th Century, possibly from Qingzhou H. 48.5 cm

Provenance: Private collection from Taiwan. The Northern Qi (550-577AD), also known as Gao Qi, was founded by Gao Yang, the second son of one of Eastern Weiâ&#x20AC;&#x2122;s bigwigs, Gao Huan. The Northern Qi replaced the Easter Wei, but only lasted 28 years. Its capital was situated in the Northern Ye territory in present Anyang of Henan province, covering parts of present Hebei, Henan, Shandong, Shanxi and Subei that make up the lower reaches of the Yellow River. The main religious beliefs of the Western Wei, the Southern Liang and the Southern Chen dynasties which co-existed with the Northern Qi were Buddhism and Taoism. Even though the emperors of the Northern Qi were mostly debauched and the politics were in turmoil most of the time, the people were still very devout to Buddhism, and left behind a huge collection of Buddhist relics. During the 1990s, a great quantity of stone figures from the Northern Qi was unearthed in the regions of Qingzhou, Shandong. There are also many Buddhist relics in Hebei, Henan, Shandong and Shanxi. The exhibit was made of limestone, and could once be a stele with one Buddha and two Bodhisattvas. Now there is only one Bodhisattva left. The Bodhisattva is covered in mud from head to toe. Since the mud has already been blended in with the stone, the statue is not easy to clean. Still, one can see the outstanding stone carving techniques of the Northern Qi dynasty in Qingzhou. The body of this figure is well-proportioned, and the carving of the figure is very smooth. Its face is symmetrical and well-balanced, and has a rather rounded square shape, which adheres to the styles of that area during the Northern Qi. When comparing the figure to the stone statues excavated from Qingzhou, one can easily speculate that the exhibit is a Bodhisattva figure of a stele from Qingzhou of the Northern Qi dynasty.

146 Exhibit Item 30

147

高公分 50

可能四川地區砂岩觀音頭像宋代十十二世紀～

展品三十一

蜀地，川區在南北朝時代為南梁，當時大興佛塔、石窟、大足石刻、樂山大佛就是蜀地代表，還有安山石刻，因為四川多山、多河川、平原少，所以依山而造的石窟，自南朝時便開始盛行，至宋代時都未艾。四川地的石造像，特點為石質是砂質岩石，因此密度有差異，有硬有鬆，如取材較硬者仍可保存至今。展品即是四川地區的砂質岩，而且是較硬的砂岩，所以有幸保存至今，且從法國購回。

展品砂岩觀音頭像，高冠、高髮髻、臉部較圓、細長雙眼半閉，鼻挺、嘴唇有雙線刻，極富立體感，豐盈下巴，貼臉頰之耳垂有花朵為飾、臉相莊嚴慈悅，觀音大士威儀天下，眾生平安，現雖僅有頭部，但筆者有幸再請回，必虔敬且以明亮之堂陳設菩薩觀音，無量無畏，照亮大地的大士觀音。

166 148

149 167

Sandstone Sculpture of Head of Guanyin Possibly from the Sichuan region Song Dynasty, 10th~12th Century H. 50 cm

During the Northern and Southern dynasties, the Shu area belonged to the Southern Liang dynasty, where many pagodas and grottoes were built. Dazu Rock Carvings, Leshan Giant Buddha as well as Anyue Stone Carvings are representative of the Shu area. Because Sichuan is mountainous, and has many rivers but little plains, the grottoes carved into the mountains had been prevalent since the Southern dynasty to the Song dynasty. One of the characteristics of the stone figures in Sichuan is the use of sandstone, therefore the density varies. Some are high, some are low. The figures carved from stones of higher density are still preserved to this day. The exhibit was made of sandstone, which is a harder kind of arenite. Thus, luckily enough for us, it is preserved until today, and was bought back from France. The exhibit is a sandstone sculpture of the head of Guanyin. She is wearing a high crown and a high bun. Her face is of a rounder shape, and her slim eyes are half closed. She has a sharp nose, and the double-lined intaglio design of her lips gives them a stereoscopic feel. Her chin broad and prominent, Guanyin has a pair of earlobes attached to her face, which are accessorized with flowers. Her facial expression is solemn and merciful. The divinity of the Goddess of Mercy awes the world and blesses all. Even though this sculpture is now reduced to only a head, I am fortunate enough to have gotten hold of it again. With absolute piety, I shall place in bright halls the sculpture of the immeasurable and fearless Guanyin whose light shines over the earth.

150 Exhibit Item 31

169

高公分 33

砂岩造像碑北魏六世紀（公元年） 508

展品三十二紀年款：大魏正始五年五月吉十五日造筆者有幸在時隔十五年的今日，又得到兩件大型北魏正始五年的砂岩造像碑，可能是河北易縣（靠近石家莊）出土，紅砂岩質，出土時有砂石附著表面，小心清理便能清晰看出輪廓。主尊為釋迦牟尼，雙盤趺坐，雙手交握，禪定坐姿，以石窟造像風格的方式呈現，如雲崗、龍門石窟造像的縮影，尖塔下雙層火焰光紋立體凸起，代表光明與智慧，加上流暢陰刻線紋表現，正前方長方檯座內六小立佛，中有爐臺。碑型正面為寬，兩側較窄，背面有陰刻銘文共四十八字，然有些磨損不識了，但「大魏正始五年（508）」清晰一目，背後刻有一佛二菩薩，主佛坐姿，二菩薩立姿，底座刻以四朵花朵紋飾，花開吉祥。這樣的造像碑，清楚紀年，亦刻有供養人記名，及其對佛事的貢獻文、對前人的尊仰，並祈禱國家昌盛，可見其為虔誠之佛教信徒，透過造像碑弘揚教義，向佛表達虔誠之意。

152

153

154

Sandstone Buddhist Stele Northern Wei Dynasty, 6th Century (circa 508) H. 33 cm

Inscription: Made on the auspicious 15th day of the 5th month, in the 5th year of the Zhengshi reign of the Great Wei Dynasty. Fifteen years later to the day, it is my good fortune to again come into possession of two large sandstone Buddhist steles dating to the 5th year of the Zhengshi reign of the Northern Wei Dynasty. These were likely unearthed near Yixian of Hebei Province (close to Shijiazhuang), and are crafted of red sandstone. The surfaces were coated with sand and pebbles when unearthed, but the outlines have become clearly visible after careful cleaning. The Buddha, sitting cross-legged with both hands clasped together in a posture of zen, represents the main figure on this stele. The style is a miniaturization of that seen in grotto paintings and figures, such as those at Yungang or Longmen. Under the arched recess of the stele, two layers of flame patterns in striking relief can be seen, and these signify light and wisdom. Flowing lines carved in intaglio complement the overall effect, and underneath the long rectangular pedestal at the front of the stele, six small standing buddhas can be seen around a large brazier at the center. The stele is wide at the front and narrow at the sides, with a 48-character inscription in intaglio on the back. Although centuries of wear have rendered the inscription unclear in parts, the words, â&#x20AC;&#x153;the 5th year of the Zhengshi reign of the Great Wei Dynasty (circa 508)â&#x20AC;? are clearly visible. A buddha, accompanied by two bodhisattvas, is carved on the back. The buddha is in a sitting position, while the two bodhisattvas stand to each side. The bottom pedestal is decorated with four reliefs depicting flowers in full bloom, and these represent symbols of good fortune. This Buddhist stele has a clear date of production, and the name of the patron/devotee is also inscribed, along with his or her contributions to Buddhism, veneration of ancestors, and prayers for national prosperity. From this, it can be inferred that the person who commissioned this work was a devout Buddhist, who sought to spread the teachings of the Buddha and paid homage through the production of this stele.

155 Exhibit Item 32

156

157

高公分 41

砂岩造像碑北魏六世紀（公元年） 508

展品三十三

北魏永安元年款公元五二九年砂岩四面佛塔上海超群文化旅遊發展有限公司藏

fig. 33.1

紀年款：大魏正始五年五月吉十五日造展品紅砂岩製造像碑，主尊為交腳彌勒菩佛，法輪式的背光，雙手握於胸前，雙腳交叉盤坐，左右脅侍菩薩在侍，高圓頂也有四個佛依序排列，頭光兩側有兩飛天，檯座下有四個立佛，中間有一個博山爐狀的香爐，排序規整。正面主尊為交腳彌勒佛造像，曹衣出水的衣紋，而開臉雖風化磨蝕卻依舊能看出彌勒的慈悲大智慧，雙耳垂肩，與刻鑿式的工法相互應用，造像碑的可供瞻仰性，來自於視覺上能讓人充分感知到的匠人的高超工藝，他們在雕刻石材時，對石頭的面、線、凹凸形制掌握極佳。

展品高 41 公分，在同類型中屬大型碑石。左右側邊下部較寬，有開窗，窗內各置兩尊立佛，側邊中、上部體面有迴紋方格，陰刻，規整精確。正背有浮雕，上半部有雙佛並坐於屋內三階之上，階下有七佛分列上下，上三尊，下四 Northern Wei Dynasty, Inscribed with date corresponding to 529 Red Sandstone Buddhist Votive Stele Collection of Shanghai Chaoqun Travel Limited H. 43 cm

尊。下半部有八行銘文，陰刻，每行六字，共四十八字，字口清晰可辨。大魏正始五年（508）五月吉十五日成造的彌勒造像碑，一千五百年後現世於二十一世紀的今天，殊勝，頂禮。

158

Sandstone Buddhist Stele Northern Wei Dynasty, 6th Century (circa 508) H. 41 cm

藏品 Norman Kurland

北魏正光年銘應為公元五二零年紅砂岩法輪閣

fig. 33.2

Inscription: Made on the auspicious 15th day of the 5th month, in the 5th year of the Zhengshi reign of the Great Wei Dynasty. This Buddhist stele made of red sandstone primarily depicts a crosslegged Maitreya Buddha, surrounded by a background halo of light resembling the Wheel of Dharma. The Maitreya Buddha sits with both legs crossed and both hands clasped in front of the chest, with attendant bodhisattvas to the right and left. Four buddhas line the top of the arched recess in which the Maitreya Buddha sits, and two flying celestials can be seen, one at each side of the Dharma-wheel halo. On the bottom pedestal, four standing Buddhas neatly surround a censer in the style of a Boshan incense burner. The main figure of Maitreya Buddha on the front of the stele is dressed in robes sculpted in the tight, closely-fitting manner akin to “robes emerging from water”, which was made famous by the artist Cao Zhongda. Although the facial features of the Maitreya Buddha are somewhat weathered and

Northern Wei Dynasty, Inscribed with date corresponding to circa 520 Red Sandstone Buddhist Votive Stele Collection of Norman Kurland H. 30..5 cm

eroded, the compassion and wisdom of the original expression still shine through, and the long earlobes reaching to the shoulders are clearly visible. The stele utilizes both carving and chiseling techniques, and its worshipful quality stems from a visually appreciable sense of

北魏景明元年款公元五零零年砂岩佛龕藍理藝術公司藏

fig. 33.3

the original artist’s superb craftsmanship and wonderful grasp of the facets, lines, and texture of the sandstone material. This exhibit is 41 cm in height, and is large for a stele of this type. The bottom of the stele is wider on the left and right sides, and panels with two standing buddhas in each have been carved on the sides. Rectangular spiral patterns carved in intaglio, precise and orderly, adorn the central and top sides of the stele. A relief is carved on the back of the stele, the top half of which features two buddhas sitting side by side in a pavilion with three front steps. Below these steps, seven buddhas are arranged in two rows, with three on the top row and four on the bottom row. The bottom half consists of eight lines of inscriptions in intaglio, with six characters in each line, for a total of 48 characters. The characters are clearly visible, and state that this Maitreya Buddha stele was made on the auspicious 15th day of the 5th month, in the 5th year of the Zhengshi reign (circa 508) of the Great

Northern Wei Dynasty, dated by inscription the first year of Jingming reign (500) An Inscribed Red Sandstone Buddhist Stele Collection of J.J Lally & Co. H. 26 cm

Wei Dynasty. The appearance of this stele some 1,500 years later in the 21st century is truly a special occasion worthy of celebration.

176 160 Exhibit Item 33

161 177

162

163

高公分 82

北京京城地區灰白大理石獅子坐像明代十六十 / 七世紀

展品三十四

在現實世界裡，獅子作為百獸之王，身處食物鏈的最頂端，只以人類為天敵。而中國古代不產獅，獅在中國古典藝術中更多是一種意象，是想像的產物：有著兇猛有力的外表、健碩的身型，是能鎮邪、軀魔的神獸，在宮廷和民間裏都被譽為吉獸、巨獸。獅的形象傳到中國以後，其意象卻是任人想像的，可美化，可神化，流傳廣泛。由古至今，南北各地都可見其蹤跡。

展品這尊肌肉獅子，捲毛，臉部有隆起的肌肉，嘴部闊張，舌頭捲起，胸前掛鈴，後足蹲坐，四足精壯，體塊連結，勇猛十足，有如健美般的身型，力氣想必驚人，且嘴邊壯碩的肌肉，咬斷鋼、石而不足奇，必是非殊魔來犯而不出嘴。刻成石雕，或曾置於入口，鎮守大門，定是能守衛，能鎮邪的神物。惜此猛獅只剩單件，在筆者手中單身近二十年，這隻京城的太獅不畏風雨鎮守於應真藏北京寓所之中，盡職盡責，一日不倦。

164

179

Gray-White Marble Statue of A Sitting Lion Jingcheng area, Beijing Ming Dynasty, 16th/17th Century H. 82 cm

166 Exhibit Item 34

As the king of beasts and an apex predator at the very top of the food chain, in real life, the lion has a sole natural enemy in the form of mankind. Even in ancient times, the natural habitat of lions never extended within the borders of China, and the lion in classical Chinese art is more of a symbol and imaginary construct, presented as a sacred beast with a fierce, powerful appearance and strong body that would protect against evil and drive off demons. The lion was viewed as a giant, auspicious beast both in the imperial court and society in general, but once the concept of the lion spread to China, it could be construed by anyone in any way, and even beautified or deified as the occasion required. Thus, the form of the lion spread far and wide across China, and its presence can be found almost everywhere from north to south and past to present. This exhibit depicts a muscular lion, with a curly mane, gaping mouth, and up-curled tongue. The lion is sitting on its haunches and has a bell hanging from its chest. The powerful limbs and muscular form resemble that of a bodybuilder, and convey a sense of awe-inspiring strength and stern forcefulness. Judging by the strong muscles surrounding its jaws, it is not hard to imagine this lion biting through steel or rocks, and its perceived bite is likely to deter all but the most powerful of demons. Such stone sculptures were likely placed in pairs at entrances to hold the main gate against intruders, and functioned as both sacred defender and protector against all evil things. It is a great pity that only this single statue has survived and remained celibate in in my possession for almost 20 years, during which time this great lion of the imperial city has guarded the Beijing offices of PING Fine Chinese Art & Co. under all conditions with great loyalty and commitment, never once shirking a day of service.

公分 28

＿

高

褐釉淨瓶唐代（或可能新羅時代）

展品三十五六朝以後佛教興旺，各式佛寺石窟都大量的出現，佛像也是如此。有石造、泥塑、銅鑄等，同時佛教儀式旁的法器也應運而生，淨瓶即為其一。

在唐宋時期石窟繪畫或佛教繪畫（絹本）中，即可見到在水月觀音旁山石基座上有一鉢碗，碗上即放著淨瓶，可以說是觀音的標配。《敕修百丈清規》中記述「淨瓶，梵語軍遲，此雲瓶常儲水，隨身用於淨手。」淨瓶也是一種供具，也常見於觀音手中持（有持淨瓶的觀音和手持楊柳枝的觀音）淨瓶中盛甘露，瓶中插上揚柳枝，象徵觀世音菩薩，大慈大悲的甘露遍灑人間，為人民消災解難。

展品為陶瓷胎，表面上釉，褐深色，唐代風格器型，但是相對時間為中國唐代，多為銅器、銀器、白瓷，少見褐釉淨瓶。此瓶外型較圓，較矮，工藝粗獷，筆者判可能為當時朝鮮地區高麗時期的產物，較為正確。

168

169

Brown-Glazed Holy Water Vase Tang Dynasty (or Silla Kingdom) H. 28 cm

唐代響銅淨瓶出光美術館藏

fig. 35.1

Buddhism thrived in the period after the Six Dynasties, and a multitude of Buddhist temples and grottos appeared during this time. The same could be said for all manner of stone, clay, and bronze-cast Buddhist figures and statues. At the same time, the ritual instruments displayed and used during Buddhist ceremonies also began to take shape, including the holy water vase. In the Buddhist grotto paintings or silk paintings of the Tang and Song Dynasties, upon the mountain stones surrounding the Water-Moon Guanyin, a bowl can often be seen, within which is placed a holy water vase. This is one of the standard accessories of Guanyin paintings, and in The Baizhang Zen Monastic Regulations, it is stated that, “The holy water vase, known in Sanskrit as the kundika, is a vase or jar that should constantly contain water and be kept about one’s person, for use in washing the hands.” The holy water vase is also a ritual vessel, and Guanyin is often depicted as holding a holy water vase filled with sweet dew, in which a willow branch has been inserted (in some images, Guanyin holds the willow branch instead of the

Tang Dynasty Bronze Holy Water Vase Collection of Idemitsu Museum of Arts H. 30.8 cm

holy water vase); this symbolizes the scattering of the Guanyin bodhisattva’s sweet mercy and compassion across this earthly realm, to wipe away the misfortunes and challenges of the multitudes. This exhibit has a ceramic core coated with brown glaze, and is in the style of the Tang Dynasty. However, bronze, silver, and white porcelain holy water vases were more prevalent in the Tang Dynasty, and the round, full form of this vase, together with the rough style of workmanship, suggests to me that it may have originated from the Silla or Goryeo kingdoms of the Korean peninsula at the time.

170 Exhibit Item 35

171

An Introduction To The “Blank Period” Of Ming Dynasty Porcelain

The Blank Period of Ming Dynasty porcelain, also known as the Dark Period, spanned the three reigns of Zhengtong, Jingtai, and Tianshun from 1436-1464, altogether lasting for a total of 28 years. During this time, there were three reign names and two emperors – the Zhengtong and Tianshun reigns were both of Emperor Yingzong of Ming (Zhu Qizhen), while the Emperor’s younger brother, Emperor Daizong of Ming (Zhu Qiyu), ruled during the Jingtai reign. At the end of the Zhengtong reign, the Emperor Yingzong was captured by the Mongols at the disastrous Battle of Tumu (1449), and the Jingtai reign began with the Emperor Daizong taking his brother’s place upon the imperial throne. Upon his release by the Mongols a year later, the Emperor Yingzong was immediately placed under house arrest, and eventually remained in captivity for seven more years before he was able to regain the throne and inaugurate the Tianshun reign, which persisted until the Emperor passed away at the young age of 38 approximately seven years later. In the 3rd year of the Zhengtong reign (1438), the civilian kilns were forbidden to produce copycat blue-and-white porcelain in the same styles and designs as the official kilns, and according to the literature, no official porcelain marked with the reign names and years corresponding to this period has ever been found. All porcelain items clearly dated to this time were produced by civilian kilns. The reality was that although the official kilns continued to produce official porcelain during this period, the items were not marked with the reign name and year, due to the instability caused by the internal disputes of the Ming imperial family. The porcelain of the Blank Period is characterized by an increase in cloud patterns, with the main theme or motif often obscured by wisps or masses of cloud. The colors of the blue-and-white porcelain were also darker and had a greyish tint, and thus this period was termed the “Blank Period” or “Dark Three Reigns” by later scholars. Personally, I like blue-and-white porcelain, especially large items of this genre, and I prefer those depicting landscapes and people compared to official porcelain patterns. During the Blank Period, there was an abundance of large porcelain items depicting scholars and related motifs, but made in the shapes and forms of official porcelain. The images on such items were characterized by their uninhibited expression, unrestrained strokes, and unconventional aura. The rise of the freehand style during the Ming Dynasty was also reflected on these porcelain vessels, and the swirling cloud patterns known as Clouds-and-Towers styling reached a height during this period. Such styling gave the porcelain imagery a rolling, rhythmic feel, and combined the majesty of officialdom with the elegance of scholars to create an unprecedented style that was unique to the Blank Period. 172

空白期

明代空白期，又稱黑暗期，歷正統、景泰、天順三朝（1436 ～ 1464）共 28 年。三年號而兩皇帝，其中正統、天順同屬明英宗朱祁鎮一人，景泰是正統皇帝之弟，明代宗朱祁鈺的年號，正統帝被俘八年後被釋，更號天順，至 38 歲英年早逝。正統三年（1438），民窯被禁止燒製與官窯樣式相同的青花瓷器。從文獻記載上看，這段時期傳世品中至今未見一件署年款的官窯瓷器，所見瓷器均為民窯所產。而實際上這三朝都有官造瓷，只因皇室內部衝突，極不安穩，所以窯廠不便屬款。空白期的瓷器，雲氣紋較多，主題修飾多用雲氣雲海罩住，青花發色也較灰暗，所以後來學術界有「空白期」和「黑三代」之稱。

筆者喜歡青花，更喜大件青花，尤以山水人物等為佳，勿需官器。空白期多有描繪文人題材，外觀卻保有官家樣式的大器，畫意自在，筆意灑脫，不事拘泥，氣勢不凡。明代時期的寫意風格自成一派，亦體現在器物之上。展目雲紋繚繞，稱之「雲堂手」，當為一絕，其意高在畫面起伏，韻感十足，兼有官家大氣與文人逸氣，是獨屬於「空白期」的樣式。

173

高公分 52 Northern Song Dynasty A Carved Cizhou ‘Black- And White’-Glazed Stoneware Meiping Collection of J.J. Lally & Co. H. 32 cm

明代永樂年間青花折枝瑞果紋梅瓶二零一五香港蘇富比秋拍

fig. 36.2

北宋磁州白地黑釉刻花梅瓶藍理藝術公司藏

青花攜琴訪友圖梅瓶明代十五世紀空白期

fig. 36.1

Ming Dynasty, Yongle Period A Blue And White 'Fruit' Meiping Sotheby's Hong Kong, October 7, 2015 H. 29 cm

展品三十六梅瓶，又稱「經瓶」，最早出現於唐代，流行於宋遼。近代許之衡，在《飲流齋說瓷》一書中仔細描述了梅瓶的形制，特徵，及名稱由來：「梅瓶口細頸短，肩極寬博，至脛稍狹，抵於足微豐，口徑之小僅與梅之瘦骨相稱，故名梅瓶。」關於梅瓶用途，磁州窯白地黑花梅瓶器腹有「清沽美酒」與「醉香酒海」的詩句。梅瓶既是酒器，又是一件讓人愛不釋手的賞品。

宋遼時期，各窯口的瓷、瓶、碗、盤，以梅瓶為王，最為精美。元明時期，大型器相繼而出，雖稱不上極品，卻也算是榜上有名。

至明清，御窯廠製造了大量不同類型的梅瓶，既能裝酒，又非常注重外型，這一時期的梅瓶變得愈加美觀。民間有語，梅瓶外型似妻，如窈窕淑女，豐胸細腰。此非分而有趣的傳言，倒也真實貼切。

展品為明代正統時期的青花繪，畫中一位高士攜琴訪友，并有書僮隨侍，雲紋佈局高低起伏，氣韻生動，有游雲之象（空白期特點，亦作雲朵手）。主人與書僮行於郊外，有松、竹、草、雲，石山五座，畫風寫意，意趣輕鬆。筆者尤以自許的是，此瓶高達 52 公分，屬器型非常巨大的青花梅瓶，翻查紀錄，尚未有見空白期有如此大型青花梅瓶的記載。筆者喜歡畫意，喜歡明代青花，喜歡大器，以上三點齊聚此件，是為至愛。

174

175

Blank Period: Blue-And-White Meiping With “Bringing A Qin-Zither To Visit Friends” Image Ming Dynasty, 15th Century H. 52 cm

The meiping (plum vase), also known as “jingping (wine vase)”, first appeared during the Tang Dynasty, and became fashionable during the Song and Liao Dynasties. In modern times, the classics scholar Xu Zhiheng published a detailed description of the standard form, characteristics, and etymology of the meiping in his work, Discourse on Porcelain from the Yinliu Studio, which stated that, “The meiping has a narrow mouth and short neck, extremely wide shoulders that taper somewhat at the body, and a base that slightly widens out. The narrowness of the mouth perfectly complements the thinness of plum branches, and thus this vessel is termed ‘meiping (plum vase)’.” Regarding the actual usage of the meiping, the body of meipings with black floral patterns on white glaze from the Cizhou Kiln were often inscribed with lines of poetry reading, “Procuring beautiful wine” or “Drunken fragrance in a sea of wine”. This shows that the meiping could serve both as a wine vessel and a highly cherished object of art. Of the porcelain, vases, bowls, and plates manufactured at kilns during the Song and Liao Dynasties, the meiping reigned supreme over all, and was the finest type of porcelain to be produced. During the Yuan and Ming Dynasties, large meipings successively appeared, and although not rising to the level of masterpieces, would nevertheless receive a favorable ranking by any measure.

176 Exhibit Item 36

During the Ming and Qing Dynasties, the imperial kilns produced large numbers of meipings in various forms and styles, and while these pieces were suitable for storing wine, great care was also taken regarding their outward appearance, and the aesthetic quality of meipings increased significantly during this period. A folk saying suggests that the meiping resembles a modest, buxom maiden with a narrow waist, and would make a good wife; this is an amusing and somewhat outlandish concept, but carries a certain degree of truth and is certainly an evocative description. This exhibit is a blue-and-white porcelain meiping dating from the Zhengtong reign of the Ming Dynasty. The meiping is decorated with an image of a learned scholar carrying a qin-zither to visit friends, accompanied by a servant boy. The rolling cloud patterns are vivid and striking, and evoke swirling cloud patterns (a key characteristic of porcelain from the Blank Period). The scholar and servant boy in the image are journeying in the countryside, surrounded by pines, bamboos, grass, clouds, and five rock hills. The artwork is freehand in style and relaxed in imagery. This meiping has a height of 52 cm and is a very large work for its genre, and I take particular pride in the fact that current records show no other instance of such a sizeable meiping produced during the Blank Period. Moreover, I am especially fond of freehand artwork, Ming-era blue-and-white porcelain, and large works, and the combination of all these three elements in this piece makes me appreciate it all the more.

展品 36 底部 Bottom side of Exhibit 36

177

高公分 36

青花大罐攜琴訪友圖明代十五世紀空白期

古時有「高山流水」佳話：「俞伯牙攜琴訪鐘子期，半路聞其死訊，遂到子期墓

展品三十七

前痛哭，感慨知音難再，而碎琴以報。」自唐朝始，琴成為了文人必備的樂器，及宋，范寬傳有攜琴訪友圖（現藏於大英博物館）。在宋、明文人繪畫中，亦經常出現此類題材和構圖：主人出遊，書童隨侍，或扛擔，或抱琴，經山越嶺，攜琴以會友。

展品圖畫完全展開後，一目可識，圖中主人騎白馬，其後有三書僮，一人持劍，一人抱琴，一人扛柴，一行人行走山林之中。畫面林石交映、亭閣相掩，筆法熟純、趣味橫生，佈局生動，輔以特色雲海紋，高低流動，使整個畫面律動十足。展品為白地青花，青花發色深藍，沙底胎，器型完整，總高 36 公分。空白期的大罐高度在 35 至 38 公分之間居多，最近大罐較為流行，有嘉靖魚藻紋五彩大罐領銜。但傳世且完整的並不多，大多帶有殘損，也希望市場能關注到更多精彩的明代大器和大罐。此次展覽能展出的三件，都是十餘年來筆者用心尋覓到的能幸運留傳下來的，實屬珍貴。同時筆者也會繼續收集此一時期，筆者所愛的，兼備官窯器形和明代文人氣質的青花珍品。

178

179

Blank Period: Blue-And-White Jar With “Bringing A Qin-Zither To Visit Friends” Image Ming Dynasty, 15th Century H. 36 cm

The ancient and well-loved tale of High Mountains and Flowing Water goes thus: During the Spring and Autumn Period (circa 770-476 B.C.E.), the musician Yu Boya took his qin-zither on a visit to his friend Zhong Ziqi. Halfway along the journey, Yo Boya learned of the death of his friend, and he subsequently proceeded to weep bitterly before Ziqi’s tomb, breaking his qin-zither to lament the loss of his good friend and difficulty in finding another such kindred spirit who could truly understand his music. Thereafter, from the Tang Dynasty onward, the qin-zither became the musical instrument of choice for scholars, and during the Song Dynasty, the artist Fan Kuan painted the famous Bringing a Qin-Zither to Visit Friends (now housed in the British Museum). Subsequently, paintings by scholars from the Song and Ming Dynasties often featured a similar motif and imagery: a scholar, accompanied by a servant boy balancing a carrying pole or hugging a qin-zither, journeying across mountains and hills, bringing a qin-zither to visit friends.

180

When the image on this exhibit is fully projected, a glance reveals a scholar riding on a white horse followed by three servant boys, one of whom is holding a sword, another hugging a qin-zither, and the third carrying a bundle of firewood. The little procession marches through mountains and forests, and trees, rocks, pavilions, and towers are interspersed throughout the image, which is crafted with experienced brushstrokes and quite interesting to behold. The vivid imagery is complemented by characteristic swirling cloud patterns of the Blank Period, which flow from top to bottom and convey a sense of rhythm to the picture. The exhibit is made of blue-and-white porcelain with a deep blue color and sand-bottom mold, and is complete in shape and form, with a height of 36 cm. The majority of porcelain jars from the Blank Period range between 35-38 cm in height, and in recent years, porcelain jars have become very popular, the most sought after of which are the Jiajing five-colored fish and waterweed jars. However, complete specimens are rare, and most pieces have defects or traces of wear. It is hoped that the market will come to focus even more on brilliant porcelain vessels and jars of the Ming Dynasty, and the three items on display at this exhibition represent the fruits of more than a decade of diligent searching on my part. These items were fortunate to have been well-preserved to the present day, and their rarity makes them especially precious. I will continue to collect rare blue-and-white porcelain pieces dating from this era that combine official designs with the defining qualities of Ming-era scholars, as I have a great fondness for such works.

展品 37 底部 Bottom side of Exhibit 37

181 Exhibit Item 37

高公分 29.5

青花大罐青花攜琴訪友圖明代十五世紀空白期

展品三十八永樂、宣德二朝是明代青花的高峰時期。而此一時期不只是青花瓷器的高峰，也同時是所有門類的高峰，如漆器、傢具、銅件、建築都包括在內。永樂 24 年明代宮廷進駐北京紫禁城──人類史上最大的皇家宮殿，開啟了在政治、經濟、武功、外交都超越前人的新篇章。譬如由鄭和領軍的七下西洋，最遠到東非、紅海，都有留下足跡；甚至在美洲，也發現了明朝的文化遺物。永宣時代後，即是明代瓷器史上的黑暗期：正統、景泰、天順（1436 ～ 1464）三朝，28 年御窯廠的相對低潮期。這三朝據考未見有落官款的瓷器，直接原因即為政治因素。皇帝在位時，國家內憂外患，正統帝年少被俘，景泰帝奪位亦不久，而八年後正統獲釋，改號天順（天順我意），復歸帝位。在此錯亂交替的時空下，各方管理不佳的情況便十分容易想見。

182

183

Blank Period: Blue-And-White Jar With “Bringing A Qin-Zither To Visit Friends” Image Ming Dynasty, 15th Century H. 29.5 cm

The Yongle and Xuande reigns represented the height of Ming Dynasty blueand-white porcelain, and it is no coincidence that artistic achievement in genres such as lacquerware, furniture, bronzes, and architecture all reached a peak during this time, in addition to blue-and-white porcelain. In the 24th year of the Yongle reign, the Ming imperial court took up residence in the Forbidden City in Beijing, the largest royal palace in the history of mankind. This represented the beginning of a new chapter in politics, economics, military prowess, and diplomacy, all of which surpassed the accomplishments of previous rulers. For example, the seven treasure voyages of Zheng He to the Western Ocean left traces as far as East Africa and the Red Sea. However,

展品 38 底部 Bottom side of Exhibit 38

184 Exhibit Item 38

the glorious age of the Yongle and Xuande reigns were followed by the Dark Period of Ming porcelain, spanning the three reigns of Zhengtong, Jingtai, and Tianshun from 1436-1464. These 28 years represented a low point for the official kilns, and no official porcelain marked with the reign names and years corresponding to this period have ever been found, primarily due to political reasons. This period marked a time of internal and external unrest, during which the Zhengtong Emperor was captured at an early age and the imperial throne seized by the Jingtai Emperor for a relatively short period of time; subsequently, the Zhengtong Emperor returned from eight years of captivity to take up the throne and initiate the Tianshun reign. Under circumstances of such turmoil, it is easy to imagine the many lapses and flaws in management at the time.

191

高 46 公分款識：博及漁人

德化白瓷觀音立像清代十九世紀

展品三十九每次展覽筆者幾乎都會展出德化白瓷塑像，德化白瓷窯址位於福建德化縣，福建臨海靠山，在明清時代，各項工藝皆冠居全國，甚至流傳至今。此地區之造像皆以漢室造型為根本，匠人再依照當地材料的屬性發輝，德化地區的土就是寶，精選過後的瓷土，高溫燒製成德化白（沒有火石紅，德化土燒完後是純白的），土質堅硬細密，白釉質地似白玉出油，溫潤潔淨。德化白瓷始於宋，興於明，衰於清，橫跨近 600 年的時間，雖也有器皿，如瓶、壺、盆、杯等，但仍以塑像為大宗。瓷色也有分別，如豬油白、象牙白、鵝絨白等，在明清之際，德化白瓷已享譽國際，更稱之為「中國白」。德化瓷塑大師中則以何朝宗最為知名，其作品有達摩、羅漢、文昌君、佛陀、老子、關公等，而以觀音最為常見。

展品立姿觀音約 46 公分高，屬中型瓷塑，背後有「博及漁人」的印款，屬於清晚期常見印款。白衣觀音大士，束高髮髻，頭巾披垂而下，開相秀美慈悲，身型比例佳，衣紋線條流暢，左手持有淨瓶，整體保存完整，僅指甲有小傷，典型清晚期「博及漁人」佳品。

186

187

188

Dehua Blanc De Chine Standing Guanyin Figure Qing Dynasty, 19th Century Inscription: Boji yuren (Boji fisherman) H. 46 cm

The kilns that produce blanc de Chine are located in Dehua County of the province of Fujian, and at almost every exhibition, I seek to include Dehua blanc de Chine figures. Fujian is a land between the sea and mountains, and during the Ming and Qing Dynasties, the province led the country in all manner of craftsmanship, producing lovely masterpieces that have survived to the present day. The figures produced in Dehua all employed Han-style design as a base, but craftsmen had artistic license to make modifications according to the characteristics of local materials. Earth from the Dehua region was a treasure in itself, and select kaolin fired at high temperatures produced the famous Dehua blanc de Chine (no kiln red colors from the firing process; fired porcelain made from Dehua kaolin is pure white in color). The kaolin in Dehua is firm and fine-grained, and the texture of the white glaze has a warm, clean feel that resembles jade covered with a sheen of oil. Dehua blanc de Chine emerged in the Song Dynasty, reached a height during the Ming Dynasty, but declined in the Qing Dynasty, altogether spanning a period of almost 600 years. Although vessels such as vases, teapots, basins, and cups were also produced at Dehua, blanc de Chine figures were by far the most prevalent. Color variations, such as lard white, ivory white, and goose-down white, were also available. During the Ming and Qing eras, Dehua blanc de Chine gained international renown, and the term “blanc de Chine (white from China)” was known far and wide. Among the Dehua porcelain craftsmen, He Chaozong was the most famous, and his works included figures of Bodhidharma, luohans, Lord Wenchang, the Buddha, Laozi, and Lord Guan; however, figures of Guanyin were the most common. This standing figure of Guanyin is about 46 cm in height, and is considered to be mid-sized. On the back can be found a “Boji yuren (Boji fisherman)” seal, a marking that was often seen in the late Qing era. The figure of Guanyin is dressed in wide robes with hair pinned in a high bun, and the head is covered by a draping headdress. The facial features are delicate and lovely, with a sense of mercy and compassion. The proportions of the figure are exquisite, and further accentuated by flowing robe lines. The figure holds a holy water vase in the left hand. Overall, the figure is quite well-preserved, with only a tiny scratch on the nail, and represents a classic “Boji yuren” masterpiece of the late Qing era.

189 Exhibit Item 39

高公分 58

黑釉內府大罐元明 / 代十四十 / 五世紀

展品四十內府為官名，周朝設置，《周禮．天官．內府》中記載：「內府，掌受九貢九賦，九功之貨，具有良兵良器，以得邦之大用。」即掌管宮中貢、賦、貨物、兵器等物品。內府也是唐代五府三衛的簡稱，是與外府做區別。內府除了掌管，也負責監管宮中製造器具，也就是常聽到的內務府。南宋時期即可見瓷器上繪有內府二字，元代亦有，直至明初開始較少見內府二字用於器物之上。

展品黑釉大罐，高 58 公分，內、外、底均施濃厚黑釉，內胎可見口沿磨損處為硬紅陶土，因器型碩大，非一人可輕易抱起。筆者於二十年前即見過此類大罐，只覺霸氣十足，深受吸引，偶見於市場上或博物館中陳設，一直持續關注。十餘年來見過十多件，但內府二字大多已損平或為近年修補上的，展品的內府二字即是原裝無損的，凸起的內府二字，上施白釉，狀態完好，黑釉大罐碩大飽滿，作何用途？筆者以為應是盛酒佳器，存於宮廷內府之中。明初內府大黑罐，因常見於河北，推斷可能為此地區所燒製。僅個人淺見，供同樣傾心之人參考。

190

191

Black-Glazed Neifu Jar Yuan/Ming Dynasty, 14th/15th Century H. 58 cm

The term “Neifu” was the name for an official government agency, first established during the Zhou Dynasty. In the Neifu chapter of the Offices of Heaven section in the Rites of Zhou, it is stated that, “The Neifu has responsibility to receive the Nine Taxes and the Nine Tributes, as well as goods received from the Nine Offices, and has command of good soldiers and weaponry for the key purposes of the nation.” This indicates that the Neifu was responsible for managing the tributes, taxes, goods, and weaponry of the imperial palace. The Neifu was also a generalized term for the Five Garrison Commands and Three Guards of the Tang Dynasty, and was used in this context to make a distinction with the Waifu (which was responsible for security outside of the imperial palace). The Neifu, as the more commonly known Neiwufu (Agency for Imperial Household Affairs), was further responsible for overseeing the production of vessels, utensils, tools, and other items intended for the imperial court. During the Southern Song Dynasty, porcelain marked with the words, “Neifu”, first emerged, and this practice persisted through the Yuan Dynasty until the early Ming Dynasty, when vessels and utensils marked with “Neifu” became noticeably fewer. This is a black-glazed porcelain jar with a height of 58 cm. The exterior, interior, and bottom have been coated with layers of thick black glaze, but from worn areas near the lip of the vessel, it can be seen that the inner core was made of hard red clay. The vessel is quite large, and difficult for one person to lift easily. I first set my eyes on porcelain jars of this size about 20 years ago, and was strongly attracted to their majesty and impressiveness even then. I continued to keep an eye out for such pieces, though I only saw them on rare occasions in the market or in museums. For ten or so years, I came into contact with more than ten such pieces, but the great majority of their “Neifu” inscriptions were either worn flat or had been restored in recent years. This exhibit maintains the original, unblemished “Neifu” inscription, and the characters are raised and marked with white glaze. Considering the excellent condition of the piece, I immediately took steps to add it to my collection. What purpose did these large and full-bodied black-glazed jars serve? I believe that these jars were excellent storage vessels for wine in the Neifu. Large black-glazed Neifu jars from the early Ming Dynasty were often found in the province of Hebei, and from this it was inferred that this piece may have been fired there as well. However, these are only my own shallow views on the subject, but they may yet serve as a reference for others who similarly appreciate this exhibit.

192 Exhibit Item 40

193

高公分；寬 158 公分；深 72 公分 42

黃花梨頂箱櫃清代十八十 / 九世紀

展品四十一展品為安思遠舊藏，於 1973 年出售。在 2015 年的安思遠私人珍藏春季專場中，這批超過一千四百多件的文物收藏，依品項分為六本專冊，筆者亦參與了當時的這場拍賣盛宴，只可惜與這些珍品失之交臂，未能拍得。在此之前曾與安思遠先生碰過幾次面，但並未深談，然在 2000 年左右有機會和安思遠先生做過買賣，因此去了他紐約寓所，對這位鑑藏大家亦身為學者和古董商的豐富收藏印象極為深刻，其對亞洲藝術各領域涉獵皆深，令人尊崇讚嘆，而今日筆者有幸收到曾為安思遠收藏的黃花梨小頂箱櫃，或許也算是對他的回敬與追思。

箱櫃，為室內陳設實用要器，常見尺寸小則 180 公分高，大則常見 220 公分以上，然礙於現今居住空間限制，僅只能選擇適當尺寸的小櫃，作為佈置之用，亦滿足筆者對黃花梨的憧憬，而展品這件兩件式圓腳的黃花梨櫃子不僅尺寸較小，且由黃花梨製，更是曾經安思遠過手，讓筆者心動不已。此件小櫃二式圓腳，帶大小頭的身型，十分雅緻，用料講究，保存完整，因年代是清中後期，所以可能修整不多，1973 年的交易距今已 44 年了，有幸回到中原地區，倘再留它 44 年，那便事事如我意了。【來源】1973 年購自安思遠 Robert Hatfield Ellsworth，附購買證明。 194

195

Huanghuali Compound Cabinet Ming Dynasty, 15th/16th Century H. 158 cm W. 72 cm D. 42 cm

Provenance: Acquired from Robert Hatfield Ellsworth in 1973 with invoice. This exhibit came from the personal collections of the famous antiques dealer Robert Hatfield Ellsworth, and was sold in 1973. In 2015, the entire private collection of Mr. Ellsworth, comprising more than 1,400 items and requiring six catalogs to record and present each item according to its genre and class, was auctioned off during a special spring session. I also attended this important auction event, but was completely eluded by these rare treasures, and returned without acquiring a single item. Previously, I met Mr. Ellsworth on several occasions, but we never engaged in much deep conversation. However, I had the opportunity in the year 2000 to work with Mr. Ellsworth on an auction, and thus had the privilege of visiting his New York residence. The experience left me with a deep and lasting impression regarding the richness of the private collection built up by this famous collector, connoisseur, scholar, and antiques dealer, and I was struck by his in-depth knowledge in many fields of Asian art as well. Mr. Ellsworth was a man worthy of the highest respect and praise, and it is my good fortune to have acquired this small huanghuali (yellow flowering pear) compound cabinet formerly included in his collection. Perhaps this represents a fitting mark of respect and remembrance for this late great collector. The compound cabinet is a key functional piece of interior furniture, and a typical height is about 180 cm, with large pieces reaching to 220 cm. However, the restrictions of modern living mean that small-sized cabinets are more likely to be chosen now, to be primarily used for decorative purposes. This piece satisfies my aspirations for huanghuali furniture, as this two-piece huanghuali cabinet with rounded legs is of a smaller size, is crafted from huanghuali wood, and was previously in the possession of the legendary Robert Hatfield Ellsworth. The combination of these elements is enough to set my pulses racing with appreciation. This small cabinet has a smaller top and larger body, and is quite elegant in design and fine in texture. The cabinet is well-preserved, and dates from the middle-to-late Qing era; as a result, it has likely not needed much renovation or repair. The original purchase was made 44 years ago in 1973, and now that this cabinet has the good fortune to return again to the Central Plain, if I can retain it here for at least another 44 years, then I shall be blissfully content.

196 Exhibit Item 41

197

長公分；寬 108.5 公分；高 77 公分 90

朱紅漆供桌明代十五十 / 六世紀

展品四十二明代因國姓為朱，又興於南方，南方表火，故極尊崇紅色，從紫禁城中皇家宮廷即可看出，明代一至四品高官皆服緋（紅）袍，朝廷至衙署傢俱皆採朱紅漆作，文化中即是採用了象徵火與朱姓的紅色，筆者認為這原由一說極好。供桌，「供」這裡指是對神佛或天地要敬拜時需要陳設、供器、供具、供物（食物）等（如法器、香爐、淨瓶、五供等）的桌子，叫供桌。

展品朱紅大漆作供桌為榆木製，可能山西晉中工藝，採明代皇室代表色系，披麻灰朱紅大漆，高束腰，正面開有三窗，側窗、二窗格幾何圖型，四條內翻劍腿旁有剃線，大器有韻，整器尺寸亦相當合適展示翻閱唐卡、佛畫，這類供桌等級很高，尤其是少見的朱紅漆作，多用於皇室宮廷內，或是高僧大德才能配上之朱紅大供桌。

198

199

Vermillion Lacquer Altar Table Ming Dynasty, 15th/16th Century L. 108.5 cm W. 77 cm H. 90 cm

The imperial surname of the Ming Dynasty was â&#x20AC;&#x153;Chuâ&#x20AC;?, and as the dynasty arose in the south, a direction that is associated with the element of fire, the color red was exceptionally exalted during this time. From the imperial courts in the Forbidden City, it can be observed that officials from the top four highest levels of the hierarchy all wore crimson (red) robes, while official furniture from the imperial court to the local magistrateâ&#x20AC;&#x2122;s office were all styled in vermillion. Vermillion is known as Chu red in Chinese, and the symbolic use of this color to signify fire and the Chu imperial family is a cultural theory that I find to be extremely persuasive. When worshipping or offering homage to gods, buddhas, or the earth and sky, the vessels, utensils, offerings (food), ritual instruments, censers, holy water vases, and Five Offerings are placed on a table known as an altar table. This vermillion lacquer altar table made of northern elm was likely the work of craftsmen from Jinzhong in Shanxi. Crafted in the representative imperial color, the altar table was coated in vermillion using the pi ma hui method, which covers the wood with a layer of hemp, ash, and clay before the vermillion lacquer is applied. This altar table has a high, narrow waist, with three geometric lattice panels at the front and two panels at the sides. The four inward-facing sword legs are complemented by carved lines, and the table exudes a sense of majesty. The size of the table surface is suitable for viewing thangka or Buddhist paintings, and together with the rare vermillion lacquer finish, these characteristics mark this altar table to be an item of high standing, primarily to be used in the imperial court or granted to an eminent monk of great virtue.

200 Exhibit Item 42

201

202

203

INDEX 十九世紀藏中可能西藏拉薩地區宗喀巴唐卡

明代十六世紀羅漢眾

明代十六世紀大威德明王像

明代十五十/ 六世紀護法像

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Ming Dynasty, 15th/16th century Scroll Painting of a Dharmapala Multi-colors on silk, hanging scrolls 142 x 76.2 cm

Ming Dynasty, 16th century Scroll-painting of Yamântaka Multi-colors on silk, hanging scrolls 111 x 55 cm

Ming Dynasty, 16th century A Group of Luohans Multi-colors on silk, hanging scrolls 192 x 97 cm

Middle Tibet, 19th Century A Thangka Depicting Lama Tsongkhapa Distemper on cloth, mounted 66 x 45 cm

018 018

022 022

026 026

026 030

元代十四世紀木胎自在觀音像

明代十六十/ 七世紀浙江地區木胎文官立像

元代十四世紀山西風格木胎觀音菩薩立像

清代十九二/ 十世紀早期第一世噶瑪巴（都松欽巴）刺繡唐卡

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Qing Dynasty, 19th/ Early 20th Century Embroidered Thangka of the First Karmapa (Düsum Khyenpa) Embroidery on cloth, mounted 78 x 51 cm

Yuan Dynasty, 14th Century Shanxi style Wood Figure of Standing Guanyin(Avalokitesvara) H. 60 cm

Ming Dynasty, 16th/ 17th Century Zhejiang Region Wood Figure of Standing Civil Official H. 50 cm

Yuan Dynasty, 14th Century Wood Figure of Standing Guanyin in An Easeful Posture H. 35 cm

030 034

034 040

038 044

042 048

清代康熙御製夾紵釋迦牟尼說法像

明代十五十/ 六世紀木雕加彩阿彌陀佛立像

明代十六十/ 七世紀夾紵漆金自在觀音像

元明/ 代十四十/ 五世紀木胎漆金觀音坐像（山西地區）

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Yuan/ Ming Dynasty, 14th/ 15th Century Polychromed Wood Figure of a Seated Guanyin Bodhisattv (Avalokiteśvara) Sitting Sculpture H. 62 cm

Ming Dynasty, 16th/ 17th Century Gold Lacquer With Ramee Figure of Guanyin in an Easeful Posture H. 67 cm

Ming Dynasty, 15th / 16th Century Of Shanxi craftsmanship Polychrome Wood Sculpture of Standing Amitabha H. 52 cm

Commissioned by the Emperor Kangxi of the Qing Dynasty Ramee-lacquer Sculpture of the Buddha Preaching H. 61 cm

046 052

050 056

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054 064

清代康熙年間十七世紀銅鎏金四臂文殊菩薩

清代十七世紀康熙御製銅鎏金戴冠釋迦牟尼佛坐像

江戶時期十七十- 九世紀木胎漆金一佛二菩薩像

室町時期十四十- 六世紀阿彌陀佛坐像

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Muromachi Period of Japan, 14th-16th Century A Seated Gilt-lacquered Wood Figure of Amitabha H. 111 cm

Edo Period of Japan, 17th-19th Century A Gilt-lacquered Wood Figure of the Buddha and two Bodhisattvas H. 103 cm

Commissioned by the Emperor Kangxi of the Qing Dynasty, 17th Century A Gilt-bronze Figure of Sakyamuni Buddha H. 19 cm

Qing Dynasty, Kangxi Reign, 17th Century A Gold-gilded Bronze Sculpture of a Fourarmed Manjushri Bodhisattva H. 17 cm

064 074

060 070

068 078

072 082

(1467)

元代十四世紀至正元年（ 1341 年）銅甪端香薰

明代成化三年銅鹿銜靈芝

明代十六十/ 七世紀銅嵌銀絲觀音立像

清代乾隆時期十八世紀黃銅金蓮花手觀音

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Qing Dynasty, Qianglong Reign, 18th Century Bronze Figure of Padmapani Bodhisattva H. 33 cm

Ming Dynasty, 16th/17th Century Standing Guanyin Bronze Figure Inlaid with Silver Threads H. 34 cm

Ming Dynasty, The 3rd year of the Chenghua reign (1467) Brass Figure of a Deer L. 50 cm; Weight 13.7 kg

Yuan Dynasty.The inaugural year of the Zhizheng reign (1341), 14th century Bronze Luduan Censer H. 36 cm; Weight 7.5 kg

076 088

092

084 096

088 104

明代十六十/ 七世紀銅製獅形香薰

清代十八世紀銅甪端香薰

明代十六十/ 七世紀銅鎏金甪端香薰

明代十六十/ 七世紀銅嵌銀絲甪端香薰

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Ming Dynasty, 16th/17th Century Silver-inlaid Bronze Luduan-form Censer H. 24 cm; Weight 5 kg

Ming Dynasty, 16th/17th Century Copper Gold-gilded Luduan-form Censer H. 18 cm; Weight 1.25 kg

Qing Dynasty, 18th Century, Brass Luduan-form Censer H. 39 cm; Weight 7.7 kg

Ming Dynasty, 16th/17th Century Bronze Lion-form Censer L. 49 cm; Weight 10.3 kg

108

098 112

116

120

清代十八世紀銅瓶一對

明代十七世紀銅製英雄瓶

明代十六十/ 七世紀大型銅英雄雙聯瓶

清代十七十/ 八世紀銅鰲魚香薰

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Qing Dynasty, 17th/ 18th Century Bronze Dragon Fish-form Censer H. 19 cm; Weight 1.3kg

Ming Dynasty, 16th/17th Century Large Champion Conjoined Vase H. 45 cm; Weight 16.3 kg

Ming Dynasty, 17th Century Bronze Champion Vase H. 19 cm; Weight 2.5 kg

Qing Dynasty, 18th Century A Pair of Brass Vases H. 23 cm

112 124

122 132

128

126 136

北魏六世紀（公元砂岩造像碑

宋代十～十二世紀砂岩觀音頭像

北齊可能青州石灰岩菩薩殘體立像

明代可能山西地區鐵製火爐（寺廟用）

年） 508

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Ming Dynasty Iron Furnace (for temple use) Possibly from the Shanxi area H. 43 cm; Dia. 158 cm

Northern Qi Dynasty Incomplete Limestone Figure of Standing Bodhisattva Possibly from Qingzhou H. 48.5 cm

Song Dynasty, 10th ～ 12th Century Sandstone Sculpture of Head of Guanyin Possibly from the Sichuan region H. 51 cm

Northern Wei Dynasty, 6th Century (circa 508) Sandstone Buddhist Stele H. 33 cm

084 140

088 144

098 152

092 148

明代空白期十五世紀青花攜琴訪友圖梅瓶

年） 508

唐代（或可能新羅時代）褐釉淨瓶

明代十六十/ 七世紀灰白大理石獅子坐像

北魏六世紀（公元砂岩造像碑

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Northern Wei Dynasty, 6th Century (circa 508) Sandstone Buddhist Stele H. 41 cm

Ming Dynasty, 16th/17th Century Gray-white Marble Statue of a Sitting Lion H. 82 cm

Tang Dynasty (or Silla Kingdom) Brown-Glazed Holy Water Vase H. 28 cm

Ming Dynasty, 15th Century Blank Period: Blue-and-white Meiping With “Bringing a Qin-Zither to Visist Friends” Image H. 52 cm

132 158

136 164

140 168

144 174

元明/ 代黑釉內府大罐

清代十九世紀博及漁人款德化白瓷觀音立像

明代空白期十五世紀青花大罐攜琴訪友圖

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Ming Dynasty, 15th Century Blank Period: Blue-and-white Jar With “Bringing a Qin-Zither to Visit Friends” Image H. 36 cm

Ming Dynasty, 15th Century Blank Period: Blue-and-white Jar With “Bringing a Qin-Zither to Visit Friends” Image H. 29.5 cm

Qing Dynasty, 19th Century Dehua Blanc De Chine Standing Guanyin Figure Inscription: Boji yuren (Boji fisherman) H. 46 cm

Yuan/Ming Dynasty Black-glazed Neifu Jar H. 58 cm

148 178

182

明代十五十/ 六世紀朱紅漆供桌

清代十八十/ 九世紀黃花梨頂箱櫃

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Qing Dynasty, 18th/19th Century Huanghuali Compound Cabinet H. 158 x W. 72 x D. 42 cm

Ming Dynasty, 15th/16th Century Vermillion Lacquer Altar Table L. 108.5 x W. 77 x H. 90 cm

084 194

088 198

148 186

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BIBLIOGRAPHY

中文參考書目上海科學技術出版社、商務印書館有限公司（2003）。故宮博物院藏文物珍品大系 - 藏傳佛教造像。紫禁城出版社（2009）。故宮經典 - 藏傳佛教造像。紫禁城出版社（1998)。清宮藏傳佛教文物，故宮博物院，。六和文化事業股份有限公司（2004)。寂靜與憤怒，陳百忠。北京博文書社（2013）。佛韻 - 造像藝術集粹。北京：文物出版社。故宮博物院編（2011）。故宮博物院藏品大系─雕塑編 6 金石造像。北京：紫禁城出版社。

日文參考書目和泉市久保惣記念美術館編（1999）。中国の響銅 : 轆轤挽きの青銅器 : 平成 11 年度特別展。和泉：和泉市久保惣記念美術館。神奈川縣立歷史博物館編（2007）。宋元佛畫：開館 40 週年紀念特別展。橫濱市：神奈川縣立歷史博物館。

外文參考書目 Jackson, D. P. (2009). Patron and painter: Situ Panchen and the revival of the encampment style. New York: Rubin Museum of Art. Linrothe, R. (2006). Holy Madness: Portraits of Tantric Siddhas. New York: Rubin Museum of Art. Simonet, J. & Gisele Croes (Gallery) (2002). Splendor of Yongle painting: portraits of nine luohan. Brussels: Gisele Croes S.A. Wienand Verlag & Medien，Meinrad Maria Grewenig（2016). Buddha:Sammler offnen ihre Schatzkammern. Six Dynasties art from the Norman A. Kurland Collection Part One (2017) Eskenazi

PUBLICATION

SPLENDOR OF CHINESE BUDDHISTIC Series

中國佛畫之美系列

TREASURES FROM CHINESE BUDDHIST TEMPLES Series

中國佛教寺廟寶藏系列

A PILGIMAGE TO THE TEN DIRECTIONS TREASURES FROM CHINESE BUDDHIST TEMPLES

發行人｜ PUBLISHER

許志平｜ JAMES HSU

作者｜ AUTHOR

許志平｜ JAMES HSU

執行編輯｜ EXECUTIVE EDITORS

詹雅涵陳玟孜黃盟峰｜ ABBY CHAN , AVI CHEN, XAVIER HUANG

設計｜ DESIGN

詹雅涵陳玟孜｜ ABBY CHAN, AVI CHEN

出版時間｜ DATE OF PUBLICATION

2018 年 1 月｜ JANUARY 2018

印刷｜ PRINTED BY

煒揚印刷企業有限公司｜ WEI-YUAN PRINTING COMPANY, LTD.

國際標準書號｜ ISBN

978-986-91649-8-6（精裝）(HARDCOVER)

定價｜ PRICE

NTD 4,000

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藏新藝術有限公司｜ PING FINE CHINESE ART & CO. 台灣台北市大安區安和路二段 179 號｜ NO.179, SEC.2, ANHE ROAD, TAIPEI, TAIWAN T +886 2 27383317

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