第三类：瓷器 3 大明隆庆年制官窑青花龙纹大卷缸 A HUGE GREAT MING LONGQIN BLUE-WHITE DRAGON CONTAINER FOR PAINTING SCROOLS IMPERIAL KILN MING LONGQIN PERIOD

FIG. 1 50 X 30 CM

这是一件难得大明隆庆年制官窑青花龙纹·大卷缸。两条五爪龙纹气派，典型明代龙纹画工。最突出的是隆庆一朝官窑使用的回青料的成熟应用。嘉靖、隆庆、万历三朝使用进口回青青花料，需要与国产石子青料混合配制方能使用。嘉靖回青料偏多而显过于蓝颜缺乏层次感。隆庆朝二者比例恰到好处，即体现回青料特有的蓝艳F泛紫泛红的特征，又体现出立体层次感。

This is a significant imperial blue-white big container of painting scrolls with motifs of dragons and lotuses, from Great Ming Longqin period. The painting of five claws dragon with imposing manner is very typical from Ming dynasty. The most importance here is the impressions of the "Hui Qing" cobalt blue imported only in the period of Jiajing, Longqin and Wanli that showed the vividly empurpled and reddish cobalt blue. This imported cobalt blue needed to be mixed by certain ratio with the "Shizhi" cobalt blue that was from domestic area. The color showed much bright empurpled blue with no sense of layering if the "Hui Qing" cobalt blue was added more, seeing in the pieces of Jiajing. However, the best of impression of the "Hui Qing" cobalt blue is from the pieces of Long Qin period that not only showed the vividly empurpled and reddish color, but also showed the sense of layering because of the perfect mixed ratio in Long Qin imperial kiln.

Fig. 2 青花蓝中泛紫 有层次感，体现隆庆朝官窑使用回青料最成熟的发色。

Fig. 3 隆庆官窑回青青花发色泛紫泛红，艳而不浮，深沉有立体感。清代以后是仿不出这种回青青花效果。More details to show the impression of the vividly empurpled and reddish cobalt blue with the sense of solid and layering that can't be duplicated from Qing dynasty and after.

关于明代官窑大龙缸

这件瓷缸也可称为明代大龙缸。明代大龙缸属于稀有品种，由景德镇官窑制作，可以有龙纹或没有龙纹，可以是青花，也可以是五彩。之所以稀有，是由于龙缸巨大厚重，即便由官窑 烧制非常困难，成功率不到5%，万历朝之后停烧大龙缸。几百年战乱所存无几，多数被各大博物馆收藏，少量由私人收藏。明代大龙缸很少在拍卖行出现，尤其是嘉靖隆庆万历青花五彩大龙缸更为稀少，基本都在海外博物馆中，国内博物馆仅北京故宫藏有一件隆庆五彩大龙缸残件（五彩已经残缺不清），虽残尤珍。 实事求是，由于国内博物馆基本没有嘉万五彩大龙缸完整器，即便是专家也难有近观上手的机会，谈到嘉万五彩大龙缸也就一笔带过。实际上，嘉万五彩大龙缸属于太稀有，不能与一般的嘉万五彩官窑小件等同看待。一般小件的画工都比较拙而随意，其实与产量大以及民代官烧也有一定关系。而五彩大龙缸属于不惜工本的官窑龙缸窑特制，明知十有九不成，因此烧制每一件都是极其认真。因为难得成功烧制一件， 每一步都尽力而认真。五彩的绘画也由官窑画师而作。它有画风虽有比较拙的一面，同时也表现出官窑画师认真一丝不苟的特点，尤其突出灵动性。著名嘉靖青花五彩鱼藻纹大盖罐就表现得淋漓尽致。五彩大龙缸比鱼藻纹大盖罐更大更重，烧制更困难，也更稀少。 目前还未见到一件嘉靖五彩大龙缸真品，隆庆万历五彩大龙缸也屈指可数几件存世。作者有幸收藏一件稀有万历青花五彩大龙缸，其回青料以及五彩料均符合嘉五彩特征，更重要是一些龙缸制作特征仅仅存在明代大龙缸上，与清代大缸乃至近代仿品天壤之别。

continue in writing 仍在写作中

第四类：重要宫廷古典家具 明末金星小叶紫檀镶大理石面高束腰三弯六足海棠式香几

THE FOURTH CATALOG: IMPORTANT PALACE FURNITURES :

RARE LATE MING S-SHAPED SIX FEET INCENSE TABLE MADE OF VENUS PTEROCARPOS SANTALINUS (ZITAN) WITH A MARBLE TOP AND MALUS STYLE

正在写作中，， still in writing

图一 Fig. 1

这是一件典型的金星小叶紫檀明末清初宫廷家具，其简明的圆润浅浮雕工艺更体现明代工艺。高束腰六足三弯腿香几在宋代已经流行（见图十一），明代的香几基本延续宋元家具，以软木漆器为主。黄花梨和紫檀宫廷家具只是到了明晚期才逐步采用，这是历史事实。这件香几尤其突出明代紫檀宫廷家具的简明圆润浮雕，与清代紫檀宫廷家具繁琐精雕细琢截然不同。与故宫明代紫檀宝座和紫檀木枕雕刻风格十分相近（见图十五）。

这件紫檀香几保存完好、包浆自然老化，其金星小叶紫檀特征淋漓尽致，这种高腰束三弯六足造型的明末金星小叶紫檀大理石面香几目前仅此一件，十分难得。其实，其可与故宫那件国宝明晚期黄花梨六足香几相媲美（图十二），一件是黄花梨，一件是金星小叶紫檀，二者都是孤品，都属于明末宫廷家具, 而且一般都是成对。

这件紫檀香几什么时候流出海外不得而知，原卖家也只认为是一件普通硬木花台。只是自己亲自看到局部特征才确认是非常难得的金星小叶紫檀宫廷家具。

This is a typical palace furniture made of Venus Pterocarpus Santalinus during late Ming dynasties. Obviously, the simple and rounded bas-relief represented the technics in Ming furniture. The incense table with high waist six S-curved feet were popular during Song dynasty(see Fig. 11). Basically, The Ming incense tables were continued from Song Dynasty and the lacquer furniture were dominated. Historically, the palace furniture made of Dalbergia Odorifera and Pterocarpus Santalinus were started during late Ming dynasty. This incense table is sharply different from Qing furniture of Pterocarpus Santalinus because of its typical simple and rounded bas-relief technics that are so similar to the Ming furniture of Pterocarpus Santalinus in Forbidden City (see Fig. 15).

This incense table is still in very good condition with its nature color and patina. Its typical features of Venus Pterocarpus Santalinus are shown clearly and it is the only one found with such pattern of incense table made of Venus Pterocarpus Santulinus from late Ming dynasty, absolutely rare. It is capable of comparing with the one (Fig. 12, the Chinese treasure) made of Delbergia Odorifera in Forbidden City and both were only one survived (normally should be a pair of each).

图二 Fig. 2

图三 Fig. 3

图四 Fig. 4 典型的金星小叶紫檀。

图五 Fig. 5

图六 Fig.6

图七 Fig. 7

f 图八 Fig.8

图九 Fig. 9 尽显金星和牛毛纹

图十 Fig.10

图十一 Fig.11

图十二 Fig. 12 from Forbidden City

图十三 Fig 13 from Forbidden City

图十四 Fig. 14 from Forbidden City

图十五 Fig. 15

把故宫非常稀少的两件紫檀家具放在一起对比。虽然不是一样的的紫檀家具，但都体现明晚期宫廷紫檀家具共同特点，即非常圆润、简明的浅浮雕，与清代繁琐精细的雕刻形成鲜明对比， 因此断为明末是很客观的。仔细观看，底座为海棠造型，向上向两侧延申的浅浮雕卷纹非常优美，而且仅仅出现在这件紫檀香几上。三弯足底也是 简明圆润的浅浮雕体现海棠花和叶瓣，尽显明末宫廷紫檀家具的时代特征。

Comparing with the extremely rare Ming furniture of Pterocarpus Santalinus in Forbidden City, they are absolutely so coincidence of the same carving technics that is simple and rounded shallow bas-relief even on different furniture samples. It is sharply different from Qing furniture of Pterocarpus Santalinus in Forbidden City and it is reasonable to identify it as a Late Ming incense table.

第三类 瓷器 高古瓷二 罕见唐代青瓷堆塑荷叶莲子净壶

THE THIRD CATLOG: CERAMICS No. 2 Rare Tang Yue-Ware Celadon Pot with Lotus leave and Seeds

图一 高27公分 Fig. 1

这件唐代青瓷净壶造型及立体堆塑荷叶莲子相当精美漂亮，十分罕见。用漂亮至极来形容绝不为过，它把极为写实的中原佛教纹饰荷叶莲子堆塑与西域古朴壶造型相结合为一体，壶的造型来源于唐代西亚丝绸之路交流的影响。荷叶莲子属于典型的中原文化，与佛教信仰密切，代表净土，象征纯洁，寓意吉祥、多子多福。如此写实的精美立体荷叶莲子，在古青瓷中非常少见，是一件难得一见的唐代青瓷净壶。荷叶部分非常薄，能够保存下来实属奇迹。估计是在寺庙中得以精心呵护，如果是作为普通用器早就破损了。荷花纹饰在古青瓷上的应用从晋代开始，唐代贴花工艺也较多见，多数被博物馆收藏，这样的青瓷荷叶莲子的立体镂空堆塑造型的确罕见，因此从自己众多藏品中筛选出来共赏。

This is an extremely rare Tang celadon pot with very detailed and beautiful lotus leave and seeds by stacking up that was for Buddhism. there is no words to describe how beautiful it is. The pot style was originally from west through the silk road during Tang dynasty. The motif of lotus leave and seeds were typically from the culture of mainland China, especially associated with Buddhism by means of pure soil, pure soul, good luck, many children and blessings. It is extremely hard to see such detailed and beautiful lotus leave and seeds as real three-dimensional picture in old celadon pieces. The lotus leave was made of such thin clay with opening design and so surprised by its survive. No doubt about it should be broken if used as a common pot and very possibly it was carefully taken care as a pot for Buddhism in a temple. The motif of lotus was started from Jin dynasties on celadons and many of them were in museums now. It is hardly to see a such real three-dimensional motif of lotus leave with seeds on old celadons, especially from Tang dynasty, therefor it is one of my favor celadons (from my many collections) to how.

图二 Fig. 2

图三 Fig. 3

图四 Fig. 4

这么大的立体镂空写实的荷叶莲子的确漂亮至极，保存千年至今，实属难得。这样精细的立体堆塑肯定不会仅此一件，只是太难保存下来了。

Fig. 4. It is unbelievable to be survived for over one thousand year because of such thin clay and opening three-dimensional lotus leave. It is extremely beautiful. Absolutely not just one made, but too hard to survive as such three-dimensional thinner clay with opening design.

图五 Fig. 5

如此薄的荷叶镂空造型，红陶胎，稍微磕碰就会破碎，千年的呵护至今难以想象，有缘啊。

图六 Fig. 6 stone carving from North Wei dynasty

图七 Fig. 7

唐代长沙窑彩绘荷花纹青瓷执壶。 Changsha kiln, Tang dynasty, Shanghai Museum

图八 Fig. 8

贴花工艺相对要简单，不易破损. Hu vase. Tang dynasty

图九 Fig. 9 Yue ware, Five dynasties, Forbidden City

图十 底部显示为红陶胎。本藏品也是红陶胎。

Fig. 10 Yue ware vase, red clay, East Jin dynasty, South Korea National Museum

图十一 Fig. 11 Louvre Museum, Paris