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

随笔

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开始动笔写个人博物馆收藏已两月。边写边思考，面对多年是藏品颇有感触。既然是以博物馆形式，就要有特点。藏品既要真实，经得起考验，还要突出有历史意义和价值，甚至能够填补空白、难得一见罕见文物。但凡博物馆，都有各自特点，有镇馆之宝。前面写的西周春秋青铜铭文牺擎盘和御用监造款宣德掐丝珐琅盏杯是本馆的镇馆之宝之一，作者写到后期，还会列出镇馆之宝。计划按不同品种先各写一两件，然后逐步加深。

古文物的英文翻译不太容易，也借鉴一些英文翻译和查阅字典，好些是文不达意，并非古代含义。比如“御用监造” 和“内府”，它们就是宫廷或朝廷的机构，等级不同。御用一定是皇上及皇后级别，监在这里是指特定机构，通俗说，御用监是专门为皇上宫廷打造各种用品的专门管理行政机构，“监”不是指具体个人。大英博物馆把“监” 翻译成太监不准确。要翻译准确也很难为翻译人员，必须同时具备中文英文与历史文物知识相结合才能比较准确。自己也力求准确， 错误之处，在所难免，边写边纠正。

It has been about two months since I started the writing for our own museum. I keep on thinking while I am writing and so many reminding from our many years' collections. It has to be its own features as a museum. It is not only the rarity and solid support, but also its historical sense and value that is hardly to find and may fill the absences of the Chinese art of cultures. The collections are different among the museums but always some important treasures of museum are presented by each museum. "The bronze sacrifice animal with a servant standing and holding a plate with inscriptions from West Zhou or Spring and Autumn Period" and The Xuande cloisonne cup with the "Made by Imperial Court" are among the treasures of museum in our collections. Some more of the treasures of museum will be listed later during my serial writings.

最近参观了大英博物馆和法国吉美博物馆。这两个世界收藏中国文物的顶级博物馆之一，以青铜器和瓷器著名，各有千秋。仔细观察每一件藏品，边看边思考。众多珍贵文物多来自个人家族的捐赠藏品。很多国宝级商周青铜器都来自战乱年代，基本上无从查找原始出土地点，只能估计大概区域。自己能收藏到那件西周春秋时期具有铭文的青铜牺立人擎盘一样，不可思议，可遇不可求。都说隔行如隔山，其实共性是相通的，没有绝对的专家。在顶级博物馆里，并非件件是重器，也有普品，当然也是普品中的佼佼者，具有代表性。自己在收藏过程中，也特别注重代表性。