Ceramics 陶瓷

Butterfly Medallion Bowl 蝴蝶花團紋盌 Famille rose enamel decorated porcelain 粉彩瓷 Qing dynasty, Yongzheng mark 清雍正 (1723-1735) China 中國

The exterior of the rounded bowl is brightly painted in famille rose enamels with five medallions of flowers and paired butterflies. Pairs of butterflies symbolize marital bliss, and as the Mandarin word for butterfly, pronounced dié, is a homophone for the word meaning ‘eighty years of age,’ butterflies also symbolize longevity.

圓形碗的外部以粉彩玫瑰色琺瑯彩繪，飾有五朵花朵和成對的蝴蝶。成對的蝴蝶象徵著婚姻的幸福，而蝴蝶的單詞“耋” 有耄（mào）耋（dié）之年的意思，指的是“八九十歲的老人”，所以蝴蝶也像徵著長壽。

莊端秀美的華麗廷圖新意，畫纖細，填色準確，色彩豐富，層次明晰，一派淡雅的美筆美麗的分筆，臻於至美，充分錶現出雍正宮廷的情調和高雅的觸感。

Peony Bowl 牡丹紋盌 Coral red ground, famille verte enamel decorated porcelain 珊瑚紅地五彩瓷 Qing dynasty, Yongzheng mark 清雍正 (1723-1735) China 中國

The exterior of this deep bowl is painted in famille verte enamels. Three large, stylized, peony blossoms are borne on leafy, meandering stems, which further issue small blossoms and buds. All elements are reserved against a deep coral-red ground. The foot bears the four-character Yongzheng yuzhi mark in underglaze blue within a double square.

Bowls decorated with bright-colored enamels against a dark-colored ground creates a brilliant contrast, and were popular during the Kangxi period. This combination showed off, to great effect, the newly introduced falangcai enamels at the Palace Workshops in Beijing. This style of decoration continued into the early Yongzheng period, and builds on the style pioneered by craftsmen of the Kangxi period.

這只深碗的外部用粉彩琺瑯漆繪有三個大的各具風格的牡丹花，生長在多葉的、蜿蜒的莖上，進一步發出小花朵和花蕾，都是在珊瑚紅色的底色上保留的。碗底青花楷書“雍正御製”四字印足。

這是一隻用明亮的琺瑯裝飾的色彩與深色的底色形成鮮明的對比的碗，在康熙時期很流行。這一組合在北京宮廷作坊展示了新引進的琺瑯彩。這種裝飾風格延續到雍正早期，並建立在康熙時期工匠開創的風格。

Peony Bowl 牡丹蜜蜂紋盌 Famille rose enamel decorated porcelain 粉彩瓷 Qing dynasty, Yongzheng mark 清雍正 (1723-1735) China 中國

The bowl is potted with deep rounded sides resting on a short footring. The foot bears a six-character reign mark in underglaze blue. The exterior of the bowl is decorated with a tangle of branches issuing small chrysanthemum blossoms, small pink buds, and large peony blossoms in shades of pink and iron red. Two bees in flight hover above the flowers. In Chinese culture, the peony symbolizes wealth and prosperity.

這一批以雍正年制質佳白瓷作地，後添粉彩，所飾圖案，啟思自雍正宮碗，臨模牡丹三朵怒放盛開，此碗正為其中一隻。碗底有一個釉下藍色的六字雍正標記。碗的外部裝飾著一簇枝葉，枝葉上長著小菊花、粉紅色的小花蕾和粉紅色和鐵紅色的大牡丹花。兩隻飛行的蜜蜂在花叢上空盤旋。在中國文化中，牡丹象徵著財富和繁榮。

Moonflask 輪花紋扁瓶 Underglaze blue decorated porcelain 青花瓷  Ming dynasty 明 (1368-1644)  China 中國

The painted geometric design and shape of this moonflask are based on Middle Eastern metal prototypes. Each side of the lower bulb is painted with a central medallion of inward-pointing petal lappets and radiating eight-pointed interlocking lappets incorporating trefoils and linked by demi-florets.

Islamic art is traditionally non-representational, except for the widespread use of botanical forms, usually in interlocking arabesque. The design on this moonflask clearly shows Islamic influence. The medallion is encircled by a scroll in the classic Chinese style. The upper bulb and strap handles are also painted with floral decoration in the Chinese style, providing a good balance to the overall design.

這個抱月瓶的幾何設計和形狀是基於中東的金屬原型。較低的球莖的每一面的正中間都繪有指向圓心的花瓣圍成的圓片和輻射狀的八個有尖的互鎖的垂瓣，其中包括向內指的花瓣垂瓣的三葉草中心圓環，是由三葉草和由半小花連接而成。

伊斯蘭藝術傳統上是非具象的，除了植物形式的廣泛使用，通常是環環相扣的阿拉伯式。這個抱月瓶上的設計清楚地顯示了伊斯蘭教的影響。這枚獎章四周是一幅中國古典風格的捲軸。上面的圓頸和手柄也繪有中國風格的花卉裝飾，為整體設計提供很好的平衡。

Dragon Vase 龍紋天球瓶 Underglaze blue decorated porcelain青花瓷  Ming dynasty, Xuande 明宣德 (1426-1435)  China 中國

The slightly compressed globular body of this vase is painted with a lively, sinuous, three-clawed dragon. The dragon wraps around the vase with its head turned to look towards its rear. Scattered around are wispy, scrolled, and cruciform clouds. The neck has been reduced. During the early part of the Ming dynasty, the Yuan dynasty tradition of depicting dragons with three claws was continued. The number of claws was later increased to four, then five, as the Ming dynasty progressed.

During the Yongle and Xuande reigns, large-scale wares, such as this vase, were common, and this shape was especially popular during the Xuande period. Blue-and-white wares of the Yongle and Xuande reigns had an intense blue color that had a ‘heaping and piling effect’ caused by iron in the cobalt percolating to the surface. This vase, decorated with a dragon as its main motif, is one of the finest examples of Ming dynasty Xuande wares.

略微壓縮的球狀身體上繪著一條活潑、蜿蜒的三爪龍。龍繞著花瓶轉頭看向身後, 周圍散落著纖細的捲軸和十字形雲, 然後脖子變小了。明初，元代的三爪圖龍的傳統得以延續。隨著明朝的發展，爪子的數量後來增加到四個，然後是五個。

永樂、宣德年間，此瓶等大型器物多見，宣德時期尤為盛行。永樂、宣德青花瓷器呈深藍色，因鈷中的鐵滲入表面而產生“堆積效應”。此瓶以龍為主要圖案，是明代宣德瓷器的精品之一。

Dragon Vase 龍紋花瓶  Underglaze blue decorated porcelain 青花瓷  Joseon dynasty 朝鮮 (1392–1910)  Korea 韓國

Porcelain jars painted with cobalt-blue dragons were popular in Korea from the seventeenth through the nineteenth century. Although the dragon motif has its origins in China, the uninhibited style of painting, the use of open space in the decoration, and the slightly irregular form of the vase, identifies this piece as Korean. Large vases like this were used to hold flower arrangements during official ceremonies. The sides of this vase are freely painted with a four-clawed dragon in pursuit of a flaming pearl amid clouds, between a formal cloud border encircling the base and a band of ruyi around the neck.

從17世紀到19世紀，畫有鈷藍色龍的瓷罐在韓國非常流行。雖然龍的圖案起源於中國，但從無拘無束的繪畫風格、裝飾中開放空間的使用、花瓶略顯不規則的形狀來看，這是一件韓國作品。像這樣的大花瓶是在官方儀式上用來插花的。這只花瓶的側面繪有一隻四爪龍在雲中追逐一顆火紅的珍珠，在環繞底座的整齊的雲邊和瓶口脖子處的的如意帶之間。

Square-sectioned Dragon Jar 雲龍紋方罐 Iron-red and green enamel decorated porcelain 礬紅綠彩瓷 Ming dynasty 明 (1368-1644) China 中國

While the Ming dynasty is most well-known in the West for its blue-and-white porcelains, the red and green palette of overglaze enamels was relatively common on wares produced by privately operated kilns in Jingdezhen during the 16th and 17th centuries.

Each side of this bulging square jar is painted in iron-red and green enamels with a dragon writhing amid clouds, and waves below. The neck and shoulder are decorated with borders of pendant lappets and stylized clouds, with alternating red and green lappets enclosing pendent blossoms surrounding the base.

明朝的青花瓷在西方最為人所知，而紅綠釉則在16、17世紀景德鎮私人窯爐生產的瓷器中較為常見。

這個鼓鼓的方形罐，每一面都用鐵紅色和綠色的琺瑯畫著一條龍在雲中翻滾，下面是波浪。罐頸和罐肩部分別裝飾著垂飾和風格各異的雲形成的邊界，紅色和綠色的垂花交替環繞底座。

Jar with Fish Decoration 魚藻紋罐  Longquan celadon glazed ceramic 龍泉窯青瓷  Ming dynasty 明 (1368-1644)   China 中國

Bulb Bowl 八卦紋水仙盆  Longquan celadon glazed ceramic 龍泉窰青瓷  Ming dynasty 明 (1368-1644)  China 中國

Celadon wares of this sort were made at a number of kiln sites in the environs of Longquan city, from where this type of wares gets its name. Production started during the Five Dynasties period, reached its zenith during the Song, and saw a resurgence during the Ming dynasty when it received official recognition by the Imperial court.

Bowls of this type were originally made to hold narcissus bulbs. The narcissus is called shuixian in Chinese, meaning water fairy. The flower was considered auspicious and was a popular flower for the Lunar New Year. The sides of this bowl are decorated with the Eight Trigrams and the bowl is supported on three paw feet issuing from the mouths of mythical beasts.

這種青瓷是在龍泉市周圍的許多窯址製作的，因此得名龍泉窯青瓷。它的生產製作始於五代時期並在宋朝達到頂峰，且在明朝得到朝廷的正式認可後開始復興。

這種碗最初是用來盛水仙球的。中文就叫做水仙，意思是水里的仙子。這種花被認為是吉祥的象徵，是中國農曆新年流行的花。這只碗的側面繪有“八卦”圖案，碗的支柱是三隻神獸口中伸出的爪足。

Chicken-Head Ewer 雞首壺  Yue celadon glazed ceramic 越窰青瓷  Tang dynasty 唐代(618–907)  China 中國

The form of this delightful ewer playfully suggests a fat chicken. It has a rounded, tapered body made with a spout in the form of a chicken head with its beak wide open. Opposite the spout is a tail, while two wings are molded on the sides. The shoulders of the ewer are freely brushed with iron.

The wide-open mouth of the chicken-head spout suggests that this ewer was made for actual use, as opposed to many examples excavated from tombs, which have non-functioning spouts, indicating that they were specifically made for burial.

這個壺的形狀有趣地暗示著一隻快樂的胖雞。它有一個圓錐形的身體，壺身有一個張開的雞嘴的形狀，在雞嘴出水口的對面是一個尾巴，而兩個翅膀是塑造在兩側。壺肩用鐵隨意刷出形狀。

大開口的雞頭噴口表明這個水壺是為實際使用而製作的。因為從墳墓中出土的許多類似壺的噴口都沒有功能，所以是專門為埋葬而製作的。

Chicken-Head Pouring Vessel 雞首壺  Painted pottery 彩陶  Han dynasty 漢 (206 BC-220 AD)   China 中國

This pottery vessel is based on bronze prototypes, which have similarly compressed globular bodies, spouts, and tripod feet with hollow, tubular handles extending from the side. Such vessels were used to heat wine, and a wooden dowel would be inserted into the hollow handle to lift the vessel from the fire.

This example is painted to accentuate its chicken features, and raised on three bear-form feet, which was a popular motif at the time. The spout is non-functional, suggesting that it was specially made for burial.

這個陶器皿的設計是基於青銅原型，他們都有類似的壓縮球形體、噴口、三腳架腳和從側面延伸的空心管狀手柄。這樣的容器會被用來加熱葡萄酒，一個木銷子會插入到中空的手柄中，將容器從火中舉起。

這個壺為了突出它的雞的特徵，壺的三個腳上分別飼養著一隻熊，這在當時是一個流行的設計主題。這個壺嘴沒有出水的使用功能，說明它是為埋葬而特製的。

Chicken-Head Ewer 雞首壺  Yue celadon glazed ceramic 越窰青瓷  Eastern Jin dynasty 東晉 (317-420 AD)  China 中國

This charming ewer with a chicken-head spout set opposite the curved handle, was made at the Yue kilns of Northern Zhejiang and is named for its chicken-head spout. The shoulders are set with two lug handles, through which rope could be strung for suspension. The form may have been influenced by metal ewers with bird head spouts that entered China from Central Asia along the Silk Road. Ewers with chicken-head spouts were extremely popular during the Six Dynasties period (220-589 AD), and those with globular bodies and brown iron spots, like this example, date from the Eastern Jin period (317-420).

這款精緻的水壺產於浙江北部的越窯，因為在彎柄的對面有一個雞頭形狀的出水口所以因其得名雞首壺。這個壺的肩部設有兩個凸耳把手，可以通過一條繩子可以將其懸掛。這種設計可能是受帶有鳥頭噴口的金屬壺的影響，這些壺沿著絲綢之路從中亞進入中國。在六朝時期(公元220-589年)，帶有雞頭口的壺非常受歡迎，而像這個壺一樣球形的和棕色鐵點的壺可以追溯到東晉時期(317-420年)。

Figure of a Court Lady 仕女俑 Painted pottery 彩繪陶 Tang dynasty 唐 (618-907 AD) China 中國

This elegant mortuary figure is a charming example of beauty standards at the Tang court during the latter part of the dynasty. Court ladies had full figures and dressed in loose flowing robes. Their plump faces were heavily made up with rouge and painted, pouty lips. Their long hair was loosely dressed to form fuller styles that framed their faces, and in this example, gathered into a fanned topknot at the top of her head. Yang Guifei, the favorite concubine of the Tang emperor Minghuang, epitomized the beauty standards of the latter Tang period, and was known to have a full, voluptuous figure. In this example, red pigments highlight her cheeks and jacket, while black pigment is applied to her hair and skirt, which falls in folds above her elaborate shoes.

這個優雅的殉葬人物是唐朝後期美麗標準的迷人典範。宮女們身材豐滿，穿著寬鬆飄逸的長袍。她們豐滿的臉上塗了厚厚的胭脂，撅起的嘴唇也塗了脂粉。他們的長髮披散著，形成更飽滿的風格，勾勒出他們的臉龐，在這個彩繪陶中，在她的頭頂聚集成一個扇形的頂髻。唐明皇最寵愛的妃子楊貴妃，是晚唐美貌標準的縮影，以身材豐滿、妖嬈著稱。在這個彩繪陶中，紅色顏料突出了她的臉頰和上衣，而黑色顏料則塗在了她的頭髮和裙子上，裙子的褶皺落在她精緻的鞋子上方。

Bowl 藍釉紫斑盌 Jun blue glazed pottery with gilt-lacquer repair 鈞窰瓷經金漆修補 Song dynasty 宋 (960-1279)  China 中國

Bowl with Carved Floral Decoration刻花卉紋盌 Yazhou celadon glazed pottery 耀州窰青瓷 Song dynasty 宋 (960-1279)   China 中國

Mallow-form Ding Dish 定窰葵形盤 White glazed ceramic with metal-bound rim 白釉瓷鑲金邊 Song dynasty 宋 (960-1279)  China 中國

Dragon Dish 龍紋葵形盤 Underglaze blue, cooper-red and celadon decorated porcelain 釉裏三彩瓷 Qing dynasty 清 (1644-1911)  China 中國

Dragon Dish 雲龍紋盤  Underglaze blue and green enamel decorated porcelain 青花綠彩瓷  Qing dynasty, Yongzheng mark 清雍正 (1723-1735)  China 中國

Brushpot 筆筒 Ge-type glazed ceramic 仿哥窰 Ming dynasty 明 (1368-1644)   China 中國

Three Figures of Musicians on Horseback 騎馬樂俑三件 Painted pottery 彩繪陶 Tang dynasty 唐 (AD 618-907) China 中國

Each mustachioed equestrian is dressed in the attire of a court musician, with long-sleeved robes and a tall hat. One plays the flute, another a drum, and the third a sheng, a sort of reed wind instrument. Wind and percussion instruments were commonly used in ceremonial processions, because they could be played while walking or riding, and their resounding notes drew attention and created a sense of heightened emotion.

The horses are mounted with saddles, and realistically modeled with mouths agape, flaring nostrils and bulging eyes, their heads turned slightly to the left, and their right legs slightly forward. This asymmetrical modeling of the horses gives them a sense of motion, as if they are moving forward in a procession.

The Tang period was the golden age of Chinese music and dance, and as such, music played an important part in daily life. Such mortuary figures would have been placed in tombs, arranged in a procession, to accompany and entertain the deceased into the afterlife, so that they could continue to enjoy the music they loved in life.

每個留著鬍子的騎手都穿著宮廷音樂家的服裝，長袖長袍，頭戴高帽。一個吹笛子，一個吹鼓，一個吹笙（一種簧管樂器）。吹奏和打擊樂器在儀式遊行中普遍使用，因為它們可以在步行或騎馬時演奏，其響亮的音符會引起人們的注意並產生一種強烈的情感感。

駿馬裝鞍，擬真，張口，張鼻，凸眼，頭略向左，右腿略向前。馬的這種不對稱造型給了它們一種運動感，就好像它們在遊行中前進一樣。

唐朝是中國歷史上音樂和舞蹈的黃金時代，音樂在日常生活中佔有重要地位。這些殉葬的人物會被安置在墳墓裡，排成一列，陪伴和招待死者進入來世，讓他們可以繼續享受他們在生活中所愛的音樂。

Brush Washer 小方筆洗 Ge-type glazed ceramic 仿哥窰 Ming dynasty 明 (1368-1644)  China 中國

Understated in its modest size and simple form, this washer is covered with a thick glaze that displays an attractive web of fine crackles.

這款小方筆洗尺寸適中，外形簡約，採用厚釉覆蓋，呈現出迷人的細裂紋網。

Barrel-form Dragon Jar 瑞獸紋罐  Wucai enamel decorated porcelain 五彩瓷  Ming dynasty, Wanli mark 明萬曆 (1573-1620)  China 中國

The sides of this outstanding jar are decorated in underglaze blue, over which red, green, yellow, and brown enamels have been applied, to create a scene of four mythical beasts in a landscape of pine trees, beneath wispy clouds. In Chinese iconography, mythical beasts are depicted surrounded by flames. This fantastic scene is set between a coin diaper band encircling the mouth, and a floral band around the base. The foot of this jar is inscribed in underglaze blue with the reign mark of the Wanli emperor of the Ming dynasty. The jar would originally have had a cover.

This style of decoration, with underglaze blue and enamels applied over the glaze, is called wucai, which means ‘five colors’, because such decoration usually consists of five colors. The underglaze blue layer was painted first, leaving empty space for the enamel decoration, then which the glaze was applied, and the piece fired. The enamel decoration was then painted on, and the piece fired again.

Jars of this shape are relatively rare, and their usage is not fully understood. Some scholars speculate they were used to hold game pieces, while others believe they were used to hold crickets, as cricket keeping was a popular pastime among the elites of the time.

這個傑出的罐子的側面用藍釉裝飾，上面塗上了紅、綠、黃、棕四種顏色的琺瑯，形成了一幅四神獸在松樹林中、雲霧下的畫面。在中國的肖像學中，神話中的野獸是被火焰包圍。這個奇妙的場景是罐口環繞著重複的硬幣與幾何圖案連接成的花帶。瓶底以青釉刻下明朝萬曆皇帝登基標記。這個罐子本來是有蓋子的。

這種釉下青色，釉上琺瑯的裝飾風格被稱為五彩，意思是“五色”，因為這種裝飾通常由五種顏色組成。先畫釉下藍飾，空出琺瑯裝飾的部分，再上釉後燒製而成。然後把琺瑯裝飾塗上後再把它燒製而成。

這種形狀的罐子相對稀少，目前還沒有完全了解它們的用途。一些學者推測它們是用來放棋子的，而另一些人則認為它們是用來放蟋蟀的，因為養蟋蟀在當時的貴族階層中是一種流行的消遣方式。

Phoenix-head Ewer 鳳首壶 Straw glazed pottery 褐釉陶器 Tang dynasty 唐 (618-907) China 中國

This classic Tang dynasty vessel is molded on each side with a cartouche, one depicting a rampant phoenix, the other an equestrian archer. The unperforated beak is non-functional and indicates its main purpose as a tomb furnishing. The shape of this vessel, along with the relief floral medallions, were clearly inspired by Sasanian metalwork, which would have entered China along the Silk Road at the time. Thus, this ewer reflects the cosmopolitan and somewhat exotic taste of Tang high society.

這尊經典的中國唐代器皿兩側各注有一個渦卷裝飾，一側刻畫了一隻生猛的鳳凰，另一邊是一名騎射手。無孔的鳳凰喙並不起功能性的作用，由此看出此壺為墓葬品。此壺的器型以及壺身的花形裝飾非常明顯是妥到從絲網之路進入中國的薩珊王朝金屬器的影響。因此，此壶也反映了各國文化的交流，并展現了唐代社會獨特的品味。

Stemcup 八寶紋高足盃   Underglaze blue decorated porcelain青花瓷  Ming dynasty 明 (1368-1644)  China 中國

This stem cup is decorated with symbols representing the Eight Buddhist Treasures, which are the vase, a pair of fish, an endless knot, a parasol, a lotus blossom, a conch shell, a canopy, and a wheel. These represent the spiritual attributes of the enlightened Buddha and are said to be found on the soles of the Buddha’s feet.

The religious decoration on this stemcup suggests that it had a ceremonial purpose, and the presence of the Tibetan-style lacquer case indicates that it was presented to someone in Tibet, probably a high lama, as a gift. The Tibetans so valued Chinese porcelain that they had special cases made to protect them.

此杯上飾有代表佛教八寶的符號，即花瓶、一對魚、無盡的結、一把陽傘、一朵蓮花、一個海螺殼、一個天篷和一個輪子。這些代表了開悟佛陀的精神屬性，據說可以在佛陀的腳底找到。

此杯上的宗教紋飾表明它有儀式用途，而藏式漆盒的存在則表明它是作為禮物贈送給西藏的某個人，可能是一位高僧。西藏人非常珍視中國瓷器，他們製作了特殊的盒子來保護它們。

Cocoon Jar 繭形罐 Painted pottery 彩陶 Han dynasty 漢 (260 BCE-220 CE) China 中國

Modeled after vessels from daily life but only to be used by the dead in the afterlife, this painted jar has a flared mouth, a constrained neck, and a cocoon-shaped body resting on a low footring. The form and decoration of this jar is perfectly balanced. The main design is divided into two symmetrical sections by a vertical band in the center. The curved outlines are depicted in a flowing and whirling manner, which represents the yunqi or "cloud and air circulation" pattern pervasive in the Han dynasty as an artistic visualization referencing cosmic and natural creative forces.

繭形罐的様式晚於日常生活器血的出現，只被用在過世後的來世。這個彩罐的口部呈喇叭狀，頸部變窄，繭狀的罐體坐立在一個低底座上。這個罐子的外型與裝飾相稱，位於中間的垂直條文將它主要的設計分為兩個對稱的部分。流動旋轉的曲線代表著雲氣，或是雲和空氣循環的様式。這個圖案是漢代所流行的一種藝術的表現形式，代表著宇宙和自然的創造力。