Lot 22 明晚期　剔紅花鳥紋方盤 | A CARVED CINNABAR LACQUER 'FLOWER AND BIRD' SQUARE TRAY

明晚期　剔紅花鳥紋方盤 | A CARVED CINNABAR LACQUER 'FLOWER AND BIRD' SQUARE TRAY

Late Ming Dynasty

HKD 80,000

HKD 80000 - 120000

未知

未知

Late Ming Dynasty
Of square form with flaring sides, carved on the central panel depicting a bird perched on a leafy branch of blossoming camellia rising from rockwork, with a butterfly flitting nearby, all reserved on a dense key-fret ground, the sides decorated with a dense ground of chrysanthemum sprays, Japanese wood box.
18.2cm (7 1/8in) x 18.2cm (7 1/8in) (2).
Footnotes
明晚期　剔紅花鳥紋方盤
Published and Illustrated:
Zhang Rong, ed., The Creation of Natural Immensity and Grandeur: The Yang Ming Shan Fang Collection of Lacquer from Song, Yuan, Ming and Qing Dynasties, Beijing, 2020, pp.102-103, no.28
出版著錄：
張榮主編，《巧法造化：陽明山房藏宋元明清漆器》，北京，2020年，頁102至103，編號28
See two closely related examples, mid-Ming dynasty, in the Qing Court Collection, one with plum blossoms and magpie design and the other with hibiscus and kingfisher design, both illustrated in , Hong Kong, 2006, pp.146-147, nos.107-108. The theme was also applied to lacquer dishes in circular form, see for example, a carved cinnabar lacquer dish, 1550-1599, with birds and different flowering branches, in the Victoria and Albert Museum, London (acc.no.FE.37-1974).
The emergence of such compositions on lacquer may be understood within the broader expansion of late Ming printed pictorial culture, when woodblock-printed painting manuals and illustrated books increasingly disseminated the imagery and compositional vocabulary of literati painting. Manuals such as the (顧氏畫譜), published in 1603, the (木本花鳥譜) of 1621, and, most famously, the (十竹齋書畫譜) of 1633, presented birds, flowers and plants in increasingly pictorial arrangements, often exploiting asymmetry and areas of unoccupied ground rather than filling the surface with continuous ornament. Such publications made the imagery and techniques of painting increasingly accessible beyond the circle of professional and literati painters, and may have contributed to the adoption of a more pictorial sensibility in other decorative media, including lacquer.
Compare with a related carved cinnabar lacquer 'bird and flower' square tray, 16th/17th century, which was sold at Christie's Hong Kong, 30 November 2016, lot 3430.
此盤四方端正，直壁外敞，盤心平坦，隨形開光，先鋪設錦地，再厚髹朱漆以剔紅。一樹花枝錯落，數苞數放，葉綴枝頭。一鳥棲高枝，收羽俯身，翎尾長擺，微張其喙，似作鳴囀。一蝶尋芳飛至。開光外、直壁內素地無錦，剔紅花卉，花繁葉茂。
參考清宮舊藏兩件明中期例：一件飾梅鵲紋，另一件飾芙蓉翠鳥紋，均著錄於《故宮博物院藏文物珍品全集：元明漆器》，香港，2006年，頁146至147，編號107至108。此題材亦見於圓形漆盤，如倫敦維多利亞與艾伯特博物館藏一件1550至1599年剔紅花鳥紋盤（館藏編號FE.37-1974）。
此類構圖見於漆器，當可置於明晚期版畫文化蓬勃之脈絡中觀之。其時，木版畫譜與插圖書籍日益普及，將文人繪畫廣為傳播。1603年刊行之《顧氏畫譜》、1621年之《木本花鳥譜》，以及尤為人知之1633年《十竹齋書畫譜》，皆以愈趨繪畫性之佈局呈現花鳥草木，往往運用不對稱構圖與留白，而非以繁密紋飾佈滿器面。此類出版物使繪畫與技法漸為專業畫家及文人畫家圈外之人所易得，或亦促成包括漆器在內其他門類中更具繪畫性之審美取向。
比較一件十六/十七世紀剔紅茶花山禽紋方盤，售於香港佳士得，2016年11月30日，拍品編號3430。