Lot 5 元　剔紅菊花紋盤 | A CARVED CINNABAR LACQUER 'CHRYSANTHEMUM' DISH

元　剔紅菊花紋盤 | A CARVED CINNABAR LACQUER 'CHRYSANTHEMUM' DISH

Zhangcheng zao incised mark, Yuan Dynasty

HKD 500,000

HKD 500000 - 700000

未知

未知

Zhangcheng zao incised mark, Yuan Dynasty
Of circular form with shallow rounded sides rising from a short foot, exquisitely carved through layers of red lacquer with three large blooming chrysanthemums amidst buds and overlapping leaves, the stamen, petals and leaves all meticulously detailed, the exterior deeply carved with a guri scroll and the base lacquered black, Japanese wood box.
17.6cm (6 7/8in) diam. (2).
Footnotes
元　剔紅菊花紋盤
「張成造」款
Provenance:
Sotheby's Hong Kong, 3 June 2016, lot 815
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.36-37, no.5
來源：
香港蘇富比，2016年6月3日，拍品編號815
張榮主編，《巧法造化：陽明山房藏宋元明清漆器》，北京，2020年，頁36至37，編號5
The late Yuan dynasty saw carved lacquer reach new heights of artistic refinement, exemplified by this piece's thick, lustrous layers of lacquer and fluid carving style, evoking a sense of naturalness and dynamism.
Fine lacquerware from this period is rare, reflecting the exceptional skill required of individual craftsmen. The base of the dish is incised with the characters , meaning 'Made by Zhangcheng'. According to Cao Zhao's (The Essential Criteria of Antiquities) (1388), Zhang Cheng was a renowned carver of the late Yuan dynasty who came from Xitang, Zhejiang Province. Regina Krahl argues that Zhang Cheng's activity likely extended into the Ming period through his son, helping to explain the uninterrupted stylistic development of carved lacquerware during the dynastic transition. For further discussion, see R.Krahl, 'An Eye for Quality: An Extraordinary Lacquer Dish from the Collection of Sir Percival David', , Sotheby's London, 10 May 2017, pp.54-56. Such was Zhang Cheng's reputation and skill that his name was subsequently inscribed on works by other craftsmen, and only a small number of surviving pieces can be confidently attributed to the master himself.
Compare with a similar cinnabar lacquer 'chrysanthemum' dish, incised Yang Mao mark, Yuan dynasty, in the collection of the Cleveland Museum of Art (acc.no.1977.6) and illustrated by S.Lee and W.Ho, , Cleveland, 1968, no.294. A related lacquer 'gardenia' dish, Zhangcheng zao mark, Yuan dynasty, is in the Qing Court Collection, now in the Palace Museum, Beijing, and is illustrated in , Hong Kong, 2006, pl.3.
See a similar lacquer 'chrysanthemum' dish, Yuan dynasty, which was sold at Sotheby's London, 1 November 2023, lot 200.
盤弧壁微斜，淺腹平底，底承圈足。盤內外皆髹朱漆，足沿及內則髹黑漆。盤腹剔刻叢菊，或舒瓣吐蕊，或含苞未放，高低俯仰，姿態各異。外壁飾八朵如意雲頭。整器造型周正，雕工豐富細膩，處處均顯匠心細節。
元末剔紅漆器工藝臻於新境，本品即為代表。其漆層厚潤，刀法流暢，生意盎然。此一時期之漆器傳世稀少，蓋因精品漆器之製作對匠人技藝要求極高，非尋常匠手所能勝任。本品盤底刻「張成造」款。據曹昭《格古要論》（1388年）載，張成乃浙江西塘人，元末雕漆名家。康蕊君認為，張成之風格或經其子延續至明代，此或可解釋朝代更迭之際剔紅漆器風格何以延續不斷。相關討論參見康蕊君，〈An Eye for Quality: An Extraordinary Lacquer Dish from the Collection of Sir Percival David〉，《Important Chinese Art》，倫敦蘇富比，2017年5月10日，頁54至56。張成聲名遠播，後世工匠多有仿署其款者，而可確證為其親製之傳世品則寥寥無幾。
比較克利夫蘭藝術博物館藏一件元代剔紅菊紋盤，底刻「楊茂造」款（館藏編號1977.6），見S.Lee與W.Ho合著《Chinese Art Under the Mongols: The Yuan Dynasty》，克利夫蘭，1968年，編號294。參考清宮舊藏一件元代剔紅梔子花圓盤，署「張成造」款，現藏北京故宮博物院，見《故宮博物院藏文物珍品全集：元明漆器》，香港，2006年，圖版3。另見一件元代剔紅菊紋盤，售於倫敦蘇富比，2023年11月1日，拍品編號200。