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taiwanwebmuseum · 2 years

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唐朝女皇武則天越窯秘色青瓷浮雕鳳(女皇)霸臨天下紋筆洗

Tang Dynasty Empress Wu Zetian Yue Kiln Secret Color Celadon Relief carved Phoenix (Empress) dominating the world Brush Washer

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唐朝女皇武則天越窯秘色青瓷浮雕鳳(女皇)霸臨天下紋筆洗

尺寸：高 5.1 - 5.2 x 最大圓腹徑 25.2 - 25.4 x 口徑 20.7 - 20.8 x 圈足底徑 21.1 - 21.2 cm 公分

此筆洗堪稱為唐代「帝國重器」，其工藝、尺寸、浮雕紋飾、器型、全器表面溫潤如玉器、浮雕如玉雕、全器滿釉呈現清徹光亮滑順光澤、聚釉處晶亮光澤如冰面，秘色青釉等皆遠勝於其未來 1,300 年內，五代後周世宗柴榮帝柴窯筆洗，宋朝皇帝徽宗汝、官、哥、定、鈞五大名窯筆洗，明朝永樂、宣德青花筆洗，甚至於遠超過清三代康熙、雍正、乾隆朝帝王單色釉筆洗。

此筆洗也因具備越窯秘色青瓷浮雕鳳(女皇)霸臨天下紋飾，且釉色為唐代初期的「青泛黃」，全器滿釉，器底圈足內有七個「灰白色豆狀」支燒釘泥點印痕，全器溫潤明亮脂狀光澤類似玉雕品，明顯為越窯進貢唐朝皇室貢瓷，臣民不得使用，據此推論應屬唐朝女皇武則天 (公元 624 年 - 705 年) 之筆洗重器。

此筆洗又因具備有喻意「延年益壽」的「鶴紋」，據此推論應屬唐朝女皇武則天晚年自立為武周皇帝 (公元 690 年 - 705 年) 時之越窯向唐朝皇室祝壽貢瓷筆洗重器。

越窯是唐朝、五代時浙江紹興越州的瓷窯，窯址主要分佈於慈谿的上林湖一帶。隋朝、唐朝時紹興叫「越州」，因此得名為「越窯」。越窯燒製的青瓷器在唐代很出名。

越窯是中國聞名遐邇的青瓷窯之一。越窯青瓷是中國最久遠的瓷器之一，是世界公認的「瓷母」。

越窯燒造瓷器歷史悠久，從西周原始瓷到唐宋秘色瓷，從未間斷，唐代越窯青瓷成為皇室貢品。

唐詩人陸龜蒙用「九秋風露越窯開，奪得千峰翠色來。」讚美越窯青瓷的典雅秀美，對其釉色清澈碧綠、如冰似玉的光澤，給人以一種捉摸不定的感覺，譽稱為「秘色瓷」。

唐代陸羽在《茶經》中寫道：「碗，越州為上。其瓷類玉、類冰。」。

晚唐、五代時最上品的越窯千峰翠色青瓷專門作為皇室貢品，臣民不得使用，因此稱為「秘色青瓷」。

五代時閩國王王審知曾派徐夤貢秘色瓷，徐夤作詩:《貢余秘色瓷器》：「捩翠融青瑞色新，陶成先得貢吾君。功剜明月染春水，輕旋薄冰盛綠雲。

古鏡破苔當席上，嫩荷涵露別江濆。中山竹葉醅初發，多病那堪中十分。」。

宋朝趙彥衡《雲麓漫鈔》說越窯秘色瓷艾色，又引唐代詩人陸龜蒙《進越器詩》曰："九秋風露越窯開，奪得千峰翠色來；好向中霄盛沆瀣，共稽中散斗遺杯。」。

1987 年 4 月 3 日，法門寺真身寶塔的地宮被打開，出土大量珍貴文物，其中包括十三件秘色瓷器，現存法門寺博物館。

越窯器物燒製，凡是在外底有泥點支燒印痕的器物，定是無匣明火迭燒，其時代可以早到初、盛唐時期，晚至北宋元祐、政和時期。

在初、盛唐時期，隨著人們從席地而坐逐步發展成用桌椅配套座飲、會客，因此許多瓷器從較大器形逐步為端巧多樣的造型所代替。

施釉也由「半釉」邁向「滿釉」發展。所支燒的器物，往往用豆狀的泥點，排列在外底，而遺留下四到八粒「灰白色豆狀泥點印痕」。這種豆狀的泥點所反映的情況，為我們提供了一個信息，它的生產年代是在初、盛唐時期。

在初唐時期，越窯雖然在窯爐結構上獲得了改善，但燒造的氣氛除了一部分還原焰較好的器物呈現青色外，有很大一部份弱還原焰或氧化焰呈色便為「青泛黃或米黃色」。

關于越窯胎體，由於所用瓷土含鐵量較高，所呈色為「灰白色」，這已為眾多越窯器所證明，化學成份測試也證明了這一點。因此凡是唐、五代、北宋越窯製品，胎體呈色絕對不可能像龍泉窯那麼白，也不可能像長沙窯、婺州窯那麼疏鬆的缸胎，在胎體也是呈「灰白色」。

此筆洗胎質堅硬緻密，器物胎壁較厚重，界於瓷與陶之間。胎色灰白。圓鼓腹邊牆。外壁口沿旁有一圈弦紋。古時越窯窯工的修胎是很有特點的，為了追求時效，熟練窯工往往就在快速的幾刀之中完成了修坯的工作，因此，在此筆洗器物內外壁上及器底圈足內可見到修坯時所留下的明顯轉輪製痕。

此筆洗亦具備古瓷應有之千年開片紋、千年蛤蜊光、器壁上亦有數個明顯的「棕眼之古瓷瑕疵」及一些「黑斑與白點之古瓷瑕疵」、與古代的柴燒氣泡。器底圈足內有七個「灰白色豆狀」支燒釘泥點印痕，其中有三個支燒釘泥點印痕具「千年火石紅」痕跡。

器底圈足線邊緣與浮雕勾勒線邊緣等薄釉處皆露出醬柿泛紫色如「紫線邊緣」。圈足露胎處上有「數個磕碰凹痕的古瓷瑕疵」及「黏窯砂、粘渣底」。內壁牆邊於「鶴」紋飾外圈弦紋圓圈線旁有一「蚯蚓走泥紋的古瓷瑕疵」。

另外，器底於光線下呈現略為凹凸不平，是由於泥坯中間的部位水份未乾，成型泥胎在掙脫粘連的泥范（模）時，由越窯窯工左右輕微轉動脫模操作所形成。現代仿製品完全無法製作器底略為凹凸不平現象。

來源：

屬擊敗蒙古元朝歐亞大帝國的明朝皇帝朱元璋所分封為軍事大元帥的「陳秀甫」(陳秀甫亦為明代開國功臣光祿大夫《光祿大夫為皇帝開國及軍事作戰的出糧出資金錢財主》) 家族傳世的祖傳傳世品。

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Tang Dynasty Empress Wu Zetian Yue Kiln Secret Color Celadon Relief carved Phoenix (Empress) dominating the world Brush Washer

Dimensions: Height 5.1 - 5.2 x Maximum round Abdomen Diameter 25.2 - 25.4 x Mouth Diameter 20.7 - 20.8 x Ring Foot Diameter 21.1 - 21.2 cm

This brush washer can be called the "Imperial Important Ware" of the Tang Dynasty. Its craftsmanship, size, relief pattern, shape, surface of the entire utensil being as smooth as jade, relief being like jade carving, full glaze of the entire utensil being clear, bright and smooth, poly glaze being crystal clear and bright luster being like ice surface, secret color celadon glaze, etc., are far better than those in the next 1,300 years, the brush washer of Hou Zhou Shizong Emperor Chai Rong of the Five Dynasties, Song Dynasty Emperor Huizong's brush washer out of five famous kilns: Ru Guan Ge Ding Jun, Ming Dynasty Yongle Xuande blue and white brush washer, even far more than the monochrome glaze brush washer of Emperors in three dynasties of Qing dynasty: Kangxi Yongzheng Qianlong.

This brush washer is also decorated with a Yue kiln secret color celadon embossed relief phoenix (Empress) dominating the world pattern, and the glaze color is "greenish yellow" in the early Tang Dynasty. The whole utensil was full-glazed. There are seven "gray-white bean-shaped" supporting-nail marks with mud dots inside the bottom ring foot. The whole utensil is smooth with bright luster like a jade carving. It was obviously an imperial tribute porcelain to the Tang Dynasty royal family from Yue kiln, and subjects were not allowed to use it. Based on this, it is inferred that it should be the important brush washer ware belonged to the Empress Wu Zetian (A.D. 624 - 705) of the Tang Dynasty.

This brush washer also has the "crane pattern" which means "prolonging longevity", so it can be deduced that it should be belonged to the important ware brush washer of Empress Wu Zetian of the Tang Dynasty who proclaimed herself as Empress Wu Zhou (A.D. 690-705) in her later years as a birthday gift of tribute porcelain to the Tang Dynasty royal family from Yue kiln.

Yue kiln is a porcelain kiln in Yuezhou, Shaoxing, Zhejiang during the Tang and Five Dynasties. The kiln sites are mainly distributed in the Shanglin Lake area of Cixi. In the Sui and Tang Dynasties, Shaoxing was called "Yuezhou", so it was named "Yue kiln". The celadon wares fired in Yue kilns were very famous in the Tang Dynasty.

Yue Kiln is one of the famous celadon kilns in China. Yue kiln celadon porcelain is one of the oldest porcelains in China, and is recognized as the "mother of porcelain" in the world.

Yue kiln has a long history of firing porcelain, from the original porcelain of the Western Zhou Dynasty to the secret color porcelain of the Tang and Song Dynasties, and it had been uninterrupted. The Yue kiln celadon porcelain in the Tang Dynasty became a tribute to the royal family.

The Tang poet Lu Guimeng used "When the autumn winds dropped dew in September, the Yue kiln opened and won the green color of the thousand mountain peaks." He praised the elegance and beauty of Yue kiln celadon porcelain, and its glaze color is clear and green, luster is like ice and jade, giving people an unpredictable feeling. It was well known as the secret color porcelain.

In the Tang Dynasty, Lu Yu wrote in "The Classic of Tea": "Bowl, Yuezhou is the best. Its porcelain is like jade and ice."

In the late Tang and Five Dynasties, the top-quality Yue kiln celadon porcelain with the green color of the thousand mountain peaks was specially used as a tribute porcelain, and the subjects were not allowed to use it, so it was called the "secret color celadon porcelain".

In the Five Dynasties, the King of Fujian, Wang Shenzhi, once sent Xu Yin to pay tribute with the secret color porcelain. Xu Yin wrote a poem: "Pay my tribute with the Secret Color Porcelain": "The green celadon color is completely new, and the fired porcelain is the first to pay tribute to my Emperor. Fine work was cut under bright moonlight with water in the Spring. It was rotated slightly on the wheel plate like thin ice to load green clouds. On the seat it was like the broken green moss on the ancient mirror, the tender lotus and dew showed farewell to the river side. The bamboo leaves in the mountains were first developed for grains to be wine, and it was feared to be very sick to finish the work completely.".

Song Dynasty Zhao Yanheng's "Yunlu Manchao (Cloud, Foot of a mountain, Overflow, Banknote)" said that Yue kiln's secret color porcelain was beautiful, and also quoted Tang Dynasty poet Lu Guimeng's "To purchase Yue porcelain ware Poem" as saying: "When the autumn winds dropped dew in September, the Yue kiln opened and won the green color of the thousand mountain peaks; it was so good in order to load same color from the middle sky. Let's salute together and share the cups left by the scattered utensils.".

On April 3, 1987, the underground palace of the True Body Pagoda of Famen Temple was opened, and a large number of precious cultural relics were unearthed, including thirteen pieces of secret color porcelain, which are now collected in the Famen Temple Museum.

When Yue kiln wares were fired, all the wares with marks of clay dots' supporting-nails on the outer bottom of the utensils must have been burned under rotating open fire without box. The age can be as early as the early and prosperous Tang Dynasty, and as late as the Yuanyou and Zhenghe periods in the Northern Song Dynasty.

In the early and prosperous Tang Dynasty, as people gradually developed from sitting on the floor to using tables and chairs to sit, drink, and meet guests, many porcelain wares were gradually replaced from larger ones to various delicate shapes.

Glazing had also developed from "half glaze" to "full glaze". The supporting-nails of burnt utensils were often made of bean-shaped mud dots arranged on the outer bottom, leaving four to eight "grey white bean-shaped mud dot marks". The situation reflected by this bean-shaped mud dots provides us with information that its production age was in the early and prosperous Tang Dynasty.

In the early Tang Dynasty, although the furnace structure of the Yue kiln had been improved, in the firing atmosphere, in addition to a part of the utensils with better reducing flame showing green color, a large part of the weak reducing flame or oxidizing flame showed "Greenish yellow or Beige".

Regarding the Yue kiln porcelain carcass, due to the high iron content of the porcelain clay used, the color is "grey white", which has been proved by many Yue kiln wares, and the chemical composition test has also proved this. Therefore, for the Yue kiln products of the Tang, Five Dynasties, and Northern Song Dynasties, the color of the porcelain carcass is absolutely impossible to be as white as Longquan kiln, and it is impossible to be as loose as Changsha kiln and Wuzhou kiln, and the porcelain carcass is also "grey white".

The quality of the porcelain body of this brush washer is very hard and dense, and the wall of the utensil is thicker and heavier, between the porcelain and the pottery. Porcelain fetal color is grey white. It has a round belly wall. There is a circle of string pattern by the mouth edge on the outer wall. In ancient times, kiln workers in Yue kilns were very characteristic in trimming ceramic bodies. In order to pursue time-saving, skilled kiln workers often completed the work of trimming ceramic bodies in a few quick cuts. On the inner and outer walls and inside the ring foot of the bottom of this brush washer utensil, there are obvious rotating-wheel-making marks left when the porcelain body was trimmed.

This brush washer also has the the millennium cracking pattern, the millennium clam light, several obvious marks of "brown-eyed-small-holes" which are ancient porcelain flaws on the walls of the utensile, and some "black and white spots of ancient porcelain flaws", together with the ancient wood-fired air bubbles, all that ancient porcelain should have. There are seven "gray-white bean-shaped" supporting-nail marks with mud dots inside the bottom ring foot. Among them, there are three supporting-nail marks' mud dots with the traces of "millennium flint red".

The places with thin glaze, such as the edge of the ring foot line on the bottom ring foot of the utensil, and the edge of the relief outline, all reveal the color of sauce-persimmon which was turned purple, such as the "purple line edge". There are "several ancient porcelain flaws of bumps and dents out of collisions" and "pasted kiln sands, sticky slag bottom" at the exposed ceramic body of the ring foot. On the inner wall, there is an "ancient porcelain flaw of Earthworm Walking in the Mud Pattern" next to the "crane" pattern by the outer round string line pattern.

In addition, the bottom of the utensil is slightly uneven under the light. Because when the water in the middle of the porcelain mud body was not dry yet and meanwhile the molded mud body was slightly turned left and right to be broken away from the sticking mud mold. So long as the Yue kiln porcelain workers took the above procedure, then the uneven bottom would have been formed. Modern imitations are completely unable to produce slightly uneven bottoms.

Provenance:

The handed down collection from the family ancestor of Chen Xiufu, a military marshal who was assigned by the Ming Emperor Zhu Yuanzhang (Zhu Yuanzhang defeated the Eurasian Empire of the Mongolian Yuan Dynasty), (Chen Xiufu was also the founding hero of the Ming Dynasty, whose official name was Guangludafu, "Guangludafu was the rich and wealthy capitalist of food and money supplied for the emperor's nation-founding and military operations.").

http://myfatebook.com

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VIP 尊貴客戶鑑賞 7 件藝術品

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明朝開國功臣軍事大元帥陳秀甫家族祖傳的傳世汝窯瓷器有精美紋飾圖案

The Ru kiln porcelains handed down from the ancestors of the Chen Xiufu family, who was the founding hero and military marshal of the Ming Dynasty, have exquisite decorative patterns.

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明朝開國功臣軍事大元帥陳秀甫家族祖傳的傳世藝術收藏品

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唐朝女皇武則天越窯秘色青瓷浮雕鳳(女皇)霸臨天下紋筆洗

Tang Dynasty Empress Wu Zetian Yue Kiln Secret Color Celadon Relief carved Phoenix (Empress) dominating the world Brush Washer

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#Tang #fate #future #porcelain #art #瓷器 #ware #dynasty #白玉 #ru #white jade #Yue #kiln #越窯 #秘色 #瓷 #Secret #color #brush #washer #筆洗 #鳳 #phoenix

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harrell83washington · 2 years

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有口皆碑的小说最強醫聖 ptt- 第三千六百九十三章长时间停留的办法看取蓮花淨龜玉毀於櫝中 -p3

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小說-最強醫聖-最强医圣第三千六百九十三章长时间停留的办法八方呼應渾身是膽偏偏他麻利看來了扇面上有一隻只多拍球輕重緩急的怪態蜂殍，這不該縱事先該署死滅的奇特蜜蜂。他旋踵通過半空之門，出門了那片目生大千世界中，這一次在飛進長空之門的時節，他就發揮出了踏空而行的力量。隨着，沈風頰的表情出現了一種鴻的變遷，他的眉峰俯仰之間緊皺，瞬扒的，面頰是一種難以置信的色。目前沈風瞅那三頭怪物在他右邊六百米遠的域。那一拳的威能應有是比起會集的，如今僅僅沈風腳下的那塊方面，浮現了諸如此類一度一眼望奔底的深坑云爾。重生之都市最強神話至尊小說沈風時步子停頓，他的眼波阻滯在了內部一隻爲怪蜂的遺骸上。再者他完美分明一件事變，如若他吃了雀斑的軍民魚水深情，他便也許得到一種血管上的爬升。要其壽數一完結，怕是其就會透頂爆炸前來。看看那三頭怪胎該是分開此處了。有目共睹着十五秒的年華要到了，沈風彎下腰，籲握住了尖針，他使勁事後一拔。他另一方面用神思之力疏導那扇上空之門，一面將玄氣試着流獄中那根尖針之間。那裡再有這麼樣多奇異蜂尾的尖針從未拔來呢！【看書領獎金】關注公..衆號【書友本部】，看書抽峨888現錢贈品！在他觀展，這見鬼蜜蜂相應也是那種妖獸。這會兒，那三頭奇人正佔居一種暴怒中點，他瘋狂的對着大地中咆哮着。整根尖針當下分離了奇特蜂的軀。他操勝券那時還是先回到茜色指環內的其三層，這六百米可不是一下和平的相差，火爆說他從前直處於險象環生中點。與此同時他還急需更多的那種灰黑色果子的。五秒鐘往後。且不說，沈風就排憂解難了一度最大的疑團，只要他手裡握着這根尖針，他就可以長時間悶這這片生疏領域內了。假使是妖獸，其隨身黑白分明留存小半有條件的貨色。蓋在他將玄氣流入這根尖針內此後，他感到這根尖針和他大功告成了某種干係。止沈風將滲身軀內的那蠅頭絲厚玄氣收到完後，從尖針內纔會還有少數絲玄氣入夥他身裡。這裡還有這麼樣多好奇蜂尾巴的尖針泯滅搴來呢！此地再有這麼着多怪蜂尾的尖針消失搴來呢！這尖針好不容易不對沈風隨身的東西，之所以在他欺騙起這根尖針過後，這尖針就裝有早晚的壽。他理科堵住半空之門，出遠門了那片熟識天下中，這一次在輸入長空之門的時，他就耍出了踏空而行的才幹。那幅玄氣在沒入尖針內而後，就以沈風肌體能夠擔當的一種酷充分寬和的速率，在流入他的軀裡。在沈風關係那扇時間之門的上，那三頭怪物轉頭了身，見兔顧犬了又發明在那裡的沈風。沈風看着隱忍華廈三頭怪物，他猜測點顯著是平安逃匿了，再不這三頭奇人完全決不會地處這暴怒其中。如其連續如許下來說，那末這根尖針會到底報關的。他單向用心神之力聯繫那扇長空之門，一派將玄氣試着流入眼中那根尖針次。他決意今昔仍是先回去潮紅色戒指內的老三層，這六百米認同感是一期無恙的千差萬別，得以說他如今直白居於兇險裡邊。單，無論如何這於沈風吧都是一件美事情，簡本他在此間的平安韶華偏偏十五秒。在這尖針內有如有一期不得了粗大的積存玄氣的空間。這些玄氣在沒入尖針內自此，跟手以沈風肢體可以賦予的一種要命繃慢悠悠的速度，在流入他的肢體裡。【看書領人事】體貼入微公..衆號【書友營】，看書抽齊天888現金贈物！在他覷，這離奇蜜蜂應亦然那種妖獸。爲在他將玄氣滲這根尖針內以後，他感受這根尖針和他就了某種維繫。在沈風商量那扇半空中之門的功夫，那三頭怪胎轉頭了身，看出了又消失在此間的沈風。小心其間具斷定爾後，沈風將敦睦的軀體醫治到了頂尖情況，以重激勵了金炎聖體和天骨。九重娇斑之小说在沈風疏導那扇長空之門的歲月，那三頭怪物反過來了身，觀看了又閃現在此間的沈風。【看書領人事】體貼公..衆號【書友大本營】，看書抽危888現鈔禮品！若果其人壽一結果，懼怕其就會窮崩裂前來。歸因於在他將玄氣流入這根尖針內從此以後，他知覺這根尖針和他完了某種溝通。他跟手越過空中之門，出外了那片來路不明天地中，這一次在踏入半空中之門的時，他就玩出了踏空而行的本領。只有他迅猛視了海面上有一隻只保齡球老老少少的奇特蜜蜂殍，這應當就算有言在先那些物化的怪態蜂。在沈風疏通那扇空中之門的功夫，那三頭怪人轉過了身，睃了又浮現在那裡的沈風。五秒後。只有他速總的來看了葉面上有一隻只棒球老小的見鬼蜂遺體，這該當就算前頭那些嗚呼哀哉的希奇蜂。而他還急需更多的那種白色果子的。假若其壽一一了百了，說不定其就會透頂爆飛來。虧他這次和三頭奇人以內有六百米掌握的間隔，之所以他並熄滅由於三頭奇人的一度眼光，就渾身玄氣和思緒之力心餘力絀更正了。現三頭怪物將這合的怒意和殺意，俱蟻合在了沈風的身上，他直白隔空對着沈風轟出了一拳。此間還有這麼樣多聞所未聞蜜蜂尾的尖針小拔掉來呢！當前，那三頭奇人正高居一種暴怒當中，他發神經的對着天外中狂嗥着。當他登那片陌生小圈子的下，他俯首稱臣看了一眼，定睛前腳下的地，化作了一眼望近底的土窯洞。沈風看着隱忍華廈三頭怪胎，他估計點撥雲見日是安樂出逃了，不然這三頭怪胎十足不會處這隱忍裡邊。沈風不想再鋪張歲月了，他的身形徑向那棵玄色大樹掠去。在他闞，這奇怪蜜蜂理應亦然某種妖獸。他腦華廈神經一直介乎緊張當心，憚祥和在進來這片眼生海內嗣後，展現那三頭奇人就在他前方。但返通紅色控制第三層內的沈風，臉蛋兒是一種餘悸的心情，甫他感覺到了三頭怪物那一拳內的不寒而慄。整根尖針即時淡出了奇幻蜜蜂的身。此刻，那三頭怪物正處在一種暴怒當腰，他發瘋的對着天宇中轟鳴着。那幅玄氣在沒入尖針內其後，隨着以沈風人能推辭的一種盡頭死急促的進度，在漸他的身體裡。但是差別六百米遠呢，但此等嘯鳴聲傳頌沈風耳中，依然故我督促他耳中陣子神經痛，甚或鞏膜相似都要被刺穿了一律。這千萬是無獨有偶三頭奇人的那一拳所導致的自制力。

#捉蛊记 #桑榆未晚小說

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solomonrichard63 · 2 years

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引人入胜的小说伏天氏淨無痕- 第2378章联手通文達理哀鴻滿路展示-p3

熱門連載小说伏天氏 txt- 第2378章联手舊貌變新顏勿奪其時相伴-p3

小說-伏天氏-伏天氏第2378章联手多事之秋藏頭露尾小圈子間有可怕康莊大道籟出現而生，在華君墨的身後，涌出了一尊古神虛影，確定是昊天帝屈駕凡，重獨一無二，仰望着先頭，身上噙着最爲痛之氣派。倘使意志備受勸化，被心思所掌控吧，他的綜合國力便會鞏固，繼承下來，對她倆且不說得法。這俄頃，四爹媽皇九境的強者到底賣力比照了，盤算同聲着手，頭裡，她倆多多少少一如既往稍稍菲薄我黨的，但現如今葉三伏和花解語效應的齊心協力，已真實意思上讓她們窺見到危殆了。這一幕讓巴掌正置身神壁如上的王冕眸收攏，金黃的眼瞳望向此中葉伏天的身形，他定領情到了葉三伏的氣息在變強，他和花解語恍如化連貫，心心相印，兩人旨意共鳴，效相融。 “可以。” 無論是周遭的四大強手如林甚至於畿輦的苦行之人都可能觀感到，琴聚變強了，葉三伏在變強。一經意旨慘遭影響，被激情所掌控以來，他的生產力便會減殺，蟬聯下去，對他倆說來正確性。加倍恐怖的音律驚濤駭浪抽冷子間綻放，葉伏天隨身起的神念變得更爲唬人，按的通路職能也在變強，每一番雙人跳而出的譜表隱含的境界也更深了。故而，這一狼煙四起撥絃，竟將他的��盡皆侵害了，這是神琴和花解語雄強念力間的交融，才��夠做起這樣景色。葉伏天三人的身形也再一次隱沒在夔者的現階段，至極，葉三伏和花解語隨身的氣息依然莫衷一是樣了，他倆似知己，神光縈迴以下，將他二人包圍在間，像惟一仙侶般。這一會兒，四人皇九境的庸中佼佼到底兢相比了，備而不用而入手，前頭，他倆數一仍舊貫小珍視我方的，但此刻葉三伏和花解語成效的同甘共苦，業經着實功效上讓他們窺見到緊迫了。神音九五陳年建立傻眼悲曲這麼的絕倫本草綱目，被何謂那偶然代音律頭人，不問可知旋律上的功力有多高，他一輩子建造出夥琴曲，之中苟且一首攥來都利害稱得上名曲，甚至不見得比神悲曲弱約略。【看書領碼子】關愛vx公.衆號【書友寨】，看書還可領現鈔！只因神悲曲太甚非常，神悲曲出，億萬斯年皆悲，就此被加入山海經之列。王冕感知到裡頭發的闔眼光鋒銳，始料不及能借人家的修道？他雖也惟命是從過，但這等術法極致不可多得，而且，得交付有點兒棉價。一念中間，戛盡皆沒有。葉三伏和花解語因故能夠借靈犀曲相融，逼真是有批發價的，葉三伏要能擔花解語的念力負載，而且，需求整體的搭、一律確信，要不然，會遇反噬，然一來，頂花解語將自己的身都交由了葉伏天。無論是中心的四大庸中佼佼還炎黃的修道之人都能夠有感到，琴聚變強了，葉三伏在變強。愈來愈駭人聽聞的樂律驚濤激越突間羣芳爭豔，葉三伏身上應運而生的神念變得加倍駭然，戒指的大路功力也在變強，每一下跳躍而出的樂譜含蓄的意象也更深了。這首琴曲乃是神音當今和相愛之人在同機時所創，他倆分享上上下下，還是是溫馨的修行，自家的動機，顯見她倆曾經有多兩小無猜，直到鍾愛之人欹日後，神音可汗創立張口結舌悲曲。王冕的百年之後，則是永存了一金色的許許多多圖案，這畫娓娓放大，於天空飛去，鋪天蓋地，虺虺隆的恐怖音響不翼而飛，宇宙坦途類乎盡皆被煉入這丹青心，靈那兒面涌出了一期駭然的土窯洞，佔據掃數大道之力，好多神光株連期間，附近區域似變成了一方劫域，切近以來城消釋。愈發可怕的樂律驚濤激越突如其來間百卉吐豔，葉伏天隨身產出的神念變得更爲恐懼，主宰的大路效用也在變強，每一個跳動而出的隔音符號含有的意象也更深了。神壁之上震古爍今鮮麗，那幅圖畫不啻法陣般，似在孕育新的打擊，但卻見葉三伏雙手不了撥着神琴，共同道樂譜縱身而出，在神悲曲的意象以下，那些躍而出的簡譜像是可以虐待通路效果，靈光那封禁上空的神壁繪畫所在地方都在炸掉，那佳高明的法陣在被毀壞。這首琴曲即神音王和兩小無猜之人在沿途時所創，她們分享一體，甚至於是諧和的修行，我的意念，凸現她倆業已有多相愛，截至喜愛之人墮入後，神音國王創辦目瞪口呆悲曲。這一幕讓手掌心正身處神壁之上的王冕眸子膨脹，金黃的眼瞳望向之間葉三伏的身影，他生就感激涕零到了葉三伏的氣息在變強，他和花解語像樣化全體，如魚得水，兩人意旨共識，機能相融。這一幕讓手掌心正廁身神壁以上的王冕眸子萎縮，金色的眼瞳望向內部葉伏天的人影兒，他當然謝謝到了葉三伏的味道在變強，他和花解語切近改成一環扣一環，莫逆，兩人意識同感，力量相融。葉三伏三人的人影兒也再一次呈現在眭者的目下，惟獨，葉三伏和花解語隨身的鼻息業已不可同日而語樣了，她們似貼心，神光旋繞偏下，將他二人瀰漫在裡邊，猶無雙仙侶般。倘或意旨受到作用，被意緒所掌控的話，他的綜合國力便會減，不停下，對她們這樣一來有損。 “轟、轟、轟……”在這股炸裂效力偏下，神壁面世了豁口，再者在娓娓日見其大，徐徐的，整片半空都似在崩滅般，廣袤無際地區，神壁在崩滅，好像是那片空中倒閉了。神音國王早年創設發呆悲曲如許的絕代詩經，被喻爲那時期代樂律命運攸關人，不言而喻樂律上的造詣有多高，他終天創建出重重琴曲，之中任性一首握有來都出彩稱得上名曲，竟是不見得比神悲曲弱數目。這樣的修行之法，縱令有人尊神成，也淡去稍加人可以作到這麼着境界。裴聖想頭一動，即刻環抱這片六合間隱匿了浩大真像，切近盡皆是他所化，本尊牢籠晃間，立地這無期幻境並且殺伐而出，揮手神劍，誅向葉伏天他倆，束縛原原本本地址。 “夠味兒。” 葉三伏三人的身形也再一次迭出在鄧者的前面，無與倫比，葉三伏和花解語隨身的鼻息一經言人人殊樣了，他們似親親切切的，神光彎彎之下，將他二人覆蓋在內部，若絕無僅有仙侶般。王冕觀感到外面發的任何眼色鋒銳，始料不及或許借自己的苦行？他雖也俯首帖耳過，但這等術法極端常見，再者，急需付組成部分實價。乃，這一震盪絲竹管絃，竟將他的進軍盡皆蹂躪了，這是神琴和花解語有力念力間的休慼與共，才幹夠得然化境。其餘三人也都意識到了這點子，他倆有感中，渾然無垠的天體，盡皆被無形的樂律風浪所掩蓋着，八方不在，那股怕人的旋律風雨飄搖猖獗滲入侵她倆腦海裡邊。裡外開花出富麗神光的金黃神矛一連朝下空誅殺而下，葉三伏指打動琴音，剎時，這片封禁上空裡，這些金色戛不止崩滅制伏掉來，瘋了呱幾炸開，深廣世界裡面，方方面面盡皆被糟蹋。於是，這一振動琴絃，竟將他的口誅筆伐盡皆蹧蹋了，這是神琴和花解語雄強念力間的各司其職，智力夠一氣呵成然景象。神壁以上偉人刺眼，那幅繪畫不啻法陣般，似在養育新的攻打，但卻見葉伏天兩手連續感動着神琴，一同道隔音符號躍動而出，在神悲曲的意象偏下，這些跳而出的音符像是也許毀壞大路能力，頂事那封禁空中的神壁圖騰五湖四海向都在炸裂，那上上高強的法陣在被搗毀。先頭葉三伏在苗裔靈巨石戰陣蛻變的琴曲，事實上和靈犀曲有異曲同工之妙，其本即從靈犀曲中活動陣地化而出。神壁如上宏大羣星璀璨，那幅畫畫坊鑣法陣般，似在孕育新的出擊，但卻見葉三伏雙手綿綿扒着神琴，一塊兒道歌譜縱而出，在神悲曲的意境以次，該署縱而出的休止符像是不妨傷害通道職能，濟事那封禁半空的神壁畫隨處地方都在炸燬，那健全高超的法陣在被破壞。假如旨意遇莫須有，被激情所掌控的話，他的戰鬥力便會減少，持續下，對她倆一般地說毋庸置言。 “轟、轟、轟……”在這股炸燬氣力以下，神壁長出了破口，與此同時在延續誇大，浸的，整片半空中都似在崩滅般，蒼茫水域，神壁在崩滅，就像是那片空間潰逃了。神壁上述光線秀麗，這些畫圖猶法陣般，似在出現新的訐，但卻見葉伏天兩手迭起激動着神琴，共道樂譜躍而出，在神悲曲的境界以次，該署跨越而出的歌譜像是不妨破壞通途法力，中用那封禁長空的神壁畫無所不在方位都在炸裂，那完美無缺搶眼的法陣在被粉碎。只因神悲曲過分奇麗，神悲曲出，永世皆悲，故被參加六書之列。神音當今今日創始直眉瞪眼悲曲這麼的無比論語，被謂那持久代旋律至關緊要人，可想而知音律上的功夫有多高，他百年興辦出衆多琴曲，裡頭隨意一首手來都烈烈稱得上名曲，竟然未見得比神悲曲弱微微。 “都開始吧。”王冕開口說了聲，昊天族的華君墨、空廓山的裴聖、姜氏古神族的姜青峰都搖頭，秋波凝神葉伏天無處的來頭，神光迴繞之下，一股莫大的氣味自他們隨身爭芳鬥豔而出。王冕感知到此中發現的周眼神鋒銳，還是可知借人家的修行？他雖也唯命是從過，但這等術法最好千分之一，再就是，內需送交某些旺銷。這是何本事？姜青峰步伐一踏空洞無物，體態閃現在葉伏天她們腳下上空之地，只見一股可驚的上空風浪在摧殘着。伴着琴音包圍宇宙，近乎這封禁的空間內，成套都是由他掌控。這首琴曲就是神音陛下和兩小無猜之人在旅伴時所創，他們分享周，竟自是自我的苦行，諧和的念頭，足見他們早就有多兩小無猜，以至愛之人集落後頭，神音上創作泥塑木雕悲曲。王冕雜感到其間起的一五一十眼光鋒銳，驟起可知借旁人的修道？他雖也傳說過，但這等術法不過希罕，而，特需交到片段最高價。跟隨着琴音瀰漫領域，近似這封禁的長空內，悉數都是由他掌控。葉三伏和花解語在一頭，一人盤膝而坐，一人站在身側，神光帶繞，兩人似變成連貫般，心勁一通百通，念力相融，不能相互之間觀感到會員國的裡裡外外。羣芳爭豔出光彩奪目神光的金色神矛中斷朝下空誅殺而下，葉伏天指尖打動琴音，下子，這片封禁長空中，這些金色長矛連續崩滅擊敗掉來，瘋炸開，浩繁錦繡河山次，總共盡皆被拆卸。一念以內，矛盡皆撲滅。 “都脫手吧。”王冕道說了聲，昊天族的華君墨、氤氳山的裴聖、姜氏古神族的姜青峰都搖頭，秋波全心全意葉伏天無處的勢，神光繚繞以次，一股入骨的氣自他倆隨身羣芳爭豔而出。神壁上述光耀鮮麗，該署美術如同法陣般，似在滋長新的挨鬥，但卻見葉伏天手不了動着神琴，合辦道樂譜躍進而出，在神悲曲的意象以次，那些雀躍而出的樂譜像是可以推翻康莊大道效果，行得通那封禁空間的神壁圖四面八方向都在炸裂，那盡善盡美精美絕倫的法陣在被凌虐。【看書領碼子】體貼入微vx公.衆號【書友營寨】，看書還可領現鈔！此刻，神悲曲意象以次，葉伏天彈出另一曲，靈犀。姜青峰步履一踏乾癟癟，身形表現在葉三伏他倆腳下長空之地，睽睽一股觸目驚心的長空驚濤駭浪在摧殘着。葉伏天和花解語在共，一人盤膝而坐，一人站在身側，神光波繞，兩人似變成嚴密般，動機相似，念力相融，或許相互感知到烏方的全路。裴聖念一動，就盤繞這片世界間顯現了過多春夢，似乎盡皆是他所化，本尊巴掌揮動間，霎時這無量幻像又殺伐而出，揮手神劍，誅向葉三伏她倆，羈絆悉方。神壁如上皇皇明晃晃，這些圖畫宛法陣般，似在產生新的攻擊，但卻見葉三伏手不絕撥開着神琴，一同道樂譜縱身而出，在神悲曲的意境偏下，這些縱步而出的音符像是克粉碎通途機能，驅動那封禁空中的神壁圖騰遍野方位都在炸燬，那兩全搶眼的法陣在被拆卸。 “完美無缺。”

#ull #功夫神医在都市朽木可雕 #奶爸的肆意人生

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select-shop-kikoujin · 2 years

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#iichi #美味しい朝ごはん . #レモンの #飯碗が取り上げられました🙌 春の清々しいテーブルにぴったり✨ . 新入社員へのエールの贈り物に母の日の贈り物に . ラッピング承ります🎁✨ @iichi_japan . #saga #arita #kikoujin #有田焼 #波佐見焼 #貴好人 #トンバイベイ通り #上有田駅 . #和のある暮らし #日本のくらし #和の食卓 #和のテーブル #ハレのうつわ #一峰窯 . @ippogama . https://www.iichi.com/newsletter/20220410 (貴好人) https://www.instagram.com/p/CcJn-UJPwfc/?igshid=NGJjMDIxMWI=

#iichi #美味しい朝ごはん #レモン #飯碗 #saga #arita #kikoujin #有田焼 #波佐見焼 #貴好人 #トンバイベイ通り #上有田駅 #和のある暮らし #日本のくらし #和の食卓 #和のテーブル #ハレのうつわ #一峰窯

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navetin · 2 years

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近代日本の芸術家とその邸宅を設計した建築家

※以前の記事に不具合があった為、再掲。建築家も芸術家の内ではあるが、ここでは画家や作家の総称として使わせていただく。

先日鑑賞した東郷青児展では石本喜久二が、また吉田博展では渡辺仁がその邸宅設計に携わっているのを知った。このように有名建築家が芸術家の邸宅を手掛けた例はいったいどれくらいあるのだろうか。ざっと調べたのが以下の通り。 ▼有名建築家が設計した芸術家の邸宅

太田喜二郎邸　藤井厚二設計　大正13　京都市上京区　　　　　　　アトリエは太田の設計で採光に拘った作り東郷青児邸　　石本喜久二設計　昭和6　世田谷区代沢　現存せず　　　　　　　インターナショナルスタイルの「白い家」吉田博邸　　　渡辺仁設計　昭和9　淀橋区下落合　現存せず　　　　　　　ステンドグラスなどの内装は吉田もデザイン三岸好太郎　　山脇巌設計　昭和9　中野区上鷺宮　　　　　　　　バウハウスに学んだ山脇のモダニズム建築は　　　　　　　近隣から「お豆腐の家」と呼ばれていた安井曾太郎邸　山口文象設計　昭和9　淀橋区下落合　現存せず　　　　　　　アトリエのみ　設計にあたり多くの注文があり苦心した様子前田青邨邸　　山口文象設計　昭和11　鎌倉市山ノ内　純和風建築　　　　　　　山奥の寺院の中にあり非公開だが現存する　　　　　　林芙美子邸　　山口文象設計　昭和16　淀橋区下落合　現・林芙美子記念館　　　　　　　数寄屋造の和風建築　林は新居建設の為に建築を学んだ上村松園邸　　西澤文隆設計（坂倉準三建築研究所）昭和22　奈良市山陵町　　　　　　　現・唳禽荘（れいきんそう）岡本太郎邸　　坂倉準三設計　昭和28　港区南青山　現・岡本太郎記念館　　　　　　　岡本と坂倉はパリ留学中より親交があり、その後も協同吉村益信邸　　磯崎新設計　昭和32　新宿区百人町　住居兼アトリエ　　　　　　　前衛芸術集団「ネオダダ」の拠点となった　　　　　　　通称・新宿ホワイトハウス　現・Chim↑Pomアトリエ東山魁夷邸　　吉村順三設計　昭和28　千葉県市川市　　　　　　　東山の依頼に基づいた簡素な住居猪熊弦一郎邸　吉村順三設計　昭和46　大田区田園調布　　　　　　　RC造3階建ての二世帯住宅　非公開赤瀬川原平邸　藤森照信設計　平成9　町田市玉川学園　通称・ニラハウス　　　　　　　竣工時は屋根にニラがなびいていたその他、数多くの日本画家の邸宅・画室の設計に携わっているのが吉田五十八で、近代数寄屋建築が日本画の制作環境に馴染み、好まれていた事が伺える。 ▼吉田五十八が設計した邸宅・画室

鏑木清方邸　　昭和7　牛込矢来町　旧居　現存せず　　　　　　　昭和29　鎌倉市雪ノ下　新居に五十八が設計した画室を再建　　　　　　　現・鏑木清方記念美術館小林古径邸　　昭和9　大田区南馬込　平成5解体　新潟県上越市に移築　　　　　　　　現・小林古径記念美術館川合玉堂邸　　昭和11　新宿区牛込若宮町　現存せず山川秀峰邸　　昭和11　品川区下大崎　画室のみ　現存せず　　　　　　　昭和18　中郡二宮町　別邸　現・旧山川秀峰・方夫邸山口蓬春邸　　昭和14　世田谷区祖師谷　旧居　現存せず　　　　　　　昭和23　三浦郡葉山町一色　画室など増改築　　　　　　　現・山口蓬春記念館（改修は大江匡）梅原龍三郎邸　昭和27　新宿区市谷加賀町画室のみ山梨県清春芸術村に移築　　　　　　　昭和33　同地に新居を建設　その後は不明吉屋信子邸　　昭和37　鎌倉市長谷　現・吉屋信子記念館

ご覧の通り芸術家と建築家の結び付きは強く、古くはジョサイア・コンドルが河鍋暁斎に師事して日本画を学んでいるが、もしもコンドルが暁斎邸を設計していたら…なんて想像するのも一興哉。コンドルの例は兎も角、公共建築に於いては両者の協同も多い。（例）丹下健三・黒川紀章・谷口吉郎などの建築家と　　　岡本太郎・猪熊弦一郎・イサム・ノグチなどの芸術家

元々建築デザイナーも絵描きのうちで、図案や家具、公共デザインを手掛ける建築家も少なくはないし、たまたま創作のジャンルが異なっただけのことなのかもしれない。モダニズム建築の巨匠ル・コルビュジエは優れた画家でもあった。その一方で、芸術家が自ら建築設計してしまう例もある。 ▼芸術家が自ら建築設計

岡倉天心　　明治38　北茨城市大津町五浦　観瀾亭と称する��角堂を設計　　　　　　東日本大震災で起きた津波により消失　その後再建橋本関雪　　大正3 - 5　京都市左京区　自邸・画室・庭園を設計　　　　　　現・白沙村荘（はくさそんそう）橋本関雪記念館　　　　　　画室は存古楼（ぞんころう）と名付けられた　　　　　　昭和6 - 7　持仏堂・茶室群を設計　庭園はその後も拡張される横山大観　　大正8　台東区池之端　自邸を設計　東京大空襲で消失　　　　　　昭和29　同地に新居再建　内装も設計　現・横山大観記念館　　　　　　旧宅及び庭園が国の史跡及び名勝に指定されている坪内逍遥　　大正9　熱海市水口町　自邸を設計　現・双柿舎（そうししゃ）山元春挙　　大正10 大津市中庄　琵琶湖畔に別邸を設計　　　　　　現・記恩寺蘆花浅水荘（きおんじろかせんすいそう）安田靫彦　　大正11　三島郡出雲崎町　良寛堂を設計　　　　　　昭和3　中郡大磯町　自邸を設計　現存せず　　　　　　昭和6　中郡大磯町　安田善次郎別邸（寿楽庵）庭園内　　　　　　経蔵・持仏堂・平唐門等を設計　　　　　　昭和9　伊豆市修善寺　新井旅館　　　　　　天平大浴堂・花の棟・吉野の棟・観音堂を設計朝倉文夫　　昭和3 - 10　台東区谷中　自邸・アトリエを設計　　　　　　8回に及ぶ増改築と7年の歳月を掛けて完成した　現・朝倉彫塑館　　　　　　中庭と屋上庭園が国の名勝に指定されている柳宗悦　　　昭和10　目黒区駒場　栃木の農家から長屋門を移築し自邸を設計　　　　　　昭和11　民衆的工芸品展示の為、同地に日本民藝館を設計河井寬次郎　昭和12　京都市東山区　自邸兼仕事場を設計　　　　　　　鐘溪窯と名付けた登り窯を付設　現・河井寬次郎記念館川端龍子　　昭和13　大田区中央　画室を設計　　　　　　昭和23 - 29　同地に自邸を設計　増改築を経て完成　　　　　　昭和35　伊豆市修善寺　新井旅館　改装工事監修・玄関を設計　　　　　　昭和37　大田区中央　自作展示の為、龍子記念館を設計堂本印象　　昭和41　京都市北区　自作展示の為、堂本印象美術館を設計

芸術家の美意識が詰まった建築は、個性的でとても興味深い。素材や意匠など細部に渡って拘りが見え、空間表現も巧みだ。日本画家の巨匠である安田靫彦と川端龍子は自邸以外の設計も手掛けており両者の建築コラボレーションが伊豆修善寺・新井旅館を改装する際に、時を経て実現している。

20220108＜加筆修正＞日本画家橋本関雪・山元春挙を追加

#近代建築 #近代美術

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hiraharu · 3 years

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中には、普段は実店舗限定で販売しているレアな商品も含まれていますのでお見逃しなく。

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【ご注意事項】発送倉庫が異なる都合上、シュトレン単品およびシュトレンセットは、パンを同梱することができません。パンとの同梱をご希望のお客様は、パンとシュトレンのセットをご利用ください。また、シュトレン単品・セットともに、わざわざオンラインストアならびにキナリノモールの両方で販売いたします。お好みのサイトをご利用くださいませ。

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#bread

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arakawalily · 1 year

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赤と金の組み合わせが、譚シェフのリクエストでした❗️インパクトあるデザインが完成し、虎ノ門横丁の、香港焼味酒家の皆様にも喜んでいただきました❗️ トップシェフ譚彦彬氏とコラボ企画の赤坂璃宮tシャツが完成して、サンプルを虎ノ門横丁の香港焼味酒家さんにお届けさせていただきました❗️香港焼味酒家赤坂璃宮さんのオリジナルTシャツをデザイン依頼いただき、名物の焼味を描かせていただきました❣️焼味全て最高峰です❗️tシャツは、野田頭店長に着用いただきました❗️ 譚シェフと最後の打ち合わせでガチョウの頭の形だけ、もっととんがりリーにしてくださいと、ペンを取られ、手描きで修正いただきましたことが、物凄く心に残りました❗️何度か、譚シェフとお食事をご一緒しながらデザインや焼き物のお話しができましたのは、私のデザイナー人生の宝物となりました。赤坂離宮さんのお料理はいつも感動があります❗️ 天国で、まだまだたくさんの人々に感動のお料理を作っていらっしゃるでしょう❗️ 譚シェフのお料理には、全てオリジナルの旨味❗️があるんですよね❗️中華料理の最高峰🥠譚シェフが作り上げた味は、フォーエバーです❣ 譚彦彬シェフ🧑‍🍳フォーエバー❗️ 広東料理なんですが、ジャンルにとらわれないあらゆる美味しい世界中の料理を食べ歩き、研究したオリジナル料理『譚彦彬の味』には感動があります❗️ そして虎ノ門横丁の香港焼味酒家赤坂璃宮さんは、焼き物専門店だけあって、最高に美味しい中華の焼き物が気軽に楽しめます。焼き物の腕前が日本一として知られる職人さんである梁さんと赤坂離宮の譚彦彬さんが立ち上げたお店で、焼き物の専門店です❗️ 焼物(シウメイ)は、豚や鳩、アヒルなどの旨みを引き出した広東料理の名品。赤坂璃宮さんの理念が伝わる味や雰囲気はそのままに、香港の味わいをカジュアルに楽しむことができますよ❗️ 本日は、まずは、名人が焼くシウメイ『焼味』の、特製窯焼きチャーシュー、広東式ローストダック、、豚トロ焼きの4種盛りと、腸詰、鶏肉と腸詰の蒸物をいただきました❣️カリカリ、その蜜の味とジューシーな旨みとムチっとした噛み応えは格別、しびれますよ、旨すぎます～❣️ 最近は、料理人人生60年、広東料理の第一人者譚シェフの広東料理の真髄を伝える１冊が出版されました❗️“赤坂璃宮　譚彦彬自伝　「勉強がイヤならコックしかない」と言われた少年が料理の世界に飛び込み、時代の波に乗り銀座の真ん中でオーナーシェフとなるまで。譚彦彬の生き方”に伝える自伝です❗️ 譚彦彬シェフの味❗️フォーエバー❗️最高の風味絶佳❗️ (香港焼味酒家赤坂璃宮) https://www.instagram.com/p/CkcSX87SBab/?igshid=NGJjMDIxMWI=

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imaritogei · 7 years

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おはようございます！昨日、超特急で作った晩ご飯・カレーコロッケ・グリーンピースごはん・野菜沢山スープ・アボカドサラダ器は #波佐見焼の人気窯元 #康創窯 #福峰窯 #有田焼の #一峰窯

#一峰窯 #有田焼 #康創窯 #波佐見焼 #福峰窯

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taiwanwebmuseum · 2 years

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唐朝女皇武則天越窯秘色青瓷浮雕鳳(女皇)霸臨天下紋筆洗

Tang Dynasty Empress Wu Zetian Yue Kiln Secret Color Celadon Relief carved Phoenix (Empress) dominating the world Brush Washer

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唐朝女皇武則天越窯秘色青瓷浮雕鳳(女皇)霸臨天下紋筆洗

尺寸：高 5.1 - 5.2 x 最大圓腹徑 25.2 - 25.4 x 口徑 20.7 - 20.8 x 圈足底徑 21.1 - 21.2 cm 公分

越窯是中國聞名遐邇的青瓷窯之一。越窯青瓷是中國最久遠的瓷器之一，是世界公認的「瓷母」。

越窯燒造瓷器歷史悠久，從西周原始瓷到唐宋秘色瓷，從未間斷，唐代越窯青瓷成為皇室貢品。

唐代陸羽在《茶經》中寫道：「碗，越州為上。其瓷類玉、類冰。」。

晚唐、五代時最上品的越窯千峰翠色青瓷專門作為皇室貢品，臣民不得使用，因此稱為「秘色青瓷」。

五代時閩國王王審知曾派徐夤貢秘色瓷，徐夤作詩:《貢余秘色瓷器》：「捩翠融青瑞色新，陶成先得貢吾君。功剜明月染春水，輕旋薄冰盛綠雲。

古鏡破苔當席上，嫩荷涵露別江濆。中山竹葉醅初發，多病那堪中十分。」。

1987 年 4 月 3 日，法門寺真身寶塔的地宮被打開，出土大量珍貴文物，其中包括十三件秘色瓷器，現存法門寺博物館。

越窯器物燒製，凡是在外底有泥點支燒印痕的器物，定是無匣明火迭燒，其時代可以早到初、盛唐時期，晚至北宋元祐、政和時期。

在初、盛唐時期，隨著人們從席地而坐逐步發展成用桌椅配套座飲、會客，因此許多瓷器從較大器形逐步為端巧多樣的造型所代替。

此筆洗胎質堅硬緻密，器物胎壁較厚重，界於瓷與陶之間。胎色灰白。圓鼓腹邊牆。外壁口沿旁有一圈弦紋。古時越窯窯工的修胎是很有特點的，為了追求時效，熟練窯工往往就在快速的幾刀之中完成了修坯的工作，因此，在此筆洗器物內外壁上及器底圈足內可見到修坯時所留下的明顯轉��製痕。

...

Tang Dynasty Empress Wu Zetian Yue Kiln Secret Color Celadon Relief carved Phoenix (Empress) dominating the world Brush Washer

Dimensions: Height 5.1 - 5.2 x Maximum round Abdomen Diameter 25.2 - 25.4 x Mouth Diameter 20.7 - 20.8 x Ring Foot Diameter 21.1 - 21.2 cm

Yue Kiln is one of the famous celadon kilns in China. Yue kiln celadon porcelain is one of the oldest porcelains in China, and is recognized as the "mother of porcelain" in the world.

In the Tang Dynasty, Lu Yu wrote in "The Classic of Tea": "Bowl, Yuezhou is the best. Its porcelain is like jade and ice."

...

明朝開國功臣軍事大元帥陳秀甫家族祖傳的傳世藝術收藏品(瓷器)

The art collections (Ceramics) handed down from the family ancestors of the military marshal Chen Xiufu, the founding hero of the Ming Dynasty

http://myfatebook.com

Youtube:

2022 年 5 月份全球觀眾： 2,729 總觀看次數及2,868 總觀看時間 (分鐘)

Youtube:

Global audience in May 2022: 2,729 total views and 2,868 total watch time (minutes)

https://youtu.be/9nZ41jF_9jY

https://youtu.be/_XRsWNhp7IQ

https://youtu.be/YhYymPQqen8

https://youtube.com/shorts/MZyI042HtNs?feature=share

https://youtu.be/Bq76imfdq-4

Facebook 臉書：

擁有 48,000 名全球會員的臉書公共社群網站 'Fine Art to sell'：

Facebook:

Facebook Public Group 'Fine Art to sell' that has 48,000 global members:

https://www.facebook.com/groups/fine.art.to.sell/permalink/3223830651272649/

https://www.facebook.com/groups/fine.art.to.sell/permalink/3223816927940688/

https://m.facebook.com/groups/fine.art.to.sell/permalink/3188744688114579/

https://m.facebook.com/groups/fine.art.to.sell/permalink/3188542704801444/

https://www.facebook.com/groups/fine.art.to.sell/permalink/3188744148114633/

Provenance:

Ms. Chen Junying (1932- ). Her father Chen Wancheng was the 20th generation descendant from the ancestor Chen Xiufu [Official name: Guangludafu, an official who was close to the Emperor, and acted according to the edict of the Emperor, also the founding hero of the Ming Dynasty, from Wuhua, Guangdong.], who was nominated as the military Marshal by Ming Emperor Zhu Yuanzhang in Hongwu 18th year (1385 A.D.) Ming Dynasty. She has inherited the family handed-down ancestral collection, including valuable ceramics, jade carved works of art, antiques, bronzes, and Chinese paintings moving from mainland China to Taiwan since Qing dynasty, from her father Chen Wancheng and has been trained to be a good professional collector and an excellent appraiser by family education since childhood for over 80 years.

Chen Xiufu

Official name: Guangludafu, an official who was close to the Emperor, and acted according to the edict of the Emperor, also the founding hero of the Ming Dynasty, from Wuhua county, Guangdong Province, China.

Chen Xiufu was nominated as the military Marshal by Ming Emperor Zhu Yuanzhang in Hongwu 18th year (1385 A.D.) Ming Dynasty.

http://www.nanchens.com/xqxx/xqxx32/xqxx32510.htm

https://www.xuehua.tw/a/5ec8742f868e1a463e412f06

https://ppfocus.com/0/cu4cb061d.html

Announcement on the official website of People's Government of Wuhua County, in Meizhou City, Guangdong Province, China:

The first great memorial ceremony after the rebuilding of the ancestral hall of Chen Xiufu, the founding hero of the Ming Dynasty, was ushered in

On May 17, 2013, on the eighth day of the fourth month of the lunar calendar, the Chen Family Ancestral Hall (Xiufu Public Ancestral Hall), in which by Zhu Yuanzhang was Chen Xiufu nominated as the first-grade Guangludafu and awarded to build the "Emperor's Grace and Favorite Grant" Memorial Arch, was ushered in the first big memorial ceremony after its reconstruction.

https://www.wuhua.gov.cn/xxgk/gzdt/zwdt/content/mpost_326801.html

來源：

陳俊英女士 ( 1932 - )。她的父親陳萬承是明朝洪武十八年 (公元 1385 年) 被明朝皇帝朱元璋封為軍事大元帥的先祖陳秀甫 (明代開國功臣光祿大夫 [為皇帝近臣依皇帝詔命行事] 陳秀甫 [廣東五華籍]) 的第 20 代後裔。她從父親陳萬承處繼承了家族傳世的祖傳藏品，包括自清朝以來從中國大陸移至台灣的珍貴陶瓷器、玉器、古董、青銅器和中國書畫，她自童年開始透過家庭教育，即被培養成為一位很棒的專業收藏家和優秀的鑑賞家已達 80 多年。

陳秀甫

陳秀甫是明代的開國功臣光祿大夫 [此官名為皇帝近臣依皇帝詔命行事]，中國廣東省五華縣人。

明朝洪武十八年 (公元 1385 年) 陳秀甫被明朝皇帝朱元璋封為軍事大元帥。

http://www.nanchens.com/xqxx/xqxx32/xqxx32510.htm

https://www.xuehua.tw/a/5ec8742f868e1a463e412f06

https://ppfocus.com/0/cu4cb061d.html

中國廣東省梅州市五華縣人民政府官網公告訊息：

明朝開國功臣陳秀甫祠堂重建落成後迎來首次大祭

公元 2013 年 5 月 17 日，農曆四月初八，被朱元璋封為一品光祿大夫、賜建 “皇恩寵錫” 牌坊的陳家祠(秀甫公祠)重建落成後迎來了首次大祭。

https://www.wuhua.gov.cn/xxgk/gzdt/zwdt/content/mpost_326801.html

...

The Provenance of Works of Art

藝術品來源

https://youtu.be/6v0qM9_dimc

Works of Art

Provenance:

藝術品

來源：

...

Chen Xiufu

Chen Xiufu was nominated as the military Marshal by Ming Emperor Zhu Yuanzhang in Hongwu 18th year (1385 A.D.) Ming Dynasty.

陳秀甫

陳秀甫是明代的開國功臣光祿大夫 [此官名為皇帝近臣依皇帝詔命行事]，中國廣東省五華縣人。

明朝洪武十八年 (公元 1385 年) 陳秀甫被明朝皇帝朱元璋封為軍事大元帥。

http://www.nanchens.com/xqxx/xqxx32/xqxx32510.htm

https://www.xuehua.tw/a/5ec8742f868e1a463e412f06

https://ppfocus.com/0/cu4cb061d.html

...

Announcement on the official website of People's Government of Wuhua County, in Meizhou City, Guangdong Province, China:

The first great memorial ceremony after the rebuilding of the ancestral hall of Chen Xiufu, the founding hero of the Ming Dynasty, was ushered in

中國廣東省梅州市五華縣人民政府官網公告訊息：

明朝開國功臣陳秀甫祠堂重建落成後迎來首次大祭

公元 2013 年 5 月 17 日，農曆四月初八，被朱元璋封為一品光祿大夫、賜建 “皇恩寵錫” 牌坊的陳家祠(秀甫公祠)重建落成後迎來了首次大祭。

https://www.wuhua.gov.cn/xxgk/gzdt/zwdt/content/mpost_326801.html

...

http://myfatebook.com

...

網誌 Blogger：

Orion Museum

文章 Article：

VIP 尊貴客戶鑑賞 7 件藝術品

Seven valuable works of art for VIP valued customers to appreciate

連結 Link：

https://orionsmuseum.blogspot.com/2022/05/vip-7-seven-valuable-works-of-art-for.html

...

網誌 Blogger：

Orion Museum

文章 Article：

明朝開國功臣軍事大元帥陳秀甫家族祖傳的傳世汝窯瓷器有精美紋飾圖案

The Ru kiln porcelains handed down from the ancestors of the Chen Xiufu family, who was the founding hero and military marshal of the Ming Dynasty, have exquisite decorative patterns.

連結 Link：

https://orionsmuseum.blogspot.com/2022/05/ru-kiln-porcelains-handed-down-from.html

...

網誌 Blogger：

Orion Museum

文章 Article：

「天神密碼」保護「無價生命」我們知道你的昨天、今天和明天！

"The God's Code" protects "Priceless Life" We know your yesterday, today and tomorrow!

連結 Link：

https://orionsmuseum.blogspot.com/2022/05/gods-code-protects-priceless-life-we.html

...

網誌 Blogger：

Orion Museum

文章 Article：

明朝開國功臣軍事大元帥陳秀甫家族祖傳的傳世藝術收藏品

The art collections handed down from the family ancestors of the military marshal Chen Xiufu, the founding hero of the Ming Dynasty

連結 Link：

https://orionsmuseum.blogspot.com/2022/05/art-collections-handed-down-from-family.html

...

網誌 Blogger：

Orion Museum

文章 Article：

明朝正統年製官窯五彩歐洲使節天朝進貢人物風景紋天球瓶

連結 Link：

https://orionsmuseum.blogspot.com/2022/05/wucai-european-envoy-presenting-tribute.html

...

網誌 Blogger：

Orion Museum

文章 Article：

五代後周時期柴官窯綠釉皇室工藝底部篆印 “柴” 一字款雙龍紋薄胎鏤空管心瓶

連結 Link：

https://orionsmuseum.blogspot.com/2022/06/chai-imperial-kiln-green-glaze-royal.html

...

網誌 Blogger：

Orion Museum

文章 Article：

宋元吉州窯黑釉玳瑁天目釉鷓鴣斑曜變茶盞

Song and Yuan Dynasty Jizhou Kiln Black-glazed, tortoiseshell Yohen tenmoku (kiln change) painted "partridge's speckling" splashes tea bowl

連結 Link：

https://orionsmuseum.blogspot.com/2022/06/song-and-yuan-dynasty-jizhou-kiln-black.html

...

網誌 Blogger：

Orion Museum

文章 Article：

明朝開國功臣軍事大元帥陳秀甫家族祖傳的傳世藝術收藏品(瓷器)

The art collections (Ceramics) handed down from the family ancestors of the military marshal Chen Xiufu, the founding hero of the Ming Dynasty

連結 Link：

https://orionsmuseum.blogspot.com/2022/06/art-collections-ceramics-handed-down.html

...

Orion Museum

外部連結 External Links

Google Photos 照片：

https://photos.app.goo.gl/SjsYjQvcWXH1UoAT8

YouTube Videos 影片：

https://youtube.com/c/OrionHsuMuseum

...

Thirty pieces of Fine and Rare Chinese Archaic Ceramics 30 件重要又稀少之中國瓷器

30 件重要又稀少之中國瓷器

Thirty pieces of Fine and Rare Chinese Archaic Ceramics

(01)

01-A Song Celadon Porcelain Moon-flask with Gold-light-Iron-dark-lines Crackles and Violet-mouth-Iron-black-foot Design and two Dragon Handles Imperial Palace Workshop Xuanhe four-character dark-brown seal mark and of the period (1119-1125) Song dynasty.

Size:

Height 22.2 x Maximum Abdomen Width 16.5 x Top Mouth Diameter 5.4 x Maximum elliptical Base-stand foot Diameter 8.2 x Minimum elliptical Base-stand foot Diameter 5.1 cm

Authentication:

(1) Having both gold and black colored crackles in Song dynasty those have not been successfully made nowadays.

(2) Having violet colored mouth edge in Song dynasty.

(3) Having black colored foot edge in Song dynasty.

(4) Having fire-flint dark-red colors at the foot edge in Song dynasty those should have been generated for hundreds of years.

(5) Having manually glaze-painting technique in Song dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(02)

02-A Song Celadon Porcelain Vase with Gold-light-Iron-dark-lines Crackles and Violet-mouth-Iron-black-foot Design and two Pipe-like Handles Imperial Palace Workshop one-character dark-brown official seal mark Song dynasty (960-1279).

Size:

Height 26 x Maximum Abdomen Diameter 15 x Maximum Top Mouth Diameter 10.1 x Maximum elliptical Base-stand foot Diameter 11.7 x Minimum elliptical Base-stand foot Diameter 9.9 cm

Authentication:

(1) Having both light-gold-white and black colored crackles in Song dynasty those have not been successfully made nowadays.

(2) Having violet colored mouth edge in Song dynasty.

(3) Having black colored foot edge in Song dynasty.

(4) Having fire-flint dark-red colors at the foot edge in Song dynasty those should have been generated for hundreds of years.

(5) Having manually thick-glaze-painting technique in Song dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(8) A similar same-period object has been collected in the Taipei National Palace Museum with museum number NPM-Porcelain-014022-N000000000 Imperial Palace Workshop Southern-Song dynasty (1127-1279) Size: Height 26.6 x Maximum Top Mouth Diameter 11 cm.

(03)

03-A Song Celadon Porcelain Six-petaled Lotus Vase with Gold-light-Iron-dark-lines Crackles and Violet-mouth-Iron-black-foot Design Imperial Palace Workshop one-character dark-brown official seal mark Song dynasty (960-1279).

Size:

Height 22 x Maximum Abdomen Diameter 12 x Maximum Top Mouth Diameter 9.6 x Maximum Six-petaled Lotus round Base-stand foot Diameter 7.2 cm

Authentication:

(1) Having both light-gold-white and black colored crackles in Song dynasty those have not been successfully made nowadays.

(2) Having violet colored mouth edge in Song dynasty.

(3) Having black colored foot edge in Song dynasty.

(4) Having fire-flint dark-red colors at the foot edge in Song dynasty those should have been generated for hundreds of years.

(5) Having manually thick-glaze-painting technique in Song dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(04)

04-A Song Ru Kiln Sky-blue-glazed Porcelain Bottle with two Ears and Plate Mouth Northern-Song dynasty (960-1127).

Size:

Height 21.3 x Maximum Abdomen Diameter 9 x Top Mouth Diameter 6.4 x round Base-stand foot Diameter 7 cm

Authentication:

(1) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them in Song dynasty those should have been generated for hundreds of years.

(2) Having light-glazed mouth edge in Song dynasty.

(3) Having five burning-supporting nail-head marks whose shapes are as small round millets at the outer bottom of the bottle those should have been made in the Ru kiln Song dynasty.

(4) Having fire-flint earth-yellow colors inside the five burning-supporting nail-head marks at the outer surface of bottom and shrunk-glaze-holes around the porcelain body in the Ru kiln Song dynasty those should have been generated for hundreds of years.

(5) Having manually thick-glaze-painting technique in Song dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked earth-yellow colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(8) Having dry clay in Song dynasty that has not been used nowadays.

(05)

05-A Song Ru Kiln Sky-blue-glazed Porcelain Small Dish with Crackles Northern-Song dynasty (960-1127).

Size:

Height 3.1 x Top Mouth Diameter 13.9 x round Base-stand foot Diameter 9.3 cm

Authentication:

(1) Having the marks of agate being mixed in the glaze those should have been made in the Ru kiln Song dynasty.

(2) Having light-glazed foot edge in Song dynasty.

(3) Having three burning-supporting nail-head marks whose shapes are as small elliptical millets at the outer bottom of the small dish those should have been made in the Ru kiln Song dynasty.

(4) Having fire-flint earth-yellow colors inside the three burning-supporting nail-head marks at the outer surface of bottom in the Ru kiln Song dynasty those should have been generated for hundreds of years.

(5) Having manually glaze-painting technique in Song dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked earth-yellow colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(8) Having dry clay in Song dynasty that has not been used nowadays.

(9) A similar same-period object has been collected in the Taipei National Palace Museum with museum number NPM-Porcelain-009827-N000000000 Imperial Palace Workshop Northern-Song dynasty (960-1127) Size: Height 3.3 x Top Mouth Diameter 13 x round Base-stand foot Diameter 9 cm.

(06)

06-A Song Jun-kiln Celadon-glazed and Copper-red Porcelain Dish with Crackles Song dynasty (960-1279).

Size:

Height 4 x Top Mouth Diameter 18.6 x round Base-stand foot Diameter 8.6 cm

Authentication:

(1) Having a copper-red colored mark mixed in the celadon-glazed surface that should have been made in the Jun kiln Song dynasty.

(2) Having light-glazed mouth edge in Song dynasty.

(3) Having manually pulled spiral shapes at the outer wall and bottom of the dish those should have been made in the Jun kiln Song dynasty.

(4) Having fire-flint earth-yellow colors at the outer wall and bottom clay of the dish those should have been generated for hundreds of years.

(5) Having manually heavy-glaze-painting technique in Song dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked light-colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(8) Having dry clay in Song dynasty that has not been used nowadays.

(07)

07-A Song Jun-kiln Celadon-glazed and Copper-red Porcelain Vase with two handles and Crackles Song dynasty (960-1279).

Size:

Height 18 x Maximum Abdomen Diameter 11 x Top Mouth Diameter 4.6 x round Base-stand foot Diameter 5.6 cm

Authentication:

(1) Having a copper-red colored mark mixed in the celadon-glazed surface that should have been made in the Jun kiln Song dynasty.

(2) Having light-glazed mouth edge in Song dynasty.

(3) Having manually pulled spiral shapes at the outer wall and bottom of the vase those should have been made in the Jun kiln Song dynasty.

(4) Having fire-flint earth-yellow colors at the outer wall and bottom clay of the vase those should have been generated for hundreds of years.

(5) Having manually heavy-glaze-painting technique in Song dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked light-colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(8) Having dry clay in Song dynasty that has not been used nowadays.

(08)

08-A Liao Celadon-glazed Porcelain Leather-bag-flask with Horse-riding Design and crackles (Broken Handle) Liao dynasty (1031-1218).

Size:

Height 33.3 x Maximum Abdomen Diameter 20 x Top Mouth Diameter 4.6 x round Base-stand foot Diameter 10.4 cm

Authentication:

(1) Having leather-bag-flask with horse-riding design that should have been made in the Liao dynasty.

(2) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them in Song/Liao/Yuan dynasty those should have been generated for hundreds of years.

(3) Having manually pulled spiral shapes at the bottom of the flask those should have been made in the Song/Liao/Yuan dynasty.

(4) Having fire-flint earth-yellow colors at the bottom clay of the flask and the shrunk-glaze-holes on the porcelain body those should have been generated for hundreds of years.

(5) Having manually glaze-painting technique in Song/Liao/Yuan dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song/Liao/Yuan dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked earth-yellow colored crackles through the earth in Song/Liao/Yuan dynasty those should have been generated for hundreds of years.

(8) Having dry clay in Song/Liao/Yuan dynasty that has not been used nowadays.

(09)

09-A Yuan Blue and White Jar with Octagon-mouth Lotus-shaped Cover and Walking Three-claw Dragon Design Yuan dynasty (1206-1368).

Size:

Height with cover 33 x Height without cover 28 x Maximum Abdomen Diameter 33 x Maximum Top Octagon-Mouth Width 19.7 x Maximum Bottom Octagon-Base-stand foot Width 21.3 cm

Authentication:

(1) Having a walking three-claw dragon design that should have been made in the Yuan dynasty.

(2) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them at both outer and inner wall of the jar as well as the cover in Yuan dynasty those should have been generated for hundreds of years.

(3) Having manually pulled spiral shapes at the bottom of the jar and the inner wall of the cover those should have been made in the Yuan dynasty.

(4) Having fire-flint earth-yellow colors at the bottom clay of the jar and the shrunk-glaze-holes on the porcelain body those should have been generated for hundreds of years.

(5) Having manually heavy-glaze-painting technique in Yuan dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size everywhere at the glaze painted body as bubble-sea in Yuan dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having a pale greenish lake-water-like tinge out of white on the surface in Yuan dynasty that should have been formed in the ancient wood-burning kiln.

(8) Having dry clay in Yuan dynasty that has not been used nowadays.

(9) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.

(10)

10-A Yuan Blue and White Under-glaze Red Porcelain Mongolia-dwelling-tent-bowl with cover and Floral Phoenix Design Yuan dynasty (1206-1368).

Size:

Height with cover 15.5 x Height without cover 8.5 x Top Mouth Diameter 25 x round Base-stand foot Diameter 17 cm

(11)

11-A Xuande Blue and White and Under-glaze Red Porcelain Moon-flask with Floral and Eight-treasures Design and two Handles Imperial Palace Workshop Xuande period (1426-1435) Ming dynasty.

Size:

Height 30.5 x Maximum Abdomen Diameter 22 x Depth 10 x Top Mouth Diameter 5 x rectangular Base-stand foot Length 9.8 x rectangular Base-stand foot Width 6.8 cm

(12)

12-A Xuande Blue and White Bottle Gourd Porcelain Vase with Floral Design Imperial Palace Workshop Xuande six-character blue seal mark and of the period (1426-1435) Ming dynasty.

Size:

Height 34 x Maximum Abdomen Diameter 18 x Top Mouth Diameter 3.5 x round Base-stand foot Diameter 11 cm

(13)

13-A Xuande Blue and White Porcelain Bowl with Walking Five-claw Dragon Design Imperial Palace Workshop Xuande six-character blue seal mark and of the period (1426-1435) Ming dynasty.

Size:

Height 10.8 x Top Mouth Diameter 21.8 x round Base-stand foot Diameter 8.6 cm

(14)

14-A Xuande Blue and White Porcelain Stemcup with Pine Bamboo and Plum Design Imperial Palace Workshop Xuande six-character blue seal mark and of the period (1426-1435) Ming dynasty.

Size:

Height 10.4 x Maximum Abdomen Diameter 8 x Top Mouth Diameter 11.2 x round Base-stand foot Diameter 5.2 cm

(15)

15-A Chenghua Doucai Red Porcelain Cup with Double Phoenixes Design and Crackles Imperial Palace Workshop Chenghua six-character blue seal mark and of the period (1465-1487) Ming dynasty.

Size:

Height 5.5 x Top Mouth Diameter 9 x round Base-stand foot Diameter 4 cm

(16)

16-A Kangxi Famille Verte (Wucai) Porcelain Vase with Dragon and Phoenix Design Imperial Palace Workshop Kangxi six-character blue seal mark and of the period (1662-1722) Qing dynasty.

Size:

Height 43 x Maximum Abdomen Diameter 20 x Top Mouth Diameter 16.2 x round Base-stand foot Diameter 14 cm

(17)

17-A Yongzheng Enameled in the Famille Rose palette Porcelain Vase with Floral and Butterflies Design Imperial Palace Workshop Yongzheng six-character blue seal mark and of the period (1723-1735) Qing dynasty.

Size:

Height 41 x Maximum Abdomen Diameter 22 x Top Mouth Diameter 10.8 x round Base-stand foot Diameter 13.3 cm

(18)

18-A Yongzheng Enameled Eggshell Porcelain Vase with Western Family and a Villa Garden Design Imperial Palace Workshop Yongzheng four-character blue seal mark and of the period (1723-1735) Qing dynasty.

Size:

Height 23.5 x Maximum Abdomen Diameter 11 x Top Mouth Diameter 7.6 x round Base-stand foot Diameter 6.2 cm

(19)

19-A Qianlong Enameled Porcelain Vase with Flowers and Birds Peacock and Peahen Design Imperial Palace Workshop Qianlong six-character blue seal mark and of the period (1736-1795) Qing dynasty.

Size:

Height 32.5 x Maximum Abdomen Diameter 20 x Top Mouth Diameter 6.3 x round Base-stand foot Diameter 10.1 cm

(20)

20-A Qianlong Enameled Porcelain Bowl with Yellow Ground Four Windows Western Figures and Red-decorated Landscape Design Imperial Palace Workshop Qianlong four-character blue seal mark and of the period (1736-1795) Qing dynasty.

Size:

Height 6.8 x Top Mouth Diameter 15.1 x round Base-stand foot Diameter 6.7 cm

(21)

21-A Northern Song Ding Kiln White ground Wucai Porcelain Lotus-mouth shaped Vase with carved and gilt Playing Children by Butterfly and Flowers Design and two Elephant-trunk Handles (two cracks in the neck) Imperial Palace Workshop two-character “Yi Ding” carved and gilt seal mark Northern Song (960-1127) dynasty.

Size:

Height 28.5 x Maximum Abdomen Width 14 x Maximum Top Mouth Length 7.2 x Minimum Top Mouth Width 6.3 x round Base-stand foot Diameter 7.7 cm

(22)

22-A Yongle Blue and White quadruped Water-dropper with Flowers and Phoenixes on Sea Waves Design and Sea Ship Shape Imperial Palace Workshop Yongle four-character carved seal mark and of the period (1403-1424) Ming dynasty.

Size:

Height 20 x Length 22 x Width 11 x quadruped Base-stand foot Length 12 x quadruped Base-stand foot Width 5 cm

(23)

23-A Tang Sancai Pottery Vase with four Dragon-heads, four Plum Blossoms, four Rings, twisted Ropes Design and very fine crackles together with the inner-shell-of-bivalve-reflecting clam-light Tang Dynasty (618-907).

Size:

Height 27 x Maximum Abdomen Diameter 26.5 x round Base-stand foot Diameter 11.8 cm

(24)

24- A Tang Yue Kiln Celadon-glazed Bottle Gourd Porcelain Vase with two Handles and very fine crackles Tang Dynasty (618-907).

Size:

Height 21.5 x Maximum Abdomen Diameter 11.5 x round Base-stand foot Diameter 6.7 cm

(25)

25-A Northern Song Ding Kiln White Porcelain Meiping Vase with carved Flowers Design and crackles Imperial Palace Workshop two-character “Yi Ding” carved seal mark Northern Song (960-1127) dynasty.

Size:

Height 28.5 x Maximum Abdomen Width 15 x Top Mouth Diameter 3.7 x round Base-stand foot Diameter 8.4 cm

(26)

26-A Tang Sancai Pottery Dish with four Fishes, four Blossoms, eight Lotus Petal-rim Design and very fine crackles together with the inner-shell-of-bivalve-reflecting clam-light Tang Dynasty (618-907).

Size:

Height 3.4 x Diameter 18 x round Base-stand foot Diameter 5.5 cm

(27)

27-A Song Celadon Porcelain Guan-type “Touhu (An ancient game-pot to be thrown into arrows)” Vase with Hexagonal body, two Hexagonal tubular lug handles by the mouth and a tall neck, Gold-light-Iron-dark-lines Crackles and Iron-black-foot Design Imperial Palace Workshop Xining Fourth Year four-character carved seal mark and of the year (A.D. 1071) Emperor Shenzong Northern Song dynasty together with the inscription by Emperor Qianlong Qing dynasty in Qianlong Fourth Year (A.D. 1739).

Size:

Height 20.2 x Maximum Abdomen Width 13.2 x Maximum Top Hexagonal Mouth Diameter 5.8 x Maximum Hexagonal Base-stand foot Diameter 9.1 cm

Carved Inscription by Emperor Qianlong Qing dynasty in Qianlong Fourth Year (A.D. 1739):

(1) In the summer of Great Qing Qianlong Fourth Year (Ji Wei Year), this was set to be the imperial appreciation treasure at Palace Wen Hua (this Palace was set to be the Ceramics Museum of Beijing Palace Museum on July 15th, 2008), with “Qian Style” two-character carved seal mark.

(2) Xining Fourth Year four-character carved seal mark and of the year (A.D. 1071 Emperor Shenzong Northern Song dynasty).

(28)

28-A Song Ru Kiln Sky-blue-glazed Porcelain Bottle with two Ears and Hexagonal body “Cai” one-character carved seal mark and of the period (A.D. 1101- A.D. 1126 Prime Minister Cai Jing of Emperor Huizong Northern Song dynasty) at the bottom outer central surface of the bottle Northern-Song dynasty (960-1127).

Size:

Height 21.3 x Maximum Abdomen Width 9.2 x Maximum Top Hexagonal Mouth Diameter 6.6 x Maximum Hexagonal Base-stand foot Diameter 6.7 cm

(29)

29-A Yuan Luanbai White glazed Porcelain Ewer Yuan dynasty (1206-1368).

Size:

Height 17.8 x Top Mouth Diameter 6.6 x round Base-stand foot Diameter 6.2 cm

(30)

30-A Kangxi Blue and White Porcelain Guanyin Vase with Garlic head and Auspicious Clouds together with Cranes Design Imperial Palace Workshop Kangxi four-character blue seal mark and of the period (1662-1722) Qing dynasty.

Size:

Height 29.3 x Maximum Abdomen Diameter 11 x Top Mouth Diameter 7.7 x round Base-stand foot Diameter 8.9 cm

...

29 Important and Rare Chinese Ceramics 29 件重要又稀少之中國瓷器

29 件重要又稀少之中國瓷器

29 Important and Rare Chinese Ceramics

(01)

清朝雍正御製官窯黃地畫琺瑯彩瓷胎錦雉嘉耦花鳥牡丹圖碗

A Yongzheng Enameled Yellow Ground Colorful Pheasants Devoted Couple Peonies Flowers and Birds Porcelain Bowl Imperial Palace Workshop Yongzheng period Qing Dynasty

(02)

清朝乾隆年製官窯黃地畫琺瑯彩瓷胎四面開光西洋人物及紅彩山水��碗

A Yongzheng Enameled Yellow Ground Four Windows Western Figures and Red-decorated Landscape Porcelain Bowl Imperial Palace Workshop Qianlong period Qing Dynasty

(03)

元朝粉青釉執壺連蓋

A Celadon-glazed Wine Pot with Cover Yuan Dynasty

(04)

大明成化年製官窯鬥彩葡萄紋高足杯

A Chenghua Doucai Grapes Stemcup Ming Dynasty Imperial Palace Workshop Chenghua Period Ming Dynasty

(05)

北宋汝窯青釉雙龍雙羊首印花紋半邊折沿三足洗

A Ru-kiln Celadon-glazed Dual Dragon and Dual Sheep-head Mark Porcelain Tripod Brush Washer with Semicircle-bent-mouth-edge Northern Song Dynasty

(06)

元博陵第款青花龍鳳紋四系扁瓶

A Blue and White Bolingdi Mark Dragon and Phoenix Moonflask with four Handles Yuan Dynasty

(07)

元釉裏紅龍鳳紋四系扁瓶

A Red-underglazed Dragon and Phoenix Moonflask with four Handles Yuan Dynasty

(08)

大明成化年製鬥彩海濤五爪龍紋天字罐

A Chenghua Doucai Sea Waves and Five-Claws Dragon Tianziguan Jar with Cover Chenghua period Ming Dynasty

(09)

明永樂官窯青花內外底龍戲珠紋棱口洗

A Blue and White Five-Claws Dragon playing Dragon-pearl-ball Decalobed Waterpot Imperial Palace Workshop Yongle Period Ming Dynasty

(10)

明永樂年製官窯薄胎青花嬰戲圖大碗

A Blue and White Playing Kids Eggshell Bowl Imperial Palace Workshop Yongle Period Ming Dynasty

(11)

大明萬曆年製青花礬紅彩鬥彩海浪蝦禽獸紋大碗

A Blue and White Red-glazed Doucai Sea Waves Shrimp Birds and Beasts Bowl Wanli Period Ming Dynasty

(12)

明朝正統年製官窯五彩歐洲使節天朝進貢人物風景紋天球瓶

A Rare and Fine Wucai European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping Imperial Palace Workshop Zhengtong Period (1436 - 1449) Four-character Seal-mark Ming Dynasty

(13)

清朝雍正年製官窯畫琺瑯彩瓷胎牡丹花鳥圖瓶

A Yongzheng Enameled Peonies Flowers and Birds Porcelain Vase Imperial Palace Workshop Yongzheng period Qing Dynasty

(14)

大明成化年製鬥彩花鳥紋高足杯

A Chenghua Doucai Stemcup

(15)

大明宣德年製官窯青花魚藻纏枝蓮花卉紋大盤

A Large Blue and White Fish Algae Lotus Dish Imperial Palace Workshop Xuande Period (1426 - 1435) Ming Dynasty

(16)

大明宣德年製官窯青花五爪龍鳳纏枝蓮花卉紋盤

A Blue and White Five-Claws Dragon and Phoenix Lotus Dish Imperial Palace Workshop Xuande Period Ming Dynasty

(17)

大明宣德年製官窯青花團龍鳳紋葵式洗

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