清 青花山水人物圖盤“玉堂”款

拍品描述

英文品名：A BLUE AND WHITE LANDSCAPE DISH WITH TRAVELLING SCHOLARS, THE BASE BEARING A YUTANG MARK 尺寸：D:36cm;H:8.5cm 敞口淺腹大盤，口沿塗醬。盤心繪青花山水圖：遠山近水，松石掩映，數位高士行旅其間，或策杖、或擔物，意境蕭疏。青料有濃淡層次，具水墨畫意趣。底書青花「玉堂」二字雙圈款。青花分水又稱「混水」，是景德鎮青花繪畫的核心技法。畫工以筆飽蘸料水，依照「頭濃、二濃、三成、四淡、五最淡」五層色階，在已勾好輪廓的胎上暈染，使一山一石、一遠一近皆有濃淡陰影，如水墨畫之五墨。此法成熟於明代中晚期，康熙朝「翠毛藍」一色可分數十層，最為精妙。盤面山水遠山近水，即賴分水而成。 A large shallow dish with a brown-edged rim. The interior is painted in underglaze blue with a literati landscape: distant mountains, near waters, pines and rocks, with several travelling scholars carrying staffs and bundles. The blue shows subtle ink-like tonal gradation. The base bears a two-character double-circle mark yutang. Water-division, or fenshui, is the core technique of Jingdezhen blue-and-white painting. The brush is loaded with cobalt wash and applied within pre-drawn outlines, conventionally in five tonal steps from darkest to palest, so that rocks, mountains and distance acquire shading like ink painting on paper. The method matured in the mid-to-late Ming; under the Kangxi emperor the kingfisher blue could be graded into dozens of subtle layers. The literati landscape on this dish, with distant mountains and near waters, relies on this wash technique to achieve its atmospheric depth.

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