仿古之風：中國掐絲琺瑯爭議風格定年研究

Abstract

本文主要由過去學界中一批中國掐絲琺瑯的定年爭議切入。首先回顧元代說：楊伯達、Béatrice Quette等人；以及明中期說：Harry Garner、Helmut Brinker和Albert Lutz等人，對於中國掐絲琺瑯的風格定年研究方法。並藉由回顧、交集雙方看法，觀察出在缺乏標準器的情況下，以跨材質工藝品做比對而直接定年可能產生的問題。因此，筆者嘗試先從中國掐絲琺瑯材質內部進行整理，將北京、台灣故宮的掐絲琺瑯藏品以共同特徵：纏枝蓮紋，進行風格分組、排序後，歸納出第I到V型，五種不同的相關風格群組；而前述爭議的作品群組剛好屬於筆者所分類的第I型相關風格。 與十五到十八世紀初的掐絲琺瑯器和部分銅器進行比對後，發現爭議的第I型相關風格在紋飾、布局、器形、拼裝、格式化細節等方面，都與明末清初的作品較為相近，尤其與康熙年間的掐絲琺瑯器近似度最高。又根據第I型相關風格數量龐大、具有統一格式化的風格等特點，其最可能的生產時地應為清初宮廷。再者，第I型相關風格中大量出現的一類小型三足爐，與明末清初的宣德爐之器形、大小相似。若合併掐絲琺瑯於明末清初開始大量進行拼裝、後加景泰偽款的情況來看，第I型相關風格的產生背景，應受晚明以來的仿古風尚所影響；惟並不單單因循仿舊，而在風格上有所創新、變化。因此筆者初步推斷：第I型相關風格之掐絲琺瑯，應是承襲自晚明仿古之風、又於清初增添變化的作品。

This thesis focused on the disputed type of Chinese cloisonné which had two chronological opinions --Yuan (1271-1368) and Mid-Ming (1450-1550) Dynasty. Due to the diversity, it is questionable by just taking other materials for chronology in the absence of reliable dates for extant objects. Therefore, in order to clarify the context of Chinese cloisonné, the author used lotus scroll patterns to divide Chinese cloisonné in National Palace Museum (Taipei) and Palace Museum (Beijing) into five groups which were Group I to Group V. And Group I was correspond to the dispute type above. Through the examination of decoration, shape, and technical characteristics, comparing to Chinese cloisonné from 15th to 18th century, Group I was most similar to cloisonné and some bronzes made in 17th to early 18th century, especially cloisonné made in Kangxi (1654-1722) period. As a result, it was suggested that Group I might be produced during late 17th century to early 18th century in Qing court. In addition, the shape of some small censers in Group I were similar to Xuande (1426-1435) censers made in the 17th to 18th century. With the activity of adding Jingtai (1450-1456) inscriptions on Chinese cloisonné, the production of Group I might be influenced by the antiquarian trends from 17th century.