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Types of Decorative Motif
裝飾紋樣

Decorations of Yuan dynasty ceramics
Compared with the Song dynasty’s relatively simple and archaic ceramic designs, the Yuan dynasty innovated on earlier traditions by altering layouts and decorative motifs through the use of pigments, moulding and carving. Distinct from Song designs, many Yuan porcelains were decorated in a geometrical and sectional format with compact patterns influenced by Islamic aesthetics. Specific motifs may represent the patron’s status, given that certain motifs could only be used by the royal family or court officials. Consumer-oriented porcelains were decorated with popular auspicious motifs conveying blessings or wishes that appealed to a broader market.

Major motifs
Floral patterns and mythical animals occupy significant areas of the objects. The motifs were traditionally rendered on ceramics and other objects such as metals and garments, which carried symbolic meanings that express auspicious wishes, virtue or power.

元朝瓷器紋飾 
元朝瓷器紋飾相對簡約、古樸;元朝則承先啟後,創新紋飾和設計佈局。有別於宋朝,元朝瓷器設計獨特之處,是其幾何和區間分明的佈局, 鋪排密集,因此學界認為該時期的紋飾頗受伊斯蘭文化影響。此外,朝廷也指明特定紋飾僅可用於皇室或官署器具,顯示使用者地位。而在民間銷售的瓷器也使用不少具吉祥寓意的紋飾。


主要紋飾 
花卉、瑞獸為不少展品的主要紋飾,主題鮮明,源遠流長,在元代以前已出現於陶瓷或其他器物,如金屬、衣服之上,具願望、德行、權力等象徵意義。

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Dragon and Phoenix
The snake-like dragon and bird-like phoenix were mythical animals that have appeared on objects since ancient times. They symbolise virtuous people; as early as the Han dynasty, texts equated them with royalty. In the Liao and Jin dynasties, decrees designated the motifs as imperial emblems, especially on clothing. In the Yuan dynasty, the five-clawed dragon with two horns, along with the phoenix, was used solely by the royal court on clothes, as well as other objects such as tea and wine vessels. Meanwhile, dragon motifs with three or four claws were allowed to be worn and produced among nobles and officials.


龍與鳳 
自上古時代,龍鳳已為華夏瑞獸,分別呈蛇和鳥形,象徵有德之人,早於漢朝,龍已為皇室象徵。時至遼、金兩代,朝廷禁止私穿龍紋服飾。而到元代,根據《新元史》,指定御用龍紋為「五爪二角者」,不僅衣服,茶酒器皿也不得私用龍鳳紋,而三、四爪龍仍可供貴族、士人使用。

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Dragon Jar with cover
Yuan dynasty, 14th century, Jingdezhen

Underglaze-blue decoration
H. 44 cm


Motifs (top to bottom)
Coin
Scrolls
Lotus petal panels with lotus motifs
Peony scrolls
Three-clawed dragon
Lotus petal panels with cloud motifs

龍紋蓋罐
元代,14世紀,景德鎮
青花
高44厘米

紋飾(上至下)
錢幣紋
卷草卷
蓮花紋蓮瓣
牡丹紋
三爪龍
如意雲紋蓮瓣

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Phoenix Jar
Yuan dynasty, 14th century, Jingdezhen

Underglaze-blue decoration
H. 39 cm

Motifs (top to bottom)
Scrolls
Floral Sprays
Lotus petal panels with eight Buddhist emblems
Phoenix amid chrysanthemum scrolls
Peony scrolls

 

鳳紋罐
元,14世紀,景德鎮
青花
高39厘米

紋飾(上至下)

卷草紋

花卉紋

八寶紋蓮瓣

鳳紋、菊花紋

牡丹紋

Peony
Referred to as the ‘King of Flowers’, tree peonies were cultivated as ornamental plants. In the Tang dynasty, tree peonies emerged as common decorative motifs on architecture and silverware. During the Song dynasty, many scholars and poets wrote and praised their beauty, which was associated with wealth and rank.


牡丹
牡丹盛於唐朝,時人培育眾多,也以此作紋飾的建築、銀器漸多。及至宋朝,文士多有描寫牡丹,周敦頤曰「花之富貴者」,陸佃亦道「今呼牡丹謂之華王」。

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Jar
Yuan dynasty, 14th century, Jingdezhen

Underglaze-blue decoration
H. 20 cm

Motifs (top to bottom)
Lozenge patterns
Lotus sprays
Peony scroll
lotus petal panels with cloud motifs


元,14世紀,景德鎮
青花
高20厘米

紋飾(上至下)
菱形紋
蓮花
牡丹
如意雲紋蓮瓣

Chrysanthemum
The plum blossom, orchid, bamboo and chrysanthemum are regarded in China as ‘The Four Gentlemen’—embodying the virtues of uprightness, purity, perseverance and humility. The chrysanthemum is specifically associated with humility and leading a simple and secluded way of life, as symbolised by the Jin dynasty poet Tao Qian (365–427), who retired from his official position and tended a garden of chrysanthemums in his cottage. Known as ‘The Hermit of All Flowers’, chrysanthemums are also associated with longevity and chastity due to their sturdy stalks and dense foliage. The flowers and leaves do not fall off after they wither at the end of the season.


菊花
梅蘭菊竹並稱花中四君子,分別象徵傲骨、 幽香、堅韌、隱逸。晉朝詩人陶潛退隱官場,回鄉田園躬耕,「採菊東籬下」,從此菊有「花之隱士」之稱。再者,菊花枝幹強韌,即使凋謝,花葉仍不脫落,故菊也象徵長壽、貞潔之意。

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Plate
Ming dynasty, Hongwu period (1368–98), Jingdezhen

Underglaze-blue decoration
Diam. 20 cm

 

Motifs (edge to centre)
Key-fret
Chrysanthemum scrolls
Lotus spray


明洪武,1368–98年,景德鎮
青花
直徑20厘米

 

紋飾(外至內)
回紋
菊花紋
蓮花紋

Lotus
The Chinese have two words for lotus, lian and he, meaning ‘to bind together’ and ‘harmony’. The lotus became a significant decorative theme for ceramics as early as the North and South dynasties. Scenes of a lotus pond with birds or other plants were quite popular. The literati Zhou Dunyi praised the lotus ‘for growing from the mud without leaving a stain’. The lotus also signified purity and enlightenment in Buddhism, of which the Yuan court was a major patron. Moreover, lotus petals inspired the lobed rims that first emerged on bronze mirrors during the Tang dynasty. In the Yuan dynasty, the lotus petals were altered to a rectangular format and served as the frame for ornamental designs—possibly influenced by the arched shape in decorative sections of Islamic art.


蓮花
蓮又稱荷,兩個名稱分別象徵連結與和諧。 早於南北朝,蓮花已是常見的陶器紋飾, 元朝瓷器上,蓮池花鳥景觀甚為普遍。蓮花受歷代文人所愛,如周敦頤謂蓮「出淤泥而不染」。而元室信奉佛教,佛教也以蓮之清淨、脫俗作為象徵。另外,蓮瓣設計早見於唐代銅鏡邊飾。元朝時蓮瓣改作矩形設計, 作為紋飾設計的邊框,學界認為此或受伊斯蘭尖拱裝飾的影響。

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Cupstand
Ming dynasty, Hongwu period (1368–98), Jingdezhen

Underglaze-blue decoration
Diam. 20 cm

 

Motifs (edge to centre)
Scrolls on foliated rim
Lotus sprays
Lotus scrolls
Key-fret
Lotus flower head

盞托
明洪武,1368–98年,景德鎮
青花
直徑20厘米

紋飾(外至內)
卷草紋花口
蓮花紋
蓮花紋
回紋
蓮花紋

Eight Buddhist emblems
As a major patron of Tibetan Buddhism, Yuan dynasty porcelains included numerous Buddhist elements and symbols. Generally rendered in eight items, known as ‘The Eight Treasures’, the individual items were arranged flexibly and without any strict order, often rendered with eight-lobed rims or lotus petals. Common elements include the Dharma wheel, Conch shell, Victory banner, Parasol, Lotus flower, Treasure vase, Pair of fish and Endless knot. Later in the Ming and Qing dynasties, the shape of the Eight Treasures became more standardised.


八寶
元室信奉佛教,不少瓷器採用佛教的象徵物作紋飾,常見者共八種,故稱八寶,多裝載於蓮瓣邊飾或框架中。常見元素包括法輪、 法螺、法幢、寶傘、蓮花、寶瓶、雙魚、盤長。然而,元代八寶的內容、排列方式並沒準則,自明清開始,其形制方始固定。

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Bowl
Ming dynasty, Zhengtong period (1436–49), Jingdezhen

Underglaze-blue decoration
Diam. 38 cm


明正統,1436–49年,景德鎮
青花
直徑38厘米

Interior

The bowl is set with immortal landscapes (仙山樓閣) consisting of symbolic motifs. The distant steep peaks shrouded in clouds set the scene in a transcendent realm. A pavilion stands, surrounded by a garden with pine and lingzhi fungus, symbolising longevity, and plantain and peony. Separated by a band of wave patterns, the central medallion is a lion playing with a beribboned brocade ball, with symbolic meanings related to fertility. The rim is framed by coin patterns.


Exterior
The immortal landscape is set with propitious plants such as peonies and plantains, as well as auspicious animals qilins and lions, wrapped by key-fret and lotus petal panels on the top and the bottom.

內側

碗內為仙山樓閣,山岳高聳入雲,如臨仙境。亭前園林種有松樹和靈芝,象徵長壽,另有芭蕉和牡丹。以海浪紋為界,中央為獅子戲繡球,象徵子孫眾多。口沿飾以錢幣紋。

外側
仙山樓閣畫有牡丹、芭蕉等吉祥植物,以及麒麟和獅子等瑞獸,頂部飾以回紋,底部飾以蓮瓣。

White白

Blue藍

Red紅

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