藏地 :英国巴特勒家族 纪年 :1662 - 1722(康熙) 工艺 :青花釉里红 器形 :浅碗
主题 :僧房假寓
出自《西厢记》第一本第二折。张生自打在普救寺佛殿旁撞见了莺莺之后,回到客店便坐卧不宁,害上了相思,脑海里尽是莺莺的俏模样。他随即做了一个决定:不急于上路,要设法在普救寺借住下来,以便找机会接近莺莺。第二天,张生又来到普救寺,专门拜访寺里的主持法本长老,商量借居之事。
After Zhang glimpsed Yinying outside the Buddha Hall in the Monastery of Universal Salvation, he went back to his rooms lovestruck. He was unable to think about anything else. Immediately he decided to prolong his stay and try to see her again. The next day he went back inside the monastery to pay a formal visit to the head abbot Faben.
瓷器描述 :在英国巴特勒家族收藏的一件康熙青花釉里红浅碗上,《借厢》图里有四个人物:张生、法本、琴童、和端着茶盘刚刚从屏风后面转过来的小和尚。画面的视点比前述几幅都高,为鸟瞰图。张生在三曲屏风前坐的是搭脑二出头灯挂椅,法本则坐在圆凳上。两人正在相互拱手致意。方丈客厅的外部建筑构件几乎全部省略,比如雕花槅扇门就不见了。不过,瓷画匠在画面左侧扎起了厚重的帷幔,不知是否受到当时舞台表演的启发。帷幔同上面的屋檐、右面的假山石、近景中的栏杆一起,将屋内的人物活动合围起来,构成一个“取景框”。幕帘边有只仙鹤探头而出,为的是给禅林增添清雅的气氛。画匠用铜红釉绘屋顶上的云朵、山石边的花草、甚至琴童手中包袱皮上的花纹,虽然笔触不够清晰,但是鲜艳的红色和璀璨的钴蓝相得益彰。
A depiction of the scene on a Kangxi underglazed shallow bowl has adopted an even higher viewpoint – almost bird’s eye. A three panelled screen is visible. Both Abbot Faben and Scholar Zhang have their hands clasped in deference to each other. The former is seated on a stool while the latter is in an armchair. The clouds on the roof and the flowers in the foregreound have been rendered with underglaze copper red. The artist has purposefully highlighted the silk covering on the bundle Scholar Zhang’s pageboy is carrying. The tea serving monk is partly concealed by the screen. Edging into the scene from the left is a crane, whose presence is designed to evoke a highbrow atmosphere, like the banana plant in the previous image.
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