内容提要
　　序 一
　　张浦生
　　作为中国古代伟大创造发明之一的瓷器，不仅是华夏悠久历史的见证，更是中国人永久的文化名片。中国瓷器除了以其独有的实用功能，改善美化人们的物质生活，又以其精湛的技艺和绚丽的装饰艺术而形成的收藏观赏性能，给人们精神世界带来无限美感和愉悦。由科技与艺术相结合产生的瓷器瑰宝，具有博大精深的神奇魅力，是中国人对世界文明作出的杰出贡献。
　　一部自三千年前就出现的中国瓷器史，它是由单色釉瓷和彩绘瓷两大品种组成。据考古资料表明，彩绘瓷始于六朝初孙吴时期，系受楚汉彩绘漆器工艺的影响而产生。之后，中国彩绘瓷发展演变，先后有三个热潮，即唐代长沙窑、宋代磁州窑、元、明、清景德镇窑。中国古代彩绘瓷采用了釉下彩、釉上彩、釉下釉上相结合的斗彩三种不同生产工艺。盛行于晚清同光年间的浅绛彩瓷为釉上彩。它将元代江南大画家黄公望喜好以赭色为主色的淡彩山水画技艺，移植在彩绘瓷器上，人称浅绛彩瓷，与当时艳丽媚俗的粉彩瓷相比，它显得那么清新典雅、秀丽温润，别具一格。再加上其具有诗、书、画、印及署名落年款的特点，给人以耳目一新之感，深受广大民众的普遍喜爱。故而，浅绛彩瓷应为我国古代彩绘瓷史上最后一个亮点。它上承明末清初民窑青花特色，下启民国珠山八友新粉彩画风，值得我们收藏、展示、研究。
　　我一生爱瓷，尤爱釉下彩青花瓷。近年来，我欣悉浅绛彩画始祖黄公望之乡裔——江苏常熟、太仓两地出现了一群以作者徐锦范、陈兵先生为代表的酷爱鉴藏晚清浅绛彩瓷的团队，他们心驰神往、流连忘返，旨在将这份宝贵的文化遗产继承与弘扬，走向海内外，令人可喜可贺。
　　民间工艺，民间收藏。值此《中国晚清浅绛彩瓷器》出版之际，余谨以此短文为序，以资祝贺勉励。
　　辛卯初夏书于海上片瓷山房
　　（作者为国家文物鉴定委员会委员、中国古陶瓷学会副会长、江苏省文史研究馆馆员、南京博物院研究员）
Preface
　　Written by Zhang Pusheng in Porcelain Shards Studio
　　Ceramics as one of the great inventions by Chinese people，not only witnesses the long history of China，but also works as one of the eternal name cards for Chinese culture.Ceramic wares have been improving China’s material life by their practical uses while bringing infinite sense of beauty and joy to people out of this exquisitely crafted category of decorative arts.Porcelain as a combination of technology and art，fascinates us by its profound，magic power，and is deemed a great contribution made by Chinese to the global civilization.
　　Chinese ceramics，dated early as three thousand years ago，is made up of monochrome wares and colored wares.It is said in the archeological reports that painted wares appeared in the Wu State in the early Six Dynasties，with heavy elements derived from painted lacquer wares produced in the Chu State of the previous dynasty --- the Han Dynasty.Painted porcelain saw three upsurges during its evolution，in particular Tang Dynasty for Changsha Ware，Song Dynasty for Cizhou Ware，and the Yuan，Ming and Qing period for Jingdezhen Ware.Three techniques were used for painted wares，including underglaze colors（you xia cai），overglaze colors（you shang cai），and a combination of both that was called “doucai”.Overglaze colors were especially received very well during the Tung Chih and Kuang Hsu reigns of the late Qing dynasty；this technique transplanted Huang Gongwang’s skills of light-colored（primarily ochre） landscape paintings to porcelain wares，which was formally named qianjiang ware.Huang is a great Yuan-Dynasty artist who initiated qiangjiang painting techniques.Compared to the then brightly-colored enameled wares，the qianjiang ware look refreshing and elegant，and its combination of colophon，painting，seal，signature and dates into one single piece of work，even enhanced the aesthetic taste of the art and thus won a wide popularity among common people.Therefore in my view，the qianjiang ware shall be classified as the last highlight in the history of ancient Chinese painted wares.The birth of the qianjiang ware is deemed a bridge that connects the previous blue-and-white wares produced in the late Ming and early Qing period to the later innovative enameled wares by the “Eight Friends of the Zhushan Mountain” in the Republic of China.It is worth our collection，exhibition，and study.
　　I love porcelain，especially blue and white wares.I am so glad to know that a group of qianjiang porcelain lovers represented by Mr.Xu Jinfan，the writer of this catalogue，and Mr.Chen Bin，have risen with recent years from Changshu and Taicang of Jiangsu Province，the hometown of the artist Huang Gongwang，the forefather of qianjiang paintings.They have proved their love of this art and by their collection and study activities，and are trying to make this cherished cultural heritage known to both home and abroad，which really makes me happy.
　　Art by people shall be collected by people.Today when the catalogue “Qianjiang Ware in the Late Qing Period” is published，I write this preface to send my best wishes，wish the exhibition and the catalogue a great success.
　　（Prof.Zhang is the member of the National Committee of Cultural Heritage Authentication，Vice Chair of China Ancient Ceramics Association，and Research Fellow in the Jiangsu Provincial Institute of Culture and History and Nanjing Museum）
序 二
　　龚良
　　经徐锦范、陈兵两位先生和一群志同道合的藏家多年来的共同努力，一叠厚厚的《中国晚清浅绛彩瓷器》书稿清样静静地放在我的案头。翻阅着这本有700多件器物作品、数十人支持参与、花费四年多时间精心研究的巨作，我深深感慨“有志者事竟成”。让徐锦范等先生从一个纯粹喜欢文物的收藏爱好者，到探究个中原委的收藏研究者，再演变成为今天的对中国晚清民国浅绛彩瓷器综合收藏、研究、利用的集大成者，使我真切地感受“只要功夫深，铁杵磨成针”，“世上无难事，只怕有心人”的内在意义。
　　令我更为敬佩的是，作者在书稿中深入而又全面的研究，从浅绛彩的概念、特点，到浅绛彩瓷器的兴起、盛行和衰落，从瓷器绘画的形制题材、画家群体和艺术水平，到其潜在价值和收藏目标，无不体现出专业学者般的视野与严谨，体现出作者的孜孜追求及所付出的艰辛劳动。
　　中国晚清浅绛彩瓷器，是清同治年间出现的一种由文人画家在瓷胎上仿浅绛山水而创新绘制的瓷艺新品种，原是属于一项比较冷僻的收藏门类和专题的艺术类别。中国画中的浅绛山水，起源于元代黄公望在水墨钩勒皴染的基础上，敷设以赭石为主色的淡彩山水画，明清时期盛行。《芥子园画传》曰：“黄公望皴，仿虞山石面，色善用赭石，浅浅施之，有时再以赭笔钩出大概。王蒙复以赭石和藤黄着山水，其山头喜蓬蓬松松画草，再以赭色钧出，时而竟不着色，只以赭石着山水中人面及松皮而已。” 浅绛彩瓷器的出现与发展，也与晚清时期的瓷画家大多是有艺术修养的文人有关，作品多为文人心意所属，内容有山水、人物、花鸟等，风格属小写意画法。有人说，浅绛彩瓷是所有绘瓷种类中最具文人气，它也是文人参与最多的雅瓷雅绘，我很赞同这种说法。文人的参与、作品少见的匠气，是浅绛彩瓷值得收藏的重要方面。南京博物院收藏了五件流传有序的官窑瓷浅绛彩花盆，其中四件收录在南京博物院编著的《宫廷珍藏：中国清代官窑瓷器》一书中，一件是方形花盆，四件为圆形花盆。方形花盆的白釉为泛鸭蛋青色的波浪釉，内壁半截罩釉。外壁四面纹样皆为浅绛彩宋词山水图，虽然未署名款，但是从构图和用笔看，皆为晚清浅绛彩瓷画中的精品。四面瓷画上的题词分别为：谢灵运的“托身青云上，栖崖挹飞泉”；杨万里的“幸自寒林俱淡笔，却将浓墨点栖鸦”；陆游的“风力渐添帆力，健撸声常，杂雁声悲”；高启的“淮山暮钟起，楚水春帆漾”，瓷画表现出题词所蕴涵的悠远意境。另外四件圆花盆的时代应该晚于方花盆，其造型、绘画笔法和纹样构图皆一致，纹样描绘是与品茶、饮酒和折桂等文人情趣有关的题材，瓷画作者皆署名为“菖蒲珠山厂之文湖草堂周友松”。切合圆形花盆造型，纹样一面为绘画，另一面为书唐诗或者画题。
　　徐锦范先生是我的同乡，先后供职于江苏的太仓、常熟等地方。自元以来，这一带经济繁荣、文化昌盛，就中国画而言，元黄公望创浅绛山水画风；明吴门画派继承北宋、元人画风，所绘山水雅逸文静而沉雄苍郁；清初王时敏、王鉴、王翚、王原祁合称“四王”，其山水画笔墨纯熟，受皇室青睐，其画风左右了约两个世纪的清代画坛。深受这块土地熏陶的锦范先生，内心深处总是敬仰传统的文化与艺术，虽然他从事的工作与瓷器艺术、文物保护甚至传统文化都毫不相干，但他从喜欢收藏开始，到喜欢中国传统艺术、学习中国传统文化，酷爱收藏浅绛彩瓷器到了痴迷的程度。爱好增加了，知识增长了，艺术素养提高了，加上明显增多了的白发，才有了锦范先生今天的成就和胸怀，有了对浅绛彩瓷器收藏的美誉度和对浅绛彩瓷艺术研究的广袤度。
　　前不久，我应邀考察即将开放的太仓博物馆新馆，其间，获悉锦范先生愿将其收藏的浅绛彩瓷器，无偿展示于家乡的太仓博物馆，我想，这是收藏者“奉献社会、服务公众”的胸怀又一次高尚展示。古语云：“独乐乐不如众乐乐”，将自己的收藏珍爱和研究成果奉献社会，锦范先生必定是满心欢喜。面对这一切，我的内心也充满了喜悦并为之高兴。
　　高兴之一，是浅绛彩瓷器这一艺术门类得到正名。浅绛彩瓷在晚清至民国初期不过兴衰60余年，之后半个世纪几乎不被收藏者、研究者和文化人看好，但从20世纪90年代以来逐渐得到重视，现在更是在一群孜孜不倦的爱好者的关注、重视和深入研究下，使人们对浅绛彩瓷器的艺术价值有了更深刻认识和更大肯定。
　　高兴之二，是民间收藏者群体得到发展和壮大。一群文物爱好者从爱好收藏走向观摩交流，走向共同探讨研究，方向正确、目标明确，有了很好的研究成果，有了具实证意义的话语权，有了对古代文物技术和艺术进行评估的一席之地。
　　高兴之三，是盛世收藏这一行为得到了越来越积极的社会评价。民间收藏保留社会发展的物证，民间收藏补充了国家博物馆的资料缺憾，民间收藏陶冶人们的情操。我院古陶瓷鉴定家张浦生先生明确指出：“不慕文化就别玩收藏”，此语中肯贴切。　　
　　我羡慕收藏爱好者和徐锦范等先生对此乐此不疲的追求。他们的生活因此而多彩，他们的内心因此而充实，他们的胸襟因此而开阔，他们的世界因此而美妙。积极有为的民间收藏因此造福个人，造福群体，造福社会。
　　本书的编辑出版，集我国民间浅绛彩瓷收藏研究之大成，是继1990年中国香港市政局出版的《瓷艺与画意》，2000年梁基永的《中国浅绛彩瓷》，2003年陈建欣、穆青的《浅绛彩瓷画》等之后的又一本关于浅绛彩瓷的重要著作。它的付梓，必将会推动浅绛彩瓷的研究和收藏，填补了陶瓷艺术的一项空白，实乃民间收藏界的幸事。
　　是为序。
　　2010年11月20日
　　（作者为江苏省博物馆学会理事长、南京博物院院长、江苏省文物局局长）
Preface
　　By Gong Liang
　　Chairperson of the Executive Council，the Museums' Association of Jiangsu Province
　　Director of Nanjing Museum and Jiangsu Cultural Heritage Administration
　　Through years of effort by Messrs.Xu Jinfan and Chen Bing，and their friends in the collection arena，a thick stack of manuscripts of the catelogue Qianjiang Ware in the Late Qing Period has been lying on my desk，finally and quietly.The catalogue includes more than seven hundred qianjiang wares，and involves dozens of people in compiling for more than four years－this tells me "Nothing is impossible to a willing mind".This catalogue has witnessed the evolution of Mr.Xu Jinfan and his friends，from simply art lovers，to collectors and finally to connoisseurs who both studies and collects qianjiang wares.
　　What makes the writer admirable is Mr.Xu's fully detailed study in the qianjiang ware，from definition，features，its rise，boom and decline，to its painting forms and themes，the artists and their competences，and the ware's underlying value as well as the goal in collecting，which all have reflected the scope and prudence of an art professional as an result of the writer's pursuit and diligence.
　　Qianjiang ware in the late Qing period first rose in Tung Chih Reign as a new type of painted porcelain art，which features painting light-colored landscapes on plain body.It was originally a rarely-noticed category of art in the collection arena.The qianjiang landscape painting derived its style from Master Huang Gongwang's works，in which he applied ochre on a landscape drawing，and this painting style thrived in the Ming and Qing dynasties.In the painting catalogue Mustard Seed Garden，it has been recorded that Master Huang was the first one who applied ochre on landscape paintings，and Master Wang Meng followed him to use ochre as well as other colors.The rise and boom of qianjiang ware was also related to the background of its artists who were normally well-educated literati.Their works have reflected the spiritual pursuit of scholar artists，covering themes of landscape，figure，birds and flowers，and etc.Qiangjiang ware is deemed by some people as an elegant porcelain art that best represents literati's spirit and among all the categories of art，it involves the most literti in production－I fully agree with this point.The involvement of literati artists improves the work by eliminating the unnaturalness by the craftsmen，and makes collecting this art worthwhile.In the collection of Nanjing Museum，there are five imperial qianjiang-ware flowerpots with clear provenances，four of which were included in the catalogue Treasure from the Palace：Chinese Qing-Dynasty Imperial Wares.These five flowerpots include one square and four round.The square one is coated in bluish glaze and painted with qianjiang landscapes on four sides and written with Song-dynasty poems.Although there are no artist's signature and marks seen on the four landscape paintings，from their styles in both composition and brushwork，they can be dated late-Qing period.On each painting there is a poem composed by famous ancient literati，respectively Xie Lingyun，Yang Wanli，Lu You，and Gao Qi，and they each convey a mood of a past remoteness.The other four round flowerpots are dated later than the square one，all of which share the same form，brushwork，themes and composition of the picture.The themes cover literatie's life and aspiration，such as drinking tea，drinking wine，passing the royal examination，and etc.All the signatures shown on these four flowerposts are by the artist Zhou Yousong.On these round pots，there is noramlly a painting in the face and poems or inscriptions in the back.
　　Mr.Xu Jinfan is my fellow townsman，who has worked in succession in Taicang，Changshu，and other places.Since the Yuan Dynasty on，economy and culture thrived in this region.In the Yuan Dynasty，Master Huang Gongwang created the style of the qianjiang painting；in the Ming Dynasty，the Wumen School followed the heritage of their forunners in Northern Song and Yuan dynasties，in painting landscape in an elegant，serene，but also imposing style；in the early Qing period，“The Four Wangs”－Wang Shimin，Wang Jian，Wang Hui，Wang Yuanqi－boasted a mastery of painting landscapes，and their works were very popular among the then royal families and therefore their painting styles dominated the Qing-Dynasty art arena for about two centries.Mr.Xu，educated in such a traditional background，greatly admires Chinese classical art and culture at heart.Although his profession has nothing to do with porcelain wares，cultural heritage preservation and traditional arts，Mr.Xu loves art so much that he not only collects porcelain wares but also study Chinese culture to an extreme extent.Through collecting art，he enhances his interest in art and improves his knowledge of art.That's why nowadays Mr.Xu，white-haired，has won a good fame in collecting and studying qianjiang wares.
　　Not long ago，I was invited to visit the new building of Taicang Museum that is to be inaugurated to the public very soon.It was then that I learned that Mr.Xu was so generous to agree to show his qianjiang wares in this museum for free.This betrays his goal of “devoted to society and serve the public”.An ancient Chinese saying tells us that “Enjoying alone is no better than enjoying together”.I believe that having his own collection on display to the public will certainly making Mr.Xu filled up with joy.
　　As a friend，I am also glad for him for the following three points.
　　Firstly，I am glad that the qianjiang ware has finally won its position in Chinese art history.Qianjiang ware has a comparatively short history of about sixty years，thriving from the late Qing period to the Republic of China.In the fifty years after its thriving，it was neglected by collectors，professionals and scholars；from the 1990s，however，geat importance was attatched to this category of art by a group of art lovers，through whose study and collection，qianjiang ware was finally recognized in its art value.
　　Secondly，I am glad for collectors who come out of common people are growing and prospering in great numbers.They started their art experience by collecting arts，then exchange views of art with each other，and finally get together for a further deep study.It is they who boast holding collections at hand and won themselves a position in evaluating ancient Chinese art and relevant crafting technologies.
　　Thirdly，I am glad for a positive social feedback at the behavior of collecting art in prosperous times.Private collections have preserved prooves of social evolution，filled the void of national collections，and further edified the public.Mr.Zhang Pusheng，the specialist in authenticating ancient porcelain，once pointed out，“those who don't love art shall not collect art.” I fully agree with this.
　　I envy the persistent pursuit of collecting art by these art lovers，such as Mr.Xu Jinfan.Due to collecting arts，their life has become colorful，their knowledge has been enriched，their minds has been broadened，and their world has become wonderful.Private collections are not only benefiting their collectors，but also large groups of people if not the whole society.
　　This catelogue includes a great information of current private collections on qianjiang wares，and is deemed an important work in this field after the catelogues The Art of Porcelain and Painting（ciyi yu huayi，published by Hong Kong Municipal Council in 1990），Chinese Qianjiang Ware（written by Liang Jiyong in 2000），and Qianjiang-ware Paintings（written by Chen Jianxin and Mu Qing in 2003）.Its publishing will surely push further the study and collection of qianjiang ware，and fill the void of porcelain art in Chinese art history.We are lucky to see this catelogue.
　　November 20th，2010

目录
8 图版目录
13 序一
15 序二
21 前言
2 概论
50 晚清浅绛彩瓷画家简介
70 平淡野逸的浅绛彩山水
100 凡例
101 图版
533 缩影作品
551 图版作品的瓷画家检索目录
554 缩影作品的瓷画家检索目录
556 晚清天干地支与岁阳岁阴纪年对照表
557 后记