元 龙泉窑铁锈斑(褐斑飛青瓷)青釉葫芦型酒执壶

元 铁锈斑青釉葫芦型酒执壶

Description

元 铁锈斑青釉葫芦型酒执壶

参考:苏富比
CHINA / 5000 YEARS
September 27, 07:57 AM PDT
Lot 687 A ‘Longquan’ celadon-glazed double-gourd ewer, Southern Song – Yuan dynasty
南宋至元 龍泉窰青釉葫蘆式執壺

南宋至元 龍泉窰青釉葫蘆式執壺
南宋至元 龍泉窰青釉葫蘆式執壺

南宋至元 龍泉窰青釉葫蘆式執壺
南宋至元 龍泉窰青釉葫蘆式執壺

南宋至元 龍泉窰青釉葫蘆式執壺
南宋至元 龍泉窰青釉葫蘆式執壺

南宋至元 龍泉窰青釉葫蘆式執壺
南宋至元 龍泉窰青釉葫蘆式執壺

Estimate 5,000 – 7,000 USD

A ‘Longquan’ celadon-glazed double-gourd ewer
Southern Song – Yuan dynasty
南宋至元 龍泉窰青釉葫蘆式執壺
Japanese wood boxes (5)
Height 4⅞ in., 12.5 cm

Condition Report
The handle with a fine hairline encircling the lower part, otherwise in overall good condition with age-consistent wear and minor firing imperfections.
手柄底部一圈見一細沖,整體品相良好,見正常表面磨損及少許微細窰燒瑕疵。

参考:苏富比
May 17, 2023
Lot 41
A small iron-splashed Qingbai double-gourd ewer, Yuan dynasty
元 褐斑飛清小壺

元 褐斑飛清小壺
元 褐斑飛清小壺
元 褐斑飛清小壺
元 褐斑飛清小壺
元 褐斑飛清小壺
元 褐斑飛清小壺
元 褐斑飛清小壺
元 褐斑飛清小壺

Estimate 600 – 800 GBP
Lot Sold 3,556 GBP
A small iron-splashed Qingbai double-gourd ewer,
Yuan dynasty
元 褐斑飛清小壺 (2)
Height 11.9 cm, 4¾ in.

Condition Report
Some general wear to the surface overall. There are some chips the tip of the spout and rim. Firing imperfections are also visible, in particular to the cover.

Saleroom Notice
Please note the guarantee line for this lot should read: A small iron-splashed Qingbai double-gourd ewer, Yuan dynasty.

Provenance
Collection of Dr Wou Kiuan (1910-1997).
Wou Lien-Pai Museum, coll. no. M.C.113.
吳權博士 (1910-1997) 收藏
吳蓮伯博物院,編號M.C.113.

参考:佳士得
19 7月 2018 | 網上拍賣 16311
中國藝術:倫敦夏季網上拍賣
拍品 205
歐洲私人珍藏
元/明 龍泉窯「飛青瓷」褐斑小壺及罐一組三件
YUAN-MING PERIOD (1279-1644)

元/明 龍泉窯「飛青瓷」褐斑小壺及罐一組三件
元/明 龍泉窯「飛青瓷」褐斑小壺及罐一組三件
元/明 龍泉窯「飛青瓷」褐斑小壺及罐一組三件
元/明 龍泉窯「飛青瓷」褐斑小壺及罐一組三件
元/明 龍泉窯「飛青瓷」褐斑小壺及罐一組三件
元/明 龍泉窯「飛青瓷」褐斑小壺及罐一組三件

成交價 GBP 1,875
估價 GBP 1,200 – GBP 1,800

The ewer, 5 1/8 in. (13 cm.) high
Please note this lot is the property of a consumer. See H1 of the Conditions of Sale.

参考:國立故宮博物院
元 青白瓷褐斑葫蘆式執壺

元 青白瓷褐斑葫蘆式執壺
元 青白瓷褐斑葫蘆式執壺

資料識別:
贈瓷000338N000000000
資料類型:陶瓷器
描述:
葫蘆式執壺,小口、細腰葫蘆式瓶身,一側曲把拱起銜接上下身,另一側的管狀長流從下腹部高豎起再向外曲折;餅形足,平底無釉,沾有窯渣。此種注子造形為元代所常見,有青花、青白瓷、褐斑青白瓷等裝飾。本件青花注子,器壁以青花繪飾,口緣一道回紋,上下腹各繪連枝花卉,流的壁上也繪一小枝花,筆法簡率,與其他販至東南亞的小件青花器的繪法一致。外壁罩以灰青色釉。本件褐斑青白瓷柱子,釉色灰青,鐵褐色斑點隨意點灑,與韓國新安海域沉船(約1323)所見作品相似。
日期:1301 A.D.-1400 A.D.
格式:高11公分 口徑1.8公分 足徑5.1公分
關聯:《大汗的世紀:蒙元時代的多元文化與藝術》

参考:Sotheby
412
A LONGQUAN CELADON ‘TOBI SEIJI’ YUHUCHUNPING YUAN – MING DYNASTY |
元至明 龍泉窰「飛青瓷」褐斑玉壺春瓶

元至明 龍泉窰「飛青瓷」褐斑玉壺春瓶
元至明 龍泉窰「飛青瓷」褐斑玉壺春瓶
元至明 龍泉窰「飛青瓷」褐斑玉壺春瓶
元至明 龍泉窰「飛青瓷」褐斑玉壺春瓶

Estimate:
60,000 – 80,000 HKD
Description
A LONGQUAN CELADON ‘TOBI SEIJI’ YUHUCHUNPING
YUAN – MING DYNASTY
元至明 龍泉窰「飛青瓷」褐斑玉壺春瓶
wood stand and Japanese wood box
23.5 cm, 9¼ in.

参考:苏富比 639
中國藝術品
元 龍泉窰青釉褐斑膽瓶

元 龍泉窰青釉褐斑膽瓶
元 龍泉窰青釉褐斑膽瓶

200,000 — 300,000港幣
拍品已售 250,000 港幣 成交價 (含買家佣金)

拍品詳情
元 龍泉窰青釉褐斑膽瓶
16.3 公分,6 3/8 英寸

狀況報告
整體品相良好。頸一側(口沿下)一小處輕微撞痕。

相關資料
此類長細頸梨形膽瓶,通常不見鐵鏽斑裝飾,可比一類例,藏於上海博物舘,録於李剛編,《青瓷風韻》,北京,2010年,圖版67(下);亦可見一例,先後為 Marcus D. Ezekiel、H.R.N Norton 及 Brodie Lodge 伉儷遞藏,三度售於倫敦蘇富比,分別為1946年、1963年、及1988年6月7日,編號180。亦比一膽瓶,尺寸略大,售於倫敦蘇富比1996年6月11日,編號23;福克還有藏例,售於紐約佳士得2001年9月21日,編號481。

中國藝術品
2016年6月2日 – 2016年6月3日 | 下午 2:00 HKT
香港

参考:佳士得 拍賣 12675
養德堂珍藏中國古陶瓷
Hong Kong, HKCEC Grand Hall|2016年11月30日
拍品3133|PROPERTY FROM THE YANGDETANG COLLECTION
元 龍泉窯「飛青瓷」褐斑蒜頭瓶一對
YUAN DYNASTY (1279-1368)

元 龍泉窯「飛青瓷」褐斑蒜頭瓶一對
元 龍泉窯「飛青瓷」褐斑蒜頭瓶一對
元 龍泉窯「飛青瓷」褐斑蒜頭瓶一對
元 龍泉窯「飛青瓷」褐斑蒜頭瓶一對
元 龍泉窯「飛青瓷」褐斑蒜頭瓶一對
元 龍泉窯「飛青瓷」褐斑蒜頭瓶一對

成交總額
HKD 12,060,000

估價
HKD 15,000,000 – HKD 25,000,000

元 龍泉窯「飛青瓷」褐斑蒜頭瓶一對
10 in. (25.3 cm.) high

來源
於1980年代購於台北

文獻及展覽
展覽
東京日本橋高島屋、京都四条高島屋、大阪難波高島屋、橫浜高島屋、MOA美術館、吳市立美術館、山口縣立美術館,《中国陶磁2000年の精華》,1992年4月9日-1992年11月23日(巡迴展覽),圖錄圖版57號

拍品專文
天外飛青 —龍泉窯青釉褐斑蒜頭瓶

此對龍泉窯「飛青瓷」蒜頭瓶器形典雅,釉水厚潤,每件周身飾褐斑十九個,排佈得當,繁而不亂,獨具妙趣。「飛青瓷」為龍泉窯褐斑點彩器物在日本的專名。一如「砧手」、「天龍寺手」等名稱,「飛青瓷」是酷愛龍泉窯的日本茶道家冠以的雅號,取褐斑在青瓷上「放飛」之意。(小林仁,「國寶『飛青瓷花生』考」《龍泉窯瓷器研究》,北京,2013年,403頁)「飛青瓷」數量稀少,歷來為鑒藏家所珍視,成對保存更是絕無僅有。目前已知成對的龍泉窯「飛青瓷」瓶只有是次拍品的這對,足見其珍罕程度。「飛青瓷」之美在於褐斑與青釉對比之下產生的強烈視覺感受。這些褐斑是用筆以氧化鐵為著色劑在燒製之前繪於釉上的。褐斑的繪製看似漫不經心,實則有著精妙的排佈。以本對「飛青瓷」瓶為例,十九個鐵斑從上至下分七周配置,每一周繪褐斑二至三個,相互交錯,予人以一種自然灑脫又不失秩序的和諧感。細查之下,更可見諸多鐵斑為幾筆繪成,而非簡單一點,這種作法更增添了斑點的層次感和觀賞性。青瓷所展現的往往是內斂靜謐的意境,而褐色鐵斑則給人以飛放的動感。「飛青瓷」大膽的將這兩種截然不同的藝術元素融合在一起營造出了一種令人意想不到的美感。這種充滿禪意的美學理念應該就是「飛青瓷」經久不衰的藝術源泉吧。此外,如小林仁先生所說,「飛青瓷」圈足刮釉部分產生的火石紅與褐斑遙相呼應,亦提升了器物整體的色彩協調效果(小林仁,404頁)。這種種巧妙的設計和釉彩和諧的效果可見「飛青瓷」作為龍泉名品實至名歸。

「飛青瓷」蒜頭瓶傳世僅有一件近似例,高28.2公分,為伊勢家族珍藏,登記為日本重要文化財,見《中国陶磁名品展:イセコレクションの至宝》,石川縣立美術館,2012年,54-55頁,編號41(圖一)。除此以外,日本福井縣一乘谷朝倉氏遺址出土有一件近似的「飛青瓷」蒜頭瓶殘器(圖二)。一乘谷城為日本鐮倉至戰國時代著名武士家族朝倉氏的城堡,該城在1573年被織田信長(1534-1582)軍攻佔並焚毀。朝倉氏的末代家督朝倉義景在文藝上多有建樹,雅好和歌、園藝、繪畫等,尤好茶道。一乘谷朝遺址內出土的包括「飛青瓷」蒜頭瓶在內的諸多宋/元瓷器當為朝倉義景所收藏的茶道器具。這也證明了此類「飛青瓷」蒜頭瓶在日本的崇高地位。

非唯「飛青瓷」蒜頭瓶難得一見,不加褐斑裝飾的龍泉青釉蒜頭瓶亦不可多得。大維德爵士曾珍藏有一件龍泉青釉蒜頭瓶,著錄於Margaret Medley,《Illustrated Catalogue of Celadon Wares in the Percival David Foundation of Chinese Art》,倫敦,1977年,32頁,編號96。舉世聞名的新安沉船中亦發現有數件龍泉青釉蒜頭瓶,其中一件僅飾兩道弦紋者和另一件有模印花卉紋者著錄於《Relics Salvaged from the Seabed off Sinan》,首爾,1985年,38至39頁,編號31及32。同時在新安沉船中發現的還有兩件銅質的蒜頭瓶,一件裝飾有仿古銅器紋飾,另一件器底鑄《宜爾子孫》四字篆書款,見前揭書145及152頁,編號145及219。宋元之際,復古、摹古之風盛行。而古銅器收藏著錄的印行更為當時的銅匠和陶工提供了創作的靈感。蒜頭瓶最早是在漢代流行的青銅器器形,北宋《宣和博古圖》中即著錄有數件漢代青銅蒜頭瓶(圖三)。如本對「飛青瓷」蒜頭瓶所見,龍泉窯工不僅模仿了銅器的器形,連同銅器上的弦紋亦忠實模仿,其崇古之心可見一斑。蒜頭瓶的器形似不見於宋代瓷器,或為元代龍泉窯的創新器形。然而從明清兩代蒜頭瓶的流行可以看出這種復古器形實為成功之制。

在日本茶道中,此種「飛青瓷」蒜頭瓶器是被做為花器使用的。因此這種瓶在日本又被稱為「花生」,是指使花繼續生長並用做裝飾的花瓶之意(小林仁,「國寶『飛青瓷花生』考」《龍泉窯瓷器研究》,北京,2013年,407頁)。考諸文獻,「花生」這一概念其實源於我國明代。在明初曹昭的《格古要論》一書中就有「古銅器入土年久,受土氣深,用以養花,花色鮮明如枝頭,開速而謝遲則就瓶結實」的記載。由此也能看出,遲至明代以瓶養花已經在文人中成為一種風尚。而在宋/元時期,此類蒜頭瓶應為文人書房中的清供,以示主人好古博雅之情。有趣的是,宋人將《宣和博古圖》中著錄的幾件漢代蒜頭壺稱為溫壺。其中《漢山龍溫壺》的考釋說道:「上為之口可以貯湯,蓋溫手足之器」。我們現在知道蒜頭壺這種器形在漢代是做為酒器使用的,絕非溫手足之器。

除蒜頭瓶以外,「飛青瓷」還有玉壺春瓶、鳳尾尊、環耳瓶、八棱梅瓶等立件器形。「飛青瓷」玉壺春瓶已知有四件傳世,其中一件現藏於大阪市立東洋陶瓷美術館,被定為日本國寶,著錄於小山富士夫編,《世界陶瓷全集:宋遼篇》,卷十,東京,1956年,圖版17號(圖四);一件為日本私人藏家收藏,為日本重要文化財,著錄於前揭書,圖版49號;一件為日內瓦鮑爾珍藏,載於 J. Ayers,《The Baur Collection》,第1冊,日內瓦,1968年,編號A104;另一件藏於倫敦維多利亞及阿爾伯特博物館,載於William Bowyer Honey,《The Ceramic Art of China and Other Countries of the Far East》,倫敦,1945年,圖版36號。「飛青瓷」鳳尾尊有一件曾為大維德爵士珍藏,著錄於蘇玫瑰,《Imperial Taste: Chinese Ceramics from the Percival David Foundation》,舊金山,1989年,47頁,編號22,另有一件為日本石橋美術館館藏,見小林仁,「國寶『飛青瓷花生』考」,《龍泉窯瓷器研究》,北京,2013年,410頁,圖版19號。「飛青瓷」環耳瓶有一件為日本私人珍藏,見前揭書,410頁,圖22;另有一件藏於上海博物館,載於朱伯謙,《龍泉窯青瓷》,台北,1998年,編號155。另一種「飛青瓷」立件器形為飾有模印八仙紋飾的八棱梅瓶,一例為日本私人珍藏,著錄於《世界陶瓷全集:遼金元》,第13冊,東京,1981年,44至45頁,編號32;一件為故宮博物院珍藏,著錄於《中國文物精華大全:陶瓷卷》,台北,1993年,356頁,編號626;尚有一件2011年11月30日於香港佳士得拍賣,拍品編號3010。值得注意的是,「飛青瓷」不但在日本享有崇高的聲譽,其在中國亦曾為內府寶藏,如上述北京故宮的八棱梅瓶。台北故宮亦收藏有一件「飛青瓷」三足花囊以及一件飛青瓷匜,著錄於《故宮藏瓷:龍泉窯》,香港,1962年,54頁,圖版14號及66頁,圖版21號。

編製圖錄及詳情
拍品前備註
PROPERTY FROM THE YANGDETANG COLLECTION

参考:蘇富比
中國藝術珍品
115
重要私人收藏
宋 龍泉窰青釉葫蘆式執壺

中国艺术珍品 拍卖信息 Lot 115 宋 龙泉窑青釉葫芦式执壶
中国艺术珍品
拍卖信息
Lot 115 宋 龙泉窑青釉葫芦式执壶

估價 40,000 — 60,000 英鎊
拍品已售 100,000 英鎊 成交價 (含買家佣金)
尺寸:高14cm 14 公分;5 1/2 英寸

拍品詳情

狀況報告
品相良好,但見流嘴有剝釉。器身下部中央有一處窰燒瑕疵(直徑0.1公分)。足沿有一處剝釉(0.4公分寬)。

來源
香港蘇富比1992年10月28日,編號24
香港蘇富比1999年11月1日,編號304

相關資料
如本品龍泉青釉葫蘆式執壺,曾入戴維德爵士收藏,現藏大英博物館,倫敦,刊於Margaret Medley,《 Illustrated Catalogue of Celadon Wares in the Percival David Foundation of Chinese Art》,倫敦,1997年,圖版A205;另一件售於倫敦蘇富比1973年10月15/16日,編號164;紐約蘇富比曾售兩例,第一件1969年5月23,第二件1979年5月5日,編號125。

此類葫蘆式執壺,多施青白釉,參考東南亞出土諸例,如一帶蓋瓶例,通體施鐵斑、龍紋執柄,屬大英博物館收藏,圖見Stacey Pierson,《Qingbai Ware. Chinese Porcelain of the Song and Yuan Dynasties》,倫敦,2002年,圖版68;另一例光素無紋,售於紐約蘇富比1978年11月4日,編號90;香港蘇富比亦售一例,1984年5月21日,編號15。

参考:六合和熙-重要私人珍藏
103 元 龍泉青釉褐斑玉壺春瓶

估價 2,000,000 — 3,000,000 港幣

元 龍泉青釉褐斑玉壺春瓶
元 龍泉青釉褐斑玉壺春瓶
元 龍泉青釉褐斑玉壺春瓶
元 龍泉青釉褐斑玉壺春瓶

元 龍泉青釉褐斑玉壺春瓶
26 公分,10 1/4 英寸

相關資料
玉壺春瓶纖頸豐腹,上斂下盈,張弛曲弧,線條婀娜。以瓷代紙,翠青點褐,看或率意隨心,結聚與暈散之間,似實還虛。縱然簡約純美,僅元一朝燒造,時間短暫,是以成例極罕,如此玉壺春瓶,他例僅四,極為難得。

龍泉窰,至少宋朝(960-1279年)已有,至蒙元(1271-1368年)治下,釉色從粉青漸趨碧綠,光澤沈練,盛極一時,聲名遠播,大量生產以供外銷。浙江多地窰場林立,煙火相望,臨近溫州、泉州兩處通商港口,海運便利,產品可由貨船銷往遠東、東南亞及中東等地。為滿足外銷需求,多見大型瓷器,但也有以傳統為範、推陳出新之品。此瓶器形沿襲傳統,所飾青釉褐斑雖早見於西晉(256-316年)晚期越窰陶瓷,但及至元時始為龍泉窰復用。欲求翠綠厚釉,必須層層疊施,如添褐斑,入窰前則須加上鐵料,方可燒成。鏽花朵朵,色若濃茶,遠觀彷彿落紅飄瓣,無怪日本茶道傳統對此類瓷器有「飛青磁」的美譽。小林仁指,此名或與日文「放飛」一詞有關,意即散佈,頌其褐斑點綴瀟灑(詳見其專文〈國寶「飛青瓷花生」考〉,陳馨譯,《中國古陶瓷研究:龍泉窰研究》,北京,2011年,頁403)。青釉褐斑器雅致耐看,尤為可人,惜此法未得續延,如曇花一現,明時龍泉器上鐵斑便流於細碎拘謹,灑脫不再。

論年代、器形、尺寸、裝飾,與此瓶相類者僅四,其中最為著名者要數日本國寶「飛青磁花生」,原屬鴻池家舊藏,現為大阪市立東洋陶磁美術館所蓄(藏品編號00556),展於《悠久の光彩—東洋陶磁の美—大阪市立東洋陶磁美術館コレクション》,東京,2014年,編號21及封面(圖一)。另外英國維多利亞與艾伯特博物館又藏一瓶,乃尤莫弗普勒斯(Eumorfopoulos)舊蓄,錄於畢宗陶,《Chinese Ceramics: A Design History》,倫敦,2009年,頁88-89,圖128(藏品編號C.24-1935)。瑞士鮑爾典藏且有一瓶,傳得於日本,圖載於約翰.艾爾斯,《Chinese Ceramics in the Baur Collection》,日內瓦,1999年,卷1,圖版42(A104)。最後還有一例,屬日本私人收藏,1935年納入重要文化財,見小山富士夫編,《世界陶瓷全集》,卷10:宋遼篇,東京,1955年,圖版49。

上述四例,均存海外。尺寸、器形與此相近之元龍泉窰玉壺春瓶,中國有窖藏出土例,但屬較普遍之青釉例,無褐斑,見《中國陶瓷全集》,卷10:元(上),上海,2000年,圖版27-28、30。

另可參考同代其他造型之龍泉青釉褐斑器,如上海博物館藏雙環耳瓶,見朱伯謙,《龍泉窰青瓷》,台北,1998年,圖版155。大英博物館大維德爵士舊藏鳳尾尊,收入康蕊君及霍吉淑,《大英博物館大維德爵士藏中國陶瓷精選》,倫敦,2009年,中譯版,北京,2013年,圖版20,據悉原屬日本酒井家寶蓄。伊勢家族珍藏之蒜頭瓶,也可資比對,曾展於《中国陶磁名品展:イセコレクションの至宝》,石川縣立美術館,金沢市,2012年,編號41,還有一對相類蒜頭瓶,原屬養德堂藏,2016年11月30日在香港佳士得拍出,編號3133。瑞士鮑爾典藏且有一盤,見艾爾斯所著,前述出處,編號43(A105)。台北故宮博物院清宮舊藏十四世紀匜及三足花囊,也可資比對,展於《碧綠—明代龍泉窰青瓷》,台北,2009年,編號157-158(藏品編號:故瓷17375、17829)。新安沉船也有多件類例出水,包括露胎貼花盤及匜各一,現均存韓國國立中央博物館,收錄於《新安海底引揚げ文物》,東京,1983年,編號22-23。該艘商船原定開往日本,卻於1323年在韓國新安區域沉沒。

綜上可悉,飾褐斑者,存例較稀,傳世器中,又多貯日本,或經日本傳流海外。小林仁提出,此類龍泉器,或為外銷日本而造之品,是以迎合日人之好,懷疑因此在中國境內,無論出土或傳世,猶如鳳毛麟角,極為稀少(前述出處,頁413)。元朝青白釉也有飾褐斑者,惟較形粗糙,應也為外銷而製,見葉佩蘭,《元代瓷器》,北京,1998年,頁247-8,圖版428-437。

FIG. 1 元 龍泉青釉褐斑玉壺春瓶 「飛青磁花生」 攝影六田知弘,安宅收藏 © 大阪市立東洋陶磁美術館
FIG. 1
元 龍泉青釉褐斑玉壺春瓶 「飛青磁花生」 攝影六田知弘,安宅收藏
© 大阪市立東洋陶磁美術館

参考:LOT 3133 AN EXTREMELY RARE PAIR OF LONGQUAN TOBI SEIJI GARLIC-MOUTH BOTTLE VASES
YUAN DYNASTY (1279-1368)

Price realised HKD 12,060,000
Estimate HKD 15,000,000 – HKD 25,000,000

AN EXTREMELY RARE PAIR OF LONGQUAN TOBI SEIJI GARLIC-MOUTH BOTTLE VASES
AN EXTREMELY RARE PAIR OF LONGQUAN TOBI SEIJI GARLIC-MOUTH BOTTLE VASES
AN EXTREMELY RARE PAIR OF LONGQUAN TOBI SEIJI GARLIC-MOUTH BOTTLE VASES
AN EXTREMELY RARE PAIR OF LONGQUAN TOBI SEIJI GARLIC-MOUTH BOTTLE VASES
AN EXTREMELY RARE PAIR OF LONGQUAN TOBI SEIJI GARLIC-MOUTH BOTTLE VASES
AN EXTREMELY RARE PAIR OF LONGQUAN TOBI SEIJI GARLIC-MOUTH BOTTLE VASES

AN EXTREMELY RARE PAIR OF LONGQUAN TOBI SEIJI GARLIC-MOUTH BOTTLE VASES
YUAN DYNASTY (1279-1368)
Each vase is well potted with a compressed globular body rising from a splayed foot to a long slender neck ending in a garlic-head mouth, covered overall with a fine lustrous glaze of sea-green tone. The exterior is decorated with dark iron-brown splashes.
10 in. (25.3 cm.) high, boxes

Provenance
Acquired in Taipei in the 1980s

Exhibited
Tokyo Takashimaya, Kyoto Takashimaya, Osaka Takashimaya, Yokohama Takashimaya, MOA Museum of Art, Kure City Art Museum, Yamaguchi Prefectural Museum of Art, Two Thousand Years of Chinese Ceramics, 9 April 1992 – 23 November 1992 (travelling exhibition), Catalogue, pl. 57

Literature and exhibited
Exhibited

Tokyo Takashimaya, Kyoto Takashimaya, Osaka Takashimaya, Yokohama Takashimaya, MOA Museum of Art, Kure City Art Museum, Yamaguchi Prefectural Museum of Art, Two Thousand Years of Chinese Ceramics, 9 April 1992 – 23 November 1992 (travelling exhibition), Catalogue, pl. 57

Lot Essay
A PAIR OF LONGQUAN TOBI SEIJI GARLIC-MOUTH BOTTLE VASES

The present pair of garlic-mouth vases belong to a group of important type of Longquan ware decorated with ironbrown spots which has been much admired by the Japanese and is usually known by its Japanese name tobi seiji. Tobi seiji is famed for its rarity- there has been only a handful of tobi seiji vases published. These two tobi seiji vases are the only known examples that still remain as a pair, making them highly desirable. The beauty of tobi seiji lies primarily in the rich dark brown spots that create a striking visual impact on the otherwise subtle celadon surface. In fact, the name tobi seiji, literally ‘flying [spot] green ware’ in Japanese, was given by ancient Japanese tea masters for the dramatic appearance of iron spots (Kobayashi Hitoshi, ‘Research on National Treasure Tobi Seiji Vase’, Longquanyao ciqi yanjiu, Beijing, 2013, p. 404). Such spots were added, using a brush, to the surface of the unfired glaze before the pieces were fired. These seemingly spontaneously added spots in fact follow a very thoughtful design principle. As seen on the present examples, the iron spots were arranged in seven alternating bands of two or three spots from the mouth to the lower body, adding up to 19 spots in total on each vase. Upon closer examination, we can also see that many of these spots were painted with more than one brush stroke to create an overlapping texture. Celadon wares embody the ultimate serenity in the natural world. On the contrary, iron spots impose an impression of dramatic movement. The juxtaposition of these two contradictory elements was a bold experiment, yielding a harmonious outcome. The paradox that the timeless beauty of celadon can be synthesized with volatile ‘flying spots’ might account for the enduring fascination with tobi seiji. It is also interesting to note that the unglazed foot rim, which turned reddish-brown at the end of firing cycle, adds another layer of colour contrast to the piece, and therefore further enhances its beauty (see Kobayashi Hitoshi, ibid, p. 404).

Only one other vase of similar shape and decoration, measuring 28.2 cm. high, appears to have been published. This is registered in Japan as Important Cultural Property and now belongs to the Ise Cultural Foundation, illustrated in Masterpieces of Chinese Ceramic Art Exhibition: Treasure of Ise Collection, Tokyo, 2012, pp. 54-55, no. 41 (fig. 1). In addition, a broken tobi seiji vase of this form was found in the Ichijo-dani Asakura family historic ruins in modern-day Fukui prefecture (fig. 2). The Ichijo-dani castle is the base of the Asakura family, which was destroyed by the army of Oda Nobunaga (1534-1582) in 1573. The last head of the Asakura family, Yoshikage Asakura (1533-1573) was known for his cultural refinement and was proficient in tea ceremony. The Song/Yuan ceramic sherds including the tobi seiji garlic-mouth vase found in the Ichijo-dani site are believed to belong to this illustrious Daimyo. This is a testament to the high regard to which tobi seiji vases of the present type were held in ancient Japan.

As a form, Longquan celadon garlic-mouth vases are rare. One such vase is from the Sir Percival David Collection, London, illustrated by Margaret Medley, Illustrated Catalogue of Celadon Wares in the Percival David Foundation of Chinese Art, London, 1977, p. 32, no. 96. Two Longquan garlic-mouth vases, one plain with only two moulded bow-string bands and one moulded with floral motifs, were among the cargo of over 18,000 ceramics in the Sinan wreck, which foundered off the coast of Korea en route for Japan in AD 1323 (illustrated in Relics Salvaged from the Seabed off Sinan, Seoul, 1985, pp. 38-39, nos. 31 & 32). Also among the Sinan cargo are two bronze garlic-mouth vases, illustrated in ibid, pp. 145 & 152, nos. 145 & 219. The former example is decorated with archaistic motifs and the latter is cast on the base with a four-character sealscript inscription Yi er zi sun (befitting for your sons and grandsons). Antiquarianism is a prominent theme in Song/Yuan art. Ceramics and bronzes of Song/Yuan period drew inspiration from archaic bronzes that were collected and published by scholar-officials and Emperors of the time. The garlic-mouth vase was a popular form on Han-dynasty bronzes and line drawings of such pieces can be found in the catalogue of Emperor Huizong’s archaic bronze collection, Xuanhe bogu tu (Illustrated Catalogue of Antique Objects in the Xuanhe era). (fig. 3) The present vases and other Longquan garlic-mouth vases not only followed the Han bronze form but also faithfully copied the bow-string decoration around the neck and wide body. It appears that the garlic-mouth vase was absent from the repertoire of Song-dynasty ceramics. However, this revived form was proven to be successful as it appeared with greater frequency on ceramics in the succeeding Ming and Qing dynasties.

Vases of the present type are used as flower vases during Japanese tea ceremony. The Japanese term for vases ?? (flower nurturer) refers to vessels that can hold flowers and keep them growing (see Kobayashi Hitoshi, ‘Research on National Treasure Tobi Seiji Vase’, Longquan qingci yanjiu, Beijing, 2013, p. 407). This concept actually originated in Ming China. Cao Zhao, in his classic text on connoisseurship, Gegu yaolun (The Essential Criteria of Antiquities), compiled in 1388, states that: “Ancient bronzes were buried underground for a long time and absorbed the qi of earth. Using them to grow flowers could accelerate blooming and postpone fading. Even if the flower fades, it can still bear fruit.” From this text we learn that the practice of growing flowers in vases was popular among Ming-dynasty connoisseurs. And in Song/Yuan China, garlic-mouth vases of the present type as well as bronze versions were most likely placed in a scholar’s studio to demonstrate their antiquarian taste. It is interesting to note that in the Xuanhe bogu tu, the Song-dynasty scholar describes the bronze garlic-mouth vases as wenhu ?? (warming bottle), and interprets their function as warmers for hands and feet. This, however, has very little impact on the function of such vases in Song/Yuan period as they were already regarded as antiques rather than practical utensils.

Other forms of tobi seiji vases include yuhuchun vases, fengweizun (phoenix-tail vases), twin-handled vases, and facetted meiping. Four tobi seiji yuhuchun vases are known: one in the Oriental Ceramics Museum, Osaka, registered as National Treasure; and one in a Japanese private collection, registered as Important Cultural Property, illustrated respectively in Koyama Fujio, ed., Sekai toji zenshu: China Sung and Liao Dynasties, vol. 10, Tokyo, 1956, pls. 17 (fig. 4) and 49; one in the Baur Collection, Geneva, illustrated by John Ayers, Chinese Ceramics, vol. 1, no. A104; and another in the Victoria & Albert Museum, London, illustrated by William Bowyer Honey, The Ceramic Art of China and Other Countries of the Far East, London, 1945, pl. 36. There are two tobi seiji fengweizun, one from the Sir Percival David Collection, London, illustrated by Rosemary E. Scott, Imperial Taste: Chinese Ceramics from the Percival David Foundation, San Francisco, 1989, p. 47, no. 22 and the other in Ishibashi Museum of Art, Fukuoka prefecture, illustrated in Kobayashi Hitoshi, ‘Research on National Treasure Tobi Seiji Vase’, op. cit., p. 410, fig. 19. Examples of tobi seiji twin-handled vases include one in a Japanese private collection, illustrated in ibid, p. 410, fig. 22 and another in Shanghai museum, illustrated in Zhu Boqian, Celadons from Longquan Kilns, Taipei, 1998, no.155. Examples of facetted meiping with moulded ‘eight immortals’ design include one example in in a Japanese collection, illustrated in Sekai toji zenshu: Liao Jin Yuan, vol. 13, Tokyo, 1981, pp. 44-45, no. 32; one in the Palace Museum collection, illustrated in Zhongguo wenwu jinghua daquan: taoci juan, Taipei, 1993, p. 356, no. 626; and one sold at Christie’s Hong Kong, 30 November 2011, lot 3010. It is important to note that although tobi seiji is most treasured in Japan, such wares were also highly valued in China, as evidenced by their presence in the Qing Court Collection, such as the aforementioned meiping in the Palace Museum, Beijing, and a tripod flower stand and a pouring vessel in the collection of the National Palace Museum, Taipei, illustrated in Gugong cangci: Longquan yao, Hong Kong, 1962, p. 54, pl. 14, and p. 66, pl. 21.

Pre-Lot Text
PROPERTY FROM THE YANGDETANG COLLECTION

参考:影青铁斑纹葫芦形小注 出土于景德镇市落马桥元代扰土层

影青铁斑纹葫芦形小注 出土于景德镇市落马桥元代扰土层
影青铁斑纹葫芦形小注 出土于景德镇市落马桥元代扰土层
南宋 龙泉窑粉青釉葫芦形执壶
南宋 龙泉窑粉青釉葫芦形执壶

估价:RMB150,000-200,000
公司:浙江南北拍卖有限公司
拍卖会:浙江南北 2007春季艺术品拍卖会
专场:青瓷之美
描述:壶身呈葫芦形,象生生动逼真。一端置流,一侧置把手。通体内外施粉青釉,局部开片。玻璃质感较强。近足端露胎,呈火石红。该器造型别致,摒弃胎装饰技法,纯以形制和釉色取胜,为南宋龙泉窑精品。
口径2.2厘米,底径4.8厘米,高12.5厘米

参考:
日本童梦艺术拍卖会拍卖宋代 青白瓷葫芦形执壶编号: 0037

宋代 青白瓷葫芦形执壶
宋代 青白瓷葫芦形执壶

宋代规格高12cm预展时间2014-12-01 10:00–2014-12-01 19:00预展地点阪神酒店10F【HOTEL HANSHIN】 大阪市福岛区福岛5-6-16拍卖公司日本童梦艺术拍卖会拍卖时间2014-12-02 拍卖会名称2014秋季拍卖会拍卖会专场瓷器专场拍卖地点阪神酒店10F【HOTEL HANSHIN】 大阪市福岛区福岛5-6-16

参考:上海博物馆 – 中国古代陶瓷馆 12. 宋元时期景德镇窑瓷

青白釉褐斑葫芦形执壶 元 公元 1271-1368

青白釉褐斑葫芦形执壶 元 公元 1271-1368
青白釉褐斑葫芦形执壶 元 公元 1271-1368

葫芦形执壶,因器身呈葫芦形而得名。流从下截圆腹上升,紧贴上截壶腹侧而出,曲柄在另一侧的上下腹之间,口上有小盖。青白釉质加褐彩斑,造型美观,做工精巧。

参考:國立故宮博物院 元 青白瓷褐斑葫蘆式執壺

國立故宮博物院 元 青白瓷褐斑葫蘆式執壺
國立故宮博物院 元 青白瓷褐斑葫蘆式執壺

資料識別:
贈瓷000338N000000000
資料類型:
陶瓷器
描述:
葫蘆式執壺,小口、細腰葫蘆式瓶身,一側曲把拱起銜接上下身,另一側的管狀長流從下腹部高豎起再向外曲折;餅形足,平底無釉,沾有窯渣。此種注子造形為元代所常見,有青花、青白瓷、褐斑青白瓷等裝飾。本件青花注子,器壁以青花繪飾,口緣一道回紋,上下腹各繪連枝花卉,流的壁上也繪一小枝花,筆法簡率,與其他販至東南亞的小件青花器的繪法一致。外壁罩以灰青色釉。本件褐斑青白瓷柱子,釉色灰青,鐵褐色斑點隨意點灑,與韓國新安海域沉船(約1323)所見作品相似。
日期:
1301 A.D.-1400 A.D.
格式:
高11公分 口徑1.8公分 足徑5.1公分
關聯:
《大汗的世紀:蒙元時代的多元文化與藝術》
管理權:
國立故宮博物院

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