拍賣筆記 vol.369 佳士得香港2026：1168.4萬港元售出，愛蓮堂珍藏北宋磁州窯白地黑剔花牡丹紋罐 - A Magnificent And Extremely Rare Cizhou Sgraffito 'Peony' Jar, Northern Song Dynasty, Sold for 11.684m HKD

在經濟下行、藝術行業內卷加劇的當下，市場已悄然進入信息戰階段，各種虛假消息與難以取信的審美評估充斥其間。這樣一件久經市場考驗、早在2004年便以近70萬英鎊成交的名品，如今卻不得不與一些來歷不明、真偽存疑的器物放在一起被平行對比，實屬不幸。

便捷的社交平台讓每一個能敲擊鍵盤的人都擁有發言權，導致優質信息與可信判斷日益稀缺。物極必反，未來高質量、可驗證的信息將變得愈發重要，中國藝術圈的知識付費機制路漫漫其修遠兮。

真正的傳承，再一次彰顯了經典器物在混亂時代的抗壓能力。如無意外，這件名品將輕鬆突破1000萬港元大關。

拍後更新：1168.4萬售出

競爭由兩個買家電話之間展開（8195 sherese vs 8207 felix），最後8195號牌勝出。

In an era of economic downturn and intense involution within the art industry, the market has entered an information war. False narratives and questionable aesthetic assessments are rampant. It is truly unfortunate that a masterpiece, long-tested by the market and sold for nearly £700,000 back in 2004, now finds itself juxtaposed with objects of dubious provenance and uncertain authenticity.

Convenient social platforms have empowered anyone with a keyboard to voice their opinions freely, making high-quality, credible information increasingly scarce. Yet, as things reach an extreme, they inevitably reverse: trustworthy information will become ever more valuable, and a paid knowledge ecosystem in the Chinese art circle is likely to emerge.

True heritage once again demonstrates the resilience of exceptional objects amid chaotic times. Barring any unforeseen circumstances, this renowned piece is expected to comfortably surpass the HKD 10 million threshold.

愛蓮堂珍藏

北宋 磁州窯白地黑剔花牡丹紋罐

NORTHERN SONG DYNASTY (960-1127)

LIVE AUCTION 24526 THE AI LIAN TANG COLLECTION - 800 YEARS OF CHINESE CERAMICS

2026.04.30

估價

港元 5,500,000 – 港元 6,500,000

北宋 磁州窯白地黑剔花牡丹紋罐

10 7⁄8 in. (27.6 cm.) high, Japanese wood boxes

來源

戸栗美術館舊藏，東京

倫敦蘇富比，《100 Selected Chinese and Korean Ceramics from The Toguri Collection》，2004年6月9日，拍品62號（封面）

出版

長谷部樂爾（編），《世界陶磁全集》，卷十二：宋，東京，1977年，頁241，圖版236

戶栗美術館，《開館記念名品展》，東京，1987年，頁29，編號14

中澤富士雄，「Chinese Ceramics in the Toguri Museum of Art」，《Orientations》，1988年4月，頁45-46，圖7

《宋磁―神品とよばれたやきもの－》，東京，1999年，編號94

戶栗美術館，《財團法人戶栗美術館藏品選集：西曆2000年記念圖錄》，東京，2000年，圖版16

大阪市立美術館，《白と黒の競演―中国．磁州窯系陶器の世界》，大阪， 2002年，編號58

展覽

東京，東京國立博物館，《東洋陶瓷展》，1970年，展覽圖錄編號48

東京，戶栗美術館，《開館記念名品展》，1987年，展覽圖錄編號14

東京，東武美術館；大阪，大阪市立東洋陶瓷美術館；山口，山口縣立萩美術館．浦上紀念館，《宋磁―神品とよばれたやきもの－》， 1999年，展覽圖錄編號94

大阪，大阪市立美術館，《白と黒の競演―中国．磁州窯系陶器の世界》，2002年10月1日–12月8日，展覽圖錄編號58

此罐直口，短頸，溜肩以下收斂，圈足些微外撇，器身以流暢之刀法剔刻數之牡丹為主題紋飾。

白地黑剔花是磁州窯最精美的裝飾技法之一，工藝複雜費時。窯工需先在素胎上施一層白化妝土，加施一層黑化妝土，然後刻劃花紋，將主紋飾以外部分的黑色化妝土剔除，露出白地襯托黑花，形成強烈的黑白對比效果，最後罩以透明釉燒成。此將黑色面層剔去而不傷及白色化妝土之工藝難度極高。

本器應屬磁州觀台窯製陳設用器，為同類裝飾器中稀見之佳作。黑剔花技法常見於梅瓶器形，然如本品之罐式造型則極為罕有。其所飾散點牡丹紋尤為珍稀，此拍品或為孤品。比較一件飾相似散點牡丹紋之白地黑剔花梅瓶，為日本東京永青文庫藏（圖一）；紐約大都會博物館藏一飾不同形制之牡丹紋梅瓶，載於S. G. Valenstein著，《A Handbook of Chinese Ceramics》，紐約，1989年，93頁，圖版88（圖二）。拍賣市場上亦出現同類器物，其一拍賣於紐約佳士得《古韻天成－臨宇山人珍藏（ 三 ）》，2018年3月22日，拍品516號；另一例拍賣於香港蘇富比《雅粹承珍：平野古陶軒》，2023年4月8日，拍品3511號；再比一例， 2025年9月9日於香港蘇富比《伊勢彥信珍藏重要中國陶瓷》拍賣，拍品5008號。

The Ai Lian Tang Collection

A MAGNIFICENT AND EXTREMELY RARE CIZHOU SGRAFFITO 'PEONY' JAR

NORTHERN SONG DYNASTY (960-1127)

Estimate

HKD 5,500,000 – HKD 6,500,000

A MAGNIFICENT AND EXTREMELY RARE CIZHOU SGRAFFITO 'PEONY' JAR

NORTHERN SONG DYNASTY (960-1127)

10 7⁄8 in. (27.6 cm.) high, Japanese wood boxes

PROVENANCE

Toguri Museum of Art Collection, Tokyo

Sold at Sotheby's London, 100 Selected Chinese and Korean Ceramics from The Toguri Collection, 9 June 2004, lot 62 (cover lot)

LITERATURE

Hasebe Gakuji (ed.), Sekai Toji Zenshu (Ceramic Art of the World), vol. 12, Tokyo, 1977, p. 241, pl. 236

Toguri Museum of Art, Commemorative Exhibition for the Opening, Tokyo, 1987, p. 29, no. 14

Fujio Nakazawa, ‘Chinese Ceramics in the Toguri Museum of Art’, Orientations, April 1988, pp. 45-46, fig. 7

So Ji – Shinpin to Yobareta Yakimono (Song Ceramics), Tokyo, 1999, no. 94

Zaidan Hojin Toguri Bijutsukan zohin senshu: Seireki 2000 nen kinen zuroku (Selected Works from the Toguri Art Museum Foundation: Commemorative catalogue of the year 2000 AD), Tokyo, 2000, pl. 16

Osaka Municipal Art Museum, Tokubetsu Ten: Shiro to Kuro no Kyoen Chugoku Jishu-yo kei Toki no Sekai (Special Exhibition: Charm of Black & White Ware: Transition of Cizhou Type Wares), Osaka, 2002, no. 58

EXHIBITED

Tokyo, Tokyo National Museum, Exhibition of Far Eastern Ceramics, October-November 1970, cat. no. 48

Tokyo, Toguri Museum of Art, Commemorative Exhibition for the Opening, 1987, cat. no. 14

Tokyo, Tobu Museum of Art; Osaka, The Museum of Oriental Ceramics; and Hagi, Hagi Uragami Museum, So Ji – Shinpin to Yobareta Yakimono (Song Ceramics), 1999, cat. no. 94

Osaka, Osaka Municipal Art Museum, Tokubetsu Ten: Shiro to Kuro no Kyoen Chugoku Jishu-yo kei Toki no Sekai (Special Exhibition: Charm of Black & White Ware: Transition of Cizhou Type Wares), 1 Oct- 8 December 2002, cat. no. 58

The very difficult two-slip sgraffito decoration technique used to produce the beautiful design on the present jar was developed at the Cizhou kilns in the Northern Song dynasty. It involved the application of a white slip to the unfired stoneware vessel, followed by a black slip. The outline of the decoration was then incised through the top black layer and the background area of the design was cut away to reveal the white slip beneath, a final thin colourless glaze was applied all over before the vessel firing.

This exacting and deliberate process demanded a highly skilled application, as the layers of slip were relatively soft, requiring artisans to precisely gauge the depth of incision to remove the dark upper layer without compromising the underlying white slip. This technique was characteristic of the finest wares produced at the renowned Guantai kilns, which were known not only for functional vessels but also for decorative pieces executed in two‑slip sgraffito, frequently adorned with peony motifs.

The present lot is extremely rare, and possibly unique, for its combination of sgraffito technique and the design of scattered peony sprays on a jar form. A related scattered peony motif is found on a Cizhou meiping in the collection of the Eisei Bunko Museum, Tokyo (fig. 1). For larger-scale sgraffito peony decoration on Cizhou meipings, one is in the collection of The Metropolitan Museum of Art, New York, illustrated by S. G. Valenstein in A Handbook of Chinese Ceramics, New York, 1989, p. 93, pl. 88 (fig. 2). Several comparable examples have appeared at auctions; one was sold at Christie’s New York, The Classic Age of Chinese Ceramics- The Linyushanren Collection, Part III, 22 March 2018, lot 516; another one sold at Sotheby’s Hong Kong, The Legacy of Hirano Kotoken, 8 April 2023, lot 3511; and a most recent example was sold at Sotheby’s Hong Kong, Masterpieces of Chinese Ceramics from the Ise Collection, 9 September 2025, lot 5008.