拍賣筆記 vol.153 邦瀚斯倫敦：卡爾·坎普，唐白釉渣斗，威尼斯1954展覽 - Dr. Carl Kempe, A White Stoneware Leys Jar, Zhadou
- SACA
- Mar 29
- 11 min read
這件渣斗造型十分特別，與金銀器的做法完全一致。特殊的是渣斗的曲線，還有整體的薄度。傳承顯赫，來自著名的卡爾·坎普博士，是白瓷的專家，東方陶瓷學會的核心成員。參加過無數個重要展覽，其中包括最重要的威尼斯1954展覽。
唐 白釉渣斗
A WHITE STONEWARE LEYS JAR, ZHADOU
Tang Dynasty
INSTINCT & KNOWLEDGE A LIFE IN THE COMPANY OF SONG CERAMICS
15 May 2025, 10:00 BST
London, New Bond Street
£20,000 - £30,000
來源：
Carl Kempe博士，埃克爾桑達，藏品編號154
倫敦蘇富比，2008年5月14日，拍品編號207
Emmanuel Christofides (1928-2020)，雅典和倫敦
展覽著錄：
瑞典國立博物館，《Sung Keramisk Guldålder》，斯德哥爾摩，1949年，編號7（出版及展覽）
丹麥藝術與設計博物館，哥本哈根，1950年，編號272 （出版及展覽）
《Mostra d'Arte Cinese》，威尼斯，1954年，編號368
東方陶瓷學會，《The Arts of the T'ang Dynasty》，1955年，倫敦，編號212 （出版及展覽）
Bo Gyllensvärd，《Chinese Ceramics in the Carl Kempe Collection》，斯德哥爾摩，1964年，編號295 （著錄插圖）
《Chinese Gold, Silver and Porcelain》，Asia House Gallery，紐約，1971年，編號76（一個在美國巡展的展覽，後續在9個博物館展出）
《The World's Great Collections: Oriental Ceramics》，第8卷，東京，1982年，插圖58（著錄插圖）
烏爾裡瑟港藝術與遠東文物博物館，《Chinese Ceramic Treasures: A Selection from the Ulricehamn East Asian Museum, including The Carl Kempe Collection》，烏爾裡瑟港，2002年，插圖504（著錄插圖）
D.Priestley和M.Flacks，《A Life in the Company of Song Ceramics》，倫敦，2017年，第124-125頁，編號56（著錄插圖）
S.Wong和S.Pierson編，《百年清賞：東方陶瓷學會的收藏家、鑑賞家及博物館員》，倫敦，2021年，第172-173頁，編號51
卡爾・坎普博士（Dr Carl Kempe，1884–1967），瑞典實業家、藝術收藏家，也是中國藝術研究與鑑賞領域的重要人物。肯普以其精湛的眼光與學術研究能力著稱，所收藏的中國陶瓷珍品涵蓋從新石器時代直至清代，規模與水準皆令人矚目。他的收藏尤以宋代瓷器為突出，囊括了罕見的鈞窯、汝窯與磁州窯作品。身為一位勤奮的研究者，他著有多篇有關中國陶瓷的學術論文，對促進西方學界理解中國藝術及其歷史脈絡作出了卓越貢獻。他也是東方陶瓷學會（Oriental Ceramic Society）的核心成員之一，與世界各地的博物館、學者及藏家往來密切，積極推動了中國藝術在國際間的交流與討論。他的收藏曾廣泛展出，其中部分藏品更獲各大重要機構收藏，進一步鞏固了他作為中國陶瓷藝術在西方推廣與研究領域之關鍵人物的歷史地位。
此類器皿在中文常被稱為痰盂或「渣斗」（zhadou），其造型來源於金銀器原型。例如，參考兩件唐代銀製渣斗，載於《唐代金銀器》（北京，1985年），編號255及278。其中第一件出土於西安，第二件口沿略內凹，出自浙江臨安縣修求是墓。此件拍品的器形暗示其最初可能具備痰盂的實用功能，但其卓越的胎質和釉面工藝，足與同時期最高品質的餐具媲美，因此這種單純實用功能的說法尚待商榷。更合理的解釋是，此類器物或用於複雜的茶、酒儀式，具備倒注功能，故在此稱作「leys-jars」（利氏瓶）。本例製作精妙，分上下兩段構成：下段器身封閉如罐，基座寬大而穩重，上段為五瓣花形外撇淺盤狀口，中央留有開口，透過纖細的頸部與下方相連。通體施以肥潤細膩的乳白色化妝土，外覆透明釉層，展現出極高的工藝技術與審美品味。
可比較一件與此相近的唐代白釉花口利氏瓶，現藏北京故宮博物院，見《故宮博物院藏文物珍品全集：晉唐瓷器》（香港，1996年），頁157，圖版144。另可參考一件類似的唐代白釉渣斗，現藏山西省博物院，見《中國出土瓷器全集》，卷五（北京，2008年），頁45，圖版45。
1. 何謂「leys jar」或「渣斗」（zhadou），其在唐代可能具備何種功能？
所謂的leys jar，中文又稱為「渣斗」（zhadou），是一種唐代常見的器形，其特點為器身呈壓縮狀，下腹飽滿，頸部內束，上方口沿則外翻。雖然其形態可能暗示具備實用功能，如同日常所見的痰盂（亦稱「痰盂」，tan yu），但此類器物卓越的製作工藝卻表明它或許具有更為精緻的用途。有一個更合理的推測是，它們或參與了複雜的茶酒儀式，作為倒注液體的禮儀性器皿使用，因此被賦予了leys jar這種名稱，暗示了其倒注功能。其器型據推測受到了當時金銀金屬器的影響。
2. 此次拍品之唐代白瓷利氏瓶（渣斗）具備哪些主要特徵？
本件唐代利氏瓶，器體堅實厚重，由上下兩部分組成，下部為梨形扁圓器身，自短圈足向上逐漸內收至窄頸，上部則為寬敞外撇的花瓣狀口緣，口沿有三道淺棱紋，形成花瓣狀凹凸輪廓。通體施以乳白色象牙釉。器物採用質地細緻的白色瓷胎，上覆一層肥厚潤澤的白色化妝土，最後施以透明釉，體現了高度的技術水平與審美追求。其口徑為12.5厘米。
3. 卡爾・肯普博士（Dr. Carl Kempe）與此器物的淵源及重要性為何？
卡爾・肯普博士（1884–1967）為瑞典著名的實業家及中國藝術收藏家，以卓越的鑑賞眼光及深厚的學術研究能力著稱。此次拍賣的唐代白瓷利氏瓶，正是其收藏的一部分，曾編列為其藏品編號第154號。肯普博士的收藏以宋代瓷器最為突出，但也包含其他朝代的重要藏品，包括本件唐代作品。他的收藏史為本件器物增添了珍貴的來源紀錄與文化價值。
4. 本件唐代白瓷利氏瓶的歷任收藏記錄（來源）為何？
根據拍賣文獻所載，本件利氏瓶的已知來源從卡爾・肯普博士（Ekolsund，藏品編號154號）開始。此後，於2008年5月14日由倫敦蘇富比拍賣會售出（拍品編號207號）。隨後，此器物進入雅典與倫敦的埃馬紐埃爾・克里斯托菲德斯（Emmanuel Christofides，1928–2020）之收藏，直至此次邦瀚斯拍賣會再度出現。
5. 此唐代白瓷利氏瓶曾參與哪些重要展覽？
此件唐代白瓷利氏瓶曾參與歐洲與美國多個重要的中國陶瓷展覽，包括：
「宋代陶瓷的黃金時代」（斯德哥爾摩，1949年）
哥本哈根中國藝術展覽（1950年）
「中國藝術展覽」（威尼斯，1954年）
「唐代藝術展覽」（倫敦，1955年）
「卡爾・肯普中國陶瓷收藏展」（斯德哥爾摩，1964年）
「中國金銀瓷器巡迴展」（美國，1971年）
「世界著名收藏：東方陶瓷」（東京，1982年）
「中國陶瓷珍品展：瑞典烏爾里瑟港東亞博物館藏品精選」（烏爾里瑟港，2002年）
「與宋瓷為伴的人生」（倫敦，2017年）
「收藏家、策展人與鑑賞家：東方陶瓷學會百年回顧展」（倫敦，2021年）
6. 是否存在與本件唐代白瓷利氏瓶相類似的博物館收藏品？
有。根據拍賣文獻指出，可比較的類似作品包括北京故宮博物院所藏一件唐代白釉花口利氏瓶，以及山西省博物院藏一件相關的唐代白釉渣斗。這些博物館藏品提供了參考框架，使本器物能在更廣泛的唐代藝術生產脈絡中得以被理解與欣賞。
7. 文中如何形容此利氏瓶的製作工藝與審美價值？
文中強調此器物「具有卓越的製作工藝與釉面處理」，更稱其工藝水準「足與當時最上乘的餐用瓷器媲美」。尤其是器物所用的「肥潤細膩的乳白色化妝土」與「透明潔淨的釉層」，充分彰顯出技術與美學的卓越水平。此外，其「巧妙地分上下兩段拼合製作」的工藝亦進一步展現了藝術家的精湛技藝。
8. 此件唐代白瓷利氏瓶對中國陶瓷藝術史有何貢獻？
此器物之所以重要，有幾個關鍵原因：首先，它證明了唐代在白瓷製作領域所達到的高水準；其次，它的造型可能源自金銀器，呈現出不同材質藝術間相互影響的現象；再者，其豐富的展覽史與來源記錄，尤其是與卡爾・肯普博士這樣重要收藏家的聯繫，凸顯其對西方中國藝術研究與欣賞的重要意義；最後，圍繞此器物功能（實用性或禮儀性）的持續討論，更增進我們對古代器物解讀的複雜性與深入理解。
A WHITE STONEWARE LEYS JAR, ZHADOU
Tang Dynasty
Robustly potted with a compressed pear-shaped body rising from a short foot to a waisted neck surmounted by a wide flared mouth divided by three shallow ridges and indents on the rim forming petals, covered in a creamy-white ivory glaze, box. 12.5cm (4 7/8in) diam. (2).
Provenance:
Dr Carl Kempe, Ekolsund, collection no.154
Sotheby's London, 14 May 2008, lot 207
Emmanuel Christofides (1928-2020), Athens and London
Published, Illustrated and Exhibited:
National Museum, Sung Keramisk Guldålder, Stockholm, 1949, no.7 (published and exhibited)
Kunstindustrimuseum, Copenhagen, 1950, no.272 (published and exhibited)
Mostra d'Arte Cinese, Venice, 1954, no.368
The Oriental Ceramic Society, The Arts of the T'ang Dynasty, 1955, London, no.212 (published and exhibited)
Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, no.295 (published and illustrated)
Chinese Gold, Silver and Porcelain, Asia House Gallery, New York, 1971, no.76 (an exhibition touring the USA and shown at a further nine museums)
The World's Great Collections: Oriental Ceramics, vol.8, Tokyo, 1982, pl.58 (published and illustrated)
The Museum of Art and Far Eastern Antiquities in Ulricehamn, Chinese Ceramic Treasures: A Selection from the Ulricehamn East Asian Museum, including The Carl Kempe Collection, Ulricehamn, 2002, pl.504 (published and illustrated)
D.Priestley and M.Flacks, A Life in the Company of Song Ceramics, London, 2017, pp.124-125, no.56 (published and illustrated)
S.Wong and S.Pierson, eds., Collectors, Curators, Connoisseurs: A Century of the Oriental Ceramic Society 1921-2021, London, 2021, pp.172-173, no.51
Dr Carl Kempe (1884–1967) was a Swedish industrialist, art collector, and a significant figure in the study and appreciation of Chinese art. Renowned for his discerning taste and scholarship, Kempe amassed one of the most comprehensive collections of Chinese ceramics, spanning from the Neolithic period to the Qing dynasty. His collection, particularly strong in Song dynasty wares, included rare examples of Jun, Ru, and Cizhou ceramics. A dedicated researcher, he published extensively on Chinese porcelain, helping to advance Western understanding of Chinese art and its historical context. Kempe was a key member of the Oriental Ceramic Society and maintained close relationships with museums, scholars, and other collectors, fostering international dialogue about Chinese art. His collection was exhibited widely, and pieces from it have entered major institutions, further solidifying his legacy as a pivotal figure in the dissemination and appreciation of Chinese ceramics in the West.
Vessels of this type, often referred to as spittoons or zhadou in Chinese, have a form inspired by metalwork prototypes. See, for example, two Tang dynasty silver zhadou illustrated in Tangdai Jinyin Qi, Beijing, 1985, nos.255 and 278, the first excavated at Xi'an, and the second with slightly concave mouth rim found in a tomb in Linan Xian Shiu Qiushi, Zhejiang Province. The shape of the present lot suggests a utilitarian function as a spittoon, but the exceptional quality of the potting and glazing: on a par with the finest contemporary tableware, challenges this interpretation. It is more plausible that these vessels were involved in the intricate rituals of tea or wine preparation and pouring, leading to their designation here as 'leys-jars'. This particular example is masterfully crafted in two sections: the enclosed, jar-like lower body rests on a wide, stable base, while the flaring, five-lobed, shallow bowl-shaped mouth, featuring a central aperture, connects to the lower part via a slender neck. The entire vessel is coated with a luscious creamy-white slip and finished with a clear glaze, showcasing both technical and aesthetic refinement.
Compare with a very similar white-glazed leys jar with petal-shaped mouth, Tang dynasty, in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelain of the Jin and Tang Dynasties, Hong Kong, 1996, p.157, no.144. Compare also with a related white-glazed zhadou, Tang dynasty, in the Shanxi Provincial Museum, illustrated in The Complete Collection of Ceramic Art Unearthed in China, vol.5, Beijing, 2008, p.45, pl.45.
Frequently Asked Questions: Tang Dynasty White Stoneware Leys Jar (Zhadou)
1. What is a "leys jar" or "zhadou" and what were its potential functions during the Tang Dynasty? A "leys jar," also known as a "zhadou" in Chinese, is a vessel form from the Tang Dynasty characterized by a compressed lower body, a waisted neck, and a flared mouth. While the shape has led to interpretations of a utilitarian function similar to a spittoon (or "tan yu"), the exceptional craftsmanship of examples like this one suggests it may have served a more refined purpose. A plausible alternative theory is that these vessels were used in the intricate rituals of tea or wine preparation and pouring, hence the designation "leys jar," implying a pouring function. The form is believed to have been inspired by contemporary gold and silver metalwork.
2. What are the key characteristics of the white stoneware leys jar featured in this auction? This particular leys jar is described as robustly potted in two sections: a compressed pear-shaped lower body rising from a short foot to a waisted neck, and a wide flared mouth with three shallow ridges and indents forming petal shapes on the rim. It is covered in a creamy-white ivory glaze. The craftsmanship is highlighted by the use of a fine-grained white stoneware body coated with a luscious white slip and a clear glaze, demonstrating significant technical and aesthetic refinement. The dimensions are noted as 12.5cm (4 7/8in) in diameter.
3. What is the significance of Dr. Carl Kempe in relation to this artifact? Dr. Carl Kempe (1884–1967) was a prominent Swedish industrialist and art collector renowned for his discerning taste and significant scholarship in the field of Chinese art. This specific white stoneware leys jar was part of his esteemed collection, bearing the collection number 154. Kempe's collection was particularly strong in Song dynasty ceramics, but also included important pieces from other periods, including the Tang Dynasty. His ownership adds significant provenance and prestige to this piece.
4. Can you trace the ownership history (provenance) of this Tang Dynasty white stoneware leys jar? The documented provenance of this leys jar begins with Dr. Carl Kempe (Ekolsund, collection no. 154). Following his collection, it was sold at Sotheby's London on May 14, 2008, as lot 207. Subsequently, it was part of the collection of Emmanuel Christofides (1928-2020) in Athens and London before being offered in this Bonhams auction.
5. What is the exhibition history of this particular Tang Dynasty white stoneware leys jar? This leys jar has an extensive and impressive exhibition history, having been featured in numerous significant exhibitions of Chinese ceramics across Europe and the United States. These include: "Sung Keramisk Guldålder" (Stockholm, 1949), an exhibition in Copenhagen (1950), "Mostra d'Arte Cinese" (Venice, 1954), "The Arts of the T'ang Dynasty" (London, 1955), "Chinese Ceramics in the Carl Kempe Collection" (Stockholm, 1964), "Chinese Gold, Silver and Porcelain" (touring the USA, 1971), "The World's Great Collections: Oriental Ceramics" (Tokyo, 1982), "Chinese Ceramic Treasures: A Selection from the Ulricehamn East Asian Museum" (Ulricehamn, 2002), "A Life in the Company of Song Ceramics" (London, 2017), and "Collectors, Curators, Connoisseurs: A Century of the Oriental Ceramic Society" (London, 2021).
6. Are there comparable examples of this type of Tang Dynasty white stoneware leys jar in museum collections? Yes, the auction text references comparable examples held in prominent museum collections. It mentions a very similar white-glazed leys jar with a petal-shaped mouth from the Tang Dynasty in the Palace Museum, Beijing, and another related white-glazed zhadou from the Tang Dynasty in the Shanxi Provincial Museum. These comparisons help contextualize the featured piece within the broader artistic production of the Tang Dynasty.
7. What does the text suggest about the level of craftsmanship and aesthetic value of this leys jar? The text emphasizes the "exceptional quality of the potting and glazing," stating it is "on a par with the finest contemporary tableware." The use of a "luscious creamy-white slip" and a "clear glaze" further highlights the technical skill and aesthetic refinement of the piece. The description of it being "masterfully crafted" in two sections also underscores the high level of artistry involved in its creation.
8. How does this Tang Dynasty white stoneware leys jar contribute to our understanding of Chinese ceramic art history? This piece is significant for several reasons. Firstly, it exemplifies the high level of ceramic production during the Tang Dynasty, particularly in white wares. Secondly, its form, potentially derived from metalwork, illustrates the cross-influences between different artistic media of the time. Thirdly, its extensive exhibition history and provenance, particularly its association with a renowned collector like Dr. Carl Kempe, highlight its importance to the study and appreciation of Chinese art in the West. Finally, the ongoing debate about its function (utilitarian vs. ritualistic) provides valuable insight into the complexities of interpreting ancient artifacts.
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