拍賣筆記 vol.160 邦瀚斯紐約：繭山龍泉堂，北宋紫定珍罕定窯盞托（或為當陽峪窯），14.02万美元售出 - Mayuyama Ryusendo, A Superb And Rare Dingyao 'Persimmon'-Glazed Cupstand
- SACA
- Mar 30
- 10 min read
這件紫定盞托，或可能為當陽峪的作品。紫定和當陽峪窯口之分在這件器物上並不重要，重要的是器物本身的稀罕度、傳承重要性。14.02萬美元，港元113萬元售出。
造型北宋，圓潤的側面和內曲的線條，與一個寬大的圓形托盤連接，托盤邊緣無釉，高台撇口，足部邊緣微微外擴，整體覆蓋著飽和的柿色釉，釉面顯現出微妙的深褐色與光澤的變化，足邊整齊修整，未上釉，顯示出細緻的白色瓷體。
直徑4 1/16英寸（10.3厘米）；高2 3/16英寸（5.5厘米）（附日本木盒和錦袋；日本1972年目錄）
北宋 珍罕紫定盞托
成交價：US$140,200（包括佣金）
來源：東京繭山龍泉堂展覽：第五回東美特別展，東京，1972 年 10 月 8-12 日
出版：中國古陶瓷展觀圖錄，東京繭山龍泉堂，1972 年，頁 23，圖版編號 40
精緻的造型、優雅的比例，搭配奢華的“柿”色釉，使得這件杯托成為一件非凡的藝術品，充分展現了宋代陶瓷的低調卻精緻的品質。此杯托曾由著名日本古董商Mayuyama & Co., Ltd.於1970年代出售，保存良好，狀況極佳。
此類帶環形容器的足托早在六朝時期便出現。唐代時，飲茶所需的各種器具逐漸增多，隨著宴會的規模越來越盛大，杯托和與茶相關的器具也愈加普及。在宋代的畫作《文會圖》中（宋徽宗皇帝繪，1082-1135年），其中一名年輕的侍者左手持一組白色杯子和黑色杯托，並在前方的方桌上整齊地排列著數個同款式的杯子和杯托。圖1
學者們曾推測，《文會圖》中的黑色杯托或許是用黑漆製成，且可能用銀製邊緣保護漆器的邊緣。可參考底特律藝術博物館藏品中的宋代黑漆杯托，其外形相似，但中盤有分段，並無銀邊，見Kwok所著《永恆的盛宴：中國藝術中的宴會》，普林斯頓大學藝術博物館，2019年，頁168-169，第39號。
這種定窯杯托常見的釉色為“柿”色或黑色，並且目前仍有多個例子存在於博物館和私人收藏中。然而，該拍品的柿色釉的濃烈度及其形態的精緻度，使它成為目前拍賣場上最為卓越的例子。哈佛藝術博物館藏有一件相似的例子，並在Mowry所著《兔毛、龜甲、雉翎：中國棕色與黑色釉陶瓷，400-1400年》中展示，劍橋，1996年，頁102-105，第12號。
該書中探討了定窯紅釉的起源：“到了宋代，白色定窯瓷器在宮廷中逐漸受到推崇。為了讓這些器物與宮廷中所用的貴重器具相和諧，定窯的陶工開始為一些作品覆上深色釉，模仿當時珍貴的黑漆和棕色漆器。” Mowry還展示了另一件定窯“柿”釉杯托，形態相似，但托盤為分段設計，現藏聖路易藝術博物館，見同書，第105-106頁，第13號，並指出哈佛和聖路易這兩件例子均“緊跟金屬與漆器的原型，甚至允許托盤將器物底部圍合。”
其他著名的定窯“柿”釉杯托例子包括：玫茵堂收藏，現展於瑞士瑞特博物館，見Krahl所著《玫茵堂收藏的中國陶瓷 第一卷》，倫敦，1994年，頁202-203，第354號；以及一件相似的定窯“柿”釉杯托和配套茶碗，現藏維多利亞與阿爾伯特博物館，見Ayers所著《維多利亞與阿爾伯特博物館的遠東陶瓷》，倫敦，1980年，第83號。
插圖：圖1 《文會圖》局部，宋徽宗（1082-1135年），宋代，絹本設色，台北故宮博物院藏
常見問題：北宋定窯“柿”-釉杯托
Q1：這件“柿”-釉杯托的拍賣價格為何如此高？
這件北宋定窯“柿”-釉杯托之所以具有高度的拍賣價值，主要源於其稀有性、極佳的保存狀況、精緻的工藝，以及其特徵性深棕色釉的強烈飽和度。其優雅的比例和釉面的品質超越了許多已知的例子。此外，這件作品的來源於著名日本古董商Mayuyama Ryusendo，並且曾在1972年的展覽及目錄中展示，這些都提升了其歷史和收藏價值。
Q2：這件定窯杯托的設計和釉色有何特徵？
此杯托具有乞討碗形的容器，圓潤的側面和內曲的 rim，與一個寬大的圓形托盤連接，托盤邊緣無唇，向上翻邊。它支撐在一個高挑的足部，足部邊緣微微外擴。整件作品除去修整得整齊的未上釉足邊，顯示出細緻的白色瓷體外，整體覆蓋著濃郁的“柿”色釉。這層釉色顯示出微妙的深棕色變化和光澤。
Q3：資料中提到的杯托在中國的使用歷史背景是什麼？
資料指出，帶環形容器的足托，作為杯托的前身，早在六朝時期便出現。唐代時，隨著飲茶準備過程和宴會規模的日益複雜化，杯托和其他與茶相關的器具變得愈加普及。宋代的畫作《文會圖》展示了白色杯子和黑色杯托的使用，顯示出這些器具在當時已經廣泛使用。
Q4：對這件定窯杯托的“柿”釉和造型有何可能的影響因素？
學者認為，像這件作品上的“柿”釉這樣的深色釉，是宋代定窯陶工為模仿宮廷中珍貴的黑漆和棕色漆器而發展出來的。杯托的造型，尤其是托盤能夠圍合住容器底部的設計，也被認為密切跟隨了金屬和漆器的原型。
Q5：這件“柿”釉定窯杯托與其他已知的例子有何比較？
雖然帶有“柿”色或黑色釉的定窯杯托在博物館和私人收藏中並不罕見，但這件作品由於其“柿”色的強烈度和造型的精緻度，使其成為拍賣場上的卓越之作。資料中提到，哈佛藝術博物館、聖路易藝術博物館、梅逸堂收藏（現存瑞士瑞特博物館）和維多利亞與阿爾伯特博物館中都有類似的例子，並指出其中一些有如分段托盤等變化。
Q6：文中提到的“紫定”一詞有何意義？
“紫定”一詞（zǐ dìng），翻譯為“紫色定”，被提及作為這件作品的可能分類，並可能將其與當陽窯（Dangyangyu kiln）聯繫。然而，文本強調，“紫定”與當陽窯的區別並不如該物品本身的稀有性和歷史意義來得重要。在這個背景下，“紫色”可能是指一些定窯器物所特有的深棕色或暗色釉。
Q7：這件杯托的來源和展覽歷史揭示了哪些信息？
此杯托曾由著名的日本古董商Mayuyama Ryusendo於1970年代出售，並於1972年參加了東京第五屆古董商博覽會及展覽，並在同年出版的Mayuyama Ryusendo《中國古代陶瓷展覽目錄》中有所展示。這段來源和展覽歷史顯示出它在藝術市場中數十年來的認可與價值。
Q8：這件杯托如何體現北宋陶瓷的特質？
這件“柿”釉定窯杯托完美詮釋了北宋陶瓷常見的低調而精緻的質感。其精緻的造型、優雅的比例和奢華的單色釉色展示了當時陶工在追求和諧形式和豐富的質感釉料方面的精湛技巧，體現了宋代陶瓷的精緻美學和技術實力。
LOT 120
A SUPERB AND RARE DINGYAO 'PERSIMMON'-GLAZED CUPSTAND
Northern Song Dynasty
17 March 2025, 09:00 EDT
Sold for US$140,200 inc. premium
A SUPERB AND RARE DINGYAO 'PERSIMMON'-GLAZED CUPSTAND
Northern Song Dynasty
The alms-bowl-shape receptacle with deeply rounded sides and incurved rim, joined to a wide circular saucer curved up to a lipless rim and supported on a tall foot splayed at the rim, covered overall with a saturated russet-brown glaze showing a slightly variegated dark-brown and iridescent surface, the neatly pared foot rim unglazed revealing the fine white porcelain body.
4 1/16in (10.3cm) diam; 2 3/16in (5.5cm) high
Provenance:
Mayuyama & Co., Ltd., Tokyo
Exhibited:
The Fifth Antique Dealer's Fair & Exhibition in Tokyo, 8-12 October 1972
Published:
Exhibition Catalog of Ancient Chinese Ceramics, Mayuyama & Co., Ltd., Tokyo, 1972, p. 23, no. 40
The delicate potting, elegant proportion, coupled with the luxurious 'persimmon'-brown glaze make the present cupstand an exceptional work of art, fully representing the understated yet sophisticated quality of Song ceramics. Handled by eminent Japanese dealer Mayuyama & Co., Ltd. in the 1970s, this cupstand is well-preserved and in excellent condition.
Footed saucers of this type with a ring-shaped receptacle appeared as early as the Six Dynasties. During the Tang dynasty, preparation of tea-drinking required many tools and utensils. Cupstands and tea-related vessels inevitably gained popularity as the banquet grew larger and more elaborate. Documented in the Song dynasty painting Wenhui tu (Literary Gathering) by the Huizong Emperor (A.D. 1082-1135), in the collection of the Palace Museum, Taipei, a young servant holds a set of a white cup and black cupstand in his left hand, with several cups and cupstands of the same style neatly arranged in front of him on a square table. Fig. 1
Scholars have speculated if the black cupstand in Wenhui tu was made of black lacquer, and perhaps the white rims were silver mounts for protecting the edges of the lacquer ware. Compare the Song dynasty black lacquer cupstand of similar silhouette but with lobed middle dish, without silver mount, in the collection of the Detroit Institute of Arts, illustrated by Kwok, The Eternal Feast: Banqueting in Chinese Art from the 10th to 14th Century, Princeton University Art Museum, Princeton, 2019, pp. 168-169, Cat. 39.
Dingyao cupstands of this form are often glazed in 'persimmon'-brown or black, and several examples exist in museum and private collections today. However, the intensity of the persimmon color and the refined execution of its form makes this lot the best of any example to come to auction. One similar example in the collection of the Harvard Art Museums is illustrated by Mowry, Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics, 400-1400, Cambridge, 1996, pp. 102-105, no. 12, where the author explores the origin of russet-glazed Ding ware: "By Song times, white Ding ware had gained appreciation at the imperial court. Wanting to make their wares harmonize with vessels in precious materials used at the court, potters at the Ding kilns began to coat some pieces with dark glazes, in imitation of the brown and black lacquers that were prized at the time." Mowry also illustrates another Dingyao cupstand of this glaze and shape, but with a lobed saucer dish, in the collection of the Saint Louis Art Museum, op. cit., pp. 105-106, no. 13, describing both the Harvard and Saint Louis examples as "closely follow(in) their metal and lacquer prototypes in form, even allowing the saucer to close the bottom of the receptacle".
Other notable examples of Dingyao 'persimmon'-glazed cupstand include: in the Meiyintang Collection and now on display at the Musee Rietberg, Switzerland, illustrated by Krahl, Chinese Ceramics from the Meiyintang Collection, Volume I, London, 1994, pp. 202-203, no. 354; a very similar Dingyao 'persimmon'-glazed cupstand and matching tea bowl in the collection of the Victoria and Albert Museum, illustrated by Ayers, Far Eastern Ceramics in the Victoria and Albert Museum, London, 1980, no. 83.
Caption:
Fig. 1 Detail of Literary Gathering, Huizong (A.D. 1082-1135), Song Dynasty, ink and color on silk, Palace Museum, Taipei
Frequently Asked Questions: Northern Song Dynasty Dingyao 'Persimmon'-Glazed Cupstand
Q1: What is significant about this particular 'persimmon'-glazed cupstand that led to its high auction price?
This Northern Song Dynasty Dingyao 'persimmon'-glazed cupstand is significant due to its rarity, excellent condition, refined craftsmanship, and the intense saturation of its characteristic russet-brown glaze. Its elegant proportions and the quality of the glaze surpass many other known examples. Furthermore, its provenance from the esteemed Japanese dealer Mayuyama Ryusendo and its inclusion in a 1972 exhibition and catalog add to its historical and collectible value.
Q2: What are the distinguishing characteristics of this Dingyao cupstand's design and glaze?
The cupstand features an alms-bowl-shaped receptacle with rounded sides and an incurved rim, attached to a wide circular saucer with a lipless, upturned edge. It rests on a tall foot with a slightly flared rim. The entire piece, except for the neatly finished, unglazed foot rim which reveals the fine white porcelain body, is covered in a rich 'persimmon' glaze. This glaze exhibits subtle variations of dark brown and an iridescent sheen.
Q3: What historical context does the source provide for the use of cupstands in China?
The source indicates that footed saucers with ring-shaped receptacles, the precursors to cupstands, appeared as early as the Six Dynasties. During the Tang Dynasty, with the increasing complexity of tea preparation and larger banquets, cupstands and other tea-related utensils became more prevalent. The Song Dynasty painting "Literary Gathering" by Emperor Huizong depicts the use of both white cups and black cupstands, illustrating their continued use during this period.
Q4: What possible influences are suggested for the 'persimmon' glaze and the form of this Dingyao cupstand?
Scholars suggest that the dark glazes, such as the 'persimmon' glaze seen on this piece, were developed by Ding kilns in the Song Dynasty to emulate the prized brown and black lacquerware used in the imperial court. The form of the cupstand, particularly the way the saucer can enclose the bottom of the receptacle, is also believed to closely follow metal and lacquer prototypes.
Q5: How does this 'persimmon'-glazed Dingyao cupstand compare to other known examples?
While Dingyao cupstands with 'persimmon' or black glazes are not uncommon in museum and private collections, the featured piece is considered exceptional due to the intensity of its 'persimmon' color and the refinement of its form, making it a standout example to appear at auction. The source references similar examples in the Harvard Art Museums, the Saint Louis Art Museum, the Meiyintang Collection (now at the Musee Rietberg), and the Victoria and Albert Museum, noting that some of these have variations like a lobed saucer.
Q6: What is the significance of the term "紫定" (zǐ dìng) mentioned in the Chinese text?
The term "紫定" (zǐ dìng), translated as "purple Ding," is mentioned as a possible classification for this piece, potentially linking it to the Dangyangyu kiln. However, the text emphasizes that the distinction between "purple Ding" and Dangyangyu ware is less important than the inherent rarity and historical significance of the object itself. In this context, "purple" likely refers to the russet-brown or dark-toned glaze characteristic of some Ding ware.
Q7: What does the provenance and exhibition history reveal about the cupstand's past?
The cupstand was previously owned and sold by the renowned Japanese antique dealer Mayuyama Ryusendo in the 1970s. It was also exhibited at the Fifth Antique Dealer's Fair & Exhibition in Tokyo in 1972 and published in Mayuyama Ryusendo's "Exhibition Catalog of Ancient Chinese Ceramics" in the same year. This provenance and exhibition history highlight its recognition and value within the art market for several decades.
Q8: How does this cupstand exemplify the qualities of Northern Song ceramics?
This 'persimmon'-glazed Dingyao cupstand perfectly embodies the understated yet sophisticated quality often associated with Northern Song ceramics. Its delicate potting, elegant proportions, and luxurious, monochrome glaze showcase the refined aesthetic and technical skill of potters during this period, particularly in their pursuit of harmonious forms and rich, tactile glazes.
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