拍賣筆記 vol.182 蘇富比香港：傳John Sparks，288萬港元成交，北宋定窰白釉弦紋三足奩式爐 - John Sparks by Repute, A Dingyao ribbed cylindrical tripod incense burner, Northern Song dynasty

香爐於宋代文化生活中具有多重功能，廣泛用於宗教儀式、宮廷禮儀以及士大夫的私人書齋空間。焚香被視為淨化心靈、修養品格、營造雅靜氛圍的重要手段。考慮到定窯器物之高貴地位與本件香爐的精緻造型，它很可能屬於地位尊崇者，如官宦士族或宮廷成員所有，反映出宋代文人階層的生活品味與精神追求。

170萬起拍，書面到220萬，240萬電話keeson，6758號牌拿下，288萬港元成交。

Incense burners played a multifaceted role in the cultural life of the Song dynasty, widely used in religious rituals, court ceremonies, and the private studies of scholar-officials. The act of burning incense was regarded as an important means of purifying the mind, cultivating moral character, and creating a refined and serene atmosphere. Given the prestigious status of Ding ware and the exquisite craftsmanship of this particular incense burner, it was likely owned by individuals of high social standing, such as scholar-officials or members of the imperial court, reflecting the lifestyle aesthetics and spiritual pursuits of the literati class during the Song period.

北宋　定窰白釉弦紋三足奩式爐

Session begins in

May 7, 03:00 PM JST

Estimate

1,800,000 - 4,000,000 HKD

來源

傳 John Sparks Ltd.，倫敦

歐洲私人收藏，主要於1930至1960年代集成，此後家族傳承

倫敦邦瀚斯2016年11月10日，編號6

定窯弦紋爐：Northern Song Dingyao Ribbed Tripod Incense Burner

0:00

宋初，士大夫經科舉遴拔為官，取代世襲權貴執政治國，理學大興，崇尚鑒史以修德。此爐形制古雅，仿高古銅奩，正與當時流行之理學相乎。尚古之風盛及瓷業，宋匠常依古玉及青銅器形製瓷，遞衍遞嬗。本例式樣可溯至漢；漢有鎏金銅樽，熊形足，配獸首銜環耳，附蓋，可見一熊足獸紋樽例，鑄有「溫酒樽」銘，知其為酒器，並有西漢成帝「河平三年造」字，即製於公元前26年，圖見李學勤編，《中國美術全集工藝美術編5：青銅器》，卷2，北京，1986年，圖版217，另錄鎏金銅酒樽一例，下配承盤，北京故宮博物院藏，圖版236，應為東漢光武年製（公元25-57年），腰間環飾三道弦紋，口及底沿又各添飾弦紋，與此爐別無二致。

此類三足奩式爐自宋風靡，今猶不衰，定窰弦紋奩式爐更乃經典。有相類宋代定窰五例，形制比例不一，弦紋排布各異，刊於《故宮歷代香具圖錄》，台北故宮博物院，1994年，編號35-39，另錄約同時期之景德鎮窰仿定爐例（編號44），亦見一年代略晚之德化窰仿例（編號67），及一「廣窰」類例（編號71），或出廣州，以上各例皆為台北故宮博物院寶蓄。前述定窰五例，其中三例同錄於《定州花瓷—院藏定窰系白瓷特展》，台北，2014年，編號II-5.6.7，皆附木蓋，蓋循雍正年間宮廷技法，以元、明玉雕作鈕。

比較一相類瓷爐，尺寸相若，金屬釦口下方飾兩道弦紋，卡爾肯普舊藏，載於 Bo Gyllensvärd，《Chinese Ceramics in the Carl Kempe Collection》，斯德哥爾摩，1964年，圖版447，售於倫敦蘇富比2008年5月14日，編號238。又一例，刊於曾憲七及 Robert Paul Dart，《The Charles B. Hoyt Collection in the Museum of Fine Arts: Boston》，卷2，波士頓，1972年，圖版29。

另可參考一尺寸較大之例，藏北京故宮博物院，刊於《定瓷雅集：故宮博物院珍藏及出土定窰瓷器薈萃》，北京，2012年，圖版41，旁附一較小例，湖南長沙楊家灣1號墓出土，現藏湖南省博物館，圖版40。天津市藝術博物館且蓄一爐，錄於《天津市藝術博物館藏瓷》，香港，1993年，圖版26。台北鴻禧美術館舊藏一例，收入史彬士編纂的《中國歷代陶瓷選集》，台北，1990年，編號24，曾為樂從堂寶蓄，兩度售於蘇富比，1984年12月11日在倫敦拍出，編號169，後於2017年10月3日在香港易手，編號10。還可比較一殘例，尺寸甚小，河北曲陽定窰窰址出土，載於《中國古瓷窰大系：中國定窰》，北京，2012年，圖版108。

常見問題：北宋定窯白釉弦紋柱形三足香爐

Q1：這件定窯香爐被歸屬於北宋時期，有何重要意義？北宋（960–1127）是中國社會與政治劇烈變革的時期。隨著科舉制度的普及，士大夫階層崛起，帶動了知識文化的繁榮，理學興起亦強調對歷史與德行的重視。此一知識氛圍促成了對古物的熱愛，並深刻影響了藝術風尚。定窯作為北方著名白瓷窯口，以其細膩純淨的白釉瓷器而聞名於世，廣受宮廷與士大夫推崇。本件香爐正體現了北宋時代對優雅造型與古雅精神的追求，是宋人文化與審美理想的具體展現。

Q2：此件香爐如何反映宋代對古代造型的崇尚？香爐之三足形制，明顯承襲自漢代（公元前206年至公元220年）銅質尊（zun）器之形，拍賣圖錄亦明確指出其原型為漢代鎏金銅尊，特徵包括熊形足與環耳設計。宋代工藝界普遍興起仿古之風（尚古風尚），工匠們從古代玉器、銅器中汲取靈感，並以瓷器等新材質重新演繹古典器形，此趨勢呼應了理學強調「法古」與「溯源」的思想。此件香爐即為宋人尊古創新的典型例證。

Q3：本件香爐展現了定窯器物哪些典型特徵？定窯瓷器以細膩緻密的白瓷胎質、溫潤微黃的乳白釉面，以及纖巧雅致的裝飾風格著稱。本件香爐以簡潔的弦紋為主要裝飾（弦紋器），儘管設計素樸，但依然充分展現了定窯瓷器注重色澤純正與線條優雅的審美追求。拍賣圖錄亦提及其他不同變體之定窯香爐，從中可見定窯產品雖有豐富變化，但此件代表了一種經典且廣受歡迎的形制。

Q4：本件香爐的來源有何特別之處？此香爐來源顯赫，傳曾由倫敦著名亞洲藝術古董商John Sparks Ltd.經手，後歸於一位主要於1930至1960年代間積累收藏的歐洲私人藏家，並於2016年於倫敦邦瀚斯拍賣。對於古董藝術品而言，追溯明確的傳承歷史（provenance）對確立真偽與歷史地位至關重要。本件香爐經歷過專業收藏與流傳，顯示其自問世以來即受到識者珍重與精心保存。

Q5：本件香爐與宋代及後代類似器物有何比較？圖錄詳盡列舉了多件北宋定窯三足香爐的比較實例，涵蓋器形、比例與弦紋數量配置等細節差異，並提及景德鎮窯口同期仿製品，以及德化窯與所謂「廣窯」（或指廣州一帶）後期仿作。這些比較說明了三足香爐形制自宋以降長期流行，且受到持續仿效。台北故宮博物院與北京故宮博物院亦藏有相關例證，可見此類香爐在中國陶瓷史上的重要地位與影響力。

Q6：此類香爐於宋代有何實際用途？香爐於宋代文化生活中具有多重功能，廣泛用於宗教儀式、宮廷禮儀以及士大夫的私人書齋空間。焚香被視為淨化心靈、修養品格、營造雅靜氛圍的重要手段。考慮到定窯器物之高貴地位與本件香爐的精緻造型，它很可能屬於地位尊崇者，如官宦士族或宮廷成員所有，反映出宋代文人階層的生活品味與精神追求。

Q7：後配木座與日本桐箱透露了哪些資訊？木座與日本桐箱（tomobako）的存在，顯示此器後期可能經日本收藏界保存。自古以來，日本收藏家對中國瓷器懷有深厚敬意，並有為珍貴器物特製桐箱以保護之的傳統。此舉既展現了對香爐價值的認可，也反映出其在不同文化背景下延續至今的歷史傳承。

Q8：本件香爐的拍賣估價（1,800,000–4,000,000港元）意味著什麼？此高額估價反映了市場對北宋定窯精品的高度評價。影響估值的因素包括定窯作為北方白瓷巔峰窯口的歷史地位、北宋文化的標誌性意義、器形之優美與製作之精緻、清晰可考的傳承歷史，以及與重要博物館藏品的比對參照。這一估價顯示，本件香爐在國際中國古代陶瓷市場上具有顯著學術價值與收藏吸引力，廣受藏家與機構青睞。

A Dingyao ribbed cylindrical tripod incense burner, Northern Song dynasty

wood stand and Japanese wood box

w. 13 cm

Provenance

John Sparks Ltd., London, by repute.

A European private collection, assembled mostly during the 1930s to 1960s, and thence by descent.

Bonhams London, 10th November 2016, lot 6.

Catalogue Note

Adapted from an archaic bronze form, this elegant censer reflects the major impact on the arts that resulted from a drastic political shift during the early Song dynasty, from a society ruled by a hereditary aristocracy to one governed by a central bureaucracy of scholar-officials selected through civil service examinations. The resulting rise of Neo-Confucian ideals emphasised the importance of history in the pursuit of virtue. The increased interest in antiquities led to a revival of archaic jade and bronze forms that Song potters adapted into their repertoire. The present censer finds its roots in gilt bronze tripod wine vessels (zun) of the Han dynasty (206 BC – AD 220), generally supported on bear-shaped feet, fitted with ring handles and supplied with a cover, such as an example decorated with animals, that is engraved with an inscription identifying it as a wine vessel (jiu zun) and dating it in accordance with the year 26 BC, illustrated in Li Xueqin, ed., Zhongguo meishu quanji: Gongyi meishu bian [Complete series on Chinese art: Arts and crafts section], 5: Qingtong qi [Bronzes], vol. 2, Beijing, 1986, pl. 217, together with another gilt-bronze wine zun with matching tripod stand in the Palace Museum, Beijing, pl. 236, which is decorated with a triple raised band in the centre and single bands at rim and base, not unlike the present piece, and attributed to the reign of Guangwudi, AD 25-57.

For ceramic incense burners, this shape was popular from the Song dynasty right through to modern times, and this Ding version with simple raised ribs, became a classic. Five similar Ding examples, in various shapes and proportions and with different arrangements of raised ribs, were included in the exhibition Gugong lidai xiangju tulu/A Special Exhibition of Incense Burners and Perfumers Throughout the Dynasties, National Palace Museum, Taipei, 1994, cat. nos 35-39, together with a roughly contemporary Jingdezhen copy, cat. no. 44, a later Dehua copy, cat. no. 67, and a ‘Guang ware’ copy, probably from Guangzhou, cat. no. 71, all from the collection of the National Palace Museum. Three of the five Ding censers in Taipei were also included in the exhibition Dingzhou hua ci. Yuan zang Dingyaoxi baici tezhan/Decorated Porcelains of Dingzhou. White Ding wares from the collection of the National Palace Museum, National Palace Museum, Taipei, 2014, cat. no. II-5.6.7, all with fitted wooden covers with Yuan (1279-1368) or Ming (1368-1644) jade carvings as knobs, a type known to have been commissioned by the Yongzheng Emperor (r. 1723-1735) from the palace workshops.

Another censer of this size, also with two ribs near the mouth but with a metal rim mount, from the Carl Kempe collection and illustrated in Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 447, was sold in our London rooms, 14th May 2008, lot 238; another is illustrated in Hsien-ch’i Tseng & Robert Paul Dart, The Charles B. Hoyt Collection in the Museum of Fine Arts: Boston, vol. II, Boston, 1972, pl. 29; a larger example, in the Palace Museum, Beijing, is published in Selection of Ding Ware. The Palace Museum Collection and Archaeological Excavation, Beijing, 2012, pl. 41, together with a slightly smaller version excavated from Tomb 1 in Yangjiawan, Changsha, Hunan province, and now in the Hunan Provincial Museum, pl. 40; another in the Tianjin City Art Museum, Tianjin, is published in Tianjin Shi Yishu Bowuguan cang ci/Porcelains from the Tianjin Municipal Museum, Hong Kong, 1993, pl. 26; and a further example formerly in the Chang Foundation, Taipei, included in James Spencer (comp.), Selected Chinese Ceramics from Han to Qing Dynasties, Taipei, 1990, cat. no. 24, was sold twice, first in our London rooms, 11th December 1984, lot 169 and again in these rooms, 3rd October 2017, lot 10, from the Le Cong Tang collection. Compare also a much smaller fragmentary example recovered from the Ding kiln site in Quyang, Hebei province, illustrated in Zhongguo gu ciyao daxi. Zhongguo Dingyao/Series of China’s Ancient Porcelain Kiln Sites: Ding Kiln of China, Beijing, 2012, pl. 108.

Frequently Asked Questions: The Northern Song Dynasty Dingyao White-Glazed Ribbed Cylindrical Tripod Incense Burner

Q1. What is the significance of this Dingyao incense burner being attributed to the Northern Song Dynasty?

The Northern Song Dynasty (960-1127) was a period of significant social and political change in China. The rise of scholar-officials through civil service examinations led to a flourishing intellectual environment, with Neo-Confucianism emphasizing the importance of history and virtue. This intellectual climate fueled an interest in antiquities, influencing artistic trends. The Dingyao kilns, known for their fine white porcelain, became highly esteemed during this era, producing wares that reflected the refined taste of the court and scholar class. This particular incense burner embodies the aesthetic and cultural values of the Northern Song, demonstrating the era's appreciation for elegant forms and historical precedents.

Q2. How does this incense burner reflect the Song Dynasty's interest in archaic forms?

The tripod form of this incense burner is directly inspired by ancient Chinese bronze vessels, specifically the zun (wine vessel) of the Han Dynasty (206 BC – AD 220). The catalogue note explicitly mentions Han Dynasty gilt bronze zun with bear-shaped feet and ring handles as prototypes. This conscious adaptation of archaic forms was a prevalent trend in Song Dynasty arts, including ceramics. It reflected a deep respect for history (shanggu), aligning with Neo-Confucian ideals of learning from the past. Song artisans frequently looked to ancient jades and bronzes for inspiration, reinterpreting these classical shapes in new materials like porcelain.

Q3. What are the key characteristics of Dingyao ware exemplified by this incense burner?

Dingyao ware is renowned for its fine-grained white porcelain body, a smooth, ivory-toned glaze, and often, delicate decorations. While this particular example features simple raised ribs (弦紋) as its primary ornamentation, it still showcases the refined material and elegant form characteristic of Dingyao. The emphasis on purity of color and graceful lines was a hallmark of Ding ware, making it highly sought after by the imperial court and discerning collectors. The comparison to other Dingyao examples in the catalogue note highlights the variety within Ding ware, but this piece represents a classic and popular form.

Q4. What is the provenance of this particular incense burner and why is it noteworthy?

This incense burner has a distinguished provenance, reportedly passing through the hands of John Sparks Ltd., a renowned London dealer of Asian art. It was also part of a European private collection assembled primarily between the 1930s and 1960s before being sold at Bonhams London in 2016. Tracing the ownership history of an antique object like this is crucial for establishing its authenticity and understanding its journey through time. The connection to a respected dealer and a long-held private collection adds to its historical and cultural significance, suggesting it was appreciated and preserved by knowledgeable collectors.

Q5. How does this Dingyao incense burner compare to similar examples from the Song Dynasty and later periods?

The catalogue note provides extensive comparisons to other Dingyao tripod incense burners, noting variations in shape, proportion, and the arrangement of the raised ribs. It also mentions contemporary imitations from the Jingdezhen kilns, as well as later adaptations from Dehua and "Guang ware" (likely from Guangzhou). These comparisons highlight the popularity and enduring appeal of this form, which continued to be produced and emulated even after the Song Dynasty. The existence of numerous examples, including those in prominent museum collections like the National Palace Museum in Taipei and the Palace Museum in Beijing, underscores the significance of this design within the history of Chinese ceramics.

Q6. What was the function of such incense burners during the Song Dynasty?

Incense burners played an important role in Song Dynasty life, used in religious rituals, court ceremonies, and the private spaces of the elite. The burning of incense was associated with purification, spiritual contemplation, and creating a refined atmosphere. Given its elegant form and the high status of Dingyao ware, this tripod incense burner was likely used by individuals of considerable social standing, such as scholar-officials or members of the imperial court, reflecting the sophisticated cultural practices of the time.

Q7. What do the later wooden stand and Japanese wood box suggest about the object's history?

The presence of a wooden stand and a Japanese wood box indicates that the incense burner was likely appreciated and cared for in later periods, potentially in Japan. Japanese collectors have long admired and preserved Chinese ceramics, and custom-made boxes (tomobako) are a tradition in Japan for protecting valuable art objects. These additions provide further evidence of the burner's journey and its continued value across different cultures and time periods.

Q8. What does the estimated auction price (1,800,000 - 4,000,000 HKD) suggest about the value and rarity of this piece?

The substantial estimated auction price reflects the high value placed on rare and well-preserved Northern Song Dynasty Dingyao porcelain. Factors contributing to this valuation include the kiln's prestigious reputation, the historical significance of the Song Dynasty, the object's elegant form and fine craftsmanship, its documented provenance, and its comparison to similar examples in major museum collections. The estimate suggests that this particular incense burner is considered a significant and desirable piece within the international art market, appealing to collectors and institutions interested in early Chinese ceramics.