拍賣筆記 vol.217 蘇富比伊勢彥信專場：南宋龍泉青釉鬲式爐 - Sotheby’s Ise Collection, An Heirloom Longquan Celadon Tripod Incense Burner, Southern Song Dynasty
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南宋 龍泉青釉鬲式爐
An heirloom Longquan celadon tripod incense burner, Southern Song dynasty
Guaranteed Property
Estimate
800,000 - 1,600,000 HKD
w. 16.4 cm
2025.09.09
來源
平野古陶軒
青瓷鬲式爐，釉翠瑩華，線條俐潔，盡顯南宋龍泉窰之精湛技術與藝術成就。龍泉窰位於浙江南方一帶，北宋時期已以燒造質精青瓷聞名，1135年宋室南遷杭州之後，更是發展蓬勃，精益求精。
南宋皇室、文人傾慕青瓷，造形簡約，釉質如玉，豐美潤澤，雋永無窮。為追求更柔潤光華之釉色，瓷匠調整釉藥配方，加強石灰鹼值，以增青釉光潤感，施釉多反覆澆淋，增加厚度，更顯腴美。
南宋龍泉匠人依從當代儒人審美追求，汲古適今，取材高古青銅器形，本品鬲式爐造形可溯自青銅鬲鼎，器身均分三瓣、三足立之，原為盛裝食物的禮器。
類同龍泉青釉鬲式爐，藏於世界大型博物館及重要私人收藏：北京故宮博物院藏二例，刊於《故宮博物院藏文物珍品全集：兩宋瓷器（下）》，卷2，香港，1996年，圖版121、122；東京國立博物館藏一爐，錄於《東洋陶磁大観》，卷1，東京，1982年，圖版97；第四例出自林原一郎舊藏，曾二度售於倫敦蘇富比，2012年11月7日，編號220，2019年5月15日，編號19。東京常盤山文庫舊藏也有一例，2020年10月9日在香港蘇富比拍出，編號100。
FAQ 問答 - 龍泉青釉鬲式爐
這件龍泉青釉鬲式爐有何獨特之處？
這件龍泉青釉鬲式爐以其精美的製作工藝和藝術成就脫穎而出。它造型優雅，器身呈圓球狀，下方有三隻分岔的曲腿支撐，向上延伸出圓柱形頸部和外翻的邊緣。爐身外側有三條等距的凸脊，從肩部一直延伸到每條腿的中央。整體覆蓋著一層光澤柔和的青藍色釉，釉色在腿尖處戛然而止，露出胎體。這件作品充分展現了南宋時期龍泉窯在技術和美學上的高度成熟。
龍泉窯在南宋時期是如何發展和達到巔峰的？
龍泉窯位於浙江省南部，在北宋時期就已經以生產精美的青瓷聞名。然而，其受歡迎程度在1135年宋朝首都遷至杭州後達到了頂峰。新建立的宮廷給予了龍泉窯前所未有的支持，加上龍泉窯本身有能力生產非常精美的器物，這兩方面共同促進了其蓬勃發展。
南宋皇室和文人對青瓷有何偏好？這種偏好如何影響了龍泉窯的製作？
南宋的宮廷和定居在杭州的士大夫都偏愛那些造型看似簡樸，但釉色迷人、具有深沉的色彩和觸感的器物，因為它們 resembled treasured jade。為了再現這種玉石般的質感，工匠們開始用石灰鹼釉取代傳統的石灰釉來製作青瓷，這使得釉料黏度更高，光澤更柔和。釉層則被多次施加，使其顯得厚實而富有光澤。
新儒學思想對南宋龍泉窯的器物造型產生了什麼影響？
南宋龍泉的工匠們迅速適應了當時的需求，其美學理念深深植根於新儒學思想。新儒學的興起帶來了由通過科舉考試選拔出的士大夫所治理的中央集權官僚體系。這批受過高等教育的政府官員對中國青銅時代的器物產生了日益增長的興趣，從而導致了復古主義和對古董歷史研究的復興，這些被視為追求美德的指導原則。南方瓷窯的陶工們也採納了這些原則，並將仿古造型引入其產品中。例如，這件香爐的造型就是受到了古代青銅禮器「鬲鼎」的啟發，鬲鼎是一種器身三瓣、三足支撐的盛食物器皿。
這件龍泉青釉鬲式爐的估價是多少？
這件龍泉青釉鬲式爐的估價在80萬至160萬港幣之間。
這件香爐的尺寸是多少？
這件香爐的寬度為16.4厘米。
這件香爐有什麼樣的傳承？
這件香爐的傳承來自平野古陶軒。
這種形式的龍泉香爐在其他重要收藏中是否常見？
是的，這種形式的龍泉香爐在全球重要的博物館和私人收藏中都有收藏。例如，北京故宮博物院收藏有兩件，東京國立博物館也有一件。此外，還有來自林原一郎舊藏和東京常盤山文庫基金會的例子，都曾在蘇富比拍賣會上成交。
Provenance
Hirano Kotoken.
Catalogue Note
The delicate celadon glaze and clean profile of this incense burner demonstrate the level of artistic and technical refinement achieved at the Longquan kilns during the Southern Song dynasty. Distributed in southern Zhejiang province, these kilns had been producing fine celadon wares in the preceding Northern Song period, although their popularity peaked after the move of the Song capital to Hangzhou in 1135. The support of the newly-established court and the kilns' ability to produce very fine wares, gave an unprecedented boost to the Longquan kilns.
Both the court and scholar-officials that settled in Hangzhou favoured wares with seemingly modest forms but covered in mesmerising glazes with a depth of colour and tactility that resembled treasured jade. To recreate the jade-like appearance, craftsmen began replacing the traditional lime glaze used for making the celadon tone, with a lime-alkali glaze, which resulted in higher viscosity and softer gloss. The glaze was applied in multiple layers, thus appearing thick and lustrous.
Longquan craftsmen were quick at adapting to the demands of the Southern Song dynasty, whose aesthetic ideals were well-rooted in Neo-Confucian philosophy. Neo-Confucianism gave rise to a centralised bureaucracy governed by scholar-officials selected through civil service examinations. A class of highly educated government officials, who displayed an increasing interest in China's Bronze Age, thus emerged. This led to a revival of antiquarianism and the study of antiques and history, which were considered a guiding principle in the pursuit of virtue. Potters at manufactories in southern China adopted these principles and introduced archaic forms into their repertoire. The form of the present censer, for example, was inspired by archaic bronze liding, food vessels with tri-lobed bodies supported on three legs.
Longquan censers of this form are held in important museums and private collections worldwide: two censers in the Palace Museum, Beijing, are illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty (II), Hong Kong, 1999, pls 121 and 122; one in the Tokyo National Museum, is published in Oriental Ceramics. The World's Great Collections, vol. 1, Tokyo, 1982, pl. 97; a fourth piece came from the collection of Ichiro Hayashibara, sold twice in our London rooms in 7th November 2012, lot 220 and 15th May 2019, lot 19; and a further example from the Tokiwayama Bunko Foundation, Tokyo, sold in these rooms, 9th October 2020, lot 100.
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