拍賣筆記 vol.220 蘇富比伊勢彥信專場：唐三彩撇口瓶，川端康成舊藏 - Sotheby’s Ise Collection, Kawabata Yasunari, A small sancai-glazed bottle vase, Tang dynasty

川端康成將這件唐三彩長頸瓶視為「愛すべく美しい」（可愛而美麗）的存在。它不僅是一件古老的陶器，更被他看作是一段跨越千年的對話和一種穿越時空的輕柔低語。其圓潤的瓶身、優雅細長的頸部，以及乳白、綠、赭色交錯的流動釉色，都散發著一種華麗而朦朧、帶著無聲哀愁與永恆寧靜的美感。川端康成認為它的美與生命緊密相連，是一種對時間流逝、命運無常的深刻理解，承載著歷史、記憶以及他個人對美的感知與思索。

唐　三彩撇口瓶

A small sancai-glazed bottle vase, Tang dynasty

Guaranteed Property

Session begins in

September 9, 02:00 PM HKT

Estimate

600,000 - 800,000 HKD

來源

繭山龍泉堂，東京

川端康成（1899-1972年）收藏，川端氏為日本文壇巨孹及1968年諾貝爾文學獎得主

繭山龍泉堂，東京

日本私人收藏

北山美術店，東京

展覽

《唐宋名陶展》，日本陶磁協会（日本橋白木屋），東京，1964年，編號19

《中国陶磁名品展―イセコレクションの至宝》，石川縣立美術館，石川，2012年，編號18

《瓷華明彩―イセコレクションの名陶》，五島美術館，東京，2015年，編號1

《Porcelaine. Chefs-d'œuvre de la Collection Ise》，吉美博物館，巴黎，2017年，編號4

《イセコレクション―世界を魅了した中国陶磁》，大阪市立東洋陶瓷美術館，大阪，2017年，編號9

出版

《川端康成全集》，卷十：名人，東京，1960年，扉頁

《龍泉集芳》，卷1，繭山龍泉堂，東京，1976年，圖版240

《中国陶磁―イセコレクション》，東京，2012年，頁12至13

《芸術新潮》，2012年5月別冊，圖版2

《なごみ》，淡交社，東京，2018年5月，頁11

《陶説》，803期，2020年3月，圖版1

唐三彩 x 川端康成 FAQ問答

1. 川端康成收藏的唐三彩長頸瓶有何獨特之處？

川端康成將這件唐三彩長頸瓶視為「愛すべく美しい」（可愛而美麗）的存在。它不僅是一件古老的陶器，更被他看作是一段跨越千年的對話和一種穿越時空的輕柔低語。其圓潤的瓶身、優雅細長的頸部，以及乳白、綠、赭色交錯的流動釉色，都散發著一種華麗而朦朧、帶著無聲哀愁與永恆寧靜的美感。川端康成認為它的美與生命緊密相連，是一種對時間流逝、命運無常的深刻理解，承載著歷史、記憶以及他個人對美的感知與思索。

2. 這件唐三彩長頸瓶如何體現了「美與哀愁並存」的川端康成美學？

這件長頸瓶的美不僅在於其精緻的工藝和柔和的釉色，更在於它所隱含的歷史、情感與無常。瓶身釉色的斑駁流動，被川端康成視為時間細沙的緩緩流淌，以及對過去時光、已逝歲月和人們夢想的交織。這種美不是單純的華麗，而是一種深沉的情感，反映了他對生命中榮枯、生死的深刻理解，如同他作品中《千羽鶴》的茶器、《雪國》的雪花、《古都》的花卉般，訴說著一種美與哀愁並存的深邃情感。

3. 川端康成如何透過這件瓶子，將「過去與現在、死者與生者、華美與哀愁」巧妙地連接在一起？

對川端康成而言，這件唐三彩長頸瓶不僅是一件古物，更是一座跨越時空的橋樑。他凝視瓶子時，看到的不僅是釉色的斑駁流動，更是過去的時光、已逝的歲月和人們的夢想在瓶中交織、交匯、延續。瓶子所散發出的「愛すべく美しい」的氣息，正是將生者與死者的情感、華美與無常的哀愁連結起來，讓觀者感受到時間的流逝和生命的無常，從而在古老的器物中找到與當下心靈的共鳴。

4. 在當今語境下，我們應如何重新理解川端康成及其收藏的唐三彩長頸瓶？

在當今更開放和包容的社會中，我們應該以更具深度理解和多維視角來欣賞川端康成的作品和藝術收藏。這件唐三彩長頸瓶不僅是唐代陶藝的象徵，更反映了跨文化的交融與對話。我們應從宏觀的文化與歷史脈絡，以及川端康成對美的感知與思索去理解它。同時，應以更為寬容和感性的心態欣賞其「無常之美」，並放下對川端「快樂主義」的簡單標籤，以更成熟的視角，看到他對生命深度探索，在悲劇中尋找美、在無常中尋找意義的所在。

5. 這件唐三彩長頸瓶在藝術市場上的價值如何？其拍賣預估價是多少？

根據拍賣筆記，這件唐三彩長頸瓶曾於蘇富比伊勢彥信專場拍賣，並被列為「Guaranteed Property」。其拍賣預估價在600,000至800,000港幣之間。這反映了其作為一件珍貴的唐代文物，加上曾為諾貝爾文學獎得主川端康成舊藏的歷史，使其在藝術市場上具有相當高的價值。

6. 川端康成收藏的這件唐三彩長頸瓶有著怎樣的流傳歷史？

這件唐三彩長頸瓶的來源清晰。它曾由東京的繭山龍泉堂收藏，後歸日本文壇巨擘、1968年諾貝爾文學獎得主川端康成所有。之後又經過繭山龍泉堂、日本私人收藏和東京北山美術店之手。其詳細的流傳歷史證明了其珍貴的文物價值和藝術地位。

7. 這件唐三彩長頸瓶曾參與過哪些重要的展覽？

這件長頸瓶曾多次在重要的藝術展覽中亮相，包括：

• 1964年，東京日本陶磁協會（日本橋白木屋）的《唐宋名陶展》。

• 2012年，石川縣立美術館的《中國陶磁名品展―イセコレクションの至寶》。

• 2015年，五島美術館的《瓷華明彩―イセコレクションの名陶》。

• 2017年，巴黎吉美博物館的《Porcelaine. Chefs-d'œuvre de la Collection Ise》。

• 2017年，大阪市立東洋陶瓷美術館的《イセコレクション―世界を魅了した中國陶磁》。 這些展覽都凸顯了它作為中國陶瓷藝術精品的地位，以及在國際藝術收藏界的重要性。

8. 有哪些重要的出版物曾收錄或提及這件唐三彩長頸瓶？

這件唐三彩長頸瓶曾被多部重要出版物收錄和提及，進一步證實了它的歷史和藝術價值。這些出版物包括：

• 《川端康成全集》，卷十：名人，東京，1960年，扉頁。

• 《龍泉集芳》，卷1，繭山龍泉堂，東京，1976年，圖版240。

• 《中國陶磁―イセコレクション》，東京，2012年，頁12至13。

• 《芸術新潮》，2012年5月別冊，圖版2。

• 《なごみ》，淡交社，東京，2018年5月，頁11。

• 《陶説》，803期，2020年3月，圖版1。 這些出版物涵蓋了文學全集、藝術圖錄和專業陶瓷期刊，顯示其在不同領域的影響力。

Description

elegantly potted with a globular body raised on a spreading pedestal foot, surmounted by a tall waisted neck and wide flared rim, splashed with vibrant sancai lead glazes in amber, green, and cream tones, the fluid glazes cascading down the surface to create an organic glaze effect, Japanese wood box

20.4 cm

Provenance

Mayuyama & Co., Ltd, Tokyo.

Collection of Yasunari Kawabata (1899-1972), a prominent Japanese novelist and winner of the 1968 Nobel Prize in Literature.

Mayuyama & Co., Ltd, Tokyo.

A Japanese private collection.

Kitayama Bijutsuten, Tokyo.

Literature

Kawabata Yasunari Zenshu [Works by Kawabata Yasunari], vol. 10: Meijin [The Master of Go], Shinchosha, Tokyo, 1960, frontispiece.

Mayuyama: Seventy Years, vol. 1, Tokyo, 1976, pl. 240.

Chugoku Toji. Ise Korekushon / Chinese Ceramics. The Ise Collection, Tokyo, 2012, pp. 12-13.

Geijutsu Shincho [A Monthly Japanese Art Journal], May 2012 (Supplement), pl. 2.

Nagomi [A Monthly Magazine by Tankosha], Tankosha, Tokyo, May 2018, p. 11.

Tosetsu / A Monthly Journal Published by The Japan Ceramic Society, vol. 803, March 2020, pl. 1. 

Exhibited

To So Meito Ten [Masterpieces of Tang and Song Ceramics], Shirokiya, Tokyo, 1964, cat. no. 19.

Chugoku Toji Meihin Ten Ise Korekushon no Shiho / Masterpieces of Chinese Ceramic Art Exhibition, Ishikawa Prefectural Museum of Art, Ishikawa, 2012, cat. no. 18.

Shika Meisai: Ise Korekushon no Meito / Imperial Colors: Peerless Chinese Porcelains from the Ise Collection, Gotoh Museum, Tokyo, 2015, cat. no. 1.

Porcelaine. Chefs-d'œuvre de la Collection Ise, Musée Guimet, Paris, 2017, cat. no. 4.

Ise Korekushon Sekai wo Miryoshita Chugokutoji / The Enchanting Chinese Ceramics from the Ise Collection, Museum of Oriental Ceramics, Osaka, 2017, cat. no. 9.

FAQ - Tang Sancai x Kawabata Yasunari

What is the significance of the Tang Dynasty vase to Kawabata Yasunari?

The Tang Dynasty vase, described as a small sancai-glazed bottle, was more than just an ancient artifact to Kawabata Yasunari; it was a profound source of inspiration and reflection. He saw it as a "dialogue spanning a thousand years," a "gentle whisper from a distant era." For Kawabata, the vase embodied a beauty intimately connected with life itself, an "adorable and beautiful" (愛すべく美しい) presence that resonated with his own aesthetic sensibilities, particularly his exploration of "beauty coexisting with sorrow." Its elegant form, flowing glazes, and the sense of ancient craftsmanship imbued it with a life-like quality, reflecting the transient nature of beauty and existence that he often explored in his literary works.

How did Kawabata perceive the aesthetic qualities of the vase?

Kawabata was deeply moved by the vase's aesthetic qualities. Its rounded body, slender neck, and elegant curves evoked the image of a "modest dancer" or a "flower carried by the wind," possessing both lightness and tranquility. He found its form endearing, inspiring a desire to touch and embrace it. The flowing glazes, with their milky white, green, and ochre hues, resembled "dewdrops in the morning light," suggesting the passage of time and the touch of ancient artisans. This "gorgeous yet ethereal" beauty, imbued with "silent sorrow and eternal tranquility," represented a profound understanding of life's transience and the intertwining of life and death, a central theme in Kawabata's work.

What deeper meanings did the vase hold for Kawabata beyond its physical attributes?

Beyond its physical beauty and craftsmanship, the Tang Dynasty vase held immense historical and emotional weight for Kawabata. It carried the "history and memory" of the Tang dynasty, as well as Kawabata's own perceptions and reflections on beauty. When he gazed at the vase, he saw not just the mottled glazes but also "past times, bygone years, and people's dreams" interwoven within it. The vase became a symbolic representation of the themes he explored in his novels, such as the delicate tea utensils in Thousand Cranes, the fleeting snow in Snow Country, and the flourishing and fading of seasonal flowers in The Old Capital. It served as a bridge connecting the past and present, the dead and the living, splendor and sorrow.

What is the historical context of Kawabata's ownership of the vase?

The Tang sancai-glazed bottle vase was a part of Kawabata Yasunari's personal collection. Kawabata, a prominent Japanese novelist and the 1968 Nobel Prize in Literature laureate, acquired the vase from Mayuyama & Co., Ltd, a renowned art dealer in Tokyo. The vase has a documented history of ownership, passing from Mayuyama to Kawabata, then back to Mayuyama, followed by a Japanese private collection and Kitayama Bijutsuten, Tokyo, before being featured in the Ise Collection. This provenance highlights its significance and desirability among esteemed collectors and institutions.

Has this specific Tang Sancai vase been widely exhibited and published?

Yes, the Tang sancai-glazed bottle vase from Kawabata's collection has been extensively exhibited and published, demonstrating its recognized artistic and historical value. It has been featured in numerous prestigious exhibitions, including "Masterpieces of Tang and Song Ceramics" (Tokyo, 1964), "Masterpieces of Chinese Ceramic Art Exhibition" (Ishikawa, 2012), "Imperial Colors: Peerless Chinese Porcelains from the Ise Collection" (Tokyo, 2015), and internationally at the Musée Guimet in Paris (2017), and the Museum of Oriental Ceramics in Osaka (2017). Furthermore, it has appeared in significant publications such as Kawabata Yasunari Zenshu (1960), Mayuyama: Seventy Years (1976), and various art journals and collection catalogues.

How should contemporary audiences approach Kawabata's work and his appreciation for this vase?

Contemporary audiences are encouraged to approach Kawabata's work and his artistic collection with a "deeper understanding and multi-dimensional perspective." This involves moving beyond past interpretations often constrained by discussions of morality or sensuality. Today, we should view his work within a broader "cultural diversity and historical context," recognizing that pieces like the Tang sancai vase represent a "fusion and dialogue of cultures." It is important to appreciate the vase not just for its physical beauty, but for its "historical emotions and cultural memories," understanding how it acts as a cross-cultural bridge. Modern appreciation should embrace both the emotional (sensibility) and intellectual (rationality) aspects, recognizing the vase as a profound reflection on humanity, emotion, and existence.

What does the vase reveal about Kawabata's concept of "beauty coexisting with sorrow"?

The Tang sancai vase epitomizes Kawabata's concept of "beauty coexisting with sorrow," which remains a powerful aesthetic theme. The vase's beauty lies not merely in its exquisite craftsmanship but in its "beauty of impermanence." The flowing, mottled glazes, while physically beautiful, also symbolize the passage of time and the inevitability of decay. This perspective is not a "simple indulgence in past tragedies," but rather a "profound understanding of existence." The vase reminds us that all beauty is subject to the test of time, eventually leaving behind its traces. Kawabata's love for the vase stemmed from his ability to find beauty in tragedy and meaning in impermanence, seeing it as a vessel that contained both joy and pain, love and loss.

In what ways does the vase serve as a "cross-temporal bridge" as described in the source?

The Tang sancai vase functions as a powerful "cross-temporal bridge" by connecting disparate elements across vast stretches of time and experience. It links the "past and present," the "dead and the living," and "splendor and sorrow." As an ancient artifact, it brings the craftsmanship and cultural ethos of the Tang Dynasty into the modern era. For Kawabata, it connected his contemporary reflections to the artistic legacy of a distant past. The vase also bridges the realms of physical beauty and profound emotion, acting as a "carrier of human spirit and emotional exchange," allowing viewers to connect with the timeless human experiences of beauty, transience, and the search for meaning.