拍賣筆記 vol.231 蘇富比伊勢彥信專場：北宋至金定窰白釉印海石榴紋盌368.3萬成交 - Sotheby’s Ise Collection, A rare and finely moulded Dingyao 'pomegranate' bowl, Northern Song - Jin dynasty

龍泉堂驕傲的一件器物，釉質感上乘，線條十分優美。應該是南宋早期宮廷的用品，杭州皇城遺址有類似帶銘刻的瓷片出現。

A piece of which the Ryusen-do [Longquan Hall] may be justly proud, the vessel displays a glaze of exceptional quality and lines of great elegance. It is likely to have been a courtly article from the early Southern Song period, comparable fragments with inscriptions having been unearthed at the Imperial City site in Hangzhou.

160、170，應該是自己叫的…… 尋找180 nicolas，190場內先生，200後場，210，220，nicolas240、250後排、260nicolas、270、280nicolas、290場內落槌。

8869號牌，東京繭山龍泉堂買下。

北宋至金　定窰白釉印海石榴紋盌

A rare and finely moulded Dingyao 'pomegranate' bowl, Northern Song - Jin dynasty

Guaranteed Property

September 9, 10:00 AM HKT

Estimate

3,000,000 - 5,000,000 HKD

來源

繭山龍泉堂，東京

壺中居，東京

展覽

《東洋館開館記念東洋美術展》，東京國立博物館，東京，1968年，編號400

《中国陶磁―美を鑑るこころ》，泉屋博古館分館，東京，2006年，編號20

《中国陶磁名品展―イセコレクションの至宝》，石川県立美術館，石川，2012年，編號29

《Porcelaine. Chefs-d'œuvre de la Collection Ise》，吉美博物館，巴黎，2017年，編號11

《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20

《陶磁協会会員限定 第二回特別観賞会 イセコレクション 中国陶磁 唐、北宋、南宋、元、明、清》，日本陶磁協会，東京，2019年，沒載圖

出版

小山冨士夫，《陶器講座》，卷六：中国II宋，東京，1971年，圖版 8 (上)

《中国陶磁―イセコレクション》，東京，2012年，頁24至25

《芸術新潮》，2012年5月別冊，圖版3

《なごみ》，淡交社，東京，2018年5月，頁7

Christian Boehm，〈A Tea Master's Vision: Chinese Ceramics from the Ise Collection〉，《亞洲藝術》，2018年7/8月，圖7

《陶説》，803期，2020年3月，頁10

盌斗笠式，廣口，小圈足，壁面斜直，芒口鑲銅釦，盌心模印菊瓣紋，圍繞盌心內壁模印纏枝海石榴三組，枝葉翻轉繾綣，幾不透風，紋樣為陽線雙鉤，施釉後有明暗對比之效，外壁光素，惟見淚痕。

定窰印花工藝最晚在北宋末年便已成熟，入金後更為精絕，一模多印，產量隨之提高，然而一模所出仍有粗細輕淺之別，如本件紋樣清晰，釉色肥潤者自是少數。纏枝海石榴紋樣北宋業已出現，如北宋韓治墓出土一件白瓷劃花缽所飾，見《安陽韓琦家族墓地》，北京，2012年，圖25:2。

北京故宮藏一件金代印花纏枝石榴紋盌與本件極似，惟口沿帶回紋，見《中國陶瓷‧定窰》，上海，1983年，編號106。另可參考三件近似例子，一件藏台北故宮，口沿略微委角呈六瓣葵口，紋飾與本件如出同模，見《定州花瓷：院藏定窰系白瓷特展》，台北，2014年，頁154，編號II-98；一件為日本安宅舊藏，展於京都國立博物館，見《安宅コレクション東洋陶磁展》，京都，1978年，編號27；另一件著錄於《世界陶磁全集‧宋》，卷12，頁165，編號146。

Description

well potted with conical sides supported on a neatly knife-pared foot, the interior crisply moulded with three pomegranate sprays evenly spaced around the dish, each fruit emerging from a rhythmic arrangement of scrolling and swirling foliage, with leafy vines and stems gracefully curling and intertwining throughout the composition, further adorned with a floret at the centre, applied overall with an attractive transparent ivory-tinged glaze, metal-bound rim, Japanese double wood box

20.5 cm

Condition Report

Excellent overall condition, with just two original tiny kiln flakes to the foot.

整體品相佳。僅見兩原生小窰剝，分別於圈足外壁及足圈。

Provenance

Mayuyama & Co., Ltd, Tokyo.

Kochukyo Co., Ltd, Tokyo.

Literature

Koyama Fujio, Toki Koza [Lecture of Ceramics], vol. 6: Chgoku II So [China II Song], Tokyo, 1971, pl. 8 (top).

Chugoku Toji. Ise Korekushon / Chinese Ceramics. The Ise Collection, Tokyo, 2012, pp. 24-25.

Geijutsu Shincho [A Monthly Japanese Art Journal], May 2012 (Supplement), pl. 3.

Nagomi [A Monthly Magazine by Tankosha], Tankosha, Tokyo, May 2018, p. 7.

Christian Boehm, 'A Tea Master's Vision: Chinese Ceramics from the Ise Collection', Arts of Asia, July-August 2018, fig. 7.

Tosetsu / A Monthly Journal Published by The Japan Ceramic Society, vol. 803, March 2020, p. 10.

Exhibited

Toyokan Kaikan Kinen Toyo Bijutsu-ten [Exhibition of Eastern Art celebrating the opening of the Gallery of Eastern Antiquities], Tokyo National Museum, Tokyo, 1968, cat. no. 400.

Chugoku Toji Bi wo Mirukokoro [Chinese Ceramics, Enlightening through Beauty], Sen-oku Hakuko Kan, 2006, cat. no. 20.

Chugoku Toji Meihin Ten Ise Korekushon no Shiho / Masterpieces of Chinese Ceramic Art Exhibition, Ishikawa Prefectural Museum of Art, Ishikawa, 2012, cat. no. 29.

Porcelaine. Chefs-d'œuvre de la Collection Ise, Musée Guimet, Paris, 2017, cat. no. 11.

Ise Collection Sekai wo Miryoshita Chugokutoji / The Enchanting Chinese Ceramics from the Ise Collection, Museum of Oriental Ceramics, Osaka, 2017, cat. no. 20.

Toujikyokai Kaiin Gentei Dainikai Tokubetsu Kanshokai Ise Collection Chugoku Toji To, Hokuso, Nanso, Gen, Min, Shin [Special Exhibition for the members of The Japan Ceramic Society, Part 2, Chinese porcelains from Ise Collection; Tang, Northern Song, Southern Song, Yuan, Ming and Qing], Japan Ceramic Society, Tokyo, 2019, unillustrated.

Catalogue Note

The art of mould-impressed decoration at the Ding kilns reached full maturity by the late Northern Song period, achieving even greater refinement under the Jin dynasty. While the use of reusable moulds increased production capacity, variations in impression depth and clarity inevitably occurred between individual pieces—making examples like the present bowl, with its exceptionally crisp design and lustrous glaze, particularly rare. The pomegranate scroll motif had already appeared during the Northern Song dynasty, as seen on an incised white-glazed bowl from the tomb of Han Zhi (1058-1124), see Anyang Hanqi jiazu mudi [The Han Qi Family Cemetery at Anyang], Beijing, 2012, fig. 25:2.

A closely related Jin dynasty bowl with pomegranate scrolls in the Palace Museum, Beijing, illustrated in Chinese Ceramics: Ding Ware, Shanghai, 1983, no. 106. Compare also with another three relatable examples: a hexalobed bowl in the Palace Museum, Taipei, bearing virtually identical decoration, illustrated in Flowers in Frost: Special Exhibition of Ding-type White Wares, Taipei, 2014, p. 154, no. II-98; a bowl from the Ataka Collection, exhibited at the Kyoto National Museum and illustrated in Exhibition of Far Eastern Ceramics from the Ataka Collection, Kyoto, 1978, no. 27; and another published in Sekai Toji Zenshu/Ceramic Art of the World: Song Dynasty, Tokyo, 1977, vol. 12, p. 165, no. 146.