拍賣筆記 vol.232 蘇富比伊勢彥信專場：北宋磁州窰白地剔黑彩牡丹紋梅瓶1989.5萬港元成交 - Sotheby’s Ise Collection, An exceptional and very rare Cizhou sgraffiato 'peony' vase, meiping, Northern Song dynasty Sold for 19.895m HKD

480萬起拍

500，800w直接叫，850n，900x，950n，1000z，1050n，1100場內後排先生，1200x，1300現場立刻反擊，1350x，1400現場，1500x，1600現場。

8869號牌

東京繭山龍泉堂買下，5位買家爭奪，最後花落日本。w來自香港，n、x、z均來自內地、現場買家繭山龍泉堂，祝賀。

The auction saw fierce competition among five bidders, ultimately concluding with the lot secured by Tokyo’s Mayuyama Ryusen-do.

The bidding field included W from Hong Kong, along with N, X, and Z from mainland China. After a heated contest in the saleroom, Mayuyama Ryusen-do emerged victorious. Congratulations.

磁州窰白地剔黑彩牡丹紋梅瓶

An exceptional and very rare Cizhou sgraffiato 'peony' vase, meiping, Northern Song dynasty

Premium Lot

Guaranteed Property

Irrevocable Bids

2025.09.09

Estimate

7,000,000 - 14,000,000 HKD

來源

Dikran Khan Kélékian（1868-1951年）收藏

紐約蘇富比1998年9月17日，封面及編號202

繭山龍泉堂，東京

展覽

裝飾藝術博物館，羅浮宮，巴黎，1914

John Getz，《The Kélékian Collection of Ancient Chinese Potteries》，芝加哥藝術博物館，芝加哥，1917年，編號11

克利夫蘭藝術博物館，俄亥俄州，1931-1948年

《宋磁 神品とよばれたやきもの》，東武美術館，東京，1999年，編號91

《特別展：白と黒の競演 中国・磁州窯系陶器の世界》，大阪市立美術館，大阪，2002年，編號52

《中国陶磁 美を鑑るこころ》、泉屋博古館分館，東京，2006年，編號24

《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32

《開館三十五周年・新名称施行記念特別企画展　日本・中国・韓国　陶磁の名品、ここに集う》，愛知縣陶瓷美術館，愛知，2013年，編號40

《Porcelaine. Chefs-d'œuvre de la Collection Ise》，吉美博物館，巴黎，2017年，編號21

《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26

出版

Henri Rivière，《La Céramique dans l'art d'Extrême-Orient》，卷II，巴黎，1923年，圖版57

《中国陶磁―イセコレクション》，東京，2012年，封底及頁30至33

《芸術新潮》，2012年5月別冊，編號4

《なごみ》，淡交社，東京，2018年5月，頁10

Christian Boehm，〈A Tea Master's Vision: Chinese Ceramics from the Ise Collection〉，《亞洲藝術》，2018年7/8月，圖13

此梅瓶以靈動流暢的刀法雕琢出迎風搖曳的牡丹紋飾，是十一至十二世紀初河北磁州窰裝飾器中稀有的傑作。不同於磁州窰遺址常見的單色剔刻或彩繪品種，此瓶採用了極為費工的「雙層化妝土剔劃」工藝，先施白色化妝土為底，再覆黑色化妝土，而後精准剔刻黑色表層以顯露下層潔白胎土，最後罩透明釉燒成。這種需要極高技藝的工藝要求匠人下刀深度恰到好處：既要完全穿透黑釉層展現白底，又不能傷及胎骨。最終呈現的黑白雙色牡丹紋樣，在瑩白襯底上形成強烈視覺對比，其盤旋纏繞的構圖令人目眩神迷。此種工藝代表磁州窰系中最負盛名的觀台窰第二期後段（約1060-1120年）頂級製品特徵，此時窰工在實用器外開始專攻陳設瓷，併發展出此類雙層剔花牡丹紋樣。可對比觀台窰遺址出土標本（多數出於北宋地層），見考古發掘報告《觀台磁州窰址》，北京，1997年，彩圖21:2。

儘管世界各大頂級收藏中可見類似紋飾的梅瓶，但每件作品在刀法韻律、花朵比例及枝葉捲曲度等方面的微妙差異，恰恰彰顯了其作為獨立藝術品的獨特價值。試比照：紐約大都會藝術博物館藏例（館藏編號25.65），刊于Jan Wirgin著《Sung Ceramic Designs》，斯德哥爾摩，1970年，圖版49b；伍斯特藝術博物館奧斯古德遺贈品（館藏編號1958.2），收錄于蓑豐《Freedom of Clay and Brush through Seven Centuries in Northern China》，印弟安納波里斯藝術博物館，1980年，圖版39；另可參校京都國立博物館（館藏編號GK159）圖97、大和文華館，圖98、韓國國立中央博物館德壽宮藏例（館藏編號Deoksu 2687）圖99，以及大英博物館賽奇威克夫人舊藏（館藏編號1968,0422.25）圖100等四例。

另可參照數例珍罕可比器物：紐約蘇富比1987年12月9日，編號243；臨宇山人舊藏一例見《世界陶磁全集‧宋》卷12，東京，1977年，圖版233，後售於紐約佳士得2018年3月22日，編號516；紐約蘇富比2000年9月20日拍出之刀法更為率意者，編號95，現藏波士頓美術館（館藏編號2001.1）；以及克里斯多夫（Emmanuel Christofides，1928-2020年）舊藏之白釉留花特殊工藝例，售於倫敦邦瀚斯2025年5月15日，封面拍品，編號28。

Description

elegantly potted with a tapered ovoid body rising to round shoulders, surmounted by a short neck with galleried rim, freely carved through the layer of dark brown slip to the ivory-white layer beneath with three large peony blooms borne on a meandering scroll with trefoil leaves, all between a collar and a skirt of narrow overlapping lappets, applied overall with a transparent glaze, the knife-cut footring and base unglazed, Japanese double wood box

30.9 cm

Condition Report

The meiping is in very good overall condition, with just expected shallow glaze flakes to the rim. There are typical minor original firing imperfections, including a shallow approx. 1.5 by 0.9 cm flake and a small kiln grit to the body, and a kiln chip to the footring on the base. There is a small black sticker between two leaves, possibly to conceal a firing imperfection.

整體品相良好。口沿偶見細淺剝釉。些許窰燒微疵，包括器身一小剝釉（約1.5x0.9公分）及一小黏砂，以及底部圈足一窰燒磕痕。器身兩葉之間見一小黑色圓貼，應為潤飾窰燒瑕疵。

If a condition report is provided to assist you with assessing the condition of the lot, it is for guidance purposes only. Such condition report may not refer to all faults, restoration, alterations, or adaptations because Sotheby's is not a professional conservator or restorer but rather a condition report is a statement of subjective, qualified opinion genuinely held by Sotheby's. For these reasons, any such condition report is not an alternative to taking your own professional advice regarding the condition of the lot. Prospective buyers should also refer to the Guide for Buyers at Auction which includes important notices concerning the type of property in this sale.

Provenance

Collection of Dikran Khan Kélékian (1868-1951).

Sotheby's New York, 17th September 1998, cover and lot 202.

Mayuyama & Co., Ltd, Tokyo.

Literature

Henri Rivière, La Céramique dans l'art d'Extrême-Orient, vol. II, Paris, 1923, pl. 57.

Chugoku Toji. Ise Korekushon / Chinese Ceramics. The Ise Collection, Tokyo, 2012, back cover and pp. 30-33.

Geijutsu Shincho [A Monthly Japanese Art Journal], May 2012 (Supplement), pl. 4.

Nagomi [A monthly magazine by Tankosha], Tankosha, Tokyo, May 2018, p. 10.

Christian Boehm, 'A Tea Master's Vision: Chinese Ceramics from the Ise Collection', Arts of Asia, July-August 2018, fig. 13.

Exhibited

Musée des Arts Décoratifs, Louvre, Paris, 1914.

John Getz, The Kélékian Collection of Ancient Chinese Potteries, Art Institute of Chicago, Chicago, 1917, cat. no. 11.

Cleveland Museum of Art, Ohio, 1931-1948.

So Ji – Shinpin to Yobareta Yakimono [Song Ceramics], Tobu Museum of Art, Tokyo/ Museum of Oriental Ceramics, Osaka/ Hagi Uragami Museum, Hagi, 1999, cat. no. 91.

Tukubetsu Ten: Shiro to Kuro no Kyoen Chugoku Jishu-yo Kei Toki no Sekai [Special Exhibition: Charm of Black & White Ware: Transition of Cizhou Type Wares], Osaka Municipal Museum of Art, Osaka, 2002, cat. no. 52.

Chugoku Toji Bi wo Mirukokoro [Chinese Ceramics, Enlightening through Beauty], Sen-oku Hakuko Kan, 2006, cat. no. 24.

Chugoku Toji Meihin Ten Ise Korekushon no Shiho / Masterpieces of Chinese Ceramic Art Exhibition, Ishikawa Prefectural Museum of Art, Ishikawa, 2012, cat. no. 32.

Kaikan Sanjugoshunen Sinmeishou Sekou Kinen Tokubetukikakuten Nihon Chugoku Kankoku Toji no meihin, Koko ni Tsudou [Memorial Special Exhibition of 35th Anniversary and Remaing Enforcement Sense of Beauty: Impressive Masterpieces of the Ceramics of Japan, China and Korea], Aichi Prefectural Ceramic Museum, Aichi, 2013, cat. no. 40.

Porcelaine. Chefs-d'œuvre de la Collection Ise, Musée Guimet, Paris, 2017, cat. no. 21.

Ise Korekushon Sekai wo Miryoshita Chugokutoji / The Enchanting Chinese Ceramics from the Ise Collection, Museum of Oriental Ceramics, Osaka, 2017, cat. no. 26.

Catalogue Note

Swirling with vibrant peonies, deftly carved as if flowing in the breeze, the present meiping is a rare and extraordinary example of the decorative wares produced at the Cizhou kilns of Hebei province in the eleventh and early twelfth centuries. Unlike more common carved or painted examples uncovered from the Cizhou kiln sites, the present vase features a rare and labour-intensive two-slip sgraffiato decoration. After two successive applications of white and black slip, the upper layer of black slip was then carefully incised and cut away to reveal the pristine white layer beneath and a clear glaze was applied over the top. This bold and painstaking process – cutting deep enough to reveal the white slip but not so deep as to reach the clay body below – presents the viewer with a peony design in crisp bichrome. Contrasting starkly against the brilliant white background below and drawing one’s eye around its scrolling design, this technique is typical of the highest quality of wares produced at the famous Guantai kilns in what has been termed the ‘later phase’ of Period 2 at the site, where artisans started producing decorative pieces in addition to functional ware and embraced two-slip sgraffiato and related peony designs. Compare related sherds featuring this technique uncovered from Guantai – the majority apparently uncovered from Northern Song dynasty strata – in Guantai Cizhou yao zhi / The Cizhou Kiln Site at Guantai, Beijing, 1997, col. pl. 21:2.

While similar examples of this design are attested in the world's leading collections, it is also worth noting the subtle variations across each piece – the gestural quality of the carving, the proportions of the blossoms, and the scrolling of the leaves – which highlight the individual effort in their making and mark them as individual works of art. Compare and contrast, for example, a closely related meiping preserved in the Metropolitan Museum of Art, New York (accession no. 25.65), illustrated in Jan Wirgin, Sung Ceramic Designs, Stockholm, 1970, pl. 49b; and another from the Osgood Bequest to the Worcester Art Museum, Worcester (accession no. 1958.2) included in Yutaka Mino, Freedom of Clay and Brush through Seven Centuries in Northern China, Indianapolis Museum of Art, Indianapolis, 1980, pl. 39, alongside four other comparable examples in the Kyoto National Museum, Kyoto (accession no. GK159), fig. 97; the Museum Yamatao Bunkenkan, Nara, fig. 98; the National Museum of Korea, Seoul (accession no. Deoksu 2687), fig. 99; and the British Museum, London (accession no. 1968,0422.25) from the collection of Mrs Walter Sedgewick, fig. 100. 

Compare also a very closely related example of this extraordinary type sold in our New York rooms, 9th December 1987, lot 243; another from the Linyushanren Collection, illustrated in Sekai Toji Zenshu / Ceramic Art of the World, vol. 12: Sung Dynasty, Tokyo, 1977, pl. 233, and sold Christie’s New York, 22nd March 2018, lot 516; a similar meiping of this type carved in a more informal style, sold in our New York rooms, 20th September 2000, lot 95, now preserved in the Museum of Fine Arts, Boston (accession no. 2001.1); and another with clear glaze applied only to white-slipped areas, sold from the collection of Emmanuel Christofides (1928-2020) at Bonhams London, 15th May 2025, lot 28 (cover lot).