拍賣筆記 vol.274 蘇富比香港：伊勢收藏，3514.5萬港元成交，明成化青花梔子花宮盌 - Ise Collection, Sotheby’s Blue And White 'Lily' Palace Bowl, Mark And Period Of Chenghua Sold for 35.145m HKD

從 2013 至 2025 年，成化宮盌的價格走勢呈現由巔峰回落至理性區間的明顯曲線。2013 年秋葵紋宮盌以 1.41 億港元 創下高點；而 2025 年岡田例僅 2233.5 萬港元，十二年間 下跌約 84%。2014–2019 年間多件宮盌維持在 5600–6400 萬 區間，相較 2013 高點已下降 約 55–60%。進入 2020 年代後，市場開始重新定義文明層級：成化宮盌不再與商周青銅、頂級唐三彩競價，而回歸到其真正的文化位置。2025 年伊勢例 3415 萬港元，較 2013 高點減少 約 76%；岡田例更進一步落至 2200 萬級別。這一連串數據清楚顯示：成化宮盌依然是十五世紀御窰的美學巔峰，但市場價值已完成一次 理性的校準，回到其應在的、相對穩定的價格帶。

Between 2013 and 2025, Chenghua palace bowls have moved from peak valuation to a more rational, historically coherent price range. The record-setting HKD 141 million result in 2013 contrasts sharply with the HKD 22.335 millionOkada example in 2025—an 84% decline over twelve years.The 2014–2019 results, consistently in the HKD 56–64 million range, already represented a 55–60% drop from the 2013 peak.In the 2020s, as the market recalibrated its cultural hierarchy—distinguishing aesthetic refinement from civilisation-level importance—prices adjusted further. The 2025 Ise example at HKD 34.15 million reflects a 76% decline from the 2013 high, with the Okada bowl marking an additional contraction into the HKD 20 million band.These percentages illustrate a clear trend: Chenghua palace bowls remain unmatched masterpieces of imperial taste, but their market positioning has normalized, settling into a valuation range aligned with their true cultural tier rather than the inflated heights of the previous decade.

明成化　

青花梔子花宮盌　

《大明成化年製》款

An exceedingly rare blue and white 'lily' palace bowl, Mark and period of Chenghua

Guaranteed Property

Auction Closed

2025 September 9, 07:30 PM HKT

Estimate

40,000,000 - 80,000,000 HKD

Lot Sold

35,145,000 HKD

此盌品相極好，外口沿有一處約0.5×0.6公分的淺剝釉經潤飾。

釉面瑩潤如絲，寶光四溢，同類中之頂級，實屬難得。

來源

Peter Boode（或卒於1972年），倫敦，購於1936年1月（50英鎊）

帕默伉儷（1898-1970年）收藏，編號403

香港佳士得1989年1月17日，編號575

徐展堂（1940-2010年）收藏

徐氏藝術館收藏，香港

香港佳士得1996年11月3日，編號548（此場為靜觀堂專場）

繭山龍泉堂，東京

展覽

《歷代文物萃珍：敏求精舍三十周年紀念展》，香港，1990至1991年，編號135

《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53

《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49

《Porcelaine. Chefs-d'œuvre de la Collection Ise》，吉美博物館，巴黎，2017年，編號38

《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48

出版

《徐氏藝術館》，香港，1991年，圖版74

《海內外徐展堂中國藝術館藏品選萃》，香港，1996年，圖版54

《中国陶磁―イセコレクション》，東京，2012年，頁65至67

《なごみ》，淡交社，東京，2018年5月，頁16

Christian Boehm，〈A Tea Master's Vision: Chinese Ceramics from the Ise Collection〉，《亞洲藝術》，2018年7/8月，圖22

Description

masterfully potted with deep rounded sides gracefully rising from a tapered foot to a gently everted rim, superbly painted in characteristic soft tones of cobalt-blue washes outlined with a darker blue border, the rounded sides of the interior superbly and freely decorated with a continuous undulating scroll forming a rounded lozenge and bearing four lilies, each with five delicate pointed petals, the elegant design further punctuated with leaves issuing from the meandering scroll, all below a double-line border and encircling a central double-line medallion enclosing a floral bloom with overlapping petals, the frieze on the cavetto echoed on the exterior between two double-line borders, the foot skirted with a further double-line band, all thinly veiled overall save for the unglazed footring with a most exquisite unctuous glaze, the base inscribed with a six-character reign mark within a double circle, Japanese double wood box

14.7 cm

Condition Report

The bowl is in very good condition. There is a tiny old retouched superficial flake to the outer mouth-rim measuring approx. 0.5 by 0.6 cm. The glaze is exceptionally brilliant and silky.

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

Peter Boode (died probably 1972), London, acquired in January 1936 (£50).

Collection of Mr (1898-1970) and Mrs R.H.R. Palmer, no. 403.

Christie's Hong Kong, 17th January 1989, lot 575.

Collection of T.T. Tsui (1940-2010).

Collection of the Tsui Museum of Art, Hong Kong.

Christie's Hong Kong, 3rd November 1996, lot 548 (from the single-owner auction of the Jingguantang Collection).

Mayuyama & Co., Ltd, Tokyo.

Exhibited

Selected Treasures of Chinese Art. Min Chiu Society Thirtieth Anniversary Exhibition, Hong Kong, 1990-91, cat. no. 135.

Chugoku Toji Meihin Ten Ise Korekushon no Shiho / Masterpieces of Chinese Ceramic Art Exhibition, Ishikawa Prefectural Museum of Art, Ishikawa, 2012, cat. no. 53.

Kaikan Sanjugoshunen Sinmeishou Sekou Kinen Tokubetukikakuten Nihon Chugoku Kankoku Toji no Meihin, Koko ni Tsudou [Memorial Special Exhibition of 35th Anniversary and Remaining Enforcement Sense of Beauty: Impressive Masterpieces of the Ceramics of Japan, China and Korea], Aichi Prefectural Ceramic Museum, Aichi, 2013, cat. no. 49.

Porcelaine. Chefs-d’œvre de la Collection Ise, Musée Guimet, Paris, 2017, no. 38.

Ise Korekushon Sekai wo Miryoshita Chugokutoji / The Enchanting Chinese Ceramics from the Ise Collection, Museum of Oriental Ceramics, Osaka, 2017, cat. no. 48.

Literature

The Tsui Museum of Art, Hong Kong, 1991, pl. 74.

Splendour of Ancient Chinese Art. Selections from the Collections of TT Tsui Galleries of Chinese Art Worldwide, Hong Kong, 1996, pl. 54.

Chugoku Toji. Ise Korekushon / Chinese Ceramics. The Ise Collection, Tokyo, 2012, pp. 65-67.

Nagomi [A Monthly Magazine by Tankosha], Tankosha, Tokyo, May 2018, p. 16.

Christian Boehm, 'A Tea Master's Vision: Chinese Ceramics from the Ise Collection', Arts of Asia, July-August 2018, fig. 22.

The Palmer Palace Bowl

Regina Krahl

In the history of China’s blue-and-white porcelain production, the Chenghua period stands out in two ways: in the refinement of the materials used, and in the emphatic clarity of its designs. Both these qualities could hardly be better embodied than by the present bowl.

The quality and inventiveness of Jingdezhen’s blue-and-white production created in the previous Xuande (1426-1435) reign is, and always was, undisputed. The imperial potters of the Chenghua period (1465-1487) were faced with a tall order to create porcelains that could stand the comparison and to offer something new. They did it by increasing overall quality to a level never otherwise matched, and by embarking on a radical new decorative approach. Although for centuries, Chinese connoisseurs and taste makers have debated whether it is Xuande or Chenghua porcelains that represent the pinnacle of Jingdezhen’s porcelain art, it is futile to search for an answer, since they follow a different aesthetic and appeal in different ways.

Although the thirty years of the Interregnum period between the end of the Xuande and beginning of the Chenghua reign have produced no reign-marked pieces, excavations have now shown that high-quality porcelains continued to be created throughout that time, even if they perhaps remained largely in an experimental stage. Not many completed wares of imperial quality are extant, and many styles discovered at the kiln site are not matched by pieces handed down above ground. However, when official production for the Chenghua court began, with porcelains carrying the imperial reign mark, the potters started off on a very high level.

“The tactility of Chenghua porcelain is universally praised and the sensual pleasure of the touch of a Chenghua vessel is indeed unmatched by porcelains of any other period.”

What they contributed was critical scrutiny of every aspect of the manufacturing process. It started with a more thorough preparation of the porcelain stone and glaze liquid, which were more finely ground and levigated and largely freed of impurities. The tactility of Chenghua porcelain is universally praised and the sensual pleasure of the touch of a Chenghua vessel is indeed unmatched by porcelains of any other period. The iron-rich imported cobalt used for the blue painting in the early Ming period (1368–1644) was largely replaced by a pigment derived from native cobalt ores. This no longer produced the blackish-burnt spots known as ‘heaped and piled’, that were characteristic of the Yongle (1403–1424) and Xuande reigns – a charming feature nostalgically praised in later periods, but basically an undesired flaw. Chenghua blue is more even and fresh in tone, also due to the fact that the glaze covering it is clear and highly transparent, having lost its previous slightly hazy aspect. These improvements already elevated the final product to a different level of refinement, but in addition, the vessels were now subjected to much more rigorous quality control, which sorted out proportionally far more items in this than in other periods. As the excavations of enormous Chenghua waste heaps of the imperial kilns have shown, any seconds, often without any noticeable flaws, were destroyed and buried. Porcelains of the Chenghua period are therefore among the rarest of all Chinese imperial wares.

For the manufactories to find their own voice stylistically and to embark on a new approach to design, should take longer than their boost of material quality. It was only towards the end of the reign, in the 1480s, that they managed to free themselves from the debt to Xuande imperial design. The radical simplicity of palace bowl floral designs represents a complete departure from the pleasant profusion of early Ming flower patterns with their multitude of blooms, tendrils and leaves that tend to fill all available space. The lily scroll on the present bowl is reduced to four blooms, each with a pair of leaves, born on a joint, rhythmically swerving stem that forms a square or rhomboid form, on the inside centred on a star-like flower-head, on the underside on the reign mark. The fluid lines of the stem ensure that the design is not static; they create a gentle motion that makes the viewer want to turn the bowl and to follow its rhythm. This reduction to the fundamental elements of a flower scroll and the ensuing elimination of any surplus ornament result in a most powerful visual impact and give palace bowls their striking, unforgettable presence.

“The tactility of Chenghua porcelain is universally praised and the sensual pleasure of the touch of a Chenghua vessel is indeed unmatched by porcelains of any other period.”

One of the reasons that palace bowls are so impressive is that they were obviously designed as complete works of art, with the painted decoration attuned to the shape. Their purist decoration favours the overall aspect of the vessel over individual motifs. The lily scroll on this bowl does not form part of a repertoire of motifs from which the painter would pick and choose, it was created for bowls of this specific shape. The design was most probably provided by the palace and was therefore not varied, nor was the pattern used on other shapes.

The origin of the term ‘palace bowl’ is uncertain. It was not yet in use at the International Exhibition of Chinese Art at the Royal Academy of Arts, London, 1935. It was probably introduced by A.D. Brankston, who used it in his ground-breaking book Early Ming Wares of Jingdezhen (first published in Beijing 1938), where he states (p. 46): “The ‘Palace bowls’ may have been used by the Court for food and drink … Their decorative motifs are generally of fruit or flowers and never of dragons.” Brankston may have picked up the term in Jingdezhen, when he researched his book there. Yet the Chinese equivalent, gong wan, does not seem to appear in the Chinese classical literature. Wang Qingzheng in his dictionary of ceramics (Jianming taoci cidian, Shanghai, 1989, p. 156) defines it as either referring to a particular bowl shape in use from the Xuande to the Zhengde period (1506–1521); or else as any bowl made for palace use, starting with pre-Song (960–1279) tribute pieces.

That the term became synonymous with a small group of Chenghua bowls and is today used equally in China, is undoubtedly due to the fact that it designates such a distinctive vessel type. Palace bowls are by no means all very similar; they come in a dozen or so different patterns, the majority painted only on the outside, leaving the inside blank, some with different designs inside and outside, and a few, like the present bowl, with matching designs on both sides; they can even bear different types of reign mark. Yet they are distinguished by their perfectly attuned proportions, sharply focused, unmannered painting style, uncomplicated, elemental yet sophisticated designs, unsurpassed tactility and high transparency, all of which contribute to their endearing understatement and undisputed nobility.

“The tactility of Chenghua porcelain is universally praised and the sensual pleasure of the touch of a Chenghua vessel is indeed unmatched by porcelains of any other period.”

Julian Thompson, who for years researched a catalogue raisonné of Chenghua imperial porcelains, published a Chenghua palace bowl with the related day lily pattern with long, slender leaves (later sold in these rooms 8th October 2019, lot 1002) in The Alan Chuang Collection of Chinese Porcelain, Hong Kong, 2009, pl. 14, where he wrote (p. 66), “Since the first Chenghua blue and white bowls, in a variety of designs, were imported into Europe in the 1930s and designated ‘palace bowls’, their equally exceptional quality in the repertoire of imperial blue and white has drawn the attention it deserves. The slight waxiness of the glaze, with a subtle off-white tinge found at no other period, and the soft colour of the Chinese cobalt, so different from the brighter colour of the imported pigment, combine to make the palace bowls the most sensuous of all blue and white. … The finest … are decorated with the same flower scroll both inside and outside the bowl in audaciously spacious designs completely lacking the horror vacui of their Yongle and Xuande predecessors.”

No bowl of this design appears to be preserved in mainland China, but two examples from the collection of the Palace Museum, Taipei, are illustrated in Teresa Tsao, Ming Chenghua ciqi tezhan [Special exhibition of Ming Chenghua porcelain], Taipei, 1977, nos 13 and 82, the latter illustrated also in Chenghua ciqi tezhan tulu/Catalogue of the Special Exhibition of Ch’eng-hua Porcelain Ware, 1465-1487, Taipei, 2003, no. 35 (fig. 1).

FIG. 1 BLUE AND WHITE 'PALACE' BOWL, MARK AND PERIOD OF CHENGHUA, PALACE MUSEUM, TAIPEI, CC BY 4.0 @ WWW.NPM.GOV.TW

圖1　明成化　青花梔子花紋盌　《大明成化年製》款　故宮博物院，台北，CC BY 4.0 @ WWW.NPM.GOV.TW

Five bowls of this design are preserved in other museum collections; two are in the Boston Museum of Fine Arts, from the Charles Bain Hoyt collection, one (50.2113) very close to all other bowls of this pattern, the other (50.2114) with a slightly different interpretation of this design, both illustrated in Asiatic Art in the Museum of Fine Arts Boston, Boston, 1982, no. 104. A bowl from the collection of Sir Percival David (PDF, A.650), now in the British Museum, London, is illustrated in Regina Krahl and Jessica Harrison-Hall, Chinese Ceramics. Highlights from the Sir Percival David Collection, London, 2009, no. 36, p. 73 centre right; a bowl formerly in the collection of George Eumorfopoulos and Herschel V. Johnson, now in the Cleveland Museum of Art (1967.64) is illustrated in Sir Harry Garner, Oriental Blue and White, London, 1954, pl. 35A, and in Handbook of the Cleveland Museum of Art, Cleveland, 1978, p. 354; and a bowl from the collection of Ferdinand Schiller in the Bristol Museum and Art Gallery (N2616), was published in Patrick Latham, ‘OCS Visit to the Bristol Museum and Art Gallery’, The Oriental Ceramic Society Newsletter, no. 6, January 1998, p. 30.

The only examples still in private hands are the two bowls formerly in the collection of Lord Cunliffe, one sold in these rooms, 20th May 1980, lot 39, illustrated in Sotheby’s Hong Kong – Twenty Years, 1973-1993, Hong Kong, 1993, no. 102, and in Sotheby’s. Thirty Years in Hong Kong, Hong Kong, 2003, no. 246; the other from the Xiling collection, included in the exhibition China without Dragons. Rare Pieces from Oriental Ceramic Society Members, The Oriental Ceramic Society at Sotheby’s London, 2016, published in the catalogue London, 2018, no. 118.

The imperial kilns copied their own design already about a century later in the Wanli period (1573–1620), see a bowl of Wanli mark and period, ibid. no. 119. A similar lily motif appears also on the outside of a roughly contemporary non-imperial warming bowl, but in this version, the strength of the sparse design is rather diluted, as the scroll is composed of six smaller blooms, see Peter Y.K. Lam, Chinese Ceramics from the Dawentang Collection, Hong Kong, 2019, vol. 1, no. 27.

The present bowl has an illustrious provenance, having passed through the hands of several noted and knowledgeable collectors. Peter Boode (died probably 1972) was an important Dutch dealer of Chinese art, based both in Shanghai and London, active mainly between the Wars. He supplied many important private and public collections and was the source of a number of Chenghua palace bowls. R.H.R. Palmer (1898–1970) and his wife assembled an exquisite collection largely of Ming and Qing porcelains in England, starting already in 1924. They contributed loans to many exhibitions of the Oriental Ceramic Society in London. We do not know when the Palmers acquired this bowl, but they probably owned it for many decades. T.T. Tsui (1941–2010) of Hong Kong formed the Jingguantang collection, a large and excellent holding of Chinese ceramics, which from 1991 was for many years exhibited in his own museum, The Tsui Museum of Art, in the old Bank of China building in Hong Kong. He made substantial donations to museums worldwide.

帕默珍藏成化宮盌

康蕊君

在中國青花瓷發展史上，成化一朝以其胎釉精良與紋飾雋永獨樹一幟，本品恰是這般工藝美學的完美典範。

宣德（1426-1435年）青花之精妙絕倫向為世所公認，成化（1465-1487年）御窰匠人們卻另闢蹊徑：既將胎釉品質提升至前無古人的高度，更開創了全新的裝飾範式。雖後世藏家對「宣成孰優」爭論不休，實則二者審美旨趣各擅勝場，難分軒輊。

「 瓷土研磨更為細膩，釉料淘洗愈顯純淨，胎骨觸感之溫潤堪稱歷代之冠。」

宣德與成化之間的空白期雖未見官款器物，考古發現證明其時景德鎮仍在進行高水準的燒造實驗。及至成化官窰重啟紀年款燒造，其起點已然極高。匠師們對每道工序都苛求至臻：瓷土研磨更為細膩，釉料淘洗愈顯純淨，胎骨觸感之溫潤堪稱歷代之冠。早期使用的進口蘇麻離青料漸被國產平等青取代，由此摒棄了永宣時期常見的「鐵鏽斑」現象，發色更趨勻淨淡雅。所施透明釉亦一改往日朦朧，呈現前所未有的通透質感。珠山考古所見堆積如山的成化落選品，即便微瑕亦被砸碎掩埋，足見甄選之嚴，故成化御瓷存世極罕。

成化御窰至憲宗晚期，即1480年代，方真正擺脫宣德窠臼，開創出全新的裝飾語言。本品所繪梔子連枝紋僅以四朵主花配雙葉，枝幹婉轉成菱形佈局，內底心飾團花紋，外底署青花年款。這般刪繁就簡的構圖徹底跳脫了明初紋飾的繁縟鋪陳，以流動的線條賦予器物生生不息的韻律感。

「這般刪繁就簡的構圖徹底跳脫了明初紋飾的繁縟鋪陳，以流動的線條賦予器物生生不息的韻律感。」

「宮盌」稱謂源流尚待考證，或由A.D.布拉克斯頓在其開山之作《明初景德鎮瓷器》（北京，1938年）中首倡。汪慶正《簡明陶瓷詞典》（上海，1989年）釋其有兩義：或特指宣德至正德年間特定器型；或泛指宋代以降宮廷用盌。而今此稱專指成化御窰這一獨特品類－其器型雖多樣（現存約十餘種紋飾），然皆以比例精妙、畫工率真、釉質瑩潤共同構築了含蓄而高貴的美學品格。

朱湯生多年來窮經皓首編撰成化御窰瓷器全集，曾於《莊紹綏藏中國瓷器》（香港，2009年）圖版14著錄一件成化宮盌，其紋飾以修長葉片配梔子花為飾（該器後於2019年10月8日在香港蘇富比釋出，編號102）。湯氏在書中評述：「自成化青花宮盌於1930年代傳入歐洲，其超凡品質終獲世人珍視。釉面泛獨特牙白，若凝脂般溫潤；國產鈷料發色柔和，迥異於進口青料之艷麗，二者交融成就青花瓷中最令人心馳神往之美。 ……至精之作內外同繪疏朗紋飾，一洗永宣青花密不透風之舊貌，盡顯空靈意境。」（頁66）

「 然皆以比例精妙、畫工率真、釉質瑩潤共同構築了含蓄而高貴的美學品格。」

目前大陸公藏機構尚未見同紋飾成化宮盌存世，然台北故宮博物院珍藏兩例：其一載於蔡玫芬主編，《明成化瓷器特展》，台北，1977年，編號13及82；其中編號82者複見於《成化瓷器特展圖錄》，台北，2003年，編號35（參見圖1）。

此式宮盌現存五例庋藏於各大博物館可比較之：波士頓美術館藏兩例，均源自查爾斯·班·霍伊特舊藏，其一（編號50.2113）紋飾與諸例高度一致，另一（編號50.2114）則略有差異，兩器並載於《Asiatic Art in the Museum of Fine Arts Boston》（波士頓美術館藏亞洲藝術），波士頓，1982年，編號104；倫敦大英博物館藏大維德爵士舊藏一例（編號PDF,A.650），刊於康蕊君、霍吉淑合著，《Chinese Ceramics. Highlights from the Sir Percival David Collection》（大維德爵士藏中國陶瓷精選），倫敦，2009年，編號36，頁73右中；克利夫蘭藝術博物館藏喬治·尤莫弗普勒斯與赫歇爾·約翰遜遞藏一例（編號1967.64），先後著錄於霍布森，《Oriental Blue and White》（東方青花瓷），倫敦，1954年，圖版35A，及《Handbook of the Cleveland Museum of Art》（克利夫蘭藝術博物館手冊），克利夫蘭，1978年，頁354；布里斯托博物館藏費迪南德·席勒舊藏一例（編號N2616），發表於帕特里克·萊瑟姆，《OCS Visit to the Bristol Museum and Art Gallery》（東方陶瓷學會布里斯托博物館訪記），載於《The Oriental Ceramic Society Newsletter》（東方陶瓷學會通訊），1998年1月，第6期，頁30。

FIG. 1 BLUE AND WHITE 'PALACE' BOWL, MARK AND PERIOD OF CHENGHUA, PALACE MUSEUM, TAIPEI, CC BY 4.0 @ WWW.NPM.GOV.TW

圖1　明成化　青花梔子花紋盌　《大明成化年製》款　故宮博物院，台北，CC BY 4.0 @ WWW.NPM.GOV.TW

私人收藏僅存兩例：康里爵士舊藏一例曾於1980年5月20日經香港蘇富比釋出，編號39，後載於《香港蘇富比二十周年（1973-1993年）》，香港，1993年，編號102及《香港蘇富比三十周年》，香港，2003年，編號246；另一例屬西陵基金收藏，曾參展2016年倫敦蘇富比「龍隱: 英國東方陶瓷學會會員珍稀藏品展」，並著錄於展覽圖錄，倫敦，2018年，編號118。

成化約百年後的萬曆朝（1573-1620年）曾仿燒此式紋樣，參見萬曆款宮盌一例（同前揭圖錄，編號119）。同時期民窰所製溫盌亦見類近梔子紋飾，然布局稍遜，纏枝綴以六朵小花，詳見林業強，《瓷緣 : 達文堂藏瓷》，卷1，香港，2019年，編號27。

本品遞藏源流顯赫，歷經多位鑒賞大家珍蓄：皮特·布德（約卒於1972年）乃戰間期重要荷蘭古董商，活躍於滬倫兩地，經手多組成化宮盌，為諸多重要公私收藏提供珍品；R·H·R·帕爾默（1898-1970年）夫婦自1924年始在英國構建其明清瓷器珍藏，屢次借展倫敦東方陶瓷學會，雖確切入藏年份不詳，然其庋藏本品應逾數十寒暑；香港徐展堂先生（1941-2010年）創靜觀堂藏珍，並向全球博物館慷慨捐贈，1991年起將本盌於舊中國銀行大廈徐氏藝術館長期陳列多年。