拍賣筆記 vol.276 蘇富比香港：傳小堀遠州，165.1萬港元成交，南宋龍泉青釉鳳耳紙槌瓶，岡田美術館 - A Rare Heirloom Longquan Celadon Phoenix-Handled 'Kinuta' Mallet Vase, Southern Song Dynasty, Sold for 1.651m HKD

前幾年，隨便在日本舊貨市場找一個桐木箱，再找個書法寫手寫一些傳承文字就可以套在某一件藏品上丟進拍賣賣出高價。如今卻已經行不通，一來藏家對傳承認證的意識已經很明確，二來對器物本身的品級的認知也逐漸進步。

雖然瓶子有修復，但165.1萬港元仍是低價，也是市場對這種小堀遠州傳承的真偽不認可的答卷，近年來逢茶道具便說小堀遠州，又缺乏嚴密證據鏈條支撐，相信不可持續。若真的可以確定是小堀遠州，那歷史價值本身就遠超這個價格。這件器物並非由岡田和生的慣用經濟人「壺中居」把關，或為其從其他渠道的來，藏品質量與整場其他器物形成鮮明對比。

In earlier years, it was not uncommon for objects circulating in the Japanese secondary market to acquire a veneer of pedigree simply by pairing them with a generic kiribako and commissioning a calligrapher to inscribe an attractive lineage. Such practices could, at the time, still command substantial premiums at auction. This approach has become increasingly untenable. Collectors today possess a far clearer understanding of what constitutes credible provenance, and their connoisseurship regarding the intrinsic quality of the objects themselves has likewise advanced.

The hammer price of HKD 1.651 million is, in many respects, the market’s response to widespread skepticism toward claims of a “Kobori Enshū” transmission unsupported by rigorous documentary evidence. In recent years, the tendency to invoke Enshū’s name for virtually any tea-related object—often without a substantiated chain of authentication—has revealed itself to be unsustainable.

It is also noteworthy that this piece was not vetted through “Kochūkyō,” the agent customarily used by Okada Kazuo, suggesting that it may have entered his collection through other, less scrutinized channels. Its overall quality stands in marked contrast to the rest of the offerings in the sale, further reinforcing doubts about both its asserted pedigree and its place within the collection.

南宋　龍泉青釉鳳耳紙槌瓶

A rare heirloom Longquan celadon phoenix-handled 'kinuta' mallet vase, Southern Song dynasty

來源

傳 小堀遠州（1579-1647年）收藏，據桐箱內題識書於承應元年（1652年）

展覽

《開館5周年記念展―美のスターたち―光琳．若冲．北斎．汝窯など名品勢ぞろい》， 岡田美術館，箱根，2018-19年，展覽編號98（沒載圖）

出版

小林忠編，《岡田美術館名品撰》，卷1，東京，2013年，編號16

瓶破損，經專業復修。

翠青瑩亮，此件紙槌瓶屬龍泉青瓷罕得佳作。以形似紙槌而得名（日本稱「砧」），青瓷紙槌瓶可謂早期中國藝術品最具代表性之一類，且廣得鑑藏家喜愛。有學者考據稱，此瓶形源自伊朗等西亞伊斯蘭國家。可比較一件內蒙遼陳國公主墓出土伊斯蘭琉璃瓶，或產自伊朗東北部內沙布爾，年代以1018年為下限，圖見《大觀‧北宋汝窰特展》，故宮博物院，台北，2007年，編號25，圖2。1997年印尼印坦古代沉船出土玻璃瓶殘片，形與本瓶相同，該船應為北宋商船。宋人洪邁《夷堅志》也有相關記載，指徽宗收藏一套番國製琉璃瓶。更多詳細討論，請參見《千禧年宋代文物大展》，故宮博物院，台北，2000年，頁121，圖2。

類同尺寸的紙槌瓶，釉色、作工能媲美本品者寥寥，比較大阪東洋陶瓷博物館收藏一例，錄於《Ice and Green Clouds. Traditions of Chinese Celadon》，印第安納波利斯藝術博物館，1987年，編號78；京都毘沙門堂藏一瓶，載于G. St. G. M. Gompertz，《Chinese Celadon Wares》，倫敦，1958年，圖版66；《中國龍泉青瓷》，杭州，1998年，圖版84；台北故宮博物院藏一例，出版於《故宮藏瓷．龍泉窯》，香港，1962年，圖版6。另可參考一流傳有緒之拍賣例，經多位名家及伊勢彥信遞藏，最近售於香港蘇富比2025年9月9日，編號5007。

Auction Closed

2025 November 22, 06:38 PM HKT

Estimate

2,000,000 - 4,000,000 HKD

Description

elegantly potted with a cylindrical body rising to a gently angled shoulder sweeping up to a tall neck set with a pair of phoenix handles, all below a wide everted rim, applied overall save for the neatly finished footring with a soft, lustrous kinuta sea-green glaze, Japanese double wood box

26.5 cm

Condition Report

The vase has been professionally restored.

Provenance

Collection of Kobori Enshu (1579-1647), according to the box inscription dated 1652.

Exhibited

5th Anniversary Exhibition. All-Stars of the Okada Collection: Masterworks of Korin, Jakuchu, Hokusai and the Ru Ware Kilns, Okada Museum of Art, Hakone, 2018-19, exh. no. 98 (unillustrated).

Literature

Kobayashi Tadashi, ed., Masterpieces of the Okada Museum of Art, vol. 1, Tokyo, 2013, no. 16.

Catalogue Note

Glowing in a vibrant sea-green tone, the present vase is a particularly fine and rare example of the celebrated Longquan kinuta wares. Named after its resemblance to a paper mallet (kinuta in Japanese), the present grand yet understated vase form is among the most iconic and desirable of any early Chinese ceramics. Despite its ‘mallet’ name, however, many scholars argue that this now-ubiquitous kinuta form – of broad neck and crisp phoenix handles – was likely first introduced to China in the forms of glass vases and bottles from the Islamic West and Iran. Though these fine wares initially may have arrived in China as foreign wares, their shape, simplicity and beauty soon found them embraced in the Chinese artistic canon. Compare an Islamic glass bottle vase, for example, probably from Nishapur, Iran, among the treasures excavated from the tomb of the Princess of Chen, Liao dynasty, dated no later than 1018 and illustrated in Grand View: Special Exhibition of Ju Ware from the Northern Sung Dynasty, Palace Museum, Taipei, 2007, cat. no. 25, fig. 2; and similar fragments of glass vessels of this shape found in 1997 among the excavated material from the cargo of the Intan shipwreck excavated off the Indonesian coast, believed to date to the Northern Song period. As the Song dynasty scholar Hong Mai once noted in his Yi Jian Zhi, even Emperor Huizong himself was said to own a collection of imported glass; see China at the Inception of the Second Millennium, Art and Culture of Sung Dynasty, 960-1279, Palace Museum, Taipei, 2000, p. 121, fig. 2. 

Kinuta vases of this size, fine potting and dazzling glaze quality are rare. Compare a vase in the Museum of Oriental Ceramics, Osaka, included in the exhibition Ice and Green Clouds. Traditions of Chinese Celadon, Indianapolis Museum of Art, Indianapolis, 1987, cat. no. 78; another in the Bishamon-do Temple, Kyoto, is illustrated in G. St. G. M. Gompertz, Chinese Celadon Wares, London, 1958, pl. 66; a third is in Longquan Celadon of China, Hangzhou, 1998, pl. 84; and a fourth with a galleried rim, preserved in the Taipei Palace Museum, published in Lung-ch'uan Ware of the Sung Dynasty, Hong Kong, 1962, pl. 6. See also an example with an illustrious provenance, most recently in the Ise Collection, recently sold in these rooms, 9th September 2025, lot 5007.