拍賣筆記 vol.290 蘇富比香港：177.8萬港元售出，南宋龍泉青釉琮式瓶，岡田美術館 - An Okada Museum Longquan Celadon Cong Vase, Southern Song Dynasty, Sold for 1.778m HKD

從公開拍賣紀錄來看，龍泉青釉琮式瓶在佳士得的價格帶極為寬泛：早在 1997 年，香港一件南宋琮瓶僅以約 11.5 萬港元成交；而 2014 年香港一件通高 38.6cm 的大型南宋琮式瓶，則錄得約 364 萬港元的高價，皆以新石器玉琮為本、釉色呈濃郁海青色，且未見明顯修補紀錄，並屢與上海博物館、台北故宮舊藏器作比對。近年佳士得網拍一件南宋至元 24.7cm 琮瓶，附日本富山私人舊藏及雙層木箱，以 81,900 美元成交；另有一件元代 27.2cm 龍泉琮式瓶，具 1930 年代日本神戶私人收藏來源，2015 年以 184 萬港元落槌，反映「日本早期傳承 + 完整海青釉」的標本，仍穩居約 150–400 萬港元區間。

對照之下，本次蘇富比岡田美術館南宋琮式瓶，尺寸 24.5cm，雖然沒有壺中居把關，但具長基連男爵舊藏與岡田展覽經歷，惟棱角見細小淺磕與輕微驚釉，最終以 177.8 萬港元成交，略低於佳士得大型或近乎完美例釋出的價位，總體而言，龍泉琮式瓶在長期市場中始終維持在「審美穩定、價格平緩」的區間徘徊。其原因並非器物本身的水準不足，而是市場對其形制所承載的深層文化原型，比如高古玉琮的宇宙觀與禮制意涵——尚未形成足夠清晰且共享的價值共識。

未來若要真正實現價格的躍升，關鍵不在於單件拍品的狀態、尺寸或來源，而在於能否讓收藏群體重新認識：宋代龍泉以玉琮為範所展現的是一種復興古制、再造神聖形的文化工程。當這一層次的認知被更廣泛理解，琮式瓶的市場評價才有可能從現在的平穩，走向更高的文化溢價。

Published auction records indicate a wide price range for Longquan celadon cong vases at Christie’s. In Hong Kong in 1997, a small Southern Song cong vase was sold for only HKD 115,000, whereas a much larger 38.6 cm Southern Song example, closely related to museum pieces and noted for its rich sea-green glaze and apparently unrestored condition, fetched about HKD 3.64 million at Christie’s Hong Kong in 2014. More recently, an online-sale Southern Song–Yuan cong vase of 24.7 cm, with Toyama private provenance and a Japanese double box, realized USD 81,900, and a Yuan dynasty 27.2 cm cong vase with a 1930s Kobe Japanese provenance achieved HKD 1,840,000 in 2015—illustrating that well-preserved examples with early Japanese ownership generally trade in the roughly HKD 1.5–4 million band.

Against this backdrop, the present Okada Museum Southern Song cong at Sotheby’s—24.5 cm high, with Baron Mototsura Cho provenance and exhibition history, but with minor flakes to the extremities and faint glaze lines—closing at HKD 1,778,000 sits slightly below Christie’s top-tier large or near-mint examples.

Overall, Longquan celadon cong vases have maintained a fairly moderate price trajectory over the long term. This stability does not stem from a lack of artistic merit, but rather from the market’s incomplete understanding of the cultural archetype behind the form—most notably the cosmological and ritual significance of the Liangzhu jade cong.

For prices to rise meaningfully, what is needed is not merely better condition, larger scale, or distinguished provenance, but a clearer, shared recognition among collectors that the Song reinterpretation of the cong represents a deliberate reactivation of an ancient sacred form.

Only when this cultural lineage is more widely acknowledged can the cong-form vase move beyond its current plateau and begin to command the higher premiums its historical depth genuinely warrants.

南宋龍泉青釉琮式瓶

A Longquan celadon cong vase, Southern Song dynasty |

Auction Closed

2025 November 22, 06:38 PM HKT

Estimate

600,000 - 1,200,000 HKD

Lot Sold

1,778,000 HKD

整體品相良好，偶見邊角處不明顯細微淺磕，包括頂部一角一處。輕微窰燒瑕疵，包括少許細淺驚釉。

來源

長基連男爵（1890-1954年）收藏

《長男爵家藏品入札目錄》，金澤美術俱樂部，金澤，1934年4月26日，編號54

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104（沒載圖）

宋代仿古風熾，常古器為範，製作時興器皿。如此式青釉琮式瓶即是以新石器時代良渚文化的玉琮為宗，形制與色澤且惟妙惟俏，堪稱宋代陶瓷典範。上海博物館藏一件重要玉琮可資參考，見香港歷史博物館，《良渚文化珍品展》，香港，1992年，編號57。

此類龍泉窰琮式瓶廣藏於世界頂級機構：一例見《龍泉青瓷》，北京，1966年，圖版15；台北故宮博物院藏一例載於《故宮宋瓷圖錄：龍泉窯．哥窯及其他》，京都，1974年，圖版8及9；一例出土於著名的四川遂寧金魚村窖藏，見《宋韻：四川窖藏文物輯粹》，北京，2006年，頁252。

其他著名藏品包括尤摩弗帕勒斯舊藏現歸倫敦維多利亞與阿爾伯特博物館者，刊於約翰·艾爾斯，《Far Eastern Ceramics in the Victoria and Albert Museum》（維多利亞與阿爾伯特博物館藏遠東陶瓷），倫敦，1980年，圖版124；以及倫敦大英博物館藏奧本海默舊藏一例，見羅森，《The British Museum Book of Chinese Art》（大英博物館中國藝術圖錄），倫敦，1992年，圖版8（左）。

另可比較見諸市場數例：東洋文庫舊藏一例，2004年6月9日售於倫敦蘇富比，編號53；哈特瓦尼男爵舊藏一例，曾參展新加坡東南亞陶瓷學會，見《Song Ceramics》（宋瓷特展），新加坡，1983年，編號36，後於1996年11月5日在倫敦蘇富比釋出，編號605；及倫敦蘇富比2014年11月5日售出一件，編號23，及後2015年5月13日又售出一件類似琮式瓶，旋後於2019年4月1日售於香港蘇富比，編號3039；尚可比較香港蘇富比2012年4月4日售出一件，編號3122號。諸例皆彰顯龍泉青瓷於陶瓷史上恒久不衰的審美價值與歷史地位。

Description

of square section supported on a short foot, rising to a flat shoulder and a tapering short neck, each corner carved with eight raised horizontal bands, within raised rectangular panels, covered overall with a rich bluish-green glaze, Japanese double wood box

24.5 cm

Condition Report

Good overall condition. With occasional insignificant tiny flakes to the extremities, including one to the top corner. Minor firing imperfections, including a few faint glaze lines. 

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 Baron Mototsura Cho (1890-1954).

Cho danshakuke zohin nyusatsu mokuroku [Auction catalogue of the Cho Baron family collection], Kanazawa Art Club, Kanazawa, 26th April 1934, lot 54.

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. 104 (unillustrated).

Catalogue Note

During the Song dynasty, a fervent revival of antiquarian tastes saw the creation of contemporary vessels modeled on ancient artifacts. This celadon cong-form vase is a masterful representation, meticulously emulating the shape and colors of Neolithic jade cong from the Liangzhu culture (circa 3300-2300 BC), establishing it as a paragon of Song ceramic artistry. See a jade cong, Liangzhu culture, housed in the Shanghai Museum, illustrated in Gems of Liangzhu Culture, Hong Kong Museum of History, 1992, cat. no. 57.

Compare several related examples of Longquan celadon cong vases in preeminent collections worldwide: one in the Shanghai Museum, illustrated in Longquan Qingci [Longquan Celadon], Beijing, 1966, pl.15; one in the Palace Museum, Taipei, featured in Illustrated Catalogue of Sung Dynasty Porcelain in the Palace Museum: Lung-ch'uan Ware, Ko Ware and Other Wares, Kyoto, 1974, pls. 8-9; and an excavated example from the Jinyu Village cache in Suining, Sichuan province, illustrated in Songyu: Sichuan jiaocang wenwu jicui [Song Yun: Selected Artifacts from Sichuan Hoards], Beijing, 2006, p. 252.

Notable institutional holdings include an example from the Eumorfopoulos Collection, in the Victoria and Albert Museum, London, illustrated in John Ayers, Far Eastern Ceramics in the Victoria and Albert Museum, London, 1980, pl.124; and a vase from the Oppenheim Collection in the British Museum, illustrated in Jessica Rawson, The British Museum Book of Chinese Art, London, 1992, pl. 8 (left).

Compare also several highly related examples sold in our rooms including four sold in our London rooms: a vase from the Toguri Collection was sold on 9th June 2004, lot 53; Baron Hatvany's esteemed vase, exhibited and illustrated in Song Ceramics, Southeast Asian Ceramic Society, Singapore, 1983, cat. no. 36, later sold on 5th November 1996, lot 605; another example was sold on 5th November 2014, lot 23, and the fourth example on 13th May 2015, lot 106, which was subsequently sold in these rooms on 1st April 2019, lot 3039. A further example was sold earlier in these rooms on 4th April 2012, lot 3122.