拍賣筆記 vol.301 蘇富比伊勢彥信專場：82.55萬港元成交，唐三彩螺形水丞 - Sotheby’s Ise Sale, A Sancai-Glazed 'Conch' Water Coupe, Tang Dynasty Sold for 825,500 HKD

本件器物可歸屬為唐代三彩法螺，屬於唐三彩中極為罕見的宗教題材。法螺源自佛教體系，象徵宣說佛法、清淨與吉祥，其造型在唐代隨佛教藝術的成熟而逐步制度化，並進入器物與造像的審美語彙之中。

此類唐三彩法螺並非對日用器的模擬，而是具有明確宗教象徵意義的造型器物，其存在本身即指向唐代佛教信仰、儀式文化與藝術審美的高度融合。從這一角度看，唐三彩在唐代並不必然等同於後世所理解的「明器」，而更應被視為一種回應時代精神與審美取向的藝術形式。

This work may be identified as a Tang dynasty sancai conch (śaṅkha), a notably rare sculptural form within the Tang sancai tradition. Originating from Buddhist ritual practice, the conch symbolizes the proclamation of the Dharma, purity, and auspicious power. During the Tang dynasty, as Buddhist art became increasingly systematized, such symbolic forms were gradually incorporated into the visual and material language of ritual and devotional objects.

Rather than imitating a utilitarian vessel, Tang sancai conch forms represent objects of explicit religious and symbolic intent. Their existence reflects the close integration of Buddhist belief, ritual culture, and artistic aesthetics in Tang society. In this sense, Tang sancai should not be understood exclusively as funerary ware, but rather as an artistic medium that embodied the spiritual values and aesthetic consciousness of its time.

唐　三彩螺形水丞

A sancai-glazed 'conch' water coupe, Tang dynasty

Guaranteed Property

Auction Closed

September 9, 08:30 PM JST

Estimate

80,000 - 160,000 HKD

Lot Sold

825,500 HKD

流口見一道沖線，口沿釉滴尖部經加固，偶見邊角處細微淺磕，屬正常。

來源

繭山龍泉堂，東京

展覽

《中国美術展シリーズ：隋唐の美術》，卷三，大阪市立美術館，大阪，1976年，編號1-149

《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17

《瓷華明彩―イセコレクションの名陶》，五島美術館，東京，2015年，編號2-9

《Porcelaine. Chefs-d'œuvre de la Collection Ise》，吉美博物館，巴黎，2017年，編號7

《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12

出版

水野清一，《陶器全集》，卷二十五：唐三彩，東京，1961年，編號20

佐藤雅彦及長谷部楽爾，《世界陶磁全集》，卷十一：隋・唐，東京，1976年，編號233

水野清一，《陶磁大系》，卷三十五：唐三彩，東京，1977年，編號68

佐藤雅彦，《中国陶磁史》，東京，1978年，圖版109

大阪市立美術館，《隋唐の美術》，東京，1978年，圖版134

Description

naturalistically modelled in the form of a conch shell, covered overall in amber, green, and cream glazes, wood stand and Japanese wood box

10.7 cm

Condition Report

A hairline to the spout. The tips of the glaze drops at the rim reinforced. With occasional tiny flakes to the extremities, as can be expected.

Provenance

Mayuyama & Co., Ltd, Tokyo.

Exhibited

Chugoku Bijutsu-Ten Series 3 Zui To no Bijsutsu [Chinese Art Exhibition Series 3: The Art of Sui and Tang], Osaka Municipal Art Museum, Osaka, 1976, cat. no. 1-149.

Chugoku Toji Meihin Ten Ise Korekushon no Shiho / Masterpieces of Chinese Ceramic Art Exhibition, Ishikawa Prefectural Museum of Art, Ishikawa, 2012, cat. no. 17.

Shika Meisai: Ise Korekushon no Meito / Imperial Colors: Peerless Chinese Porcelains from the Ise Collection, Gotoh Museum, Tokyo, 2015, cat. no. 2-9.

Porcelaine. Chefs-d'œuvre de la Collection Ise, Musée Guimet, Paris, 2017, cat. no. 7.

Ise Korekushon Sekai wo Miryoshita Chugokutoji / The Enchanting Chinese Ceramics from the Ise Collection, Museum of Oriental Ceramics, Osaka, 2017, cat. no. 12.

Literature

Seiichi Mizuno, Toki Zenshu [The Complete Works of Ceramics], vol. 25: Tosansai [Sancai in Tang Dynasty], Tokyo, 1961, no. 20.

Masahiko Sato and Hasebe Gakuji, Sekai Toji Zenshu [Ceramic Art of the World], vol.11: Zui To [Sui and Tang Dynasties], Tokyo, 1976, no. 233.

Seiichi Mizuno, Toji Taikei [Ceramic Great Series], vol. 35: Tosansai [Sancai in Tang Dynasty], Tokyo, 1977, no. 68.

Masahiko Sato, Chugoku Toji Shi [The History of Chinese Ceramics], Tokyo, 1978, pl. 109.

Osaka Municipal Art Museum, ed., Zui To no Bijutsu [The Art of Sui and Tang Dynasties], Tokyo, 1978, pl. 134.