1860万成交
28cm
200万起拍，220万，300万直接叫，350场内后方，400万，500万rubie，550万，600万rubie，650万场内先生，700万rubie，750万，800万rubie，850万，880万电脑，900万，950万rubie，1000万，1050万，1150万，1200万，1250万rubie，1300万，1350万，此时还有三个电话左右在拍，1400万，1450万，1500万，1550万，184号牌。
專場成交細節紀錄參考：
與故宮博物院對比，尺寸較小，比例上略遜一籌，雙耳以上較故宮略長，雙耳的角度也較為坍塌（與故宮雙耳角度相反）。
此件並非絕品，但依然可能拍出高價，價值是否等同於質量？這是國際藏家10年前就對中國藏家提出的問題。是否拍出高價就等於審美和品質高級？國際市場是否認同？ 這是值得思考的問題，中國藏家對傳世龍泉的探索還在持續進行。
故宫博物院，高31.5厘米，口径10厘米，足径11.7厘米
Compared with the Palace Museum, it is smaller in size and slightly less well proportioned, slightly longer above the lugs than in the Palace, and the angle of the lugs is more collapsed (as opposed to the angle of the lugs in the Palace).
This is not an absolute masterpiece, but it may still fetch a high price. Is value equal to quality? This is a question that international collectors asked Chinese collectors 10 years ago. Does a high price equal a high level of aesthetics and quality? Does the international market recognise this? This is a question worth pondering, as Chinese collectors continue their exploration of heirloom Longquan.
左：本品（28cm）；右：故宮博物院（31.5cm）
南宋官窑贯耳瓶
色澤翠青光潤，貫耳壺高貴隽秀，屬南宋龍泉窰最精良之作，釉面如玉細膩，相襯開片紋，素雅器形，靜謐簡約，和諧絕美。青釉色翠泛藍，光耀明亮，較多見於紙槌瓶器形，日本鑑賞家遂沿用「砧」（意謂「槌」）稱此釉色，向來被視為龍泉瓷之最，深得藏家仰慕。部分學者推測，此類龍泉瓷，與早期作例相異，或為南宋朝廷下令燒造，與位於杭州的官窰並行，見 Suzanne G. Valenstein，《A Handbook of Chinese Ceramics》，紐約，1989年，頁99。
貫耳弦紋壺器形，源自高古青銅器，反映宋時至為風行的慕古情懷。兩宋統治階級從貴族世襲轉變為文人菁英階層，促使新儒學盛行，汲古鑑今，從歷史經典中尋求隽永美感與真理。如此美玉般的釉色，搭配古青銅器形，本品巧妙結合古物之美與當朝製瓷技藝，體現宋代美學精髓。
存世龍泉瓷中，相類品質與尺寸者極少。比較清宮舊藏二例，其一藏於北京故宮博物院，展出於《天下龍泉：龍泉青瓷與全球化》，卷2，北京，2019年，編號12；另一例為台北故宮博物院藏品，錄於《故宮藏瓷：龍泉窰》，香港，1962年，圖版3，同刊一例龍泉青釉弦紋方壺，下銘乾隆皇帝御製詩，圖版1。參考一件尺寸略大作例，2009年12月1日售於香港佳士得，編號1862；日本私人收藏一例，尺寸較小，展於《龍泉窯青磁展：日本人の愛した中国陶磁》，名古屋，2012年，編號20。
比較與本品相近二例，口沿外撇，頸部僅飾單弦紋：一為神奈川縣立博物館，刊於《龍泉集芳》，卷1，東京，1976年，圖版481；另一售於倫敦佳士得，1980年12月15日，編號167，及1981年7月15日，編號105。
南宋 龍泉青釉弦紋貫耳壺
An exceptional Longquan celadon 'kinuta' arrow vase,
Southern Song dynasty
October 29, 11:00 AM HKT
Estimate
1,500,000 - 2,000,000 HKD
potted with an ovoid body supported on a tall foot, surmounted by a long cylindrical neck decorated with two raised ribs, flanked by two tubular handles, covered overall save for the footring in an unctuous bluish-green glaze suffused with widely dispersed crackles, Japanese wood box
28 cm
Condition Report
The vase is in very good overall condition. A shallow flake (approx. 1.5cm) to the inner rim of one handle; and a small bruise (approx. 1.5cm) to the other handle. The lustrous glaze is very well-preserved and suffused with an attractive network of crackles, including a crackle to the base which is slightly more noticeable/deeper. With occasional minuscule, barely visible glaze flakes (approx. 0.1cm). Stoneware footring with occasional insignificant tiny flakes as expected.
整體品相良好。一耳內沿見一淺小剝落（約1.5公分）；另一耳見一小磕痕（約1.5公分）。釉光保存良好，帶原生開片紋，包括底部一片紋，稍為較深／明顯。偶見幾點極小釉剝（約0.1公分）。圈足偶見細小剝痕，屬正常。
Provenance
Collection of Hayakawa Senkichirō (1863-1922).
Hayakawa-ke Goshozohin nyusatsu [Collection of the Hayakawa Family], Tokyo Art Club, Tokyo, 1923, lot 292.
早川千吉郎（1863-1922）收藏
《早川家御所蔵品入札》，東京美術倶楽部，東京，1923年，編號292
Catalogue Note
Glowing with a soft sea-green tone, this grand vase is an exquisite example of the finest wares produced at the Longquan kilns in the Southern Song dynasty. Its delicate jade-like surface, suffused with crackles, perfectly complements the simplicity and harmony of its unassuming yet elegant shape. Known to Japanese connoisseurs as kinuta (‘mallet’), after its more common appearance on vases of a ‘mallet’ shape, this luminous blue-green glaze effect appears to only be found on the highest quality of Longquan ceramics and has long been coveted by collectors. Some scholars even suggest that these exemplary wares – unprecedented in earlier Longquan production – may have been produced under imperial patronage which had erstwhile been limited to the ‘official’ guan kilns of Hangzhou; see Suzanne G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, p. 99.
The simple archaic form of the present lot is typical of the refined aesthetics in vogue at the height of the Song dynasty. Following a dramatic political shift from a society ruled by a hereditary aristocracy to one governed by a central bureaucracy of highly educated scholar-officials, the Song dynasty saw the rise of a Neo-Confucian ideology, in which conceptions of virtue and beauty were derived from the ideals of the past. With a jade-like glaze and cylindrical handles inspired by archaic bronze vessels, the present piece is a testament to this new fascination with antiquity and the skilful appropriation of ancient aesthetics into the Song artistic repertoire.
Very few vases of this remarkable quality and size still survive. Compare two very similar vases of this shape from the Qing court collection: one preserved in the Palace Museum, Beijing, exhibited in Tianxia Longquan: Longquan qingci yu quanqiuhua / Longquan of the World: Longquan Celadon and Globalization, vol. II, Beijing, 2019, cat. no. 12; the other in the Palace Museum, Taipei, illustrated in Lung-chüan Ware of the Sung Dynasty, Hong Kong, 1962, pl. 3, alongside a similar vase in the more conventional shape of a bronze hu, inscribed with a poem from the Qianlong Emperor, pl. 1. See also a slightly larger vase sold at Christie’s Hong Kong, 1st December 2009, lot 1862; and another, of smaller size, from a Japanese private collection, exhibited in Longquan Ware: Chinese Celadon Beloved of the Japanese, Nagoya, 2012, cat. no. 20.
Two other related vases are known, very similar to the present but with more dramatically flared rims and single bow-string designs around their necks: one from the collection of the Kanagawa Prefectural Museum, illustrated in Mayuyama, Seventy Years, vol. I, Tokyo, 1976, pl. 481; the other sold at Christie’s London, 15th December 1980, lot 167 and again, 15th July 1981, lot 105.
FAQ: Southern Song Dynasty Longquan Celadon Arrow Vase
based on AI.
1. What makes this Longquan celadon arrow vase exceptional?
This vase is exceptional due to its size, the quality of its bluish-green 'kinuta' glaze, and its elegant shape. The glaze is known for its jade-like appearance, crackled texture, and luminous quality. It's believed that this particular type of glaze was reserved for high-quality Longquan ceramics, possibly even those produced under imperial patronage.
2. What is the significance of the vase's shape and design?
The vase's form, with its cylindrical handles, is inspired by archaic bronze vessels. This reflects the Song Dynasty's fascination with antiquity and the incorporation of ancient aesthetics into contemporary art. The simple, harmonious design is characteristic of the refined taste prevalent during the Southern Song period.
3. Are there other similar Longquan celadon vases known to exist?
Yes, but very few vases of this quality and size remain. Comparable examples are found in the collections of the Palace Museum in Beijing and Taipei, and others have appeared in auctions and exhibitions internationally.
4. What is the 'kinuta' glaze, and why is it special?
The 'kinuta' glaze, named by Japanese connoisseurs after its frequent appearance on mallet-shaped vases, is a distinctive bluish-green glaze known for its brilliance and depth. It appears to have been used exclusively on the highest quality Longquan wares and is highly sought after by collectors.
5. How does this vase reflect the cultural and philosophical climate of the Southern Song dynasty?
The vase embodies the Neo-Confucian values that were prominent during the Southern Song dynasty. Its shape, inspired by ancient bronze vessels, embodies the reverence for the past. The jade-like glaze and elegant simplicity of the design reflect the emphasis on virtue and refined taste within the scholar-official class.
6. What is the provenance of this particular vase?
This vase was formerly part of the collection of Hayakawa Senkichirō (1863-1922), a prominent Japanese collector. It was documented in the 1923 Tokyo Art Club auction of the Hayakawa family collection.
7. What is the condition of the vase?
The vase is in very good overall condition. The glaze is well-preserved with a typical network of crackling. There is minor damage to one handle and a few insignificant glaze flakes, which are to be expected in a piece of this age.
8. What is the estimated value of this Longquan celadon arrow vase?
The vase is estimated to be worth between 1,500,000 and 2,000,000 HKD. This valuation is based on its rarity, quality, size, and provenance.
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