拍賣筆記 vol.399 蘇富比香港2026：壺中居，北宋磁州窯白地剔黑花牡丹纹罐，岡田博物館舊藏 - Sotheby’s HK 2026, Okada Sale Part 2, Kochukyo,

蘇富比公布岡田博物館拍賣，定期9月4日。預告推出唐三彩犬和愛蓮堂同款罐。定價一如既往地便宜，犬估價15-30萬港元；愛蓮堂同款磁州窯罐估價60-120萬港元（2026年4月佳士得香港愛蓮堂專場同款拍得1168.4萬港元）。估價僅僅是國內杭州拍賣定價的1/10，國內拍賣今年火熱，光杭州就有20幾家拍賣公司如雨後春筍，均拍賣高古瓷均為天價估價，香港對比則較為理性。作為具有全球流通性的香港，品質、價格目前均更有參考性。

Sotheby’s has announced the Okada Museum sale, scheduled for September 4. The preview features a Tang sancai dog figure and a Cizhou ware jar of the same type as the well-known example from the Ailantang (Love Lotus Hall) collection. As usual, the estimates are attractively conservative: the dog is estimated at HKD 150,000–300,000, while the Cizhou jar carries an estimate of HKD 600,000–1,200,000. These figures represent merely one-tenth of the reserves seen in recent Hangzhou auctions on the mainland. The domestic auction market has been exceptionally hot this year, with more than twenty new auction houses emerging in Hangzhou alone like bamboo shoots after rain; all are offering archaic ceramics with sky-high estimates and achieving astronomical prices. In contrast, Hong Kong remains notably more rational. As an international trading hub with global liquidity, Hong Kong currently offers far more reliable reference points for both quality and pricing.

參見：《拍賣筆記 vol.369 佳士得香港2026：1168.4萬港元售出，愛蓮堂珍藏北宋磁州窯白地黑剔花牡丹紋罐 - A Magnificent And Extremely Rare Cizhou Sgraffito 'Peony' Jar, Northern Song Dynasty, Sold for 11.684m HKD》

北宋 磁州窑白地剔黑花牡丹纹罐

高 21.2 公分

估价： 600,000 - 1,200,000 港元

來源

壺中居，東京

展覽

《唐宋名陶展》，日本陶磁協會，日本橋白木屋，東京，1964年，編號184

《中國美術展シリーズ：宋元の美術》，卷4，大阪市立美術館，大阪，1978年，編號1–142

《東洋陶磁名品展》，愛知縣陶磁資料館，瀨戶，1994年，編號40

《宋磁―神品とよばれたやきもの》，東武美術館，東京、大阪市立東洋陶磁美術館，大阪，1999年，編號93

《開館5週年記念展―美のスターたち―光琳．若衝．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45（沒載圖）

出版

《日本美術工芸》，304期，1964年1月（壺中居廣告）

長谷部楽爾，《世界陶磁全集》，卷12：宋，東京，1977年，圖版232

大阪市立美術館編，《宋元の美術》，東京，1980年，圖版162

長谷部楽爾等編，《中國の陶磁》，卷7：磁州窯，東京，1996年，圖版54

小林忠編，《岡田美術館名品撰》，卷1，東京，2013年，編號8

本罐紋飾鮮明，牡丹花葉枝蔓生動有力，匠人以深剔及細刻技法，賦予花卉立體之感。此類剔花技法，乃於白化妝土上施黑或深褐化妝土，再剔刻紋飾以露白底，主要產於北宋時期河北磁縣觀台一帶之磁州窯。該遺址曾出土紋飾相近之器物殘片。

Northern Song Dynasty Cizhou Ware White-Ground Sgraffito Black-Flower Peony Jar

Height 21.2 cm

Estimate: HKD 600,000 – 1,200,000

Provenance

Kochūkyo, Tokyo

Exhibitions

Exhibition of Famous Tang and Song Ceramics, Japan Ceramic Association, Shirokiya Department Store, Nihonbashi, Tokyo, 1964, no. 184

Chinese Art Series: Arts of the Song and Yuan Dynasties, vol. 4, Osaka Municipal Museum of Art, Osaka, 1978, no. 1-142

Exhibition of Masterpieces of Oriental Ceramics, Aichi Prefectural Ceramic Museum, Seto, 1994, no. 40

Song Ceramics: Masterpieces of Pottery, Tobu Museum of Art, Tokyo, and Osaka Municipal Museum of Oriental Ceramics, Osaka, 1999, no. 93

5th Anniversary of the Opening Exhibition – Stars of Beauty: Kōrin, Jakuchū, Hokusai, Ru Ware and Other Masterpieces, Okada Museum of Art, Hakone, 2018–2019, exhibition no. 45 (not illustrated)

Literature

Japan Art and Craft, no. 304, January 1964 (Kochūkyo advertisement)

Hasebe Rakurō, Sekai Tōji Zenshū (World Ceramics Anthology), vol. 12: Song, Tokyo, 1977, pl. 232

Osaka Municipal Museum of Art ed., Sō-Gen no Bijutsu (Arts of the Song and Yuan), Tokyo, 1980, pl. 162

Hasebe Rakurō et al. eds., Chūgoku no Tōji (Chinese Ceramics), vol. 7: Cizhou Ware, Tokyo, 1996, pl. 54

Kobayashi Tadashi ed., Okada Bijutsukan Meihin Sen (Selected Masterpieces of the Okada Museum of Art), vol. 1, Tokyo, 2013, no. 8

The jar displays vivid decoration with peony blossoms, leaves, and scrolling stems rendered with lively and vigorous lines. The craftsman employed deep sgraffito and fine incising techniques to create a strong three-dimensional effect on the floral motifs. This sgraffito technique — applying black or dark brown slip over a white slip ground and then carving away parts of the dark layer to reveal the white beneath — is characteristic of Cizhou ware from the Guantai kilns in Cixian, Hebei province, during the Northern Song period. Fragments with closely related decoration have been excavated at the kiln site.