拍賣筆記 vol.402 蘇富比香港2026：岡田博物館，北宋磁州窰白地剔黑彩牡丹紋罐 - Sotheby’s HK 2026, Okada Sale Part 2, A Cizhou Sgraffiato 'Peony' Jar, Northern Song Dynasty

蘇富比岡田博物館的磁州窯牡丹罐（高21.2厘米，估價60–120萬港元）與2026年4月佳士得愛蓮堂藏品（高27.6厘米，成交1,168.4萬港元）同屬磁州窯白地剔黑彩牡丹紋罐中極為罕見的類型。岡田藏品雖經專業復修（程度未詳），但在磁州窯體系中，尤其是這類傳世極少的白地剔黑花工藝，來源顯赫時，市場對品相的寬容度已有一定共識。另外，兩者造型都偏薄，不排除是當陽峪窯的作品。

岡田博物館藏磁州窯牡丹罐優勢在於傳承：1964年《唐宋名陶展》、1978年大阪市立美術館《宋元の美術》、1999年《宋磁―神品とよばれたやきもの》等重要展覽，均為日本研究中國宋瓷的里程碑式活動，充分印證其早期被認可的地位；且配壺中居傳統精緻舊木箱（帶銅提手），或可追至初代創始人、茶人廣田松繁（不孤齋），屬於20世紀初期的名品，歷史層次更高。另外，箱子上的箱書寫明「修武窯」，也說明了早在100年前，日本陶瓷屆已經對磁州窯的窯口細分有一定共識。當陽峪窯和修武窯是同一個窯口，只是名稱不同。它位於河南省焦作市修武縣當陽峪村，因地名而得名「當陽峪窯」，歷史上也常被稱為「修武窯」、「懷慶窯」或「河內窯」，此窯的製品質量不亞於定窯，其高質量製品更是難以與定窯區分。

尺寸上愛蓮堂更大、散點牡丹更具留白意境；岡田雖略小，但纏枝牡丹密度緊湊、畫面充實，若從SACA學會此前談及的商周青銅器紋飾佈局角度看，更接近青銅器母題的滿密格局。

https://video.wixstatic.com/video/1b50f7_e955a8bd79d445eabdec3ba5eb7136ec/1080p/mp4/file.mp4

The Okada example at Sotheby’s (h. 21.2 cm, estimate HK$600,000–1,200,000) and the Ai Lian Tang jar sold at Christie’s this April (h. 27.6 cm, HK$11.684 million) both belong to the extremely rare category of Guantai kiln white-ground black-sgraffito peony jars. Although the Okada piece has been professionally restored (extent unknown), within the Cizhou tradition—particularly for such scarce white-ground black-sgraffito wares—there is an established market consensus that allows a degree of tolerance for condition when provenance is distinguished.

Its strengths lie in the provenance: major exhibitions such as the 1964 To So Meito Ten, the 1978 Osaka Municipal Art Museum So Gen no Bijutsu, and the 1999 Song Ceramics were landmark events in Japanese scholarship on Song ceramics, confirming early recognition; it is further accompanied by a finely crafted traditional Kochukyo wood box with copper handles, traceable to the firm’s founder, the tea master Hirota Matsushige (Fukozai), lending it greater historical depth.

In size the Ai Lian Tang jar is larger and its scattered peonies convey more spatial atmosphere in the manner of Song–Yuan landscape painting; the slightly smaller Okada jar, however, presents a denser continuous peony scroll whose fullness, viewed through the Shang–Zhou bronze motif layouts previously discussed by SACA, aligns more closely with the compact, non-blank compositional logic of archaic bronze ornament.

北宋　磁州窰白地剔黑彩牡丹紋罐

蘇富比香港2026：岡田博物館第二部分

拍賣時間：2026年9月4日

A rare Cizhou sgraffiato 'peony' jar, Northern Song dynasty

Estimate

600,000 - 1,200,000 HKD

Description

Japanese wood box

h. 21.2 cm

Condition Report

The jar has been professionally restored.

罐破損，經專業復修。

來源

壺中居，東京

展覽

《唐宋名陶展》，日本陶磁協会，日本橋白木屋，東京，1964年，編號184

《中国美術展シリーズ：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45（沒載圖）

出版

《日本美術工芸》，卷304，1964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》，大阪，1980年，圖版162

長谷部楽爾等編，《中国の陶磁》，卷7：磁州窰，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，其纏枝花卉自然有力，匠人以深剔及刻劃技法，使紋飾更富立體感。此剔花技法，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窰。該遺址曾出土紋飾相近之器物殘片，見1997年北京出版《觀台磁州窰址》，彩圖版21，編號2。

飾有相近牡丹紋之罐，傳世品多見尺寸較大者，例如東京東武美術館展出一例，著錄於《宋磁》，東京，1999年，圖錄編號93。這種刀法豪放且有力的纏枝牡丹紋在同時期的磁州窰梅瓶上也可見，參考 Margaret C. Osgood 舊藏、現存於伍斯特藝術博物館一例，曾展出於印第安納波利斯藝術博物館，見《Freedom of Clay and Brush through Seven Centuries in Northern China. Tz’u-chou Type Wares》，印第安納波利斯，1980年，圖錄編號39。該展覽圖錄亦載錄了另外四件同類梅瓶作例：一為京都國立博物館藏品，圖97；一為奈良大和文華館藏品，圖98；一為首爾前李王家舊藏，圖99；以及倫敦大英博物館藏品，圖100。

Provenance

Kochukyo Co., Ltd, Tokyo.

Exhibited

To So Meito Ten [Masterpieces of Tang and Song Ceramics], Ceramic Society of Japan, Nihonbashi Shirakiya, Tokyo, 1964, cat. no. 184.

Chugoku Bijutsu-Ten Series. So Gen no Bijutsu [Chinese Art Exhibition Series: The Art of Song and Yuan Dynasties], vol. 4, Osaka Municipal Art Museum, Osaka, 1978, cat. no. 1–142.

Toyo toji meihin ten / Masterworks of Eastern Ceramics, Aichi Prefectural Ceramic Museum, Seto, 1994, cat. no. 40.

Song Ceramics, Tobu Museum of Art, Tokyo, and Museum of Oriental Ceramics, Osaka, 1999, cat. no. 93.

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. 45 (unillustrated).

Literature

Nihon Bijutsu Kogei / A Monthly Journal Devoted to the Study of Works on Far Eastern Art, vol. 304, January 1964 (Kochukyo Co., Ltd advertisement).

Gakuji Hasebe, Ceramic Art of the World, vol. 12: Song dynasty, Tokyo, 1977, pl. 232.

Osaka Municipal Art Museum, ed., So Gen no Bijutsu [The Art of Song and Yuan Dynasties], Osaka, 1980, pl. 162.

Gakuji Hasebe, Chugoku no toji [Chinese Ceramics], vol. 7: Cizhou ware, Tokyo, 1996, pl. 54.

Kobayashi Tadashi, ed., Masterpieces of the Okada Museum of Art, vol. 1, Tokyo, 2013, no. 8.

Catalogue Note

This striking jar is impressive for its bold and vigorous floral scroll, which has been endowed with an added sense of three-dimensionality through its deep carving and delicate incised lines. Vessels decorated in this distinctive sgraffiato technique, where the design is carved through a dark brown or black slip to reveal the contrasting white slip beneath, were produced primarily at the Cizhou kilns in the Guantai area, Cixian, Hebei province, during the Northern Song dynasty. Fragments of similarly decorated vessels have been recovered from this site, as illustrated in The Cizhou Kiln Site at Guantai, Beijing, 1997, col. pl. 21, no. 2.

Jars decorated with similar peony motifs are more commonly known in larger sizes, such as one included in the exhibition Song Ceramics, Tobu Museum of Art, Tokyo, 1999, cat. no. 93. The dynamic peony scroll is also closely related to those found on meiping vases of the period, such as an example from the collection of Margaret C. Osgood, now in the Worcester Art Museum, included in the exhibition Freedom of Clay and Brush through Seven Centuries in Northern China. Tz’u-chou Type Wares, Indianapolis Museum of Art, Indianapolis, 1980, cat. no. 39. The same exhibition catalogue illustrates four other meiping of this type: in the Kyoto National Museum, Kyoto, fig. 97; in the Museum Yamato Bunkakan, Nara, fig. 98; in the collection of the former royal house of Yi, Seoul, fig. 99; and in the British Museum, London, fig. 100.