拍賣筆記 vol.410 蘇富比香港2026：北宋鉅鹿縣磁州窯白釉梅瓶 - Sotheby’s 2026, Okada Sales Part 2, A Julu Type Cizhou White-Glazed Vase, Meiping, Northern Song Dynasty

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純素無飾的梅瓶，稱為「白無地」。在茶道與香道中，凡屬無地之器，其規格皆高於帶有裝飾者。此實反乎常情——世人多以華麗繁飾為貴，然在宋元語境下，無地者反而更為高雅。日本茶道傳承自中國宋元禪茶禮儀，亦始終恪守此尚，以無地為上。另觀此瓶鏽斑，應為民國時期河北鉅鹿縣出土之磁州窯梅瓶。鉅鹿縣近年備受關注，此件梅瓶或可輕鬆以數倍於估價之價成交，甚或更高。

另外，鉅鹿縣器物存世極為稀少，對品相的包容度亦相對較高。近年來，不少商販以一般出土鏽斑冒充鉅鹿，刻意模糊概念。事實上，黃河支流漳河泥沙所形成的沁色，與普通新出土器物略有不同。新出土品進入流通不僅違法，更無法被認定為真正的鉅鹿器物。繡色並不是一種審美，鉅鹿的繡色不是視網膜美學，而是歷史的印記，偽造歷史印記無疑是造假。

2016年佳士得紐約大都會博物館專場兩件鉅鹿縣磁州窯器物

此類瓷器於民國時期曾在歐美與日本風靡一時，價格高昂。然而上世紀90年代開始當整個藝術市場為明清瓷器所主導，買家主力轉向東方藏家之後，這類器物的認知出現斷層，價格一落千丈，落入超級低估區間。2016年，紐約佳士得大都會博物館專場拍出一件俗稱「鳳尾尊」的大型瓶子，其沁色明顯屬鉅鹿特徵，成交價僅約十萬港元。隨著近年鉅鹿縣知識的普及，這類器物如今共識已經是百萬、數百萬級別。

https://video.wixstatic.com/video/1b50f7_fe13d0bd8e3540a8b5cadabb6e6b14c5/1080p/mp4/file.mp4

北宋鉅鹿縣磁州白釉梅瓶

A Cizhou white-glazed vase, meiping, Northern Song dynasty

Estimate

400,000 - 800,000 HKD

拍賣時間：2026年9月4日

Description

Japanese wood box

28 cm

來源

壺中居，東京

Condition Report

Good overall condition, with just some firing imperfections.

整體品相良好。見些許窰燒瑕疵。

A purely plain, undecorated meiping is known as bai wudi (“white plain ground”). In the tea ceremony and incense ceremony, any undecorated (wudi) vessel ranks higher in status than those bearing decoration. This runs counter to common intuition—most people assume that the more ornate and elaborate a piece, the higher its rank. Yet in the Song and Yuan contexts, plain wares were in fact considered far superior. Japanese tea ceremony, transmitted from the Chan (Zen) tea rituals of Song–Yuan China, has consistently upheld this preference for the undecorated.Judging from the rust spots on this bottle, it is likely a Cizhou kiln meiping from Julu County, Hebei, excavated during the Republican period. Julu County has drawn particular attention this year, and this meiping may easily achieve several times its estimate—or even higher—at auction.

Moreover, genuine Julu pieces are extremely rare, and collectors tend to be more tolerant of their condition. In recent years, many dealers have used ordinary excavated rust spots to pass off ordinary finds as Julu ware, deliberately blurring the distinction. In fact, the staining produced by the silt of the Zhang River—a tributary of the Yellow River—differs slightly from that of ordinary newly excavated pieces. Newly excavated objects entering the market are not only illegal, but also cannot be regarded as true Julu ware.

Such ceramics enjoyed great popularity in Europe, America, and Japan during the Republican period, commanding high prices. Yet when the art market as a whole became dominated by Ming and Qing porcelain, and the main body of buyers shifted to Eastern collectors, the prices of these earlier pieces plummeted. In 2016, a large bottle commonly known as a “phoenix-tail zun,” with clear Julu staining, was sold in New York for only about HK$100,000. Placed on today’s market, it would likely yield a return of several dozen times that figure.

Provenance

Kochukyo Co., Ltd, Tokyo.

Showcasing uninterrupted glaze coverage and a superbly balanced silhouette, the present vase exemplifies the refined artistry of the Cizhou potting tradition, distinguishing itself from earlier wares of the northern folk kilns through its heightened sophistication of form and finish.

Compare a similar but slightly larger (32.2 cm) Cizhou white-glazed meiping, from the collection of Hikonobu Ise, sold in these rooms, 9th September 2025, lot 5016. See also a smaller (25.5 cm) Northern Song-Jin dynasty Cizhou-type white-glazed meiping, potted with a splayed foot over which the glaze does not cover, preserved in the Institute for Preservation of Cultural Relics of Handan, illustrated in Complete Collection of Ceramics Unearthed in China, Beijing, vol. 3, 2008, no. 171. Another vase with a fuller, more rounded body, attributed to the Northern Song dynasty, from the Hirota Matsushige Collection, is now in the Tokyo National Museum, acc. no. TG-2457.