拍賣筆記 vol.418 蘇富比香港2026：金代磁州窰系黑釉剔牡丹魚紋玉壺春瓶，山中商會、壺中居，岡田博物館 - Sotheby’s 2026, Okada Sales Part 2, A Cizhou-Type Black-Glazed Sgraffiato 'Fish' Bottle Vase, Jin Dynasty
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山中商會舊圖錄中，最早可追溯至一九二七年之記載，可見玉壺春造型器物實為經典審美之典範，二十世紀初歐美及日本藏家均極為推崇。日本大阪市立東洋陶瓷美術館所藏一件龍泉窯飛青瓷玉壺春瓶，已定為國寶。本件雖被歸屬磁州窯，然磁州窯實為區域概念而非單一窯口；觀其紋飾，當出自當陽峪窯，該窯所產可與定窯媲美。近年白地剔黑牡丹紋梅瓶及萬年罐造型之器，已連續突破千萬港元大關。此類器物因認知差異，目前仍處於低估階段。
玉壺春瓶之名，實與酒有深切淵源。「春」在唐代以來即為酒之雅稱，古人冬釀春熟，遂以「春」代酒，李肇《唐國史補》所載富水春、若下春、土窟春、石凍春、燒春等，皆其實例。晚唐司空圖《二十四詩品·典雅》有「玉壺買春，賞雨茆屋」之句，意謂以玉壺（或釉色如玉之瓷壺）購酒，「買春」即買酒之謂。至宋元之際，「玉壺春」已成具體酒名，《水滸傳》明言「酒保取過兩樽玉壺春酒，此是江州有名的上色好酒」，可見其當時聲譽。
玉壺春瓶造型定型於宋代，由唐代寺院淨水瓶演進而來，撇口、細頸、垂腹、圈足，曲線柔和，正適於斟酒之用。當時此類酒瓶因盛裝「玉壺春」名酒而廣為流傳，器形遂與酒名漸趨合一，久之便以「玉壺春」專稱此式。後人雖有「玉壺先春」託名蘇軾之說，然查無實據，不足採信。要之，玉壺春瓶之得名，乃因酒而名器，既見唐人「以春名酒」之風雅，亦反映宋代實用酒具向陳設美器轉化之軌跡。
金代磁州窰系黑釉剔牡丹魚紋玉壺春瓶
A Cizhou-type black-glazed sgraffiato 'fish' bottle vase, Jin dynasty
Estimate
300,000 - 600,000 HKD
拍賣時間：2026年9月4日
Description
Japanese double wood box
28.2 cm
山中商會，倫敦
壺中居，東京
展覽
《中國早期陶瓷及雕塑等展覽圖錄》，山中商會，倫敦，1927年，編號115
《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1–166
出版
三上次男，《世界陶磁全集》，卷13：遼．金．元，東京，1981年，圖版25
小林忠編，《岡田美術館名品撰》，卷1，東京，2013年，編號10
Provenance
Yamanaka & Co., Ltd, London.
Kochukyo Co., Ltd, Tokyo.
Exhibited
Exhibition of Early Chinese Ceramic Art and Sculpture, Yamanaka & Co., Ltd, London, 1927, cat. no. 115.
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. 1–166.
Literature
Tsugio Mikami, Sekai Toji Zenshu / Ceramic Art of the World, vol. 13: Liao, Chin and Yuan Dynasties, Tokyo, 1981, pl. 25.
Kobayashi Tadashi, ed., Masterpieces of the Okada Museum of Art, vol. 1, Tokyo, 2013, no. 10.
The earliest catalog of Yamanaka & Co. that can be traced back to 1927 shows that the yuhuchun form represents a classic aesthetic highly prized by European, American, and Japanese collectors in the early twentieth century. The Museum of Oriental Ceramics, Osaka, holds a Longquan kiln “flying celadon” (tobi-seiji) yuhuchun vase designated as a National Treasure. Although this piece is attributed to the Cizhou kilns, Cizhou is a regional concept rather than a single kiln site; judging from its decorative style, it should originate from the Dangyangyu kiln, whose products can rival those of the Ding kilns. In recent years, white-ground carved-black peony-pattern meiping vases and wannian jars have successively surpassed the HKD 10 million mark. Owing to differences in recognition, such wares remain undervalued at present.
See a related vase in the collection of the Saint Louis Art Museum, Missouri, illustrated in Robert D. Mowry, Hare’s Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics, 400–1400, Cambridge, Mass., 1996, cat. no. 68; a vase from the Charles Bain Hoyt Collection in the Museum of Fine Arts, Boston, acc. no. 50.2115; a third example from the Meiyintang Collection, illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 3 (II), London, 2006, no. 1526; another in the Linyushanren Collection, sold at Christie’s New York, 13th September 2018, lot 824; and finally another from the Mineo Hata Collection, sold in these rooms, 7th May 2025, lot 3708.
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