拍賣筆記 vol.426 蘇富比香港2026：北宋青白釉帶獅子鈕蓋執壺及溫盌，岡田博物館 - Sotheby’s 2026, Okada Sales Part 2, A Qingbai Covered Wine Ewer And Warming Bowl, Northern Song Dynasty
- SACA
- 5 minutes ago
- 3 min read
溫碗有小小的品相問題純屬正常，執壺完整。東京國立博物館1994年展覽過，有三個重要出版。正如SACA學會在同場拍賣中的同款拍品中提到，浦上滿不僅僅對青瓷有深究，其對白瓷的造詣也頗高，主要通過其對北齊——隋——唐——宋代白瓷的收藏——展覽——經銷的實踐獲得獨特的審美和甄選眼光。
浦上滿精力充沛，不僅身兼東京國立博物館、東京美術俱樂部等顧問、監視職位，至今仍保持每年多個展覽、多個出版的拼搏精神。近期，隨著社交媒體的信息普及，藏家、經銷商們紛紛上門求購，年過七旬的浦上滿，似乎又迎來了其又一次的人生巔峰。
北宋青白釉帶獅子鈕蓋執壺及溫盌
A qingbai covered wine ewer and warming bowl, Northern Song dynasty
Estimate
500,000 - 1,000,000 HKD
拍賣日期：2026年9月4日
Description
ewer and cover overall h. 22.3 cm
bowl d. 19 cm
Condition Report
The bowl rim with a triangular restored chip (approx. 2.4 × 1 cm), with associated forked hairlines (approx. 5 and 6.5 cm); and three small restored flakes on the inner rim (each approx. 0.7 cm, two adjacent). The ewer and cover are in good overall condition. There are just a few shallow glaze flakes (largest approx. 0.3 cm, e.g. on the bowl and ewer’s exterior foot). The glaze is suffused with original crackles, with a few running deeper into the body across the bowl’s footring.
溫盌口沿一磕經修（約2.4×1公分，呈三角形），連帶叉狀沖線（約5及6.5公分）；其內沿見三小剝痕經修（各約0.7公分，兩剝相鄰）。執壺及蓋整體品相良好。偶見淺小剝釉（最大約0.3公分，如溫盌與執壺外足）。釉面見原生片紋，數道於溫盌圈足處略深及胎。
來源
浦上蒼穹堂，東京
展覽
《特別展—中国の陶磁》，東京國立博物館，東京，1994年，編號160
《中国古陶磁展》，足利市立美術館，栃木，1995年，編號48
《第13回東美特別展》，東京美術倶樂部，東京，1995年
出版
矢部良明及今井敦，《やきもの名鑑》，卷6：中国の陶磁，東京，2000年，頁30
《浦上蒼穹堂30周年記念》，浦上蒼穹堂，東京，2009年，頁131
浦上満，《古美術商にまなぶ中国．朝鮮古陶磁の見かた、選びかた》，京都，2011年，頁81
Provenance
Uragami Sokyu-do Co., Ltd, Tokyo
Exhibited
Tokubetsu Ten Chugoku no Toji / Special Exhibition: Chinese Ceramics, Tokyo National Museum, Tokyo, 1994, cat. no. 160.
Chugoku kotoji ten [Exhibition of Chinese Ceramics], Ashikaga Museum of Art, Tochigi, 1995, cat. no. 48.
Special Triennial Tobi Art Fair, Tokyo Bijutsu Club, Tokyo, 1995.
Literature
Yoshiaki Yabe and Atsushi Imai, Yakimono meikan [Ceramics], vol. 6: Chugoku no toji [Chinese Ceramics], Tokyo, 2000, p. 30.
The 30th Anniversary of Uragami Sokyu-do, Uragami Sokyu-do Co., Ltd, Tokyo, 2009, p. 131.
Uragami Mitsuru, Kobijutsusho ni manabu Chugoku Chosentoji no Mikata Erabikata [A Dealer's Eyes: Appreciating and Collecting Chinese and Korean Ceramics], Kyoto, 2011, p. 81.
It is completely normal for the warming bowl to have minor condition issues, while the ewer remains in pristine condition. This set was exhibited at the Tokyo National Museum in 1994 and has been featured in three important publications.
As the SACA Society noted regarding a similar lot in the same auction, Susumu Urakami possesses not only a profound understanding of celadon, but also a masterful grasp of white porcelain. His unique aesthetic and discerning eye have been honed through years of practical experience in collecting, exhibiting, and dealing in white porcelain from the Northern Qi, Sui, Tang, and Song dynasties.
Urakami remains remarkably energetic. Beyond holding advisory and supervisory roles at institutions such as the Tokyo National Museum and the Tokyo Art Club, he continues to demonstrate a tireless work ethic, organizing multiple exhibitions and releasing several publications each year.
Recently, amplified by the widespread reach of social media, collectors and dealers have been flocking to his door with purchase requests. Now in his seventies, Susumu Urakami appears to be experiencing yet another peak in his illustrious career.
Comments