拍賣筆記 vol.427 蘇富比香港2026：唐代黃釉絞胎三足盤，松下幸之助、岡田博物館 - Sotheby’s 2026, Okada Sales Part 2, A Marbled Sancai Tripod Dish,Matsushita Family (Panasonic), Tang Dynasty

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三足之一斷粘，並不影響整體。唐三彩品相寬容度不應與明清瓷器同一而論：一、年代比後者早1000年以上；二、唐三彩以藝術性為重，並非以宮廷概念或者皇帝概念為先；三、總體存世量總量，同類作品的存世量都遠低於明清瓷器。完整度不應該蓋過歷史、藝術價值。這件器物來自松下幸之助的收藏，又進岡田博物館，實屬唐三彩中的佳作。

參見同場拍賣中的釉色分色清晰、釉光優越的唐三彩三足盤《拍賣筆記 vol.408 蘇富比香港2026：唐三彩寶相花三足盤，松下幸之助、岡田博物館舊藏 - Sotheby’s 2026, Okada Sales Part 2, Matsushita Family (Panasonic), A Small Sancai Tripod Dish, Tang Dynasty》，同樣尺寸偏小（17.2cm），但都有一種精緻的尺度。可見松下幸之助的審美趨向和甄選品味，這類在同類中並不算多。

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唐代黃釉絞胎三足盤

A marbled sancai tripod dish, Tang dynasty

Estimate

300,000 - 600,000 HKD

拍賣時間：2026年9月4日

Description

Japanese wood box

17.2 cm

Condition Report

Good overall condition, except for a restuck foot, and a small shallow rim chip (approx. 0.6 cm). Minor expected surface wear and typical glaze flakes, including a shallow flake to the mouth rim (approx. 1.2 cm).

一足經修／重粘。外口沿見一小磕（約0.6公分）。除此以外，整體品相良好。見輕微器面磨痕，及些許釉面小剝痕，屬正常，主要為外口沿一淺剝痕（約1.2公分）。

來源

松下家舊藏

壺中居，東京

展覽

《中国美術展シリーズ：隋唐の美術》，卷3，大阪市立美術館，大阪，1976年，編號1–109 （沒載圖）

出版

大阪市立美術館編，《隋唐の美術》，東京，1978年，圖版121

Provenance

Collection of the Matsushita family.

Kochukyo Co., Ltd, Tokyo.

Exhibited

Chugoku Bijutsu-Ten Series. Zui To no Bijsutsu [Chinese Art Exhibition Series: The Art of the Sui and Tang Dynasties], vol. 3, Osaka Municipal Art Museum, Osaka, 1976, cat. no. 1–109 (unillustrated).

Literature

Osaka Municipal Museum of Art, ed., Zui To no Bijutsu [The Art of the Sui and Tang Dynasties], Tokyo, 1978, pl. 121.

One of the three legs is broken and has been reattached, but this does not affect the overall integrity of the piece. The standards of condition tolerance applied to Tang sancai should not be equated with those used for Ming–Qing porcelain. First, Tang sancai predates the latter by more than a thousand years. Second, Tang sancai prioritizes artistic expression rather than courtly or imperial hierarchies. Third, the total number of surviving examples—and especially of comparable works—is far lower than that of Ming–Qing porcelains. Completeness should not be allowed to override historical and artistic value.

This piece comes from the collection of Matsushita Kōnosuke and subsequently entered the Okada Museum; it ranks among the finer examples of Tang sancai. Compare it with the Tang sancai tripod dish of clear color separation and superior glaze luster offered in the same sale (Auction Notes vol. 408, Sotheby’s Hong Kong 2026: A Small Sancai Tripod Dish with Baoxianghua Design, Tang Dynasty, formerly in the collections of Matsushita Kōnosuke and the Okada Museum—Sotheby’s 2026, Okada Sales Part 2, Matsushita Family / Panasonic). Both are relatively small in size (17.2 cm), yet each possesses a refined and deliberate scale. These works reveal Matsushita Kōnosuke’s aesthetic orientation and selective taste—qualities that are by no means common among pieces of this category.