拍賣筆記 vol.431 蘇富比香港2026：西漢越窯原始青瓷水波紋雙耳瓿，岡田博物館 - Sotheby’s Hong Kong 2026, Sotheby’s Hong Kong 2026, A Proto-Porcelain Handled Jar, Western Han Dynasty

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此類器物於二十世紀初期深受西方藏家青睞，主要因其藝術性極高，造型直接源自青銅禮器。器物之造型，除承載歷史年代之外，更蘊含深層的精神性；而中國藝術品的精神性，又以青銅器為第一。青銅器自誕生之日起，便是溝通天地的藝術品，附著非凡的能量。

早期西方學者與藏家為神秘的東方古國所吸引，其關注自然不僅止於外表線條，而是由內而發，從核心精神出發。這類以青銅器為原型的原始青瓷，實為極為罕見、極為難得的中國藝術珍品。自1990年代以來，中國拍賣以明清為主，對青銅器的理解幾乎完全喪失。如今的大部分買家往往以明清的審美格局來審視高古部分，實踐中屢屢錯位、張冠李戴。此類藝術品的低估恐將持續，有待認知與知識格局的普及。

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西漢 原始青瓷水波紋雙耳瓿

A large proto-porcelain handled jar, Western Han dynasty

Session begins in

September 4, 02:00 PM HKT

Estimate

60,000 - 120,000 HKD

Description

Japanese wood box

w. 36 cm

Condition Report

There are occasional minor flakes, including an approx. 0.7 cm shallow flake to the outer rim. Under UV inspection, it appears to be in good overall condition.

偶見小剝痕，包括外口沿一淺剝，約0.7公分。經紫外線檢視整體品相良好。

來源

壺中居，東京

See a similar example with its cover in the collection of the Beijing Palace Museum, acc. no. xin-178605.

北京故宮博物院藏一帶蓋類例，館藏編號：新178605。

Provenance

Kochukyo Co., Ltd, Tokyo.

In the early twentieth century, this category of objects was highly prized by Western collectors, chiefly for its exceptional artistic quality and forms derived directly from bronze ritual vessels. Beyond their historical dating, these forms embody a profound spirituality; and among Chinese works of art, that spiritual dimension finds its highest expression in bronzes. From the moment of their creation, bronze vessels were works of art meant to communicate between heaven and earth, imbued with extraordinary energy. Early Western scholars and collectors, drawn to the mysteries of the ancient East, were naturally not limited to surface contours; they approached these works from within, starting from their core spiritual essence. Primitive celadon wares modeled on bronze prototypes are in fact extremely rare and precious examples of Chinese art. Since the 1990s, the Chinese auction market has been dominated by Ming and Qing pieces, and a genuine understanding of bronzes has been almost entirely lost. High-antiquity objects are now often viewed through a Ming-Qing aesthetic framework, resulting in frequent misattributions and misplaced judgments. The undervaluation of such works is likely to persist until a broader cognitive and scholarly framework becomes widespread.