拍賣筆記 vol.433 蘇富比香港2026：473.6萬港元售出，北宋定窯白釉劃牡丹紋分格盌（小），岡田博物館 - Sotheby’s Hong Kong 2026, A White-Glazed 'Chilong' Candle Holder, Early Tang Dynasty
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SACA拍場（2026.09.04）：現場激烈競爭，sonya電話，現場和網絡三方爭奪，370萬落槌。牌號：2389
同場另見一件更大尺寸的北宋定窰白釉劃牡丹紋分格葵口盌，口徑約 24.5 公分，出自壺中居，後入岡田美術館，並經展覽與出版。本件尺寸略小，口沿銅釦為後配，並非清宮造辦處舊製，亦非清宮舊藏（同場另一件銅釦或為清宮舊藏）。兩器胎釉、刻工皆屬定窰高質量層次：一大一小，雖不能成對，卻可互為尺度與裝飾的參照，仍值得一併考慮入藏。
大盌為分格葵口，內壁劃牡丹，刀法與釉色均在北宋定窰可流通名品之列，同類器型曾作為卡爾·坎普博士 2008 年專場圖錄封面。宮廷級定窰的判斷，通常可從整體規整度、母題是否契合宮廷審美、刻工清晰度、有無刻款，以及兩岸故宮是否有同款可資比對入手。詳細分析見 SACA《拍賣筆記 vol.416》：https://www.artsaca.com/post/auction416
定窰近年受詐騙案牽連，加上高仿氾濫，市場需求一度跌至冰點。有可靠來源、價格又明顯低於其工藝與傳承應有水準者，作為收藏仍值得下手；若純以投資計，低迷需求與被擊潰的信心何時修復，目前仍難判斷。
北宋 定窯白釉劃牡丹紋分格盌
A large incised Dingyao 'peony' bowl, Northern Song dynasty
Session begins in
September 4, 02:00 PM HKT
Estimate
400,000 - 800,000 HKD
Description
Japanese double wood box
20.7 cm
Condition Report
Good overall condition, with only two small shallow kiln flakes (approx. 0.4cm to inner mouth rim; approx. 0.7cm to inner foot ring), and light expected surface wear.
整體品相良好。僅見兩細淺窰剝痕，於內口沿約0.4公分，及內圈足約0.7公分。輕微正常器面磨痕。
來源
壺中居，東京
本盌形制優雅，分格規整，劃花牡丹紋飾流暢俐落，刀法深峻，實為北宋定窰之佳作。定窰名列「宋代五大名窰」，窰址位於河北曲陽。定瓷以胎體輕薄、胎質堅緻白皙見稱，無須施化妝土即可呈現純淨瑩白，其象牙白釉溫潤如玉，外壁常帶有自然垂流之「淚痕」。本盌之分格花口造型，深受當時金銀器及漆器影響，彰顯宋代上流社會及文人雅士之高尚品味。
鑲口乃定窰瓷器之另一顯著特徵。為提高窰爐產量，定窰廣泛採用「覆燒」工藝，器物口沿因朝下扣於支圈上而須刮去釉層，形成「芒口」。為掩飾無釉之口沿，工匠多以銅等金屬鑲口，此舉不僅修飾邊緣，更與溫潤的白釉形成鮮明對比，增添華貴之氣。
參考一件尺寸及器形相近之定窰白釉劃蓮紋水禽圖分格盌，為卡爾．肯普（Carl Kempe）舊藏，2008年5月4日售於倫敦蘇富比，拍品編號258。另可比較北京故宮博物院藏一件定窰劃花花卉紋分格盌，錄於《故宮博物院藏文物珍品全集：兩宋瓷器（上）》，香港，1996年，圖版45；以及一件劃牡丹紋之作，曾展於《定窯白磁》，根津美術館，東京，1983年，編號132。
In the same sale is a larger companion: a Northern Song Dingyao carved ‘peony’ lobed bowl, about 24.5 cm in diameter, from Kochukyo, later in the Okada Museum of Art, and both exhibited and published. The present piece is slightly smaller. Its copper rim is a later mount—not a Qing Imperial Workshop fitting, and not from the Qing court collection. Both vessels sit at a high level of Ding quality. They are not a pair, yet the contrast of scale still makes them worth considering together.
The larger bowl has a lobed rim divided into panels, the interior carved with peony. In carving and glaze it belongs among the better Northern Song Ding wares still in circulation; related examples once appeared on the cover of Dr Carl Kempe’s 2008 sale catalogue. Distinguishing court-level Ding usually turns on overall regularity, whether the motif fits court taste, the clarity of the carving, the presence of an inscribed mark, and whether the Palace Museums hold a comparable piece. For a fuller discussion see SACA Auction Notes vol. 416: https://www.artsaca.com/post/auction416
Ding ware has been dragged down by fraud cases and by a market saturated with sophisticated fakes; demand at one point fell close to a standstill. Pieces with reliable provenance that are still priced below their craft and history remain worth collecting. As an investment, however, it is still hard to say when this slack demand—and the confidence that was broken with it—will recover.
Provenance
Kochukyo Co., Ltd, Tokyo.
Catalogue Note
The present bowl is an exceptional example of Ding ware, distinguished by its elegant lobed form and the fluid, crisp carving of the peony motifs. Ranked among the 'five great wares of the Song' dynasty, Ding wares were produced at the Dingzhou kilns in Quyang, Hebei province. They are celebrated for their thin potting, fine white body, which does not require a slip to appear white after firing, and a warm and ivory-coloured glaze that often runs down the exterior to form characteristic 'teardrops'. The lobed shape of the present bowl reflects the strong influence of contemporaneous silver and lacquer vessels, a testament to the sophisticated and refined taste of the Song elite.
The metal-bound rim is another defining feature of classic Ding wares. To maximise kiln space, bowls were fired upside-down (fushao), requiring the mouth rim to be wiped free of glaze to prevent it from adhering to the kiln furniture. The unglazed rim was subsequently bound with metal, which not only concealed the rough edge but also provided a striking aesthetic contrast to the luminous ivory glaze, elevating the vessel's visual appeal.
A closely related Ding lobed bowl of similar shape and size, but carved with alternating lotus sprays and swimming ducks, from the renowned Kempe Collection, was sold in our London rooms, 4 May 2008, lot 258. For bowls of this elegant lobed type decorated with floral blooms, compare an example in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty I, Hong Kong, 1996, pl. 45; and another carved with peony blooms included in the exhibition White Porcelain of Ding Yao, Nezu Institute of Fine Arts, Tokyo, 1983, cat. no. 132.
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