拍賣筆記 vol.435 蘇富比香港2026：25.6萬港元售出，元至明黑漆嵌螺鈿樓閣人物圖四方倭角盤，岡田博物館 - Sotheby’s Hong Kong 2026, A Mother-Of-Pearl-Inlaid Black-Lacquer Square Dish, Yuan – Ming Dynasty

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SACA拍場（2026.09.04）：Sonya電話20萬落槌，25.6萬港元售出，6663。

此件方盆的主要功能，較可能是宋元時期的承香盤：用以承托香爐、香盒，或直接焚爇香餅、香篆。香在兩宋至元已是文人與宮廷日常的一部分，盤形香具正是將爐具與香品組織在同一平面上的關鍵器物。這一功能並未在東亞完全中斷。日本傳世的茶湯與香道中，方形香盆被重新編入點前；尤其在志野流香道，四方盆是出香的重要媒介。器物一旦脫離這類使用場景，仍可作為平面裝飾來欣賞，卻失去由儀式、時間與身體動作所賦予的歷史精神性。

盆心樓閣人物的主題，描繪的更可能是宮廷或貴胄庭園，而非一般市井。判斷依據首先在欄杆：其尺度、望柱與尋杖的組合，接近宮室、園囿中的高等級木石構件，而非民居常見的簡略欄檻。其次是人物服飾與姿態——冠服層次、袖制與侍從配置，指向有身分差序的場合。建築本身亦可參照：台基、檐出、隔扇與空間層進，與宋元宮室、界畫中的樓閣邏輯相符。畫面因此承載的不只是「樓閣點景」，而是可被逐項讀解的制度與視覺資訊。總體信息量仍然很大；把圖像還原到香事場合之中，功能與主題才會能互相映襯。（SACA觀察）

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元至明　黑漆嵌螺鈿樓閣人物圖四方倭角盤

A mother-of-pearl-inlaid black-lacquer square dish, Yuan – Ming dynasty

Session begins in

2026 September 4, 02:00 PM HKT

Estimate

200,000 - 400,000 HKD

Description

Japanese wood box

20.2 cm

Condition Report

Good overall condition, with expected minor retouching and tiny losses to the lacquer and inlays, and to small flakes mainly at two corners; minor age cracks.

整體品相良好。漆面及螺鈿見些許小剝，包括兩角之剝痕，稍經潤飾；以及見些許舊裂，均屬正常。

出版

小林忠編，《岡田美術館名品撰》，卷2，東京，2018年，編號43

Literature

Kobayashi Tadashi, ed., Masterpieces of the Okada Museum of Art, vol. 2, Tokyo, 2018, no. 43.

The most plausible primary use of this square tray is as a Song–Yuan incense stand: a shallow vessel that held a burner and incense box, or on which incense cakes and seal incense were burned directly. From the Northern Song through the Yuan, incense was part of both literati and court life, and tray-form utensils were the means of assembling burner, fuel, and fragrance on a single plane. That function did not disappear in East Asia. In the Japanese tea and incense traditions that inherited Chinese utensils, the square tray was rewritten into formal procedure. In Shino-ryu kōdō in particular, the yohōbon (square tray) is a principal vehicle for shukkō, the presenting of incense: packets, mica plates, fire tools, and the censer are set on the tray in a prescribed arrangement before the fragrance is passed to the guests. Once the object is removed from that setting, it can still be enjoyed as a decorated surface, but it loses the historical charge that ritual, time, and bodily practice confer. It is no longer only a pictured tray; it is a tool that once took part in listening to and offering incense.

The pavilion-and-figure scene in the well is more likely a court or aristocratic garden than a street or village view. The first clue is the railing: the scale of the posts, the combination of newel and handrail, and the overall specification belong with high-status timber or stone architecture, not with the abbreviated fences of ordinary houses. The second is costume and grouping—layered court dress, sleeve type, and the placement of attendants imply a ranked occasion. The buildings themselves can be read against Song–Yuan palace architecture and ruled-line painting: podium, eaves, partition doors, and the recession of space follow that grammar. The image therefore carries more than a generic “pavilion motif.” It is a dense visual record that can be parsed item by item. The information load remains high; function and subject illuminate each other only when the tray is restored to the incense setting for which it was made.