拍賣筆記 vol.448 蘇富比香港2026：307.2萬港元售出，明十五世紀青花蓮池水禽圖梅瓶，岡田博物館 - Sotheby’s Hong Kong 2026, A Blue And White 'Lotus Pond' Vase, Meiping, Ming Dynasty, 15Th Century, Okada Museum Part II
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器物既見《龍泉集芳》著錄，又刊於《世界陶瓷全集》卷十四「明」，傳承脈絡清晰，學術背書完整，市場共識相對容易形成。當下藝術市場日趨內卷，信息戰四起、口舌之爭不斷，此類有完整出版與遞藏紀錄的器物，反而較能避開無謂爭議，更快凝聚價值共識。
對照2025年蘇富比「伊勢彥信珍藏」專場（繭山龍泉堂為主要顧問經銷商）與2026年岡田美術館兩場拍賣（壺中居為主要顧問經銷商），可見繭山龍泉堂一系的傳承尤具加分效應。其一，公開透明、長期保存完整藏品遞藏檔案，器物日後重返拍場時，較易獲得價格與真偽層面的共識；其二，拍賣現場能親臨護航，帶領新藏家競投並重金斬獲名品，既延續與老客戶的關係，也向市場展示其售後與回購能力。
壺中居同屬日本古美術老號，聲望自不待言。然就客戶維護與現場支持而言，在岡田博物館專場拍賣表現未若龍泉堂來得周密。此一差異對兩家傳統古董商的品牌價值影響雖不張揚，卻是潛移默化、日積月累的。 （SACA觀察：2026.09.05）
明十五世紀 青花蓮池水禽圖梅瓶
A blue and white 'lotus pond' vase, meiping, Ming dynasty, 15th century
Auction Closed
2026 September 4, 07:42 PM HKT
Estimate
600,000 - 1,000,000 HKD
Lot Sold
3,072,000 HKD
Description
Japanese wood box
37.5 cm
Condition Report
Very good overall condition, with typical firing imperfections, including firing lines (one to the duck’s neck, approx. 1cm), glaze pulls, and frits. Light surface wear.
整體品相良好。正常窰燒瑕疵，如窰線（如一鴛鴦頸處，約1公分）、縮釉、毛邊等。輕微器面磨痕。
來源
繭山龍泉堂，東京
日本私人收藏
壺中居，東京
展覽
《中國古陶磁優品小展展観図録》，繭山龍泉堂，三越百貨店（日本橋），1973年，圖版9
《開館5周年記念展―美のスターたち―光琳．若冲．北斎．汝窯など名品勢ぞろい》， 岡田美術館，箱根，2018–19年，展覽編號70（沒載圖）
出版
《龍泉集芳》，卷1，繭山龍泉堂，東京，1976年，圖版765
藤岡了一及長谷部楽爾，《世界陶磁全集》，卷14：明，東京，1976年，圖版147
矢部良明，《中国陶磁の八千年：乱世の峻巌美．泰平の優美》，東京，1992年，圖V-50
Provenance
Mayuyama & Co., Ltd, Tokyo.
A Japanese private collection.
Kochukyo Co., Ltd, Tokyo.
Exhibited
Chugoku kotoji yuhin shohin tenkan zuroku [Exhibition Catalogue of Selected Masterpieces of Chinese Ceramics], Mitsukoshi Nihonbashi, Tokyo, 1973, pl. 9.
5th Anniversary Exhibition. All-Stars of the Okada Collection: Masterworks of Korin, Jakuchu, Hokusai and the Ru Ware Kilns, Okada Museum of Art, Hakone, 2018–19, exh. no. 70 (unillustrated).
Literature
Mayuyama: Seventy Years, vol. 1, Tokyo, 1976, pl. 765.
Ryoichi Fujioka and Gakuji Hasebe, Ceramic Art of the World, vol. 14: Ming dynasty, Tokyo, 1976, pl. 147.
Yoshiaki Yabe, Chugoku toji no 8,000 nen [8,000 Years of Chinese Ceramics], Tokyo, 1992, fig. V-50.
SACA Observation
Published in Longquan Jifang and in Sekai Tōji Zenshū (Ceramic Art of the World), vol. 14: Ming, the piece carries a clear chain of ownership and firm scholarly endorsement. Consensus on its standing is therefore relatively easy to reach. In an art market marked by involution, information warfare, and endless dispute, objects with complete publication and provenance records are better placed to sidestep fruitless controversy and to arrive at a shared valuation more quickly.
A comparison of Sotheby’s 2025 Ise Collection sale—where Mayuyama Ryusendo was the principal dealer—and the two Okada Museum of Art sales of 2026—where Kochukyo played that role—shows how strongly a Mayuyama provenance still adds value. First, the firm has preserved its ownership archives in full; when a piece returns to auction, that paper trail helps the market agree on both authenticity and price. Second, Mayuyama can appear in the saleroom in person, escort new clients through the bidding, and see works into their collections—support that both serves long-standing clients and signals after-sale commitment to the wider market.
Kochukyo remains a venerable house, and its reputation needs no defence. In client care and on-the-ground support, however, its record has been less complete than Mayuyama’s. The effect on the two dealers’ brand equity is subtle, but it accumulates over time.
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