拍賣筆記 vol.459 佳士得紐約2026：唐代絞胎小蓋罐，福科伉儷珍藏 - Christie’s New York, A Very Rare Small Marbled Jar And Cover, Falk Collection, Tang Dynasty

• 

• 

• 

唐代器物近五年來價格漲幅不少，除了唐三彩品種外，絞胎也是中國藏家開始追逐的品種。許多黃花梨家具藏家愛屋及烏，開始迷上類似黃花梨紋理的絞胎器物。SACA學會2018年發表過福科的專場文章，本品是Falk珍藏（一）中國瓷器及工藝精品，紐約佳士得，2001年10月16日，拍品編號19，同時是Pauline B. (1910–2000年) 及 Myron S. Falk (1906–1992年) 珍藏，編號31。

SACA學會於2018年撰文《600万美元在20年前应该怎么花？》，回顧2001年紐約佳士得福克專場，當時已指出：唐代器物經歷約二十年幾乎未見漲幅。癥結不在藝術本身，而在審美尚未歸位——彼時中國藏家尚未普遍接受「藝術性優先」的原則，轉而忌憚出土墓葬的所謂「晦氣」，遂使唐代藝術的光華長期被遮蔽。結果是：藝術性極高，價格卻長期低窪。學會當時即認為，這是值得持續關注的品類。八年過去。唐代乃至唐以前器物的市場表現，已出現十分顯著的漲幅。藝術性的回歸，亦即價值的回歸——這在八年前幾乎難以想像。

如今唐代器物已經是炙手可熱，距離此次拍賣還有三天，社交網絡上已經出現小群體在用力推廣絞胎，特別是這件器物。不禁令人感慨，天下熙熙皆為利來，天下攘攘皆為利往，世人奔波一生，終究逃不過『利益』二字的牽絆。藝術除了金融屬性，回歸其藝術性，如何做到不拔苗助長，如何一步一腳印，都值得深思。（SACA觀察，2026年9月14日）

本品2001年福科專長拍賣價格，USD58,750

• 

• 

• 

• 

• 

• 

• 

• 

• 

北美私人珍藏重要中國藝術

唐 絞胎小蓋罐

TANG DYNASTY (AD 618-907)

9月17日 9AM 美國東部夏令時間 | 現場拍賣 22534

估價

美元 40,000 – 美元 60,000

唐 絞胎小蓋罐

3 7⁄8 in. (9.8 cm.) high, cloth box

來源

盧芹齋，紐約，1949年12月

Pauline B. (1910–2000年) 及 Myron S. Falk (1906–1992年) 珍藏，編號31

Falk珍藏（一）中國瓷器及工藝精品，紐約佳士得，2001年10月16日，拍品編號19

出版

洛杉磯郡博物館，《Chinese Ceramics from the Prehistoric Period through Ch'ien Lung, Los Angeles》，1952年，頁63，編號83

Myron S. Falk，《Neolithic to Ming, Chinese Objects–The Myron S. Falk Collection》，康州哈特福德，1957年，頁8，編號19

東方陶瓷學會，《Catalogue of an Exhibition of the Ceramic Art of China》，倫敦，1971年，編號48

展覽

洛杉磯，洛杉磯郡博物館，「Chinese Ceramics from the Prehistoric Period through Ch'ien Lung」，1952年，編號83

北安普敦，史密斯學院美術館，「Neolithic to Ming, Chinese Objects–The Myron S. Falk Collection」，1957年，編號19

倫敦，東方陶瓷學會，「The Ceramic Art of China」，1971年，編號48

Important Chinese Art from a North American Private Collection

A VERY RARE SMALL MARBLED JAR AND COVER

TANG DYNASTY (AD 618-907)

Estimate

USD 40,000 – USD 60,000

A VERY RARE SMALL MARBLED JAR AND COVER

TANG DYNASTY (AD 618-907)

3 7⁄8 in. (9.8 cm.) high, cloth box

PROVENANCE

C. T. Loo & Co., New York, December 1949.

Pauline B. (1910-2000) and Myron S. Falk (1906-1992) Collection, no. 31.

The Falk Collection I: Fine Chinese Ceramics & Works and Works of Art; Christie's New York, 16 October 2001, lot 19.

LITERATURE

Los Angeles County Museum, Chinese Ceramics from the Prehistoric Period through Ch'ien Lung, Los Angeles, 1952, p. 63, no. 83.

Myron S. Falk, Neolithic to Ming, Chinese Objects - The Myron S. Falk Collection, Hartford, Connecticut, 1957, p. 8, no. 19.

Oriental Ceramic Society, Catalogue of an Exhibition of the Ceramic Art of China, London, 1971, no. 48.

EXHIBITED

Los Angeles, Los Angeles County Museum, Chinese Ceramics from the Prehistoric Period through Ch'ien Lung, 1952, no. 83.

Northampton, Massachusetts, Smith College Museum of Art, Neolithic to Ming, Chinese Objects - The Myron S. Falk Collection, 1957, no. 19.

London, Oriental Ceramic Society, The Ceramic Art of China, 1971, no. 48.

Lot Essay

Marbling, known as jiao tai in Chinese, became a popular decorative technique on Tang dynasty ceramics and was applied to a variety of forms, including jars, cups, bowls, dishes, and censers. Sections of marbled clay were also inlaid into larger objects, such as pillows, to create a striking decorative effect. The popularity of marbled wares among the Tang aristocracy is demonstrated by the discovery of a small number of horses made from marbled clay among the burial goods of Princess Yongtai, who received a grand reinterment in AD 706.

The marbled appearance could be achieved either by combining clays of different colors during the formation of the vessel or by applying two contrasting slips to its surface. In both cases, the finished piece was subsequently covered with a transparent glaze. The most common glazes were amber, as seen on the present covered jar, as well as green and colorless glazes. Examination of the current jar and cover clearly shows that it was made by combining contrasting clays, and further reveals that the upper and lower halves were constructed separately before being luted together. This process required considerable technical skill on the part of the potter and was executed with notable success on the current jar. The effect is less refined on a smaller, similarly glazed jar lacking a cover, excavated at Xianyang, Shaanxi province, in 1952. The tomb from which the Xianyang jar was recovered has been dated to AD 714. The jar, now in the Shaanxi Provincial Museum, is illustrated in Zhongguo wenwu jinghua daquan – Taoci juan, 1993, p. 247, no. 246. Another larger marbled jar with amber glaze, also lacking a cover, is illustrated by R. Krahl in Chinese Ceramics from the Meiyintang Collection, vol. I, 1994, no. 230.

A marbled bowl with amber glaze in the Tokyo National Museum is illustrated in Sekai Toji Zenshu, vol. 11, Sui Tang, Tokyo, pp. 101–2, no. 79. The popularity of Tang dynasty marbled wares in Japan is further evidenced by the excavation of shards from a Chinese 8th-century marbled pillow at the site of Daian-ji Temple in Nara, illustrated in the same volume, p. 252, no. 237. Such marbled pillows were produced at a number of kiln sites in northern China, including the Gongxian kilns in Henan province. A small ring-handled cup with similar marbling and amber glaze, formerly in the Anders Hellström Collection and now in the Museum of Far Eastern Antiquities, Stockholm, is illustrated in Oriental Ceramics, The World's Great Collections, vol. 8, Tokyo, 1982, no. 25.