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宋代筆記 vol.65 臨宇山人3.5萬美金(25.5萬人民幣)木業葉盞:一花開五葉,禪與宋代審美的融合 - the Linyushanren Leaf Conical Bowl, the embodiment of Zen and quintessential Song Aesthetic.


2018年,也就是6年前的時候的價格。Eskenazi、安思遠都曾表示過藝術品的黃金週期一般都是在7年以上,如今回顧這場2018年的臨宇山人的拍賣,不難發現一些有趣的買家喜好變化。


吉州窯的木葉盞充滿禪意,其審美跨越時代,即使是不了解宋瓷或者中國藝術的觀眾也能欣賞。這一品種在過去十年裡持續升溫,近期一次拍賣的價值更是上升到100萬美金左右。


畢竟在六年前的2018年,南宋龍泉魚耳瓶只需要27萬美金,這類瓶子在2023年已經拍到了138萬美金,翻了4.7倍。



這件作品是一個碎拼的價格,整體有噴塗修復,紫光燈無法鑑別碎拼的程度,但瑕不掩瑜:


  1. 葉子翻卷,肌理清楚,枯葉的孔洞清晰

  2. 葉子的柄清晰可見

  3. 傳承明確加持

  4. 釉光屬於大漆類的啞光釉面,與禪的意藴吻合


在這樣的情況下,依然有國際買家為其審美買單。


臨宇山人舊藏吉州窯木葉茶碗(碎拼修復)


成交價

美元 35,000

估價

美元 12,000 – 美元 18,000


拍品終止拍賣: 

2018年3月22日


近期SACA也發表了三篇關於吉州窯木葉盞的文章。





上海博物館藏

台北故宮博物院藏

五島美術館藏

臨宇山人木葉盞

南宋 吉州窯木葉盞

5 5/8 in. (14.3 cm.) diam., Japanese wood box

來源


千秋庭,東京。

出版


千秋庭,《中國美術蒐集》,東京,2006年,65頁,編號80。

展覽


千秋庭,《創立10周年記念展覽會》,東京,2006年。


木葉裝飾是吉州窯最富有創意的藝術創造。此種工藝需先把樹葉貼在素胎上,再施以黑釉。當坯件在窯爐中高溫燒造時,釉料和樹葉間的化學反應會在盌中留下琥珀色的葉形影像。值得指出的是,在燒造過程中,樹葉的邊沿容易捲曲,因此造成不完整的葉形影像, 如本件斗笠盌一樣能呈現完整葉形的例子殊為難得。


把自然界易逝的樹葉保留於恆久的陶瓷材質中體現了當時人們的諸種哲思,而吉州地區受禪宗思想的影響尤甚。江西是禪宗「一花開五葉」五宗七派的共同發源地,宋代的吉州境内有超過五十座禪宗寺廟,為江西之冠。


在吉州木葉盌的幾種器形中,以如同此器的斗笠形大盌最為少見。大阪市立東洋陶瓷美術館珍藏有一件類似的斗笠形吉州木葉盌,被定為重要文化財,著錄於1999年東京朝日新聞社出版《宋磁》,117頁,編號79。台北故宮博物院藏有另一件相似的例子,載於1978年台北出版《宋磁特展目錄》,50頁,編號20。


A JIZHOU LEAF-DECORATED TEA BOWL

SOUTHERN SONG DYNASTY (1127-1279)

The bowl is potted with slightly rounded sides, and is decorated on the interior with the brownish-buff gossamer imprint of a curling leaf against a dark-brown glaze that thins to an amber color at the rim and ends on the exterior above the shallow ring foot exposing the buff body.

5 5/8 in. (14.3 cm.) diam., Japanese wood box

PROVENANCE


Sen Shu Tey, Tokyo.

LITERATURE


Sen Shu Tey, The Collection of Chinese Art - Special Exhibition ‘Run Through 10 Years’, Tokyo, 2006, p. 65, no. 80.

EXHIBITED


Sen Shu Tey, The Collection of Chinese Art - Special Exhibition ‘Run Through 10 Years’, Tokyo, 2006.


This type of leaf decoration is the most iconic and daring artistic creation in Jizhou kilns, revered by both Chinese and Japanese connoisseurs. As discussed by Robert Mowry, such decoration was created by affixing a leaf to the interior of a bowl and then immersing the bowl in the dark brown glaze slurry. When fired in the kiln, chemical reactions robbed the leaf of its dark brown colour rendering it transparent. The end result was a ghostly impression of the leaf structure, typically golden amber or pale yellow in colour. It is important to note that during the firing, edges of the leaf were often burnt curled, which caused an incomplete impression. A successful execution of the leaf decoration as represented by the present piece is rare.


The idea of perpetuating a perishable leaf on an enduring object embodies various philosophical thoughts, in particular, Zen Buddhism. Jiangxi is the common home of five clans and seven schools of the Zen Buddhism. In Song dynasty, Jizhou housed more than fifty Zen Buddhist Monasteries. During the Kamakura period (1185-1333), Japanese disciples of Zen Buddhism brought home the Buddhism laws together with tea drinking habit and fine utensils. Tea bowls such as the present example are still highly praised in Japan today and are termed Konoha Tenmoku.


The conical form such as the current ‘leaf’ bowl is the most revered type of Jizhou ‘leaf’ bowls. A similar Jizhou ‘leaf’ bowl, classified as Important Cultural Property, is in The Museum of Oriental Ceramics, Osaka, is illustrated by Asahi Shimbun, Song Ceramics, Tokyo, 1999, p. 117, no. 79. Another bowl of this type in the National Palace Museum collection is illustrated in Songci tezhan mulu (Illustrated Catalogue of Song Ceramics), Taipei, 1978, p. 50, no. 20. Other comparable bowls include one in the Museum of Fine Arts, Boston, illustrated in in The Charles B. Hoyt Collection in the Museum of Fine Arts: Boston, Vol. II, Boston, 1972, no. 131; and one decorated with a three-pronged leaf, illustrated in Mayuyama Seventy Years, Tokyo, 1976, vol. 1, p. 225, no. 677. More numerous are bowls with rounded sides, such as the small ‘leaf’ bowl unearthed from a tomb dated to the second year of the Kaixi reign (1206) in Shangrao city, Jiangxi province, illustrated in the Zhongguo chutu ciqi quanji (Complete Collection of Ceramic Art Unearthed in China), Beijing, 2008, vol. 14, p. 54; and a similar small bowl in the Arthur M. Sackler Museum, Harvard University Art Museums, discussed and illustrated by Robert Mowry in Hare’s Fur, Tortoiseshell, and Patridge Feathers: Chinese Brown-And Black-Glazed Ceramics, 400-1400, Cambridge, Massachusetts, 1996, p. 261, no. 108. Compare also a small number of rare examples of Jizhou bowls that are decorated with more than one leaf, such as one from the Art Institute of Chicago, illustrated in Hare’s Fur, Tortoiseshell, and Patridge Feathers: Chinese Brown-And Black-Glazed Ceramics, 400-1400, op. cit., p. 260, no. 107; and another example in the Baur Collection, Geneva, illustrated by John Ayers in The Baur Collection: Chinese Ceramics, Geneva, 1968, vol. 1, no. A67.


查看2018年佳士得整個專場(1283萬美元):




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