蘇富比2024年春拍重點拍品 重要歐洲收藏
宋或較晚 官釉八方弦紋盤口瓶
估價 800 - 1200 萬港幣，拍賣前將至 600萬 估價
成交價：2041.5萬港元
500萬開始，然後Carrie電話直接叫到800萬，接下來現場有人850萬，很快就到1000現場。
1050萬，1100萬，1150萬，1200萬現場，1250電話，1300現場，1350萬回到電話，1400萬sonya電話，現場1450萬，等了一會兒，1500萬電話，1550萬現場，1600萬電話，現場1650萬，號牌5017。
the finely potted octagonal body of compressed globular form, rising from a short spreading foot to a tall ribbed tapering neck with broad everted rim, covered overall in a thick soft bluish-grey glaze suffused with a matrix of golden crackles
h. 22 cm
1960年代末購自仇焱之（1910-80年）
南宋杭州官窰，為供御而製，享負盛名，可謂上品重器，寥若晨星。其簡潔端莊，唯覃奧淵涵可達，證故時匠人神技巧思，盡諳美瓷韻致，窰火斑斕處，看盡一代思潮，出窰成品時，溢散趙宋文士雅調。
北宋末年，金人大舉入侵，眼見萬里山河盡失，趙軍無以力挽狂瀾，高宗南遁，立臨安為行都，憑長江天險、中興四將，暫得安寧。金刀戎馬聲漸遠，又聽水墨琴音，尚古之風自此尤盛。修內司復建官窰，燒御瓷以供南宋宮廷，以汝窰為鑑，專釉色，重開片，刻求自然素雅，意仿美石靈韻。
上手感受：正如仇國仕視頻中提到，like oil in fingers，有種非常油潤的感覺。總體氣質非常好，與劉益謙的瓶子幾乎一致，顏色比照片中更藍。
南宋杭州官窰，為供御而製，享負盛名［...］其簡潔端莊，唯覃奧淵涵可達，證故時匠人神技巧思［...］溢散趙宋文士雅調。
官窰之瓷，自燒成起，已見時人撰文讚之。南宋葉置，作「坦齋筆衡」，書中記，「襲故京遺制，置窰於修內司，造青器，名內窰。澄泥為範，極其精緻。油色瑩澈，為世所珍。後郊壇下別立新窰，比舊窰大不侔矣」。
瓶罩青釉，色偏粉藍，緩緩疊施釉層，始達柔光婉約、凝脂溫潤。胎骨棱角，裹之厚釉，銳角歛藏，柔裏蘊剛，邀人抱於掌內，撫弄摩挲。凸棱高處，青釉流敞，釉下黑褐若隱還現，悄使色增層次、形添沉穩。
南宋花瓶，遠溯吉金，近擬琉璃，延續北宋汝窰風尚。當時西亞精緻玻璃器皿傳入中原，為人珍慕。遼代陳國公主墓出土西亞盤口長頸折肩瓶，形制與汝窰及老虎洞出土瓷器甚似，足見中外文化交流，側證以瓷仿異域琉璃之風，北宋已有，南宋續延（參考森達也，〈汝窰與南宋官窰—燒造技術和器種比較〉，《故宮八十五華誕宋代官窰及官窰制度國際學術研討會論文集》，北京，2012年，頁173-174，圖9-13）。此瓶之盤口、長頸、弦紋等特徵，皆可在中東玻璃器上看見端倪。康寧玻璃博物館藏十至十一世紀中東磨花弦紋瓶，尺寸較此器短小，高14.9厘米，但輪廓極為接近，盤口、長頸均呈六方，器足則作九棱（藏品編號54.1.107，圖一）。紐約大都會藝術博物館也有一瓶，定為伊朗九至十世紀之物，高16.5厘米，六方盤口較上例平，長頸及圈足則呈圓形（藏品編號63.159.5）。
FIG. 1. A FACETTED GLASS BOTTLE VASE, NEAR EAST, POSSIBLY IRAQ OR IRAN, 10TH-11TH CENTURY, H. 14.9 CM, CORNING MUSEUM OF GLASS, CORNING, NY, ACCESSION NO. 54.1.107. IMAGE LICENSED BY THE CORNING MUSEUM OF GLASS, CORNING, NY (WWW.CMOG.ORG), UNDER CC BY-NC-SA 4.0.
圖一 十至十一世紀 近東（可能伊拉克或伊朗）磨花玻璃盤口長頸瓶 高14.9厘米 康寧玻璃博物館 藏品編號54.1.107
據今杭州考古所見，學者普遍認同，南宋皇城之南烏龜山當屬郊壇下官窰，禁苑內老虎洞一址則乃修內司官窰。然周邊尚有其他瓷片堆積出土，品類甚廣，加上傳世文獻過於簡潔，有關南宋的官窰制度、各址興衰及具體燒造情況，學界至今仍眾說紛紜，塵埃未定。
FIG. 2. A GUAN WARE YELLOW-GLAZED OCTAGONAL VASE, SOUTHERN SONG DYNASTY, H. 21.8 CM, EXCAVATED FROM JIAOTANXIA KILN SITE, MOUTH AND NECK RESTORED BASED ON HEIRLOOM EXAMPLES
圖二 南宋 官窰米黃釉盤口長頸八棱瓶 高21.8厘米 郊壇下官窰窰址出土 頸及口根據傳世品復原
如此八方盤口長頸瓶，杭州數處考古發掘有例，如烏龜山郊壇下官窰窰址出土一米黃釉八棱盤口殘瓶，尺寸、器形與此相類，收入《官窰瓷器》，北京，2016年，圖版91（高21.8厘米，圖二）。東京國立博物館藏品中，有一八方足器底殘片，乃從杭州郊壇下官窰遺址採集所得，胎呈黃灰色，藏品編號TG-2294（其一）。鄧禾穎及唐俊傑指根據郊壇下發掘殘片，八棱瓶屬前期類型，後期幾近絕跡（《南宋官窰》，杭州，2008年，頁73）。從杭州萬松嶺採集得的一塊青瓷殘片，也似有黑褐露胎八方足，疑乃相類瓷瓶之底部，見牟寶蕾，《南宋官窰通鑑》，杭州，2017年，頁90，左一圖中右下。該址有信乃古代文獻提及的內窰，時代或較郊壇下要早，常見胎體內層土黃、外側呈灰黑色的殘片，學者指應乃還原焰時間不夠久持所致（頁98）。
瓶罩青釉，色偏粉藍，緩緩疊施釉層，始達柔光婉約、凝脂溫潤。胎骨棱角，裹之厚釉，銳角歛藏，柔裏蘊剛，邀人抱於掌內，撫弄摩挲。凸棱高處，青釉流敞，釉下黑褐若隱還現，悄使色增層次、形添沉穩。
宋之官窰，舉世稀珍，傳世上品均為博物館收藏。當中包括著名的安宅舊藏長頸八棱瓶。仇焱之把此品售予歐洲藏家後數年，偶遇該瓶，形制極似，可謂物緣深牽。安宅藏瓶尺寸略小，高21厘米，開片纖柔，棱角婉轉細膩，據傳原為清宮舊藏，屬 F.C. Harrison、A. Daniel Hall 爵士、Robert C. Bruce 舊蓄，兩度售於倫敦蘇富比，分別為1943年7月1日，編號70及1953年5月12日，編號60，亦曾售於倫敦佳士得1970年10月12日，編號77，後入安宅英一收藏，現存大阪市立東洋陶瓷美術館（藏品編號00569，圖三）。
FIG. 3. A GUAN WARE CELADON-GLAZED OCTAGONAL VASE, SOUTHERN SONG DYNASTY, H. 21 CM, THE MUSEUM OF ORIENTAL CERAMICS, OSAKA (GIFT OF SUMITOMO GROUP, THE ATAKA COLLECTION), PHOTOGRAPH BY MUDA TOMOHIRO, ACCESSION NO. 00569.
圖三 南宋 官窰青瓷盤口長頸八棱瓶 高21厘米 大阪市立東洋陶瓷美術館（住友集團捐贈／安宅収藏） 攝影：六田知弘 藏品編號00569
台北故宮也有數件相近青釉八棱瓶，其中兩器，尺寸與此相若，收入余佩瑾，《得佳趣—乾隆皇帝的陶瓷品味》，台北，2012年，編號31-32，器底皆刻有乾隆御題詩文，詠讚瓷瓶古樸雅致（藏品編號：故瓷16924及故瓷17701，圖五）。
FIG. 5. A GUAN WARE CELADON-GLAZED OCTAGONAL VASE, SOUTHERN SONG - YUAN DYNASTY, THE BASE INSCRIBED WITH AN IMPERIAL POEM AND DATED TO THE 37TH YEAR OF THE QIANLONG PERIOD (1772), H. 21.5 CM, QING COURT COLLECTION, PALACE MUSEUM, TAIPEI, ACCESSION NO. GU CI 17701
圖五 南宋至元 官窰青瓷盤口長頸八棱瓶 底刻乾隆三十七年（1772年）御製詩 高21.5厘米 清宮舊藏 台北故宮博物院 藏品編號：故瓷17701
圖錄中指故宮藏品造型與郊壇下例子略有差異，但鑑於它們均承襲玻璃器的時代風尚，斷為南宋至元代之物（出處同前，頁107）。台北瓷瓶折腹處較圓弧，澀胎處加塗黑褐色護胎汁，但盤口更形斜撇，有別於本品璧口圓唇之感。
南宋花瓶［...］以瓷仿異域琉璃之風［...］此瓶之盤口、長頸、弦紋等特徵，皆可在中東玻璃器上看見端倪。
藝術市場上另有一例，尺寸、器形與此極近，同樣棱角明顯、盤口外侈，唯釉色稍微乳濁、開片色略啡褐（圖四）。其展覽、著錄尤豐，早在上世紀六十年代已有出版。原為 John Henry Levy 舊藏，1975年7月8日在倫敦蘇富比易手，編號68，後轉入日本私人珍蓄，2015年4月7日重現拍場（編號1），在香港蘇富比以高價成交，成一時佳話。
官窰其色，青潤明亮，勻淨素雅，冰裂開片，更添層次，成就不世經典。時有龍泉其窰，已著力學之，後有景德鎮，延續仿燒之風。入清以後，擇選宮中珍藏官窰，直送江西御窰，命匠摹燒倣造，此式之瓶，想必也在其列。
宋之官窰，舉世稀珍，傳世上品均為博物館收藏。當中包括著名的安宅舊藏長頸八棱瓶。仇焱之把此品售予歐洲藏家後數年，偶遇該瓶，形制極似，可謂物緣深牽。
FIG. 6. A GUAN-TYPE OCTAGONAL VASE, QING DYNASTY, THE BASE INSCRIBED WITH AN IMPERIAL POEM AND DATED TO THE 50TH YEAR OF THE QIANLONG PERIOD (1785), H. 23.3 CM, QING COURT COLLECTION, PALACE MUSEUM, TAIPEI, ACCESSION NO. GU CI 14086
圖六 清 仿官窰青瓷盤口長頸八棱瓶 底刻乾隆五十年（1785年）御製詩 高23.3厘米 清宮舊藏 台北故宮博物院 藏品編號：故瓷14086
官窰長頸八棱瓶，清時多有仿模。乾隆帝，尤好古珍，下投其所好，進大批宋官入朝，但舊瓷新仿並排而列，辨別非易。清宮舊藏有一八方長頸瓶，其器腹較扁，胎骨厚重，論形議色，均與前述各瓶氣韻相去頗遠，乾隆帝昔日認為乃宋時佳器，命瓶底刻御製詩文（台北故宮藏品編號：故瓷14086，圖六）。然隨著學術研究成果漸豐，博物院已重新斷代為清仿之物。
A legacy of the Southern Song dynasty, exclusively made for the imperial court, guan (‘official’) wares from Hangzhou are extremely rare and highly sought after. They are renowned for their elegant form and unctuous glaze, emulating a restrained beauty which embodies the aesthetics of the period.
It is a story of success from wreckage and despair. Having failed to defend their territory against the Jurchens in the north, the Song court withdrew to the south of the Yangtze River and established its capital at Lin’an in Hangzhou. Despite a sense of insecurity, the retreat brought peace to the empire, allowing all forms of arts and culture to revive and flourish. Official kilns were established in Hangzhou to produce refined wares in celadon glazes with veined crackles that had once exclusively defined the esteemed northern Ru wares. Improving on their stylistic simplicity, with an emphasis on archaism favoured by the scholars of the period, the southern manufactory succeeded in creating elegant objects of its own right that captured the zeitgeist.
One of the earliest references to guan kilns may be found in Tan zhai bihen[Composed measures from the Tan Studio], written by the Southern Song scholar Ye Zhi: ‘The kiln [site] at Xiuneisi, referred to as the inner kiln, inherited the production [method] of the ancient capital and produced celadon wares that used clear clay as standard. [These wares were] extremely fine with a glossy coloured [glaze] that was lustrous and translucent. They were treasured [by everyone] in the realm. Subsequently, a different new kiln was established at Jiaotanxia [which produced wares that were] greatly different from [that produced at the] old kiln.’
FIG. 3. A GUAN WARE CELADON-GLAZED OCTAGONAL VASE, SOUTHERN SONG DYNASTY, H. 21 CM, THE MUSEUM OF ORIENTAL CERAMICS, OSAKA (GIFT OF SUMITOMO GROUP, THE ATAKA COLLECTION), PHOTOGRAPH BY MUDA TOMOHIRO, ACCESSION NO. 00569.
圖三 南宋 官窰青瓷盤口長頸八棱瓶 高21厘米 大阪市立東洋陶瓷美術館（住友集團捐贈／安宅収藏） 攝影：六田知弘 藏品編號00569
With its angularity enveloped in multiple layers of opaque jade-celadon glaze, the present vase stands for the refined taste of the Song, celebrating the delicate balance between lines and curves, appealing to the senses of sight and touch. The dark brown surface underneath is revealed where the glaze thins, crackles or retracts, adding a veneer of sophistication to the vessel.
Continuing the practice of the fabled Ru kiln of the Northern Song dynasty, artisans of the Southern Song official kilns sought inspiration not only from archaic bronzes but also exotic glassware. Glass vessels imported from the Near East were cherished in ancient China, as evidenced by a glass mallet vase discovered in the Liao dynasty tomb of the princess of State Chen, which closely resembles the porcelain counterparts from Ru and Laohudong sites (see Mori Tatsuya, ‘Ruyao yu Nansong guanyao: Shaozao jishu he qizhong bijiao [Ru kiln and Southern Song dynasty official kiln: Comparison of firing techniques and types of wares]’, Gugong Bowuyuan bashiwu huadan Songdai guanyao ji guanyao zhidu guoji xueshu yantaohui lunwenji [Essays presented at the Palace Museum 85th anniversary international conference of Song dynasty official kilns and their systems], Beijing, 2012, pp. 173-174, figs 9-13). The silhouette of the present vase echoes that of the glass bottle vases from the Near East. Compare a slightly shorter 10th-11th century bottle with an everted hexagonal mouth, long ribbed neck, facetted body and nonagonal foot in the Corning Museum of Glass, attributed to the Near East, possibly made in Iran or Iraq (accession no. 54.1.107, h. 14.9 cm, fig. 1). See also a 9th-10th century facetted glass bottle in the Metropolitan Museum of Art, New York, attributed to Iran, with a cylindrical neck and circular foot but a more everted mouth rim (accession no. 63.159.5, h. 16.5 cm).
Comparing the archaeological finds in Hangzhou with the Southern Song dynasty texts, there is, to some extent, academic consensus that the site at Wuguishan, south of the former imperial city, is the Jiaotanxia kiln mentioned in the literature, and the other at Laohudong within the former palace area is the exalted Xiuneisi manufactory. However, with the multitude of shards unearthed in the neighbouring regions, the discourse about the exact locations of the kilns mentioned in the ancient text continues.
With its angularity enveloped in multiple layers of opaque jade-celadon glaze, the present vase stands for the refined taste of the Song, celebrating the delicate balance between lines and curves, appealing to the senses of sight and touch.
Related octagonal vases have been discovered at various sites in Hangzhou. A fragmentary ochre-glazed bottle vase of comparable size and octagonal section was excavated from Jiaotanxia kilns at Wuguishan, illustrated in Guanyao ciqi /The Guan Kilns, Beijing, 2016, pl. 91 (h. 21.8 cm, fig. 2). A shard of a pale celadon vase with a yellowish-grey body and an octagonal foot, also found at the Jiaotanxia site, is in the collection of the Tokyo National Museum, accession no. TG-2294. Deng Heying and Tang Junjie suggest that the production of octagonal vases was limited to the earlier phase of the Jiaotanxia kiln (Nan Song guanyao [Guan Ware of the Southern Song], Hangzhou, 2008, p. 73. A celadon-glazed shard with an octagonal unglazed foot of a dark brown tone was collected at Wansongling, which is believed by some to be the initial guan manufactory, neiyao or ‘inner kiln’ (Mou Baolei, Highlights of Celadon. Southern Song Official Kiln Tongjian, Hangzhou, 2017, p. 90, leftmost bottom right). Many fragments with an ochre body sandwiched by dark grey skins were found in the area, suggesting under-firing in a reduction atmosphere (p. 98).
FIG. 4. A GUAN WARE CELADON-GLAZED OCTAGONAL VASE, SOUTHERN SONG DYNASTY, H. 21.9 CM, FORMERLY IN THE JOHN HENRY LEVY COLLECTION, SOLD AT SOTHEBY'S HONG KONG, 7TH APRIL 2015, LOT 1
圖四 南宋 官窰青瓷盤口長頸八棱瓶 高21.9厘米 JOHN HENRY LEVY 舊藏 香港蘇富比2015年4月7日，編號1
This type of octagonal vase is extremely rare, and only a handful of extant examples are known, all with subtle differences in their silhouettes. Among them is the renowned Ataka octagonal vase – slightly shorter and enveloped in an opaque celadon glaze with faint crackles – which shares the same pedigree as the present vase; Edward T. Chow handled it merely a few years after selling the present vase. Reputedly from the Qing court, it was formerly in the collections of F.C. Harrison, Sir A. Daniel Hall, Robert C. Bruce and Ataka Eiichi, sold twice in our London rooms, 1st July 1943, lot 70 and 12th May 1953, lot 60, and once at Christie's London, 12th October 1970, lot 77, and eventually entered the Museum of Oriental Ceramics, Osaka (h. 21 cm, accession no. 00569, fig. 3).
Several comparable celadon-glazed octagonal vases are preserved in the Palace Museum, Taipei. Two examples of this size and with dark-brown coloured feet are included in Yu Pei-chin, Obtaining Refined Enjoyment: The Qianlong Emperor’s Taste in Ceramics, Taipei, 2012, cat. nos 31-32, each inscribed on the base with an imperial poem composed by the Qianlong Emperor praising the items’ outstanding quality (accession nos Gu ci 16924 and Gu ci 17701, fig. 5). Despite their differences from the archaeological examples, the museum attributes them to the Southern Song to Yuan dynasties because of their stylistic reference to foreign glassware (ibid., p. 107; fig. 2). Compared to the present vase, the mouths of the Taipei vases are more flared, their silhouettes curvier, especially at the base of the necks.
FIG. 1. A FACETTED GLASS BOTTLE VASE, NEAR EAST, POSSIBLY IRAQ OR IRAN, 10TH-11TH CENTURY, H. 14.9 CM, CORNING MUSEUM OF GLASS, CORNING, NY, ACCESSION NO. 54.1.107. IMAGE LICENSED BY THE CORNING MUSEUM OF GLASS, CORNING, NY (WWW.CMOG.ORG), UNDER CC BY-NC-SA 4.0.
圖一 十至十一世紀 近東（可能伊拉克或伊朗）磨花玻璃盤口長頸瓶 高14.9厘米 康寧玻璃博物館 藏品編號54.1.107
Only one other vase of this form and size is in private hands. Formerly in the collection of John Henry Levy, it demonstrates similar angularity through its everted mouth and well-defined edges, covered in a milkier celadon glaze suffused with golden-brown crackles (fig. 4). It carries an extensive exhibition and publication history which goes back to the 1960s. It made its debut at auction on 8th July 1975 in our London rooms, lot 68, and had been treasured for decades in Japan before breaking the highest price record of guan ware in these rooms, 7th April 2015, lot 1.
Cloaked in unctuous glazes suffused with fine crackles, guan wares have been treasured for their timeless beauty. They were copied from the very beginning by the Longquan and later Jingdezhen kilns throughout the Ming and Qing dynasties. The Qing court even sent guan vessels in the imperial collection to the Jiangxi manufactory for replication. Indeed, this type of octagonal vase was much copied in the Qing dynasty.
This type of octagonal vase is extremely rare, and only a handful of extant examples are known [...] Among them is the renowned Ataka octagonal vase [...] which shares the same pedigree as the present vase.
A self-proclaimed collector and connoisseur of antiques, the Qianlong Emperor must have welcomed all sorts of tributes alleged to be Song guanwares, which could be challenging to verify. He praised an octagonal vase with a thicker body and more compressed lower section as an outstanding Song example and even composed a dedicated poem (Palace Museum, Taipei, accession no. Gu ci 14086; fig. 6). As various archaeological studies have become available in recent years, it has since been re-catalogued as a Qing imitation due to apparent discrepancies in form and glaze from the Song prototypes.
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