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宋代筆記 vol.1:油滴天目大茶碗 - the Seikado Bunko Art Museum Yuteki (Oil Spot) Tenmoku, in Comparison with Freer.

SACA學會 宋代筆記 vol.1 油滴天目大茶碗,靜嘉堂文庫美術館藏。

狀態: 口沿有小面積缺損修補; 油滴為銀油滴,純度高有鏡面效果(可參見圖2之檯面反光);尺寸碩大;存世同類完整品,僅見美國華盛頓弗利爾博物館藏有一件。但是從純度上看,還是靜嘉堂文庫這件作品略勝一籌。

值得注意的是,弗里爾之所以擁有這麼好的建盞,是因為他當時去過日本,並認識了當時的日本經銷商。他的渠道有山中山會,Hayashi等等。關於弗里爾的文章,請參閱:超越时代:两个伟大的收藏家 - 摩根 & 弗利尔 Timlessness: Two Great American Collectors

超越时代:对比两位伟大的收藏家 - 摩根 & 弗利尔
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共饮千年:宋代茶碗中的未来科技与时空交织下的美意识 - Futuristic Technology in Jian Ware
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SACA Song Notes vol.1 A large teabowl with oil droplets, in the collection of the Seikado Bunko Art Museum.

Condition: small area of repair to the mouth rim; oil droplets of silver, of high purity with a mirror-like effect (see Figure 2 for the reflection on the countertop); large size; the only other complete example of this type in existence is in the collection of the Freer Museum in Washington, D.C. The silver droplets are the holy grail of tea bowls.However, in terms of purity, the Shizukado Bunko piece is slightly better.

It is worth noting that the reason why Freer had such a good Tenomku bowl was because he had traveled to Japan at that time and knew the Japanese dealers at that time. He buy arts through Yamanaka, Hayashi, and others, including Chinese dealers in Shanghai and Beijing.

The silver oil drop is the holy grail of tea bowls. The high purity oil drop consists of the fifth stage of iron trioxide, which is distributed in the glaze in micron-sized layers, making it a superconductor. Currently, scientific technology is only able to synthesize the fifth stage of diiron trioxide at the nanometer level, and the kiln fires of the Song Dynasty inadvertently created a perfect fusion of art and technology.

The so-called gold oil drop is actually not high purity of ferric oxide, from the point of view of technological content, in Tenmoku bowl, in any case, silver is more difficult to obtain than gold.

Freer Bowl:


Tea-bowl: deep, flaring on low foot. Repaired rim.Clay: hard, dark.Glaze: purplish-black, dappled with silvery flecks.


This bowl is larger than the typical tea bowl, and its exact use remains unclear. Some teas of this period were prepared with scallions, ginger, orange peel, jujubes, and other solid ingredients that may have made a larger bowl desirable.


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  • Sir John Figgess, John Ayers, Ann Paludan, Peter Hardie, James J. Lally. Transactions of the Oriental Ceramics Society (1955-1957). Transactions of the Oriental Ceramics Society, vol. 30, pl. 95 London. Cover and fig. 1 (vol. 73).

  • Hai wai i chen [Chinese Art in Overseas Collections]. Taipei, 1985. vol. 3: p. 105.

  • Oriental Ceramics: The World's Great Collections. 12 vols., Tokyo. vol. 10, pl. 71.

  • Mayuyama Junkichi. Obei shuzo chugoku toji zuroku [Chinese Ceramics in the West]. Tokyo. pl. 47.

  • Sadajiro Yamanaka. To-so seikwa [Selected Relics of T'ang and Sung Dynasties from Collections in Europe and America]. Osaka, 1928-1929. vol. 2, pl. 26.

  • Sigisbert Chrétien Bosch Reitz. Catalogue of an Exhibition of Early Chinese Pottery and Sculpture. Exh. cat. New York. fig. 236.

  • Dr. John Alexander Pope, Thomas Lawton, Harold P. Stern. The Freer Gallery of Art. 2 vols., Washington and Tokyo, 1971-1972. cat. 94, vol. 1: p. 174.

  • Grace Dunham Guest, Archibald Gibson Wenley. Annotated Outlines of the History of Chinese Arts. Washington, 1949. p. 9.

  • Grace Dunham Guest. Chinese Porcelain at the Freer Gallery of Art. vol. 20, no. 1 Columbus, Ohio, January 1941. p. 23, fig. 4.

  • Masterpieces of Chinese and Japanese Art: Freer Gallery of Art handbook. Washington, 1976. p. 70.

  • Jan Stuart. Guiding Luminaries Charles Lang Freer and John A. Pope: the Freer Gallery of Art's Chinese Ceramic Collection. vol. 85 London. p. 116, fig. 10.

  • Robert L. Hobson. Chinese Pottery and Porcelain: An Account of the Potter's Art in China from Primitive Times to the Present Day. 2 vols., New York and London. p. 131, fig. 1, pl. 42.

  • Thomas Lawton. China's Artistic Legacy. vol. 118, no. 258 London, August 1983. p. 133.

  • Thomas Lawton, Linda Merrill. Freer: a legacy of art. Washington and New York, 1993. p. 219, fig. 150.

  • Garrett Chatfield Pier. Some Examples of Sung Pottery Recently on Exhibition in New York. vol. 2, no. 3 New York, April 1914. p. 227, fig. 6.


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