拍賣筆記 vol.219 蘇富比伊勢彥信專場：明初鈞窰玫瑰紫釉三足葵式水仙盆奩 - Sotheby’s Ise Collection, An Exceptional Imperial Junyao Hexalobed Narcissus Bowl, Early Ming Dynasty

原先此類作品都要在2000-3000萬的區間，甚至更高。這件明確來自建福宮，在藝術的價值以外還有一層絕對的歷史意義。建福宮大火，據傳是太監偷盜宮中珍品後對不上帳目而一把火燒掉的重大事件。建福宮是乾隆勤政之餘休息、放鬆的地方，藏有大量藝術珍寶。此洗或為其珍藏。

Works of this type traditionally commanded prices in the HKD 20–30 million range, if not higher. This particular piece is unequivocally from the Jianfugong (Palace of Established Happiness), endowing it with an absolute layer of historical significance in addition to its artistic value. The catastrophic fire at Jianfugong—according to accounts, sparked when eunuchs, unable to reconcile the theft of palace treasures, set the building ablaze—remains a major event in Qing court history. Jianfugong served as a retreat for the Qianlong Emperor, a place of repose away from affairs of state, and was renowned for housing a vast trove of artistic treasures. This washer may well have been among those imperial possessions.

明初　鈞窰玫瑰紫釉三足葵式水仙盆奩　

底刻「六」字、「建福宮」、「竹石假山用」款

An exceptional imperial Junyao hexalobed narcissus bowl, Early Ming dynasty

Premium Lots

Guaranteed Property

Estimate

6,000,000 - 8,000,000 HKD

來源

林新助（1869年生）收藏，京都，於東京購自一美籍古董商

顯赫日本家族收藏，購於上述來源

壺中居，東京，購於1953年前

展覽

《宋磁名品展》，壺中居，東京，1953年，編號5

《社団法人日本陶磁協会十周年記念：宋磁名品展》，日本橋髙島屋，東京，1955年，編號23

《中国陶磁名品展―イセコレクションの至宝》，石川縣立美術館，石川，2012年，編號43

《Porcelaine. Chefs-d'œuvre de la Collection Ise》，吉美博物館，巴黎，2017年，編號30

《イセコレクション―世界を魅了した中国陶磁》，大阪市立東洋陶瓷美術館，大阪，2017年，編號37

出版

廣田不孤斎，〈宋瓷名品展について〉，《日本美術工芸》，182號，1953年12月，頁39至41

《中国陶磁―イセコレクション》，東京，2012年，頁50至51

此水仙盆作六瓣葵花式，折沿，沿邊起棱，線條起伏有致，造型端莊秀雅。通體內外施釉，盆內覆天藍釉，外壁玫瑰紫釉，凸棱處釉薄泛醬黃色，釉色相映成輝，宛如盛放葵花。器底刻「六」字以示尺寸，並帶清宮造辦處玉作匠人所刻「建福宮」、「竹石假山用」款，表明其為清宮陳設之珍器。

建福宮花園肇建於乾隆七年（1742年）於紫禁城西北隅，佔地逾四千平方米，環境清幽，院落錯落有致，前部緊湊，後部疏朗，突破傳統對稱之制，盡顯清宮園林嚴謹而靈動之格局。乾隆皇帝雅好於此憩息賦詩，每歲嘉平朔日必開筆書福，並於園中珍藏所愛奇珍。惟有工藝精絕之作，方可入御於皇家花園。鈞瓷素以端莊凝練、恬雅含蓄、釉彩變幻著稱，與建福宮花園之靜穆雅致相互映襯。惟1923年6月，園林主體與眾多珍寶罹火焚毀，其盛貌今僅可自宮廷繪畫（圖1）與存世器物中窺見，此水仙盆即為重現昔日盛世風華與皇室品味之佳例。

除清宮出處外，此水仙盆亦來源有序，據壺中居創始人廣田不孤斎先生於1953年展覽專文所述，此盆最初為著名古董商林新助於東京自一位美籍古董商購得。該古董商姓名以日文片假名「ウインチ・イナア」記錄，今已難確切譯解。明治晚期，林氏以高達五萬日圓之高價，轉售予一顯赫日本家族。彼時此價實為天文數字，遠逾尋常人終身所得；以當時公務員月俸僅約五十日圓計，較之僅為其千分之一，誠為難以想像之巨款。

此水仙盆為壺中居1953年特展《宋瓷名品展》，全展僅六件宋代名品之一。廣田氏譽其釉色「美如寶石」，自明代鑑賞家、清代帝皇，至近現代日本重要藏家，皆無不傾心。歷代主人悉心護養，水仙盆配紫檀木座，珍藏於仕覆袋中置於桐木共箱，外包風呂敷，迄今保存如新，品相良好，足證數百年來歷代傳承與敬惜之深。

同帶「建福宮」刻款之鈞窰器，可參見北京故宮博物院所藏一玫瑰紫釉葵式花盆例（「七」字、「建福宮」、「竹石假山用」款，館藏編號：故145453），為清宮舊藏，載於《故宮博物院藏文物珍品全集：兩宋瓷器（上）》，香港，1996年，圖版15。台北故宮博物院藏三例，分別爲天藍葡萄紫釉長方花盆（「十」字、「建福宮」、「凝輝堂用」款，館藏編號：故瓷14033），以及天藍釉渣斗式盆兩例（各帶「六」字、「建福宮」、「敬勝齋樓下用」款，館藏編號：故瓷8419及8420）。

哈佛藝術博物館亦藏兩例，為玫瑰紫釉菱式花盆（「九」字、「建福宮」、「三友軒用」款，館藏編號：1942.185.7），及天藍釉葵式三足盆奩（「一」字、「建福宮」、「敬勝齋樓下用」款，館藏編號：1942.185.52）。私人收藏中，尚有玫瑰紫釉菱式三足盆奩一例（「二」字、「建福宮」、「竹石假山用」款 ），兩度售於香港蘇富比1989年5月16日，編號105號，及2013年4月8日，編號3045；以及賽克勒舊藏天藍釉渣斗式盆例，（數字已磨，原應為「六」字，「建福宮」、「凝輝堂用」款），先後由 Frank Caro 及埃斯卡納齊經手，並著錄於2013年埃斯卡納齊《Junyao》展覽圖錄之封面及圖錄編號15。

一、 這件拍品是何種類型的器物？有何顯著特徵？

這是一件明初的鈞窰玫瑰紫釉三足葵式水仙盆奩（水仙盆）。它呈現六瓣葵花形，折沿且沿邊起棱，整體造型端莊秀雅。器物內外均施釉，內部為天藍釉，外部則為玫瑰紫釉，凸棱處的釉色較薄，呈現醬黃色，釉色相互輝映，宛如盛開的葵花。

二、 盆底的刻款有何特殊意義？

盆底刻有「六」字，表明其尺寸大小，數字「一」表示最大，數字越小則器物尺寸越大，這屬於「數字鈞」瓷器的一種。此外，盆底還刻有清宮造辦處玉作匠人所刻的「建福宮」和「竹石假山用」款。這些刻款證明此水仙盆曾是清宮的陳設珍品，專用於紫禁城內的建福宮花園。

三、 建福宮在歷史上扮演了什麼角色？此水仙盆與建福宮有何關聯？

建福宮花園始建於乾隆七年（1742年），位於紫禁城西北隅，是乾隆皇帝鍾愛的休憩之地，他常在此作詩並珍藏奇珍異寶。只有最精絕的工藝品才能進入皇家花園。鈞瓷以其端莊凝練、恬雅含蓄和釉彩變幻著稱，與建福宮花園的靜穆雅致相得益彰。不幸的是，建福宮的主體建築及大量珍寶在1923年6月的一場火災中被焚毀，這件水仙盆因此成為見證昔日盛世風華與皇室品味的珍貴實例。

四、 這件水仙盆的傳承歷史如何？

此水仙盆的傳承有序。最初由著名古董商林新助（生於1869年）在東京購自一位美籍古董商。明治晚期，林新助以當時高達五萬日圓的「天文數字」轉售給一個顯赫的日本家族。這個價格在當時遠超尋常人終身所得，可見其價值非凡。隨後，該盆在1953年前由壺中居收藏。

五、 這件水仙盆曾參與過哪些重要的展覽和出版物？

這件水仙盆曾多次在重要展覽中展出，包括：

• 1953年東京壺中居的《宋磁名品展》

• 1955年東京日本橋髙島屋的《社団法人日本陶磁協会十周年記念：宋磁名品展》

• 2012年石川縣立美術館的《中國陶磁名品展―イセコレクションの至寶》

• 2017年巴黎吉美博物館的《Porcelaine. Chefs-d'œuvre de la Collection Ise》

• 2017年大阪市立東洋陶瓷美術館的《イセコレクション―世界を魅了した中国陶磁》 它也曾被多本重要出版物著錄，例如1953年廣田不孤斎的文章和2012年的《中國陶磁―イセコレクション》。

六、 壺中居創始人廣田不孤斎如何評價這件水仙盆？

廣田不孤斎先生在1953年的展覽專文中，將這件水仙盆譽為「美如寶石」。他還將此盆選為壺中居1953年特展《宋瓷名品展》中僅有的六件宋代名品之一，進一步彰顯了其卓越的藝術價值和歷史意義。

七、 除了本次拍品，還有哪些帶有「建福宮」刻款的鈞窰器皿？

帶有「建福宮」刻款的鈞窰器皿在世界各地博物館和私人收藏中均有發現，例如：

• 北京故宮博物院藏有一件玫瑰紫釉葵式花盆（帶「七」字及「建福宮」、「竹石假山用」款）。

• 台北故宮博物院藏有三例，包括天藍葡萄紫釉長方花盆（帶「十」字及「建福宮」、「凝輝堂用」款）和兩例天藍釉渣斗式盆（各帶「六」字及「建福宮」、「敬勝齋樓下用」款）。

• 哈佛藝術博物館藏有兩例，分別為玫瑰紫釉菱式花盆（帶「九」字及「建福宮」、「三友軒用」款）和天藍釉葵式三足盆奩（帶「一」字及「建福宮」、「敬勝齋樓下用」款）。

• 私人收藏中亦有玫瑰紫釉菱式三足盆奩（帶「二」字及「建福宮」、「竹石假山用」款），以及賽克勒舊藏的天藍釉渣斗式盆例（帶「建福宮」、「凝輝堂用」款）。

八、 這件水仙盆的保存狀況如何？反映了什麼？

這件水仙盆迄今保存如新，品相良好。它配有紫檀木座，珍藏於仕覆袋中，再置於桐木共箱內，外包風呂敷。這種 meticulous 的保存方式，證明了數百年來歷代收藏者對其悉心護養和深厚敬惜，也體現了其作為一件珍貴藝術品的地位和價值。

Description

sturdily potted with shallow rounded sides rising to a hexalobed everted rim with a beaded border, supported on three ruyi-shaped feet, the interior covered in a sky-blue glaze, the exterior in vivid purple, transmuting to a rich ruby red towards the feet, the glaze thinning to a mushroom tone on the raised edges, the base applied with a thin brown dressing, engraved with the numeral liu ('six') before firing, and engraved after firing with the inscriptions Jianfu gong ('the Palace for the Establishment of Happiness') and zhushi jiashan yong ('For use at the garden hill of bamboo and rockery'), encircled by a ring of small spur marks, zitan stand and nested Japanese wooden boxes

21.5 cm

Provenance

Shinsuke Hayashi (b. 1869), Kyoto, acquired from an American dealer in Tokyo.

Collection of a prominent Japanese family, acquired from the above.

Kochukyo Co., Ltd, Tokyo, acquired prior to 1953.

Literature

Fukosai Hirota, 'Soji Meihin Ten ni Tsuite [About the Masterpieces of the Song Dynasty Exhibition]', Nihon Bijutsu Kogei [Japan Arts and Crafts], vol. 182, December 1953, pp. 39-41.

Chugoku Toji. Ise Korekushon / Chinese Ceramics. The Ise Collection, Tokyo, 2012, pp. 50-51.

Exhibited

Soji Meihin Ten [Masterpieces of the Song dynasty], Kochukyo Co., Ltd, Tokyo, 1953, cat. no. 5.

Soji Meihin Ten [Exhibition of Masterpieces of Song Ceramics], Japan Ceramic Society, Tokyo, 1955, cat. no. 23.

Chugoku Toji Meihin Ten Ise Korekushon no Shiho / Masterpieces of Chinese Ceramic Art Exhibition, Ishikawa Prefectural Museum of Art, Ishikawa, 2012, cat. no. 43.

Porcelaine. Chefs-d'œuvre de la Collection Ise, Musée Guimet, Paris, 2017, cat. no. 30.

Ise Korekushon Sekai wo Miryoshita Chugokutoji / The Enchanting Chinese Ceramics from the Ise Collection, Museum of Oriental Ceramics, Osaka, 2017, cat. no. 37.

Catalogue Note

Embodying the pinnacle of Jun ware artistry, this imperial narcissus bowl is further distinguished by the rare engraving of a palace hall mark, an illustrious provenance, and pristine condition, making it a masterpiece treasured across centuries and cultures.

Engraved on the base with the palace hall name, Jianfu gong, it signals the bowl’s former residence within the storied walls of the Forbidden City. Jianfu gong, auspiciously named the Palace Hall of the Establishment of Good Fortune and Happiness, together with its garden, was constructed in the 7th year of the Qianlong reign (1742) as a new set of living quarters in the northwest corner of the Forbidden City. The young emperor, then in his early thirties, commissioned the hall and its beautifully designed garden; it became his favoured retreat where the emperor sought respite, composed poetry, and honoured tradition, most notably by commencing each New Year by writing the calligraphic character fu (‘good fortune’).

Although the original buildings of Jianfu gong were destroyed in a fire in June 1923, its former grandeur can be glimpsed through surviving imperial paintings (fig. 1) and in rare treasures such as this very bowl. Only works of the finest calibre were deemed worthy of the emperor’s inner sanctum. Celebrated for its understated elegance and enchanting hues shaped by the inherent unpredictability of kiln firing, this heirloom vessel once rested in a sanctuary where the very setting echoed the bowl’s timeless allure and quiet refinement.

Beyond its imperial connection, this narcissus bowl is further distinguished by its well-documented provenance, with a lineage as luminous as its glaze. As noted by Mr Fukosai Hirota, the esteemed founder of Kochukyo Co., Ltd, in his featured article for the 1953 exhibition, the bowl’s ownership can be traced to the renowned dealer Mr Hayashi Shinsuke, who acquired it from an American dealer based in Tokyo. While the dealer’s name, recorded in Japanese katakana transcription, has become difficult to decipher, the provenance remains intact. During the end of the Meiji period, Mr Hayashi sold the bowl to a prominent, affluent family for a then-staggering sum of ¥50,000, which was a veritable fortune in its day, exceeding a lifetime’s earnings for many. With a civil servant’s monthly salary being just about ¥50, a mere fraction of the acquisition price, such an amount was truly unimaginable to most.

Further attesting to its prestige and importance, this narcissus bowl was selected by Mr Hirota as one of just six masterpieces of Song ceramics to be featured in Kochukyo’s 1953 exhibition. Its exceptional glaze, described by Mr Hirota as “as beautiful as a precious stone,” has captivated generations of discerning collectors, from Ming dynasty connoisseurs and the Qing imperial court to prominent modern Japanese collectors. Meticulously preserved in a shifuku pouch, nestled within tomobako wooden boxes wrapped in furoshiki cloth, and complemented with a zitan wood stand, this bowl’s pristine condition today stands testament to centuries of devoted care and reverence.

Junyao narcissus bowls belong to a distinctive category of flower receptacles known as ‘numbered Jun’. Typically made in moulds, these vessels are usually inscribed on the base with numerals from one to ten, which appear to correspond inversely to their size, with the numeral one indicating the largest. These exceptional vessels are admired for their graceful silhouettes and dazzling glazes, ranging from opalescent sky-blues to vivid shades of mauve and lavender.

For related Jun vessels intended for the same palace hall and inscribed accordingly, see a hexalobed flowerpot (numeral ‘seven’) from the Qing court collection and preserved in the Beijing Palace Museum, accession no. gu 145453, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelain of the Song Dynasty (I), Hong Kong, 1996, pl. 15; a rectangular flowerpot (numeral ‘ten’) and two zhadou (both numeral ‘six’) in the Taipei Palace Museum, accession nos guci 14033, 08419 and 08420; a barbed foliate flowerpot (numeral ‘nine’) and a hexalobed bowl (numeral ‘one’) preserved in the Harvard Art Museums, accession nos 1942.185.7 and 1942.185.52; a barbed foliate bowl (numeral ‘two’) sold twice in these rooms, 16th May 1989, lot 105 and 8th April 2013, lot 3045; and, lastly, the well-known zhadou (numeral effaced but probably ‘six’) from the collection of Arthur M. Sackler, previously handled by Frank Caro and later by Eskenazi, illustrated as one of the cover pieces in the exhibition catalogue Junyao, Eskenazi, London, 2013, and as cat. no. 15.

What is the primary object of discussion in these sources?

The primary object of discussion is an exceptional imperial Junyao hexalobed narcissus bowl from the early Ming dynasty. It is characterized by its rose-purple glaze and three ruyi-shaped feet, and is notable for having inscriptions on its base.

What unique inscriptions are found on the narcissus bowl, and what do they signify?

The narcissus bowl bears several unique inscriptions on its base. It has the numeral "六" (liu, or "six"), which indicates its size within the "numbered Jun" category (where larger numbers correspond to smaller sizes). Additionally, it features inscriptions added after firing by Qing palace artisans: "建福宮" (Jianfu gong, or "Palace for the Establishment of Happiness") and "竹石假山用" (zhushi jiashan yong, or "For use at the garden hill of bamboo and rockery"). These inscriptions confirm its provenance from the Qing Imperial Court and specify its intended location and use within the Forbidden City.

What is the historical significance of the Jianfu Palace mentioned on the bowl?

The Jianfu Palace (Jianfu gong) and its garden were constructed in the 7th year of the Qianlong reign (1742) in the northwest corner of the Forbidden City. It served as a favored retreat for the Qianlong Emperor, where he sought respite, composed poetry, and performed traditional rituals, such as writing the character "fu" (good fortune) at the start of each New Year. The palace and many of its treasures were tragically destroyed in a fire in June 1923, making surviving objects like this narcissus bowl rare examples that offer a glimpse into its past grandeur and the imperial aesthetic. Only the finest works were deemed worthy of the emperor's private sanctuary.

Can you trace the provenance of this narcissus bowl through its known owners?

The narcissus bowl has a well-documented and illustrious provenance. It was originally acquired by the renowned Japanese antique dealer Shinsuke Hayashi (born 1869) from an American dealer in Tokyo. Hayashi then sold it to a prominent and affluent Japanese family for an astronomical sum of ¥50,000 during the late Meiji period, an amount that far exceeded a typical person's lifetime earnings at the time. Prior to 1953, the bowl was acquired by Kochukyo Co., Ltd. in Tokyo, whose founder, Mr. Fukosai Hirota, featured it in a significant exhibition. The bowl has since been part of the Ise Collection, as evidenced by its inclusion in multiple major exhibitions globally.

What distinguishes Jun ware, particularly "numbered Jun" vessels?

Jun ware is highly esteemed for its elegant forms, refined craftsmanship, and, most notably, its captivating and unpredictable glaze colors, which range from sky-blue to vibrant shades of mauve and lavender. The glazes often thin on raised edges, revealing a mushroom tone, creating a dynamic visual effect. "Numbered Jun" vessels are a distinctive category of these flower receptacles, typically made in molds and inscribed on their bases with numerals from one to ten. These numbers appear to correspond inversely to their size, with "one" indicating the largest vessel. The unique, transmutation glazes are a result of complex kiln firing processes.

What is the estimated value of this narcissus bowl, and why is it considered so valuable?

The estimated value of this narcissus bowl is between 6,000,000 and 8,000,000 HKD. Its immense value stems from several factors: its imperial provenance with "Jianfu gong" and specific usage inscriptions, its exceptional artistry as a pinnacle of Jun ware, its well-documented history of ownership by prominent collectors and institutions, its pristine condition after centuries of careful preservation (including its original zitan stand and specialized Japanese packaging), and its rarity as a surviving artifact from the destroyed Jianfu Palace. Its inclusion in major exhibitions and scholarly publications further solidifies its prestige and historical importance.

How has the bowl been preserved over the centuries, contributing to its "pristine condition"?

The bowl's pristine condition is a testament to centuries of devoted care and reverence from its various owners. It has been meticulously preserved with a custom-made zitan (red sandalwood) wood stand, housed within a shifuku (silk pouch), nestled inside tomobako (Japanese wooden boxes), and further protected by furoshiki (wrapping cloth). This multi-layered preservation method has shielded the delicate ceramic from environmental damage and handling, allowing it to remain in remarkably good condition, "as new," despite its age.

Are there other Jun ware pieces with similar "Jianfu gong" inscriptions?

Yes, the source mentions several other Jun ware pieces that bear the "Jianfu gong" inscription, indicating their imperial connection and use within the same palace. Examples include:

• A hexalobed flowerpot (numeral ‘seven’) in the Beijing Palace Museum.

• A rectangular flowerpot (numeral ‘ten’) and two zhadou (both numeral ‘six’) in the Taipei Palace Museum.

• A barbed foliate flowerpot (numeral ‘nine’) and a hexalobed bowl (numeral ‘one’) in the Harvard Art Museums.

• A barbed foliate bowl (numeral ‘two’) that has been sold at auction.

• A zhadou (numeral probably ‘six’) from the collection of Arthur M. Sackler.

These examples underscore that the narcissus bowl discussed is part of a distinguished group of imperial Jun wares specifically commissioned or acquired for the Jianfu Palace.