隋代筆記 vol.08 舊金山亞洲藝術博物館：早期白瓷瓶，北魏—初唐？對比同款三彩瓶（292.1萬港元川端康成舊藏） - Asian Art Museum, White Glaze Vase, Northern Wei - Early Tang Dynasty

早期白釉瓶

這類長頸瓶長期被認為是隋唐白釉器之佳例，釉色純淨細膩，體現中國北方陶瓷工藝的重要進展，隨著北魏鞏縣白河窯的發現，此類器物的年代仍有探討餘地。

同款器型在唐代三彩釉中亦有出現，贴花更是十分稀少，总存世量公开不超10例：東京國立博物館、牛津阿什莫林博物館、埃斯肯納奇以及私人機構都有類似珍藏。

SACA 學會此前在拍賣筆記 vol.220 中重點介紹過一件相似的唐三彩撇口瓶，來自日本諾貝爾文學獎得主川端康成舊藏，曾於蘇富比伊勢彥信專場亮相，2025年拍賣錄得2,921,000 HKD。詳細文章連結： https://www.artsaca.com/post/auction220

川端康成舊藏，

此類造型的唐三彩瓶存世量比想像中少，目前公開信息可查不超過10例，其中帶貼花者更少：

三彩筆記 vol.14 東京國立博物館：三彩貼花瓶，橫河民輔系列收藏 - Tokyo National Museum, Sancai Glaze Long Neck Bottle, Yokogawa Tamisuke Collection

三彩筆記 vol.13 牛津阿什莫林博物館：唐三彩長頸瓶，東方陶瓷學會英格拉姆爵士舊藏 - Ashmolean Museum, Tang Sancai Vase From Sir Herbert Ingram Collection, Former Member of the OCS

三彩筆記 vol.15 埃斯肯納齊：唐三彩貼寶相花紋瓶 - Eskenazai, A Long Neck Sancai Vase With Flower Hosoge Medallions

三彩筆記 vol.19 東京富士美術館：三彩貼花文長頸瓶 - Tokyo Fuji Art Museum, Tang Sancai Vase with Long Neck and Applied Medallions

白瓷的起源可追溯至北魏時期。河南鞏義白河窯的考古發現證實，此類白瓷自北魏便已開始燒造。早前被認為屬於隋白或青釉的器物，其根源實可上溯至白河窯的北魏創新。正如王秋生在財新發表的文章《一個白瓷杯如何改變中國陶瓷史｜品瓷》（2026年4月18日）所述，一件北魏鞏義白河窯白瓷杯即是這一工藝革命的象徵。

從青到白的跨越，看似只是釉色變化，實則標誌著中國陶瓷從單一色系走向青白並立格局的開端。它不僅改變了此後一千多年的瓷器審美與生產格局，更折射出北魏時期中原地區手工業技術的提升與文化融合的深度。

關於本件白釉瓶的年代，是否可推向更早，仍應保持開放態度，繼續深入研究與探討。

文章完整連結：《王秋生：一個白瓷杯如何改變中國歷史》https://mini.caixin.com/2026-04-18/102435462.html

Early White-Glazed Vase

Asian Art Museum of San Francisco Collection)

This vase is traditionally treated a fine example of Sui-Tang white-glazed ware, featuring a pure, refined white glaze that reflects significant technological advancements in northern Chinese ceramics. Similar vessel shapes also appear in Tang sancai (three-color) glazes, demonstrating the versatility of Tang dynasty potters in adapting forms across different glaze traditions. Comparable examples can be found in the collection of the Tokyo National Museum.

SACA previously highlighted a closely related Tang sancai bottle vase from the collection of Nobel Prize-winning Japanese novelist Yasunari Kawabata (川端康成) in our Auction Notes Vol. 220. It was offered at Sotheby’s (Ise Collection sale); see the full article here: https://www.artsaca.com/post/auction220.

The origins of white porcelain trace back to the Northern Wei period. Production of such white wares began at the Baihe Kiln (白河窯) in Gongyi, Henan, as confirmed by archaeological discoveries. Items previously classified as Sui white porcelain or green-glazed wares have their roots traceable to this early Northern Wei innovation at Baihe Kiln. As detailed in Wang Qiusheng’s Caixin article 《一個白瓷杯如何改變中國陶瓷史｜品瓷》 (How a White Porcelain Cup Changed Chinese Ceramic History), published on 18 April 2026, a single early white porcelain cup from the Northern Wei Baihe Kiln exemplifies this transformative breakthrough. The shift from green to white glaze, seemingly a simple color change, actually marked the beginning of Chinese ceramics moving from a single-color system toward the dual 青白 (celadon and white) pattern that would dominate aesthetics and production for over a millennium. It reflects deeper advancements in handicraft technology and cultural integration in the Central Plains during the Northern Wei period.

For this specific white-glazed vase, whether its date can be pushed earlier remains an open question that merits continued scholarly research and careful study.

Full article link: https://mini.caixin.com/2026-04-18/102435462.html