Page 8 - Christie's July 9th 2020 Hong Kong Important Chinese Works of Art

fig. 5 A Guan cylindrical vase inscribed with a Qianlong imperial poem. Inscription on the base of fig. 5
15.8 cm. high. Collection of the National Palace Museum, Taipei 圖五瓶底之刻文
圖五 乾隆御題詩官窯筒式花插 高 15.8 公分 國立故宮博物院藏品

74), when there was a movement against Buddhism and towards establishing Shinto 神 衛門先生之玄孫。此物先由佛寺保存，再流入
道 as the state religion. The vase later passed into the possession of Noda Chuemon’s 日本私人珍藏，故而此前未有發表，所以在同
son, Mr. Noda Yoshiemon, who, in turn, gave the vase to his daughter, Noda Misayo, 類型的珍罕龍泉青釉筒式花插之中，堪稱為最
on the occasion of her marriage in the 1930s. The vase was eventually passed down to 新「被發掘」之作。
the current owner, who is Mr. Noda Chuemon’s great-great grandson. Having been
in a temple and then in a private collection in Japan, this vase has not previously been 已知的南宋筒式花插屈指可數。台北國立故宮
published and may be regarded as a new ‘discovery’ within the small group of known 博物院藏一例器型略小（14.7 公分）的官窯筒
examples of these precious Longquan celadon cylindrical vases. 式花插，圖見《宋官窯特展》頁 90 編號 50（台
北：1989）（圖四）。 此外，台北故宮尚有二
A very limited number of other Southern Song cylindrical vases are known. A 例較小的官窯筒式花插（15.5 及 15.8 公分），
somewhat smaller (14.7 cm) Guan ware cylindrical vase is in the collection of the 圖見前述著作頁 87 編號 48 及 編號 49（圖五），
National Palace Museum, Taipei (illustrated in Catalogue of the Special Exhibition of Sung 兩者脛部均有紋飾帶。其中一例（編號 49）
dynasty Kuan Ware, Taipei, 1989, p. 90, no. 51 (fig. 4). Two further, also smaller (15.5 and 底刻乾隆款，紀年約為公元 1778 年，可見當
15.8 cm.), Guan ware cylindrical vases in the National Palace Museum, Taipei (illustrated 時此物屬於宮廷御藏。巴黎吉美博物館亦珍藏
ibid., p. 87, nos. 48 and 49 (fig. 5), have bands just above the foot. One of these vases 一例較小的龍泉窯青釉瓶（15.7 公分）。它源
(no. 49) bears a Qianlong inscription incised into its base, including a date equivalent 自凱爾曼珍藏（Michel Calmann Collection），
to AD 1778, indicating that it was in the Chinese imperial collection at that date. A 圖 見 Daisy Lion-Goldschmidt 與 Jean-Claude
smaller Longquan celadon vase (H: 15.7 cm.) is in the collection of the Musée Guimet, Moreau-Gobard 合著的《Chinese Art》彩色圖
Paris. This vase, from the Michel Calmann Collection, is illustrated by Daisy Lion- 版 144（紐約：1980）。於 2003 年 3 月 26 日，
Goldschmidt and Jean-Claude Moreau-Gobard in Chinese Art, New York, 1980, colour 紐約佳士得拍出一例日本藏家的龍泉青釉瓶，
plate 144 A Longquan celadon vase of similar size to the current example (17.8 cm.), 其大小與本拍品相若（17.8 公分）。早於 1994
which had previously been in a Japanese collection, was sold by Christie’s New York on 年 5 月 31 日，紐約佳士得亦曾拍出一件器身略
26 March 2003, lot 228. A very slightly taller vase (18.1 cm.), described in the catalogue 高的近似例（18.1 公分），圖錄中稱之為」龍
as ‘Longquan Guan’ – i.e. Guan style made at the Longquan kilns - was sold by Christie’s 泉官窯」，即龍泉窯燒造的仿官釉器。
New York on 31 May 1994.
中國宋元時期的龍泉青瓷影響深遠，海內外聲
Chinese Longquan celadon glazes of the Song and Yuan dynasties were amongst the most 名遠播。這類作品不僅啟發了日本等東亞地區
influential ceramics, not only within China, but internationally. They inspired potters in 的陶工，更是十五世紀薩查納萊（Satchanalai）
other parts of East Asia, including Japan, as well as those of Southeast Asia kilns - such 與薩旺卡洛（Sawankhalok）等東南亞窯口師法
as Satchanalai and Sawankhalok in the 15th century. The influence of Longquan even 的對象。龍泉窯的魅力更遠至近東，當地的達
extended to the Near East, where the wealthy had been enthusiastic patrons of Longquan 官貴人無不爭相購藏龍泉瓷。以伊朗薩非王朝
wares. Potters in Safavid Iran (1502-1736), for example, created vessels in specific imitation （1502 至 1736 年）為例，當時的陶工也有仿
of Chinese celadons. It is interesting to note that the graceful form of the cylindrical 燒中國青釉器。有意思的是，南宋龍泉青釉筒
Southern Song Longquan celadon vases provides inspiration for potters even today, as can 式花插的清雅造型，迄今仍對陶瓷藝術家啟發
be seen in the work of contemporary potters such as Taro Tabuchi (b. 1977), who works 良多，證諸田淵太郎（1977 年生）等當代陶藝
in porcelain using a wood-fired kiln. 家的柴窯瓷器，便知此言非虛。

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