Page 149 - Sotheby's Arcadian beauty Song Pottery Oct. 3, 2018

The russet-coloured spontaneous splashes applied over the 此瓶黑釉肥厚溫潤，褐斑灑落於上，優雅雋秀而酣暢淋漓。
lustrous dark brown glaze must have evolved naturally from 其灑釉技法極富實驗性，反映出北宋各窰為滿足內銷及出口
the experimental nature of competing Song dynasty kilns 茶具需求而相互競技、推陳出新之空前盛況。黑釉上灑鐵鏽
which produced black and brown-glazed wares for the thriving 色釉，兩者反差耀眼迷人，銹斑聚於口沿、錯落肩上，盡顯
domestic and export tea ware market. On the present vase, 吐魯瓶束頸巧緻、寬肩短腹之特點。此瓶風格獨特脫俗，所
the applied matte, iron-red glaze contrasts dramatically with
施鏽斑每次皆獨一無二，灑釉技法因而深為宋代文人雅士所
the brilliant dark brown glaze beneath. The use of this glaze
喜。
technique is particularly effective on this truncated form
of vase, as the thin, viscous glaze and splashes condense
同類器物並不多見，有一瓶器頸稍短，著錄於康蕊君，《玫
around the small, flat mouth-rim, gathering lightly around the
茵堂藏中國陶瓷》，卷3（ii），2006年，圖版1510。另有
shoulders, gradually elongating as the glaze drapes around
一瓶尺寸較小，灑斑更多，著錄於《世界陶磁全集》，1977
the sides. As no two ‘splashes’ can be the same, the random,
年，卷12，頁244，圖版246。
serendipitous character of this decorative technique must
have been a large part of its appeal to the Song literati.
約翰．黑爾納博士（Dr Johannes Hellner，1866-1947年）
Vases of this form and decoration are rare. Compare a closely
為瑞典法學家及政治家，官至外交大臣。離任後對中國藝術
related example with a shorter neck, illustrated in Regina
的濃厚興趣得以發展，1925年開始收藏中國瓷器，1928年偕
Krahl, Chinese Ceramics from the Meiyintang Collection, vol.
同友人成立 Kinaklubben，該會於1930年代初成為東方陶瓷
III (ii), 2006, no. 1510. A similar example, although of smaller
學會瑞典分支。黑爾納之收藏以唐宋珍品為主，也有明清單
dimension and more vigorously applied splashes, is illustrated
in Sekei toji zenshu/ Ceramic Art of the World, Tokyo, 1977, 色釉佳器。
vol. 12, p. 244, pl. 246.
Dr Johannes Hellner (1866-1947), a Swedish jurist and
politician, was the Foreign Minister during World War I.
After retiring from all official obligations, Hellner began to
study and acquire Chinese ceramics in 1925, and in 1928
he co-founded Kinaklubben, which became the Swedish
branch of the Oriental Ceramic Society in the early 1930s.
While monochrome pieces from the Ming and Qing featured
prominently, the primary focus of his collection was on Tang
and Song ceramics.

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