Page 42 - Important Chinese Art, Sotheby's London May 15 2019

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PROPERTY FROM THE RUI XIU LOU COLLECTION This large bowl is remarkable for its rich black he notes that this shape can be traced to the
glaze suffused with prominent streaks of fine Tang dynasty (618-907) and was more suited
A RARE LARGE ‘JIAN’ ‘HARE’S FUR’ BOWL
SOUTHERN SONG DYNASTY russet lines. Thick drops of glaze pooling above to drinking tea prepared with fruits and spices.
Unlike the more commonly known yankou
the foot only serve show off its its thickness.
the conical sides rising from a short foot to The striking black glazes of the Jianyang kilns wan, or narrow-mouthed bowls, pie bowls were
a flared rim, covered inside and out with a derive their uniqueness from the different probably not used for drinking the very popular
lustrous black glaze finely streaked with russet effects created when air bubbles in the glaze whipped tea from Fujian, and were therefore
‘hare’s fur’ markings thinning to russet at the burst leaving distinctive patterns of fine stri- made in smaller numbers. During the excava-
rim and pooling in a line and in thick droplets ations or spots, which have traditionally been tion at Luhuaping in Jianyang, Fujian, only three
above the foot revealing the brown body compared to hare’s fur and oil spots. Vessels large pie bowls were recovered, against a total
17.5 cm, 6⅞ in. were first dipped in the glaze mix, and after of 980 tea bowls, ibid., p. 217.
a period of drying the lip was immersed in an
PROVENANCE A bowl of similar form and proportions in the
iron-rich slip, which during firing run down-
Christie’s New York, 21st March 2002, lot 146. wards merging with the glaze and forming the Tokyo National Museum, is illustrated in Fujiō
Collection of Francisco Capelo. characteristic streaks. Through the use of a Kōyama, Tōji taikei: Temmoku [Outlines of
Sotheby’s London, 12th May 2010, lot 148. small clay cushion, on which the bowls stood ceramics: Temmoku], vol. 38, Tokyo, 1974, pls
within the saggar during the firing, the direction 99 and 100; another example also in the Tokyo
LITERATURE National Museum, is published in Sekai tōji zen-
of the pooling and the position where the glaze
Francisco Capelo et. al., Forms of Pleasure. droplets formed could be predetermined. shū/ Ceramic Art of the World, vol. 12, Tokyo,
Chinese Ceramics from Burial to Daily Life, 1977, fig. 116; a third from the Arthur M. Sackler
London, 2009, pl. 49. Among the bowls made in the Jianyang kilns Museum, Harvard University Art Museums,
in present-day Fujian province, bowls of this Cambridge, was included in Robert D. Mowry,
‡ £ 80,000-120,000 dramatic shape and generous proportions are op. cit., cat. no. 80, together with a slightly less
HK$ 825,000-1,240,000 rare. Known as pie, this conical form with lipped flared example from the collection of Mrs Myron
US$ 105,000-158,000 rim is discussed by Robert D. Mowry in the cata- S. Falk, Jr, and Mme Ramet, cat. no. 81, also
logue to the exhibition Hare’s Fur, Tortoiseshell, sold at Christie’s New York, 20th September
南宋 建窰黑釉兔毫盞 and Partridge Feathers, Harvard University Art 2001, lot 91.
Museums, Cambridge, 1995, p. 207, where
來源
紐約佳士得2002年3月21日，編號146
Francisco Capelo收藏
倫敦蘇富比2010年5月12日，編號148
出版
Francisco Capelo等，《Forms of Pleasure.
Chinese Ceramics from Burial to Daily Life》，
倫敦，2009年，圖版49

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