Page 42 - Chinese Ceramics the Linyushanren Collection Part 1 , Christie's

2804
A RARE CARVED LONGQUAN CELADON VASE
AND COVER
NORTHERN SONG DYNASTY, 11TH-12TH CENTURY
The vase is sturdily potted with an ovoid body resting on a tall foot. The
straight neck is flanked by a pair of small loop handles, surmounted by a
grooved mouth below a galleried rim. The body is carved and combed with
six panels each enclosing a floral sprig. The domed cover is carved with
double lotus petals surmounted by a finial in the form of a lotus pod. They
are covered with a crackled olive-green glaze with the exception of the base
of the vase.
10Ω in. (26.6 cm.) high, Japanese wood box
HK$1,000,000-1,500,000 US$130,000-190,000
PROVENANCE
Sorimachi Shigesaku Collection, Tokyo, acquired prior to 1938
Kochukyo, Tokyo
EXHIBITED
Christie’s, The Classical Age of Chinese Ceramics: An Exhibition of Song
Treasures from the Linyushanren Collection, Hong Kong, 22 to 27 November
2012; New York, 15 to 20 March 2013; London, 10 to 14 May 2013,
Catalogue, no. 66
LITERATURE
Tamisuke Yokogawa, Toki zuroku (Illustrated Catalogue of Ceramics),
Tokoyo, 1938, vol. 7, p. 43, fig. 53
Christie’s, The Classical Age of Chinese Ceramics: An Exhibition of Song
Treasures from the Linyushanren Collection, Hong Kong, 2012, pp. 162-163,
no. 66
The current vase illustrated in the Tamisuke Yokogawa, Toki zuroku (Illustrated 40
Catalogue of Ceramics), Tokoyo, 1938. Image ©Yuzankaku, Inc.
此拍品著錄於橫河民輔《陶器圖錄》，東京，1938 年
The Classic Age of Chinese Ceramics 古韻天成 — 臨宇山人珍藏（一）
The covered vase with galleried mouth is a typical form of Northern Song
Longquan ware. The form has gradually changed from a tall tapering
body with long neck in the early Northern Song dynasty to an ovoid
body with shorter neck in the late Northern Song dynasty. Meanwhile,
the glaze colour developed more olive tone and the carved decoration was
often more robust. A similar vase lacking the cover and the loop handles
was excavated from a tomb dated to the Yuanfeng reign (1078-1085),
illustrated in Zhu Boqian, Longquanyao qingci (Celadons from Longquan
Kilns), Taipei, 1998, p. 104, no. 64. Another vase of similar form but
lacking the loop handles is in the Qingyuan County Cultural Relics
Bureau, illustrated in Zhongguo Longquan qingci (Longquan Celadon of
China), Hangzhou, 1998, p. 45. For an earlier example with loop handles
and a lotus-like cover but decorated with incised floral patterns, see ibid., p.
46. One usage of Longquan covered vases was revealed by the inscription
on one example from the Sir Percival David Collection London, illustrated
by G. St. G. M. Gompertz, Chinese Celadon Wares, London, 1958, fig. 22.
The inscription reads “with the prayer that this vessel will hold fragrant
wine for hundreds and thousands of years; That I may have a thousand
sons and ten thousand grandsons; That they may be wealthy and live long
lives; That they may enjoy good fortune and happiness; On the fifteenth
day of the nineth month of leap year in the third year of the Yuanfeng
period (1080). I have fired this vessel, signed by Liang Yingcheng”. Hence,
covered jars of the current type could be used as funerary jars containing
offerings such as wine and grains. This practice was a local custom in
Southern Zhejiang and Northern Fujian province.
北宋 龍泉窯刻花雙繫盤口蓋瓶
來源
反町茂作珍藏，東京，入藏於1938年以前
壺中居，東京
展覽
佳士得，《古韻天成：臨宇山人宋瓷珍藏展覽》，香港，2012年11月22至
27日；紐約，2013年3月15至20日；倫敦，2013年5月10至14日，圖錄編
號66
著錄
横河民輔，《陶器圖錄》，東京，1938，第七卷，43頁，圖53
佳士得，《古韻天成：臨宇山人宋瓷珍藏展覽》，香港，2012年，162-163
頁，編號66
龍泉窯青瓷出現於北宋初期，至南宋/元時期成為中國燒製最成功的瓷器窯
口。北宋龍泉青釉和越窯非常相似，然而其器形則頗具特色，其中最有代
表性的是五管瓶和盤口瓶。此件盤口瓶刻花工整秀雅，釉色勻淨，應為北
宋中期的製作。龍泉博物館藏有一件器形相近的刻花盤口瓶，失蓋，載於
朱伯謙著，1998年台北出版《龍泉窯青瓷》，圖錄編號64。大維徳爵士舊
藏有一件刻有元豐三年（1080年）紀年的龍泉窯盤口瓶，見1958年倫敦出
版《Chinese Celadon Wares》，圖22。上述兩件盤口瓶為北宋中期龍泉斷
代的標準器，惟釉色和刻工皆遜於此件。