Page 70 - Song Ceramics Lunyushanren Collection March 2018 NYC

This well-potted deep bowl set on a small-diameter straight foot is one of 深腹鉢是北宋晚期至金前期磁州窯的代表作品。在河北觀台磁州窯址的發
the most elegant forms produced at the Cizhou kilns, and appears to have 掘中曾發現多件本式深腹鉢的殘片，考古學家多定為觀台窯的二期後段，
been particularly popular during the Jin period. The form was decorated in 對應北宋徽宗建中靖國元年至金熙宗皇統年間(1101-1149)。磁州窯深腹
a number of different styles, but in all cases, including the present example, 鉢的裝飾可分為三類: 第一類為素白釉，見北京大學考古學系，《觀台磁
the foot and the lower part of the exterior were neither glazed nor covered
州窯址》，北京，1997年，彩版六，編號2; 第二類為白釉剔花，見前揭
in slip, and the pale beige color of the clay contrasts with the creamy white
書，彩版六，編號1以及圖版一三，編號4; 第三類是此類深腹鉢裝飾的大
of the rest of the vessel. The interior and the upper part of the exterior have
a white slip covered with a colorless, transparent glaze. 宗，白地黑花，可參照前揭書，彩版六，編號3，圖版一三，編號3，以及
圖版十四，編號1。
Deep bowls of this type have been excavated from the Guantai kilns in
此類深腹鉢多游魚水藻紋或花卉紋，前者如臨宇山人舊藏一件磁州窯魚藻
Cixian, Hebei province. Some of these were left plain white, such as the
紋缽，2016年9月15日於紐約佳士得拍賣，拍品710號以及東京出光美術
example illustrated in Beijing Daxue Kaogu Xuesi, Guantai Cizhou yaozhi,
館藏一件，著錄於1999年東京朝日新聞社出版的《宋磁 : 神品とよばれ
Wenwu chubanshe, Beijing, 1997, color pl. VI, no. 2, or decorated with
linear sgraffato designs incised through the slip to reveal the body beneath, たやきもの》， 編號105；而後者可見臨宇山人舊藏一件磁州窯魚藻紋
ibid., color pl. VI no. 1, monochrome pl. XIII, no. 4. The majority of the 缽，2015年12月2日於香港佳士得拍賣，拍品2833號以及三上次男，
deep bowls, both excavated and preserved in collections, are decorated with 《世界陶磁全集》，卷13： 遼金元 ，東京，1981 年，237頁，編號245
bold designs painted in black or dark brown slip (see ibid., color pl. VI, 。此類深腹鉢如本件拍品這樣飾蝴蝶紋者則十分罕見。
no. 3, monochrome pl. XIII, no. 3, left and right, pl. XIV, no. 1; and
Yutaka Mino, Freedom of Clay and Brush through Seven Centuries in Northern 白地黑花蝴蝶紋缽見諸出版的另有兩例，其一於中腹飾蝴蝶紋一周，載
China: Tz’u-chou type Wares, 960-1600 A.D., Indianapolis Museum of Art, 於長谷部樂爾，《陶器全集》，卷13：宋の磁州窯，東京，1958年，
1980, pp. 152-3, pl. 64, fgs. 170, 171, 173). The most effectively decorated 編號35；另一例載於長谷部樂爾，《陶磁大系》，卷39：磁州窯，東
are those, like the current bowl, which have bold black painted decorative
京，1974年，編號58。
motifs, on which details have been incised through the black slip to reveal
the white slip beneath, see Guantai Cizhou yaozhi, op. cit., monochrome
pl. XIII, no. 3, center.

Many of the most appealing decorative themes seen on deep bowls
decorated using this technique are inspired by the natural world: for
example, a striking bowl decorated with fsh with cross-hatched scales, also
from the Linyushanren Collection, sold at Christie’s New York,
15 September 2016, lot 710. Another popular decorative theme was
fowers and plants, as seen on the bowl illustrated by Mikami Tsugio, Sekai
Toji Zenshu (Ceramic Art of the World), vol. 13: Liao, Chin and Yüan
Dynasties, Tokyo, 1981, p. 237, no. 245. Some of these have the addition
of butterfies, such as the examples illustrated ibid. p. 237, nos. 244 and 248.

It is, however, exceedingly rare to fnd a deep bowl decorated entirely
with butterfies, as seen on the current Linyushanren example. This design
of butterfies appears to be on only two other published examples: one
illustrated by Hasebe Gakuji, Toki Zenshu, 13, So No Jishuyo (Ceramics
Anthology, 13, Song Cizhou ware), Tokyo, 1958, no. 35, and the other
of slightly smaller size in the Umezawa Collection, illustrated by Hasebe
Gakuji, ed., Toji Taikei 39: Jishu Yo (Compendium of Ceramics 39: Cizhou
Wares), Tokyo, 1974, no. 58.

The Classic Age of Chinese Ceramics 古韻天成 — 臨宇山人珍藏（三） 68