Page 204 - Bonhams Wen Tang Collectiont, October 2014 Hong Kong

193 The carved technique utilised on this vase was one of the most
A fine and rare Cizhou carved pear-shaped vase, painstaking and difficult. It involved first covering the vessel with a
yuhuchunping pale slip, and then applying a dark slip on top after the first layer had
Jin Dynasty dried. Areas of the dark slip were then carefully carved away leaving
The body raised on a short spreading foot rising to a slender neck the decoration in dark brown to attractively contrast against the pale
and flared mouth rim, carved through the lustrous thick brown-black ground. Great skill was needed in executing these designs in order to
glaze with a wide band of scrolling foliage below a smaller similar not cut too deeply and remove the pale slip with the dark. Details cut
band contrasting with the pale slip. through the slip using a sharp point were added to give the design
28cm high more depth and complexity, such as the incised lines within the foliage
on the present vase.
HK$600,000 - 800,000
US$77,000 - 100,000 Cizhou carved yuhuchunping vases with similar decoration include:
one in the Honolulu Academy of Arts, dated Yuan Dynasty, illustrated
金 磁州窯黑釉剔花卉紋玉壺春瓶 by Jan Wirgin, Sung Ceramic Designs, London, 1970, pl.55d; another
similar vase formerly in the Captain Dugald Malcolm collection,
illustrated by Margaret Medley, The Chinese Potter, A Practical History
of Chinese Ceramics, New York, 1976, p.134-135, no.97; and another
dated to the Jin Dynasty, illustrated by Mitsuru Uragami, The 30th
Anniversary of Uragami Sokyu-do, Tokyo, 2009, p.44. Two related
vases, of similar form but decorated with peonies, are illustrated in
Song Ceramics, The Muwen Tang Collection Series, Hong Kong,
2012, pp.456-459, no.193 and 194.

The result of C-Link Research & Development Ltd.
thermoluminescence test no.6380AM20 is consistent with the dating
of this lot.

瓶撇口，細頸，圓腹下垂，圈足。通體施黑釉，肩部及腹部用剔花工

藝，分為兩層裝飾，以雙線玄紋分割。肩部飾卷草紋，腹部飾纏枝花

卉紋，葉紋剔劃細密，極富層次感。此瓶造型莊重，紋飾素雅，構圖

飽滿，層次分明，為黑釉剔花瓷中難得精品。

此玉壺春瓶採用難度極高的白地黑釉剔花技法，即在胎體上先塗白色

化妝土，再塗黑色化妝土，施兩層化妝土後再以刀在器身表面小心剔

除花紋周圍的黑色化妝土，產 生白地黑化的效果，最後在施一層透明

釉。此技法多出現於十一至十二世紀的磁州窯上，並在之後對鄰近的

瓷窯造成了廣泛的影響。

類似採用剔花技法的白地黑花玉壺春瓶之例，見檀香山藝術學院藏一

件元代玉壺春瓶，著錄於Jan Wirgin，《Sung Ceramic Designs》，
倫敦，1970年，圖版55d；另見Duglad Malcolm將軍舊藏一件類似的
磁州窯玉壺春瓶，著錄於Margaret Medley，《The Chinese Potter, A
Practical History of Chinese Ceramics》，紐約，1976年，頁134-135，
圖版97；以及日本浦上蒼穹堂藏一件類似的金代黑釉剔花玉壺春瓶，
著錄於浦上滿，《浦上蒼穹堂30週年紀念》，東京，2009年，頁44。
另有沐文堂藏另見金代黑釉剔牡丹花玉壺春瓶，見李知宴、關善明，

《宋代瓷器》，香港，2012年，頁 456-459，圖版193、194。

此拍品經香港中科研發有限公司熱釋光年法測試（測試編號

6380AM20），證實與本圖錄之定代符合。

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