Page 84 - Song Ceramics From a Distinguished Collection, April 5, 2017 Hong Kong

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A LARGE AND RARE ‘YUE’ CELADON 西晉 越窰青釉寶鵝紋舖首耳罐
GOOSE-HANDLED JAR
WESTERN JIN DYNASTY 來源：
家適公司，香港，約1980年
robustly potted with a baluster body rising from a flat base to a
wide everted flange enclosing a smaller mouth, the shoulder of 展覽：
the vessel bordered with two thin grooves and evenly applied 《博古存珍：敏求精舍金禧紀念展》，香港藝術館，香港，
with four ring handles modelled in the form of a stylised goose, 2010-11年，編號88
each similarly decorated with a curved neck and densely
detailed with plumage, alternating with four mythical beast 此罐器形渾圓，直口微撇，鵝形耳線條流暢，神態自
masks, each depicted with a pair of horns and suspending a 然，極為罕見。此罐器形、紋飾皆新穎獨特，乃出自越
mock ring, covered overall with a pale greyish-green glaze 窰巧匠之手。越窰位於浙江紹興，興盛於晉，燒製日常
32.3 cm, 12⅝ in. 器皿及隨葬禮器，以青瓷著名，釉色青綠如玉，且器形
及紋飾皆不拘定式。此罐所見之獸面紋飾常見於越窰青
PROVENANCE 瓷，Suzanne G. Valenstein 提出此類獸面紋有鎮墓之
用，參見《Cultural Convergence in the Northern Qi
Galaxie Company, Hong Kong, circa 1980. Period. A Flamboyant Chinese Ceramic Container》，
紐約，2007年，頁31-35。
EXHIBITED
此類多繫罐，以短頸、短口或撇口較為常見。浦上蒼穹
The Grandeur of Chinese Art Treasures: Min Chiu Society 堂《越州窰 : 動物圖鑑》展覽中，有五件短頸罐例，尺寸
Golden Jubilee Exhibition, Hong Kong Museum of Art, Hong 各異，肩飾雞首，東京，1992年，編號79-83。波士頓美
Kong, 2010-11, cat. no. 88. 術館另藏一罐，載於 Thomas Dexel，《Frühe Keramik
in China》，布倫瑞克，1973年，圖版49b。另見一越窰
HK$ 800,000-1,000,000 盃，外壁堆塑相類鳥，展翅欲飛，見於《中國美術全集．
US$ 104,000-129,000 陶瓷》，卷1，上海，1988年，圖版175。

This large and rare jar is unusual for both its globular shape
with a splayed mouth and its crisply-modelled goose-shaped
handles. Its pleasing proportions and unusual design is the
product of the creative genius of potters working at the Yue
kilns in Zhejiang province, which flourished to unprecedented
levels during the Jin dynasty to produce a variety of wares for
daily use and burial. The characteristic of these wares are their
tactile greenish glazes, non-prescribed forms and unusual
decoration. A familiar motif on these wares is the monster
mask with bifurcated horns and bulging eyes, as seen on this
jar. The symbolic function of these masks are discussed in
detail in Suzanne G. Valenstein in Cultural Convergence in the
Northern Qi Period. A Flamboyant Chinese Ceramic Container,
New York, 2007, pp. 31-35, where the author notes the
protecting qualities of animal masks in burials.

Jars with multiple handles are more commonly known with
a short neck and everted rim or with a short mouth; see for
example five jars of various sizes, modelled with a short neck
and also with chicken heads on the shoulder, included in the
exhibition Animal Farm in Yue Ware, Uragami Sōkyu-dō, Tokyo,
1992, cat. nos 79-83; and a jar in the Museum of Fine Arts,
Boston, illustrated in Thomas Dexel, Frühe Keramik in China,
Braunschweig, 1973, pl. 49b. See also a cup modelled on the
exterior with a bird in relief Zhongguo meishu quanji. Taoci
[The complete collection of Chinese art: Ceramics], vol. I,
Shanghai, 1988, pl. 175.

82 SOTHEBY’S 蘇富比