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北 A SMALL AND RARE QINGBAI CENSER 北宋 青白釉小香爐
宋 NORTHERN SONG DYNASTY (960-1279)

青

白 The vessel is potted with a wide circular fange surmounting a 來源
columnar body, raised on a three-tiered ribbed foot, and is covered 浦上蒼穹堂，東京。
磁 inside and out with a pale blue-tinged glaze pooling to a slightly
香最早為佛教中禮佛之用，至宋代漸漸成為文人書齋中的清翫。如
小 darker tone in the recesses. The base is left unglazed, revealing the

香 white body. 本件青白香爐這般尺寸的香具很有可能就是當日文人案頭的清供。
炉 3. º in. (8.3 cm.) high, Japanese wood box 北京故宮博物院所藏的《聽琴圖》中撫琴人物右手邊香几上所放的
一具香爐無論從釉色還是形制上來看都與此類青白釉香爐近似。據

$6,000-8,000 £4,600-6,100 研究，《聽琴圖》中的撫琴人物很有可能就是宋徽宗本人。
HK$47,000-62,000 Jan Wirgin著1979年倫敦出版《Sung Ceramic Designs》一書

PROVENANCE 中載有兩件與本品器形尺寸皆相同的青白釉小香爐，一件為卡爾.坎
Uragami Sokyu-do Co., Ltd., Tokyo. 普舊藏，編號29a，另一件為巴洛爵士伉儷舊藏，編號29b。亦可

During the Song dynasty, burning incense became a scholarly 參照東京國立博物館藏尺寸較大的一例，載於著錄於東京1982年出
pursuit, and was practiced in small interior settings. Exquisite 版《Oriental Ceramics: the World’s Great Collections》，
incense burners, such as the present example, are most suitable for 卷1：東京國立博物館，單色圖版65。

use in a scholar’s studio. In the Northern Song painting Tingqin

tu in the Palace Museum, Beijing, the main fgure sits next to

a xiangji on which a small censer, reminiscent of the present

example, is seen burning incense. According to some scholars, this

fgure is probably Emperor Huizong himself.

Two qingbai censers of almost identical form and size, one from the
Carl Kempe Collection and the other from the collection of Sir
Alan and Lady Barlow, are illustrated by J. Wirgin, Sung Ceramic
Designs, London, 1979, pl. 29a & b. Compare, also, a large qingbai
censer of similar form in the collection of the Tokyo National
Museum, illustrated in the Oriental Ceramics: the World’s Great
Collections, vol. 1: Tokyo National Museum, Tokyo, 1982, no. 65.

The Classic Age of Chinese Ceramics 古韻天成 — 臨宇山人珍藏（二） 96