Page 136 - Chinese Ceramics the Linyushanren Collection Part 1 , Christie's

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A PAINTED CIZHOU DEEP BOWL 北宋/金 磁州窯白地黑花鉢

NORTHERN SONG-JIN DYNASTY, 12TH CENTURY 來源
Rudolph Schaeffer珍藏，舊金山Butterfield and Butterfield，1997年5月14
The bowl is well potted with an ovoid body, supported on a high foot ring. 日，拍品1556號
The exterior is freely painted in darkish-brown slip depicting four foliate 千秋庭，東京
sprigs. The details of the sprigs are rendered by incising through the brown
slip to the creamy white ground beneath. The interior is also covered in 展覽
creamy-white slip, all under a clear glaze. 千秋庭，《創立十周年紀念展覽會》，東京，2006年，圖錄編號90

6¬ in. (16.6 cm.) high, Japanese wood box 著錄
千秋庭，《中國美術蒐集》，東京，2006年，69頁，編號90
HK$200,000-300,000 US$26,000-39,000
鉢微斂口，深腹，高圈足。外壁以白地黑花繪折枝草葉紋，葉上均有刻劃
PROVENANCE 紋，以表現筋脈。工藝較一般白地黑花複雜，製作精細。
The Rudolph Schaeffer Collection, sold at Butterfield and Butterfield San
Francisco, 14 May 1997, lot. 1556 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
Sen Shu Tey, Tokyo 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，
對應北宋徽宗建中靖國元年至金熙宗皇統年間 (1101-1149)。磁州窯深腹鉢
EXHIBITED 的裝飾可分為三類: 第一類為素白釉，見北京大學考古學系，《觀台磁州
Sen Shu Tey, Special Exhibition ‘Run Through 10 Years’, Tokyo, 2006, 窯址》，北京，1997年，彩版六，編號2; 第二類為白釉剔花，見前揭書，
Catalogue, no. 90 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
LITERATURE 四，編號1。有學者提出磁州窯白地黑花裝飾是為了模仿黑剔花裝飾而產生
Sen Shu Tey, The Collection of Chinese Art, Tokyo, 2006, p. 69, no. 90 的。黑剔花裝飾需在素胎上施白、黑兩層化妝土，而後刻劃花紋並將花紋
外的黑化妝土剔去，耗時費力。如本件白地黑花深腹鉢先用黑釉畫花，而
This well-potted deep bowl on a small-diameter straight foot is one 後在黑花上加刻細紋，不失為一種簡潔而有效的替代方式。而用畫筆寫就
of the most elegant forms produced at the Cizhou kilns, and appears 的圖案所體現的筆意更是工整的黑剔花所欠缺的。臨宇山人收藏中另有兩
to have been particularly popular during the 12th century. A number 件此種風格的深腹缽可資比較，著錄於佳士得，《古韻天成：臨宇山人宋
of these deep bowls have been excavated from the Guantai kilns in 瓷珍藏展覽》，香港，2012年，138-141頁，編號57-58。
Cixian, Hebei province. According to archaeologists, deep bowls of
the present shape belong to the late Phase II of the Guantai kiln, dating
from Jianzhongjingguo reign of Song Huizong to the Huangtong reign of
Jin Xizong (1101-1149). The decoration on such pieces can be divided
into three styles. Some of these were left plain white, illustrated in
Archaeology Department of Peking University, Guantai Cizhou yaozhi,
Beijing, 1997, colour pl. VI, no. 2. Some were decorated with linear
sgraffiato designs incised through the slip to reveal the body beneath, ibid.,
colour pl. VI no. 1, monochrome pl. XIII, no. 4. The majority of the
deep bowls, both excavated and preserved in collections, are decorated
with bold designs painted in black or dark brown slip, cf. ibid., colour
pl. VI, no. 3, monochrome pl. XIII, no. 3, pl. XIV, no. 1. It has been
suggested by some scholars that the painted technique was developed in
Cizhou kilns to imitate the complicated black-sgraffiato decoration. This
effect is most successfully achieved by a type like the current bowl, which
have bold black painted decorative motifs, on which details have been
incised through the black slip to reveal the white slip beneath. Compare
also two superb examples in the Linyushanren collection representing this
technique, illustrated in Christie’s, The Classical Age of Chinese Ceramics:
An Exhibition of Song Treasures from the Linyushanren Collection, Hong
Kong, 2012, pp. 138-141, nos. 57-58.

The Classic Age of Chinese Ceramics 古韻天成 — 臨宇山人珍藏（一） 134