Page 138 - Chinese Ceramics the Linyushanren Collection Part 1 , Christie's

2834

A VERY RARE SGRAFFIATO CIZHOU ‘PEONY’ 北宋/金 磁州窯黑剔花牡丹紋瓶
VASE
來源
NORTHERN SONG-JIN DYNASTY, 12TH CENTURY 壺中居，東京

The vase is potted with an ovoid body tapering sharply towards a tall 展覽
spreading foot, surmounted by a trumpet neck below an everted rim. The
body is carved through black slip to depict a broad peony scroll borne on 和泉市久保惣記念美術館，《花の器》，1994年10月2日至11月27日，圖錄
leafy stem above a band of petals against a ground of white slip, under a clear 編號101
glaze. The foot and base are applied with darkish-brown slip and unglazed. 壺中居，《宋磁》，東京，1998年10月2日至4日，圖錄編號2
佳士得，《古韻天成：臨宇山人宋瓷珍藏展覽》，香港，2012年11月22至
8 √ in. (22.5 cm.) high, wood stand, Japanese wood box 27日；紐約，2013年3月15至20日；倫敦，2013年5月10至14日，圖錄編
號49

HK$1,000,000-1,500,000 US$130,000-190,000 著錄
和泉市久保惣記念美術館，《花の器》，1994年，62頁，編號101
PROVENANCE 壺中居，《宋磁》，東京，1998年，編號2
Kochukyo, Tokoyo 佳士得，《古韻天成：臨宇山人宋瓷珍藏展覽》，香港，2012年，124-125
頁，編號49
EXHIBITED
The Kuboso Memorial Museum of Arts, Hana no utsuwa (Flower Vase), 瓶口沿外卷，長頸，溜肩，腹下部漸收，圈足外撇。器身以黑剔花飾纏枝
Izumi, 2 October to 27 November 1994, Catalogue, no. 101 牡丹紋，底邊飾直棱紋一周。
Kochukyo, Soji (Song Ceramics), Tokyo, 2 to 4 October 1998, Catalogue,
no. 2 磁州黑剔花裝飾工藝複雜，是磁州窯最精美的裝飾技法之一。以本件牡丹
Christie’s, The Classical Age of Chinese Ceramics: An Exhibition of Song 紋瓶為例，窯工需先在素胎上施一層白化妝土，再加施一層黑化妝土。然
Treasures from the Linyushanren Collection, Hong Kong, 22 to 27 November 後刻劃花紋，將花紋以外部分的黑色化妝土剔去，露出白地襯托黑花，形
2012; New York, 15 to 20 March 2013; London, 10 to 14 May 2013, 成強烈的黑白對比效果，最後施以透明釉。要剔除黑色面層而不傷及白色
Catalogue, no. 49 化妝土，工藝難度極高。同類器物可比東京松岡美術館收藏的一例，著錄
於東京1984年出版《館藏東洋陶瓷名品圖錄》，圖版23。
LITERATURE
The Kuboso Memorial Museum of Arts, Hana no utsuwa (Flower Vase),
Izumi, 1994, p. 62, no. 101
Kochukyo, Soji (Song Ceramics), Tokyo, 1998, no. 2
Christie’s, The Classical Age of Chinese Ceramics: An Exhibition of Song Treasures
from the Linyushanren Collection, Hong Kong, 2012, pp. 124-125, no. 49

Cizhou sgraffiato decoration, as displayed by the current vase is remarkably
difficult to execute successfully. This technique involved covering the
vessel with a white slip, and after drying applying a dark slip over the top.
Areas of the dark slip were then cut away leaving the decoration in dark
brown against a white ground. Details of the decoration were also incised
through the dark slip, using a sharp point, to reveal the paler slip beneath.
The vessel was then covered in a colourless transparent glaze and the piece
fired. The decorator had to employ great skill and care in cutting the
ground of the decoration away, since it was difficult not to cut too deeply
and remove some of the pale slip along with the dark.

A small number of related vases using this decorative technique are
published, such as the vase in The Matsuoka Museum of Art, illustrated in
Selected Masterpieces of Oriental Ceramics, Tokyo, 1984, no. 23; and a vase
of similar form and decoration but with a rounded body is published in in
T. Mikami, Sekai Toji Zenshu, vol. 13, Tokyo, 1981, p. 238, no. 229. The
current type also has a green glazed version, such as the Cizhou sgraffiato
vase of very similar proportion and decoration in the Ataka collection,
illustrated in Masterpieces of Old Chinese Ceramics from Ataka Collection, Osaka,
1972, Catalogue, no. 21. Another example with a compressed body is in
the collection of the Asian Art Museum of San Francisco, illustrated by
He Li, in Chinese Ceramics: A New Comprehensive Survey, New York,
1996, no. 319. Compare also Cizhou vases of similar form and pattern but
decorated in slip painting and incising technique, such as two vases in the
Gotoh Art Museum, Japan, illustrated in Mayuyama Seventy Years, Tokyo,
1976, vol. 1, pp.188-189, nos. 559-560.

The Classic Age of Chinese Ceramics 古韻天成 — 臨宇山人珍藏（一） 136