明永樂 甜白釉僧帽壺

the compressed globular body rising from a splayed foot to a flared cylindrical neck, surmounted by a galleried monk’s cap rim with a small lug on the interior, the tall spout of semi-circular section extending the full length of the neck,  the wide strap handle with a ruyi-shaped terminal and a ruyi-shaped tab on top incised in iron-red with the Arabic inscription reading Shah Jahan Ibn Shah 1503, corresponding to AD 1643, applied overall with a rich white glaze

沙賈汗收藏，印度（統治於1980年）
印度私人收藏（至約1980年）
瑞典私人收藏

This rare ewer is in good condition with the exception of overpainting to a circa 3cm., section of the end of the spout, similar overpainting to a 4 x 1cm., crescent-shaped section of the rim and a 2.5 x 1cm., section of the raised rear corner of the rim with an associated 1.5cm., hairline rim crack, and a hairline star crack extending across the base.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

明永樂（1403-24）年間，下令景德鎮官窯燒造各單色釉僧帽壺，用於首都南京、西藏之藏傳佛教法事。本品為之其一，後流傳至印度蒙兀兒帝國皇帝、泰姬陵修築者沙賈汗之手。1627-58年間在位的沙賈汗徵集了一批中國瓷器及玉器精品，現僅數件存世，均帶其署款，本品即為當中一員，稀若晨星，彌足珍貴。

沙賈汗故藏中極富盛名者為一痕都斯坦式玉盃，落有1657紀年年款，現藏維多利亞與艾伯特博物館（詳見Robert Skelton，《The Shah Jahan Cup》，《Victoria and Albert Museum Bulletin》，卷II ，第3號，1966年7月，頁109-10）。沙賈汗瓷藏中亦包括一元代青花盤及明初白釉盤，前者帶1652/3年款，兩者皆落有沙賈汗署款，現寶蓄紐約亞洲協會約翰‧洛克斐勒三世（John D. Rockefeller 3rd）收藏，錄於Denise Patry Leidy，《Treasures of Asian Art: The Asia Society’s Mr. and Mrs. John D. Rockefeller 3rd Collection》，紐約，1994年，圖版161及162。

僧帽壺造型衍自藏傳佛教法會所用一種金屬或木製執壺，此等金屬或木製執壺可被置於佛壇前方，內裝供品或盛水用以淨手。參見一幅年代略晚的西藏布本彩繪，描畫觀音諸神，前置佛壇上擺設供果、花瓶、梨式壺、及一僧帽壺，刊於紐約大都會藝術博物館《Defining Yongle. Imperial Art in Early Fifteenth-Century China》展覽圖錄，紐約，2005年，圖版36。

僧帽壺始燒於元代，至明永樂一朝，因明成祖朱棣極力扶持西藏佛教，僧帽壺遂成為御窯廠經典造型。1407年，永樂帝為其先父先母祈薦冥福，邀請噶瑪噶舉派第五世活佛哈立麻（1384-1415）於南京靈谷寺建普渡大齋，對其寵費優握，賞賜頗豐。明永樂御窯廠遺址第五地層出土相類僧帽壺約五十餘件，應製於1407年前後，見有素面及錐花兩種。參見《景德鎮珠山出土永樂宣德官窯瓷器展覽》，香港藝術館，香港，1989年，頁62。書中錄有一件永樂甜白釉錐花僧帽壺，編號8。另一作例頸部纏枝花卉紋中融入陰刻永樂年製署款，圖載於康蕊君，《徐展堂藏中國陶瓷》，《Orientations》，1989年12月，頁39，圖14及14a。一件尚貯西藏博物館之作例曾展於《雪域藏珍：西藏文物精華展》，上海博物館，上海，2001年，編號88。

白釉瓷器素得永樂青睞，本品素猶積雪，色澤瑩潤之釉色乃專為白釉瓷研發施用，其乳白如凝脂，溫潤如玉，故名為「甜白」。

一元代雛例，形制相同然比例略異，施以其時景德鎮窯常見之透明青白釉，其出土自北京市海淀區門頭溝村一墓葬，現存北京首都博物館藏，錄於《中國陶瓷全集：元（下）》，上海， 2000年，卷11，圖版62。