宋 黑釉鐵繡花渦紋罐

the well-rounded sides tapering slightly towards the base, the layers of black glaze starting just below the neatly knife-pared short unglazed rim, the iron-rich slip pulling downwards creating patches of dense russet stippling against the brownish-black ground, the exterior dynamically painted with four bold, gestural russet swirls stopping about two thirds down, the layers of glaze with long trailing drips towards the rough unglazed buff-colored foot, Japanese double wood boxes

反町茂作氏藏

東京國立博物館，《中國宋元美術展》，1961年，目錄編號264。

小山富士夫編，《陶器圖録》第七巻，支那篇（上），1938年，編號129。
長谷部樂爾、林屋晴三，《中國古陶磁》 上，1971年，編號164。
長谷部樂爾，《世界陶磁全集》12：宋，1977年，編號248。

There is a minor chip to the rim and a tiny flake chip under the rim edge. There is a 1 inch (2.2 cm) long old restored chip to the rim edge, with minor flakes to the restoration. The exterior has some age associated wear and minor scratches, and there are characteristic minor flaws in the making.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

綜觀早期瓷作，黑釉瓷器較其他宋代名瓷更具實驗精神，大膽多變。據陶瓷史學者Nigel Wood 述，富含鐵質的黑釉似能「勾起對中國大地之聯想」，因其主要材料為黏土與河床泥土，而取自中國各地，無論南北（見《Chinese Glazes》，倫敦，1999年，頁137）。自唐代以降，黑釉器漸成中國瓷器工藝之重要品類，唐朝黑瓷以北部黃河流域為至臻上品，器形簡約，取材自然，罩施單色釉料。後風格演變，於深地上加施淺色釉料，並操控窰燒火候，創製各款裝飾。宋朝復興黑瓷製作，紋飾更見豐富多姿，或飾凸棱營造分明對比，或以棕褐色淡筆描繪花鳥主題。瓷匠巧運創思絕藝，妙仿各式物料，製成兔毫紋、油滴釉及鷓鴣斑等多款黑釉雅器。

本罐器型經典，其源遠溯中國新石器時代（西元前三千年至四千年），經歷青銅器時代，時至漢唐，紋飾以自然主題或幾何圖案為主。此黑釉罐造型豐美，釉料均淨，環體手繪鐵鏽斑，渦紋四組，紋飾獨特，展現黑釉瓷器變化紛呈之生動風格。宋代黑釉瓷器多以花鳥或草木主題紋飾為主，然本品則大膽採用抽象圖案，展露時代風采，兼而承傳經典美學，靈動神韻渾然煥發。此經典佳器曾多次展出，文獻載錄甚詳，包括1961年東京國立博物館《中國宋元美術展》，編號264；又載於重要文獻《世界陶磁全集》12 （宋，日本，1977年，頁244，編號248）。另可參照一類近罐例，以及一相關作例，見於《龍泉集芳：創業七十周年記念》，（東京，1976 年，卷1，頁195-196，編號582 及585）。

黑釉瓷主要燒製於中國北部河北、河南、山西及山東等地，本品則應為河南出品，在日本有「天目」之稱。據說日本僧侶從中國浙江天目山佛寺將黑瓷茶具帶回日本，「天目」之名由此衍生。天目山東兩峰有雙池清徐，如天眼圓睜，凝視世間。本品深邃古樸，神秘瑰麗，渦紋如同天眼，雖製於中國北部，然而如此設計與中國南方聖山一脈相襲，相得益彰。