南宋 建窰黑釉兔毫茶盞

well potted with a conical body rising from a straight foot to a gently flared rim, unctuously covered with a lustrous black glaze with russet 'hare's fur' streaks running down from the rim, the glaze thinning at the rim and stopping short of the foot with three bulges and revealing the dark brown stoneware body

第二代 Cunliffe of Headley 男爵 Rolf Cunliffe（1899-1963年）收藏（編號T6）
倫敦邦翰斯2002年11月11日，編號40

The piece is in good condition, with just insignificant polishing to the surface of one of the three drops.
"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."

宋朝品茶風尚之盛，前所未見，蔚然成風，多種瓷製茶具因而出現。黑釉潤亮，托襯點茶擊拂茶水後，所得茶面細沫，白黑相映，極為耀眼，故而盛行，取代白釉及青釉器茶具。茗茶家兼書法家蔡襄（1012-1067年），在皇𧙗元至五年（1049-1053年）著《茶錄》中曰：「茶色白，宜黑盞，建安所造者，紺黑，紋如兔毫，其胚微厚，熁之久熱難冷，最為要用」。 宋徽宗 （1100-1126年在位），醉心藝文之極，問鼎歷代帝王之冠，所見也與蔡襄相同，認為黑盞尤以兔毫為佳，在大觀元年（1107年）成書《大觀茶論》中指：「盞色貴青黑，玉毫條達者為上，取其燠發茶採色也」。

兔毫茶盞，窰縱處福建，日人以浙江以北之臨安天目山命名，稱之「天目」，以為山上佛寺僧人以建窰兔毫茶盞茗茶。茶道為佛教寺廟傳統，皆因清茶提神，有益於坐禪冥想，更可供佛。建盞及品茶文化，隨日本僧人歸國傳入，深受當地推崇。

此盞釉面盈潤，褐色兔毫紋勻稱，且全盞幾近滿釉，極為罕見。此盞古樸素雅，撇口斜壁，圈足纖巧，外侈幅度使其更形秀麗，較典型寬足弧腹婉約，又較一般尺寸較大之笠式盞可愛。此器形之珍罕，各式天目盌之線描圖可作輔證，詳見《唐物天目》，茶道資料館，京都，1994年。書載一例，盞形比例與此相近，尺寸稍大，釉色較黑，德川家族舊藏，現存名古屋德川美術館，圖版11。另比較一例，兔毫紋大致相近，惟形屬建盞大宗，現存北京，載於《中國陶瓷全集》，上海，1999-2000年，卷8，圖版206。

Cunliffe 爵士，英國最重要中國藝術收藏家之一，四十年代開始收藏清代玉器，後開始收藏瓷器、青銅、高古玉器等，珍品雲集，包括成化青花宮盌三盌。收藏中多件售於倫敦蘇富比，本品曾售於倫敦邦瀚斯。