北宋 磁州窰白釉剔纏枝牡丹紋梅瓶

sturdily potted with an ovoid body sweeping up from a countersunk base to a broad shoulder and a waisted neck with a galleried rim, the exterior applied with a white slip, skilfully carved and detailed with incisions through the white slip to the buff-coloured body with a broad frieze enclosing peony blooms borne on curling leafy scrolls, between two bands of petal lappets encircling the upper shoulder and foot, all beneath a translucent milky glaze

鴻禧美術館收藏，台北

《清翫雅集廿週年慶收藏展：器物》，台北，2012年，編號29

史彬士（編纂），《中國歷代陶瓷選集》，鴻禧美術館，台北，1990年，編號49

There are shallow surface flakes over a section of 2.8cm at the rim and a firing line, visible only on the exterior of the body, measuring 24cm, which does not show through to the interior.
"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."

有宋一朝，埏埴之技，登峰造極，青史永垂。所製青釉、白瓷小器，釉色變化隱約、飾紋含蓄，纖巧精緻，但與此同時，又出黑白瓷皿，或運筆、或用刀，飾紋粗獷瀟灑，黑白對比分明。此梅瓶正屬後者，乍看還以為剔花率性隨心，細觀可察匠心獨運，以捲延牡丹密飾梅瓶，絲毫沒有過於擁擠或空洞之處。其器形簡約大方，印證匠人瓷藝之絕。

磁州器一詞，泛指一系列擅用化妝土為飾之窰址所出，這些窰址，主要位於河北及河南，其中又以河北南端磁縣（古稱磁州）觀台鎮為首。觀台窰瓷器，紋飾多樣，風格揮灑，技巧卓著，初以剔劃之技飾所製，後來則直接用筆畫花，如文士書畫揮毫，寫意流麗。然磁州窰最重要的風格，則要數善用化妝土之劃花技藝。始用於繪飾盛行之前，瓷匠採用黑白二色雙層化妝土，以色彩對比凸顯圖案，也有於素胎上施單層黑或白色化妝土然後劃花者，本品即為佳例，澀胎淺褐，化妝土白若象牙，瓷匠巧用二色，營造紋飾含蓄樸雅。

本品飾纏枝牡丹綻放，此紋樣常見出於觀台眾窰，此梅瓶上所飾，勾勒輪廓明快，剔劃細節纖巧，明晦分明，極富立體感。參考一例，與本品相近，然僅飾花卉兩行，觀台磁州窰址出土，以殘片重組，有缺，現藏河北磁縣文物保護部門，圖見《觀台磁州窰址》，北京，1997年，彩圖版XI，編號2，同書並載其他紋飾相近器皿之破瓷數片，見彩圖版XXI，編號1、瓷枕殘片，圖版XXI，編號2，以及一瓶例，圖版XXIV，編號2。

河南湯陰縣出土一器形紋飾均與此極為相近之梅瓶，現藏河南博物館，可資參考，載於《中國陶瓷全集》，上海，1999-2000年，卷7，圖版203，圖錄指梅瓶應製於河南修武當陽峪窰。當陽峪與觀台，今屬不同省份，然該例出土處較近觀台，且當陽峪窰典型剔花與該瓶所飾相異（出處同上，圖版204、205及211），故更可能為觀台窰製。秦大樹也認同此論，見其專文〈白釉剔花裝飾的產生、發展及相關問題〉，《文物》，2000年11期，頁70，兩例均有載錄，頁72，圖9及頁75，圖19。

倫敦大英博物館存相類牡丹紋梅瓶例，屬 Eumorfopoulos 舊藏，曾展於《Freedom of Clay and Brush through Seven Centuries in Northern China》，印第安納波利斯美術館，印第安納波利斯，1980年，編號94，圖錄並列東京出光美術館藏尊，其釉色與本品相近，圖276。

北宋年間，各地瓷窰紛紛仿效磁州風格製瓷，如河北冶子村、東艾口，河南登封、扒村、魯山、密縣、當陽峪，山西介休窰等，以滿足宋人對實用雅瓷日益增加的需求。