宋 黑漆梅花盤 「是假心勿認真」印

delicately constructed with shallow everted sides rising from a recessed base to a six-lobed rim, divided by light incisions radiating around the cavetto and further encircled with metal, the lustrous lacquer of deep brown colour, the base inscribed in red paint with a six-character mark reading shi jia xin wu renzhen ('[it] is with a fake heart and not to be taken too seriously') arranged in two columns within a vertical rectangle

There was faint crackles encircling the recessed interior that has been stabilized with light relacquering. The fritting usually occuring at the joint between the metal rim and lacquer has also been stabilized in areas. Apart from this the dish is in overall good condition.
"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."

簡雅素心

宋代素漆作，內斂優雅而精純完美，體現遞嬗時空雋永的經典美感。此類器物代表之新式審美，製於宋代乍立之時，因權富分配之改變，以及對於自然之美的重新理解而生。

為建立異於唐朝國情，而復興以漢代儒道為基礎之古學遺風，宋代學者文人倡導自由貿易，給予商業活動更多空間，國都亦成繁華都會。來自國土四方之大量商販，形成社會上一富裕階層，使得更多人能享用過去僅限於朝貴之特權與奢華。

審美文化、社會階級、及材料供應之改變，皆促成宋代漆器之興盛。宋景德二年（1005），與遼聖宗簽訂澶淵之盟，每年需輸納遼方銀十萬兩，因此國內白銀供應量，已遠不及唐代。金器限用於宮廷，因此對於其他珍貴材料，如漆器等之製作發展與品味，應運而生。衍生出許多生活用品及貴重器物，不僅滿足日常之需，並符合上層社會對於美的追尋及文雅品味。

此類器物之形制與雅緻，可證素漆作與單色瓷之間的相通性。多數素漆器以圈疊技法（薄木片屈成器形，並相互膠疊）作木胎，或裱糊麻布為夾紵胎。後者可作繁複瓜稜器形，並使成器輕似鴻毛，宛如定窰佳品之薄胎細膩。此類漆作與瓷器均鑲金屬口，定窰瓷器為護覆燒而口沿不施釉，而漆器為防巧緻之器沿磕碰。如現例所示，漆盤及盞托之雅樸器型、色澤、取材自然之形制，皆與紫釉定瓷緊密相關，在在顯示瓷匠致力追求素漆作之光華。此類宋代漆器，反映出工藝創造的新里程，不僅啟發當朝匠人，亦深遠影響後代工藝。

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此盤之瓣式器形取自晚唐定瓷，體現定窰瓷匠與漆藝匠人之間的頻繁交流。此器底足微陷，同樣情況亦可見於瓷作。

此次拍賣亦包括一件相類作例，見編號144。李氏家族收藏一件類同朱漆盤，尺寸較大，展於《Dragon and Phoenix》，東方藝術博物館，科隆，1990年，編號15，售於香港佳士得2008年12月3日，編號2109。亦可參考一件相似作例，出土於湖北省監利縣，斷為唐代之器，載於《文物》，1982年，第2期，頁93，圖版8，圖4。可比較一件定窰柿釉盤，尺寸略小，現藏北京故宮博物院，刊錄於《定瓷雅集：故宮博物院珍藏及出土定窰瓷器薈萃》，北京，2012年，圖版89，同錄另一例，釉色牙白透明，圖版73。