宋 黑漆六瓣葵花盤 《陸氏民本》款

delicately constructed with shallow everted sides rising from a low foot to a six-lobed rim resembling the petals of a mallow flower, naturalistically divided by 'S'-shaped ridges on the cavetto and underside and further encircled with metal at the rim, the lustrous lacquer of deep brown colour, the base inscribed in red paint with a four-character seal mark probably reading Lu shi Minben

《中国美術展シリーズ4 宋元の美術》，大阪市立美術館，大阪，1978年，編號3-4

The lacquer surface shows occasional small superficial flakes which have been retouched. The largest one is on the exterior measuring 1 by 0.3 cm., while the interior shows 4 tiny flakes, the largest one 0.2 by 0.2 cm. All this is to be expected for lacquer of this age and type. There is a patch to the interior showing discoloration (visible in illustration), which is typical of the type and as a result of aging. The metal rim is typically slightly loose and oxidized.
"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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有一近例展出於《特別展 東洋の漆工芸》，東京國立博物館，東京，1977年，編號426；另一例出自李氏家族收藏，1990年曾展於科隆東方藝術博物館，1990-91年洛杉磯郡立美術館，1991年澀谷松濤美術館，後售於香港佳士得2008年12月3日，編號2103。

Clarence F. Shangraw，於〈Chinese Lacquers in the Asian Art Museum of San Francisco〉，《Orientations》，1986年4月，頁26，刊錄一件同器形朱漆盤，尺寸略大，並說明此類漆作表面之幼細開片，所謂「牛毛斷」，乃因漆層薄細，不同於漆層較厚的元代作例之深紋。