- 147
宋 黑漆七瓣葵花盤
描述
- lacquer
展覽
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."
拍品資料及來源
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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葵花式漆盤,盛行於十至十四世紀,花瓣形狀獨特稍稍重疊。葵花喻意長壽豐年、圓滿人生。此形可見於金銀器、漆器,以及定窰、汝窰、官窰等瓷器。
有一類同作例,尺寸較大,載於《East Asian Lacquer. The Florence and Herbert Irving Collection》,大都會藝術博物館,紐約,1991年,編號2。另有一例曾展於《特別展 東洋の漆工藝》,東京國立博物館,東京,1977年,編號428。玫茵堂收藏且有一朱漆例,曾售於倫敦蘇富比1980年12月16日,編號438,並錄於 Giuseppe Eskenazi 及 Hajni Elias,《A Dealer’s Hand》,倫敦,2012年,頁107,圖101。