拍品 6
  • 6

南宋 青白磁卷草童子紋梅瓶

估價
2,500,000 - 3,000,000 USD
招標截止

描述

  • ceramic
the ovoid body rising from a short spreading foot to a broad round shoulder and short narrow waisted neck with carinated mouth, boldly incised around the exterior with a luxuriant floral meander of lily and lotus blooms all borne on scrolling stems, disrupted on either side with a pair of freely incised figures of boisterous young boys, all within double-line bands, covered overall in a rich ice-blue glaze pooling to darker tones within the carved recesses and falling short of the unglazed foot revealing the off-white colored biscuit, Japanese double wood boxes

展覽

東京國立博物館,《中國宋元美術展》,1961年,目錄編號241。

出版

林屋晴三著,《中國之陶磁》,1955年,編號3。
小山富士夫編,《中國名陶百選》,1960年,第六十三頁。
長谷部樂爾,《世界陶磁全集》12:宋,1977年,編號166。

Condition

There are several old firing flake chips to the foot rim, one possibly a polished down kiln adhesion. The foot with further kiln adhesions and the body with a few dirt-filled burst air bubbles which would likely clean, and a quarter inch (.6cm) diameter iron-spot. There are two minor bruises to the glaze, one on the shoulder and one on the lower body just above the line border.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

拍品資料及來源

此梅瓶滿刻卷草童子紋,靈動活潑。青白瓷飾以此紋者一般以碗盤等較小器物為多,器大如此例者稀。本器底紋劃花疏密有致,變化豐富,刻劃童子更顯立體生動,仿如浮雕。

此例以手刻花紋飾大器,遒勁俐落,青白瓷有薄巧細密者,亦有較厚重堅緻者如此瓶。青白瓷非以其產地得名,而是因其青白相映、瑩潤恬靜的色澤著稱,胎質細膩潔白,又稱為「影青」、「映青」,出於贛閩皖三省,南宋蔣祈所著《陶記》中描述江西景德鎮所製佳瓷如美玉,「景德陶昔三百餘座。埏埴之器,潔白不疵,故鬻於他所,皆有饒玉之稱」。青白瓷後經改良可能成為青花瓷之濫觴,早期景德鎮陶匠或以越窰為發端,時至五代北宋,則轉取法定窰之美,本器劃花飽滿流暢,或可為證。

一件相近梅瓶作例,刻纏枝蓮花童子紋圖,應出土自京都法勝寺遺跡,現藏於日本京都國立博物館,圖錄於長谷部樂爾等編,《世界陶磁全集》,卷12,宋,東京,1977年,彩色圖版270,以及長谷部樂爾及今井敦, 《中國之陶磁》,卷12:<日本出土之中國陶磁>,東京,1995年,彩色圖版57。比較另一瓶例,同刻童子紋,唯卷草紋更為細密,藏於濱松市美術館,並曾展於《宋磁》,東武美術館, 東京,1999年,編號50;另有一連蓋瓶例,飾較小童子紋飾,芝加哥美術館藏,圖見《Chinese Ceramics in the West》,東京,1960年,圖版54後再圖錄於《海內外徐展堂中國藝術館藏品選萃》,1996年,圖版100。此外尚可參照一瓶例,刻嬰戲牡丹紋葉,出自玫茵堂典藏,圖錄於康蕊君,《玫茵堂中國陶瓷》,卷1,倫敦,1994年,圖版608。另一相近瓶例,器形略大,售於紐約佳士得1999年3月22日,編號258。

三兩小兒攀爬於花叢之紋飾,流行自唐代晚期以降,多見於銀、銅、織品、玉器及瓷器。據Jan Wirgin述,其源應詮釋重組自印度洞窟壁畫,以及唐代佛教紋飾主題,以嬰孩坐蓮代表靈魂輪迴重生,見《Sung Ceramic Designs》,哥德堡,1970年,頁179-184。作者論述,嬰孩花卉紋飾之流行,主要源於其多子多福之美好寓意(頁181)。

卷草童子紋青白盌,參考出自羅啟妍典藏作例,曾展於《如銀似雪》,Denver Art Museum,丹佛,1998年,編號39;另一近例,錄於《世界陶磁全集》,卷12,東京,1977年,圖版162及163。亦可參考青白梅瓶數例,刻類近卷草花卉紋飾,其一為芝加哥美術館館藏,出處同上,圖版167;其二為四川省博物館館藏,見《中國陶瓷全集》,卷8,宋(下),1999年,圖版179。