拍賣筆記 vol.100 佳士得紐約：藍理捷，北宋至金白覆輪絞胎羽紋盌，32760美元售出 - A Northern Song to Jin Dynasty Marbled Glazed Bowl

盌呈圓形，器壁由巧克力棕色與乳白色兩種色調的絞胎泥土交相混合，形成精美如羽毛般的紋飾，盌口沿處施一圈純白化妝土邊飾，全器罩以透明釉層。

絞胎工藝，又稱攪胎或絞泥，始於唐代，宋金時期廣受歡迎，尤其在中國北方窯口廣泛流行，其中以河南北部的焦作礦山窯和修武縣當陽峪窯最具代表性。絞胎技法主要分為兩種：一種是在成形階段即揉合不同色調的泥料，使胎體自然形成紋路；另一種則是將經過扭絞的泥料切割成薄片，再貼附於器物表面。無論採用哪一種方法，器物成型後均施以透明釉層覆蓋，這兩種製作工藝皆需要陶工具備相當高超的技巧。本盌即屬前者，以揉合不同顏色的泥料製成胎體。

Song-Jin Dynasty Marbled Feather Bowl Auction

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北宋/金　絞胎盌

NORTHERN SONG-JIN DYNASTY (AD 960-1234)

成交價：美元 32,760

估價：美元 10,000 – 美元 15,000

拍品終止拍賣: 

2023年3月23日

4 ¼ in. (10.8 cm.) diam., brocade box

直徑：4 1/4 英寸（10.8 公分），配錦緞盒。

來源：紐約藍理捷（J. J. Lally & Co.），編號4568。

絞胎工藝，又稱攪胎或絞泥，始於唐代，宋金時期廣受歡迎，尤其在中國北方窯口廣泛流行，其中以河南北部的焦作礦山窯和修武縣當陽峪窯最具代表性。絞胎技法主要分為兩種：一種是在成形階段即揉合不同色調的泥料，使胎體自然形成紋路；另一種則是將經過扭絞的泥料切割成薄片，再貼附於器物表面。無論採用哪一種方法，器物成型後均施以透明釉層覆蓋，這兩種製作工藝皆需要陶工具備相當高超的技巧。本盌即屬前者，以揉合不同顏色的泥料製成胎體。

類似本器的宋代絞胎盌實例，亦為羽毛狀紋飾配以白色口沿和平底，可參考康蕊君（Regina Krahl）著，《玫茵堂中國陶瓷》，卷三（下冊），倫敦，2006年，第527頁，圖版1528號。另外，河南省當陽峪窯遺址出土一件非常相近的絞胎盌，現藏河南省文物考古研究所，圖錄見《中國當陽峪窯》，北京，2011年，第137頁，圖版125號。另可比較一件出土自徐貴墓（墓誌銘記載其墓年代為公元1161年）的類似標本，見張編著，《中國出土瓷器全集》，第五卷山西，北京，2008年，第83頁，圖版83號。

絞胎（Marbled Glaze / Jiao Tai）相關問題與解答：

1. 文中所述之「絞胎」技法具體指的是什麼？

絞胎（Jiao Tai），又稱攪胎或絞泥，是一種陶瓷裝飾工藝。此技法將不同顏色的陶土（本文中為巧克力棕色與乳白色）揉合或攪拌在一起，於胎體內部自然形成大理石紋理，呈現出羽毛或其他自然形態的圖案。器物成形後，外表再施以透明釉覆蓋。

2. 「絞胎」技法最早何時何地開始流行？

絞胎技法最早於唐代（618–907年）出現，並在宋代（960–1279年）及金代（1115–1234年）達到極盛，尤其在中國北方盛行。當時較為著名的製作中心包括河南省焦作的礦山窯及修武縣的當陽峪窯。

3. 製作絞胎陶瓷主要有哪兩種方法？

絞胎陶瓷的製作方法主要有二：第一種方法是在器物成形階段即將不同顏色的陶土揉合在一起，使胎體內部自然形成大理石紋理；第二種方法則是先將不同顏色的泥料扭絞揉合，再將揉合後的泥塊切割成薄片，貼附於器物表面進行裝飾。本文所介紹的這件盌採用的即為第一種方法，即於成形時混合不同顏色的泥料製成器胎。

4. 文中所描述之北宋至金代絞胎盌具有何種特徵？

文中所述的北宋至金代絞胎盌為圓形，器壁由巧克力棕色與乳白色泥土交織揉合，形成羽毛般的紋路。盌口沿處有一圈單色白色化妝土裝飾，全器表面覆蓋透明釉層。此盌直徑約為4¼英寸（10.8公分），並附有一個錦緞盒。

5. 本件絞胎盌的拍賣結果與收藏傳承如何？

此件北宋至金代絞胎盌曾於紐約佳士得拍賣行以32,760美元成交，拍賣前估價為10,000至15,000美元之間。其收藏傳承（Provenance）來源為紐約藍理捷（J. J. Lally & Co.），其收藏編號為4568。

6. 文中為何特別提及河南焦作（礦山窯）及修武（當陽峪窯）二窯口？

文中特別提及焦作礦山窯和修武當陽峪窯，是因為這兩處窯口為宋金時期中國北方製作絞胎陶瓷最具代表性且最知名的中心。考古發掘與傳世實物都證明此二窯口曾大量生產絞胎陶瓷，且其產品品質精良。

7. 文中是否提供了與此盌類似之其他絞胎盌實例作比較？

是的，文中提到數個可比較的相似實例，包括：

• 康蕊君（Regina Krahl）編著的《玫茵堂中國陶瓷》（Chinese Ceramics from the Meiyintang Collection）中所刊載一件宋代類似的絞胎羽毛紋盌，其具有白色口沿與平底特徵。

• 河南省文物考古研究所藏品中一件當陽峪窯遺址出土的類似器物。

• 另有一件出土於徐貴墓（墓誌年代為1161年）的類似標本，刊載於張編著之《中國出土瓷器全集》第五卷。

8. 製作絞胎陶瓷需要具備何種程度的技藝？

文中特別強調，無論是揉合泥料製成胎體，或是扭絞泥料後切割薄片貼覆於器物表面，這兩種絞胎陶瓷製作方法均需陶工具備高度熟練的技巧。尤其是複雜細緻的絞胎紋理，以及覆蓋透明釉層的過程，都必須由具有相當技藝水準的陶工方能順利完成。

A MARBLED BOWL

NORTHERN SONG-JIN DYNASTY (AD 960-1234)

Price realised

USD 32,760

Estimate

USD 10,000 – USD 15,000

Closed: 

23 Mar 2023

he bowl is formed from chocolate-brown and milk-white marbled clay forming ‘feather’ patterns beneath a plain white slip band at the rim, all under a clear glaze.

4 1/4 in. (10.8 cm.) diam., brocade box

PROVENANCE

J. J. Lally & Co., New York, no. 4568.

Lot Essay

Marbling, known in Chinese as jiao tai (mixed clay), became a popular decorative technique on ceramics of the Tang dynasty and continued to be made throughout the Song-Jin period at a number of northern kilns, including the Kuangshan kilns in Jiaozuo and the Dangyangyu kilns in Xiuwu county, both in northern Henan province. The marbled appearance could be achieved either by combining clays of different colors when making the vessel, as is the case with the present bowl, or by slicing the twisted and kneaded clay into thin layers that would be laminated onto the surface of the vessel. In either case the piece was afterwards covered with a transparent glaze. Both marbling techniques required considerable skill on the part of the potter. 

A very similar Song-dynasty marbled bowl with parallel ‘feather’-pattern, white rim and flat base, is illustrated by R. Krahl in Chinese Ceramics from the Meiyintang Collection, vol 3. (II), London, 2006, p. 527, no. 1528. Another very similar example from the Dangyangyu kiln site in Henan province, now in the collection of Henan Archaeological Research Institute, is illustrated in Zhongguo Dangyangyu yao (Chinese Dangyangyu Kiln), Beijing, 2011, p. 137, no. 125. See, also, a similar example from the tomb of Xu Gui, dated by epitaph to AD 1161, illustrated by Zhang (ed.) in Zhongguo chutu ciqi quanji (Complete Collection of Ceramic Art Unearthed in China), vol. 5, Shanxi, Beijing, 2008. p. 83, no. 83.

Marbled Glaze / Jiao Tai (絞胎) Questions & Answers:

1. What is the jiao tai (絞胎) technique described in the text?

The jiao tai (絞胎) technique, also known as stirred clay or mixed clay, is a decorative method used in ceramics. It involves combining clays of different colors (in this case, chocolate brown and milk white) to create marbled patterns within the clay body. These patterns can resemble feathers or other natural forms. The vessel is then covered with a transparent glaze.

2. When and where did the jiao tai technique become popular?

The jiao tai technique originated in the Tang dynasty (AD 618-907) and gained significant popularity during the Song (AD 960-1279) and Jin (AD 1115-1234) dynasties. It was particularly prevalent in northern China, with notable production centers at the Kuangshan kilns in Jiaozuo and the Dangyangyu kilns in Xiuwu county, both located in Henan province.

3. What are the two main methods of creating jiao tai ceramics?

There are two primary methods for creating jiao tai ceramics. One method involves kneading together different colored clays during the shaping process, allowing the marbling to form naturally within the vessel's structure. The second method entails twisting and kneading contrasting clays, then slicing the resulting block into thin sheets that are subsequently laminated onto the surface of the ceramic piece. The featured bowl was created using the first method, by combining different colored clays when forming the vessel.

4. What are some distinctive features of the Northern Song-Jin dynasty jiao tai bowl described in the text?

The described Northern Song-Jin dynasty jiao tai bowl is characterized by its round form and walls made of chocolate-brown and milk-white clays swirled together to create feather-like patterns. It features a plain white slip band at the rim and is covered entirely in a transparent glaze. The bowl has a diameter of 4 ¼ inches (10.8 cm) and was sold with a brocade box.

5. What was the auction outcome and provenance of this specific jiao tai bowl?

This particular Northern Song-Jin dynasty jiao tai bowl was sold at a Christie's New York auction for USD 32,760. Its estimated value prior to the auction was between USD 10,000 and USD 15,000. The bowl's provenance includes J. J. Lally & Co. in New York, with the inventory number 4568.

6. Why does the text highlight the kilns of Jiaozuo (Kuangshan) and Xiuwu (Dangyangyu) in Henan province?

The text specifically mentions the Kuangshan kilns in Jiaozuo and the Dangyangyu kilns in Xiuwu county in northern Henan province because these were the most representative and well-known centers for the production of jiao tai ceramics during the Song and Jin dynasties in northern China. Archaeological evidence and extant examples attest to the significant output and high quality of jiao tai wares from these kilns.

7. Does the text provide any comparable examples of similar jiao tai bowls?

Yes, the text references several comparable examples. It mentions a very similar Song dynasty jiao tai bowl with feather-like patterns, a white rim, and a flat base illustrated in Regina Krahl's "Chinese Ceramics from the Meiyintang Collection." Additionally, it cites a closely related example excavated from the Dangyangyu kiln site, now held in the Henan Archaeological Research Institute. Finally, a similar piece unearthed from the tomb of Xu Gui (dated to AD 1161) is also noted.

8. What level of skill was required to produce jiao tai ceramics?

The text emphasizes that both methods of creating jiao tai ceramics – either by combining clays during shaping or by laminating sliced, twisted clay – demanded considerable skill on the part of the potter. The intricate marbling patterns and the successful application of the transparent glaze over the complex clay structure required a high degree of technical expertise.