拍賣筆記 vol.137 邦瀚斯巴黎：愛莎·柏瑞蒂，宋元哥窰灰青釉葵花式三足洗 - Elsa Peretti, A Song Yuan Magnificent And Highly Important Ge Mallow-Shaped Brush Washer
- SACA
- Mar 24
- 14 min read
該哥窯筆洗造型典雅敦厚，釉色厚潤，開片秀麗，是南宋 （1127-1279）或元代早期（1279-1368）之傑作，完美體現宋元之間素雅靜穆的審美觀和人生觀。哥窯器向為歷代藏家中最受推崇瓷器品類之一，亦為各代御窯所追仿。本品特徵與古籍描述哥窰典範同出一徹。其溫潤釉面上遍佈「金絲鐵線」，明證其為這一傳奇瓷窯之作。
哥窯與汝窯、定窯、鈞窯、官窯齊名，被視為宋代五大名窯之一，自宋代起便為宮廷貴冑及文人雅士所推崇。所謂「宋代五大名窯」，其釉色、釉質及釉面紋理各擅千秋，獨特可辨。汝窯天青瑩翠；鈞窯燦爛瑰麗；定窯常見潔白如凝脂；而官窯和哥窯則都以乳濁厚潤之釉色與縱橫開片聞名。彷如天然的冰裂開片實為精工巧製，與燒成過程中的氣氛和溫度直接相關。傳統上釉色與及開片之紋理風格亦被用於區分官、哥二窯。
哥窯器之開片以所謂「金絲鐵線」為典型，一如本品所示。此形容自20世紀中期以來被廣泛用於哥窯器之鑑定。然而其儘管符合直觀，卻並非本自文獻典籍和考古材料。
哥窯器之分類至今仍多以傳世之器為基礎，即北京和台北故宮博物院所藏的一批清宮舊藏。其中有不少是為乾隆皇帝所鑑辨並題辭。然而時至今日，即使已有大量考古新發現以及來自中西方的深入研究，哥窯之所在及其燒製年代仍然不無爭議。
宋/元 哥窰灰青釉葵花式三足洗
Provenance:The property of a Gentleman
Christie's Hong Kong, 31 October 1994, lot 528
Sotheby's London, 13 July 2005, lot 149
Collection of Elsa Peretti (1940-2021)
來源：紳士珍藏香港佳士得，1994年10月31日，編號528
倫敦蘇富比，2005年7月13日，編號149
Elsa Peretti（1940-2021）珍藏
A MAGNIFICENT AND HIGHLY IMPORTANT GE MALLOW-SHAPED BRUSH WASHER
Song/Yuan Dynasty
PROFOUND BEAUTY THE ELSA PERETTI BRUSH WASHER
11 June 2025, 11:00 CEST
Paris, Avenue Hoche
€1,200,000 - €1,500,000
JPY190,000,000 - JPY240,000,000
哥窯常見問題
宋／元代哥窰葵花式三足洗具有何重要意義？
此宋／元代哥窰葵花式三足洗是一件精美且極其重要的哥窰瓷器典範。其精湛的成型工藝、獨特的米色泛青灰釉色，並具有精細的黑色與金色開片紋（「金絲鐵線」）及三個獸足，充分展現了傳世哥窰的典型特徵。底部的九個支釘痕顯示其燒造工藝之特殊性。其稀有性和美學特質體現了宋元時期所追求的樸素與寧靜之美，是收藏界高度珍視的藝術品，亦為該時期工藝美學之重要見證。
Elsa Peretti 是誰？她與哥窰筆洗有何淵源？
Elsa Peretti（1940-2021）是一位知名的義大利裔珠寶設計師及慈善家。她最初作為模特兒活躍於知名攝影師與設計師之間，後因其為蒂芙尼公司（Tiffany & Co.）設計的創新珠寶而廣為人知。文中提到的這件珍貴哥窰葵花式筆洗，曾是Elsa Peretti個人收藏，突顯她對美學與啟發性物件的高度欣賞。她的收藏理念強調物件本身內在價值及象徵意義，涵蓋自然物件以至高級藝術品。
何謂「傳世哥窰」？依據文中描述，其主要特徵為何？
「傳世哥窰」是指代代相傳、主要透過存世品而非明確窯址所界定的哥窰瓷器類型。主要特徵包括胎色較深，施以厚潤如酥之灰青或米黃色釉，並有大小深淺不一的開片紋，經常被形容為「金絲鐵線」。釉面具有特殊的「酥油光」質感。傳世哥窰多採支釘燒造，底部常見多個支釘痕，並可能帶有縮釉點或痕跡。
中國歷史上，尤其明清時期對哥窰瓷器的賞識與意義為何？
哥窰瓷器自宋代以來便被視為「宋代五大名窰」之一，至明清兩代更備受鑑藏家推崇。明代文獻記載當時已嘗試仿製哥窰，顯示其早期即被視為珍貴的古董。清代皇室，特別是乾隆皇帝，更對哥窰表現濃厚興趣，命人鑑賞、裝裱及編目，更親自作詩題詠於瓷器之上，反映其對哥窰美學及所承載文化價值的高度認可。
Elsa Peretti 所藏之哥窰筆洗與故宮博物院藏哥窰器物有何關係？
Elsa Peretti所藏之哥窰葵花式三足筆洗與故宮博物院所藏之傳世哥窰筆洗相較，博物院收藏的八件哥窰筆洗多為清宮舊藏。Peretti此件八瓣葵花形與三獸足造型的筆洗，尺寸略大於故宮所藏之器物。其「金絲鐵線」開片紋理、厚潤的「酥油光」釉面及底部九個支釘痕等特徵，均與博物院藏典型傳世哥窰特徵吻合。此外，此器與清宮檔案所載之「哥窰三足洗」關係密切，可能成為後世仿製之重要參考。
除設計之外，Elsa Peretti 通過其基金會做出了哪些重要貢獻？
Elsa Peretti除作為著名設計師外，亦積極投身慈善活動。她成立的Nando與Elsa Peretti基金會，成立於2015年（實際運作超過二十年），致力於環境保護及人類福祉領域。基金會在全球範圍內支持生物多樣性與瀕危物種保護、人類福祉（包含貧困救助、人權及婦幼權益）及教育（尤其女孩教育）等眾多領域。Peretti生前積極參與基金會活動，展現其兼顧人文關懷與自然保護的全面視野。此外，她亦復興了西班牙加泰羅尼亞地區的Sant Martí Vell中古村莊，將其改造成符合其美學理念之聖地。
乾隆皇帝題詠於哥窰瓷器之上之詩文，如何反映清代對哥窰的審美與欣賞？
乾隆皇帝在哥窰瓷器上的題詠詩文，清晰反映清代宮廷對這些宋代瓷器的欣賞與認識。其詩文往往將哥窰獨特的開片紋理與道德寓意及歷史內涵聯繫在一起，視之為漢人古代品味的象徵，與其「復古」之思想相呼應。乾隆皇帝命人為器物題詩、編目，更進一步顯示這些器物作為重要文化瑰寶及皇家鑑賞品的崇高地位。
A MAGNIFICENT AND HIGHLY IMPORTANT GE MALLOW-SHAPED BRUSH WASHER
Song/Yuan Dynasty
MAGNIFIQUE ET TRÈS IMPORTANT RINCE-PINCEAUX EN GRÈS EN FORME DE FLEUR DE MAUVE À GLAÇURE DE TYPE GE
Dynastie Song/Yuan
Superbly potted with shallow rounded sides rising to a gently everted, flat rim divided by eight indented notches with corresponding eight ribs on the interior and corresponding eight flutes on exterior of the washer, the slightly concave base recessing towards the thickened sides, raised on three stout cabriole legs and covered overall with an unctuous opaque glaze of creamy bluish-grey tone, suffused with an attractive network of fine black crackles and an underlying network of light golden crackles, the underside with eight regularly set spur marks radiating around a central ninth spur mark, each spur mark revealing the dark grey body. With fitted box.
21cm (8 1/4in) diam.Profound BeautyAsaph HymanElsa Peretti's genius was the ability to distill forms into timeless creations serving their function. In this Elsa turned to nature for inspiration - a source which surged through her and each of her designs. Like nature taking its time, so did Elsa in her creations, and in her own words: "I am very slow, you all go fast, I don't, this is the secret of me, I go very slowly".The Elsa Peretti Ge brush washer is amongst the rarest extant examples of its type, belonging to one of the Five Great Wares of the Song dynasty, also including Ru, Guan, Ding and Jun. Its exquisite subtle and deceivingly simplistic, yet, in fact, complex naturalistic mallow form, is a masterpiece at the very highest level – one which transcends time.
雋永之美
Asaph Hyman
愛莎·柏瑞蒂（Elsa Peretti）的天才之處，在於她能將形式提煉成符合其功能的雋永傑作。而她的秘訣可能就是從大自然中尋找的靈感——自然的身影隱現在其人生歷程和她的每一件設計中。
就像大自然需要時間一樣，愛莎的創作過程也是如此：「我很慢，你們都走得很快，但我不，這就是我的秘訣，我走得很慢。」愛莎·柏瑞蒂珍藏之哥窯筆洗出於宋代五大名窯之一。除哥窯外，其他四窯包括汝、官、定、鈞。
該筆洗是現存最珍罕的同類型作品，其造型看上去簡潔樸拙，但實際上卻是複雜精巧的錦葵造型，是一件跨越時空的傑作。
Heirloom Ge-ware Brush Washers in the Collection of the Palace Museum, Beijing
Huang Weiwen
During the Ming and Qing dynasties, Ge ware was long considered to be one of the great wares of the Song dynasty, and Ge-ware was regarded by connoisseurs and collectors of the time as a fine example of rare Song dynasty ceramics. In modern times, with the advancements in scientific research on ancient ceramics, scholars have unearthed certain discrepancies between historical records, archaeological discoveries, and surviving Ge-ware artifacts.
Owing to different interpretations of the available data, for many years researchers were unable to reach a consensus on various aspects of Ge ware, including its conceptual basis, periods of production, kiln site locations, production methods, and its relationship to other wares. Despite these differences of opinion, the Chinese Ceramic Society gave separate listings for 'Ge ware and Di ware', 'Ge-ware and Longquan-ware black-body celadon' and 'Heirloom Ge ware' in their book Zhongguo taoci shi (A History of Chinese Ceramics), published in 1982. Today, the academic community generally considers Heirloom Ge-ware as a category of inherited ceramics characterised by a dark-coloured body, a thick grey-celadon or beige glaze, a smooth and lustrous surface, and a network of crackled patterns of varying sizes and depths.
Researchers also widely consider Heirloom Ge-ware ceramics to exhibit the distinctive characteristics of Song dynasty ceramics in terms of shape, body-glaze composition, decoration, and firing techniques. In particular, its artistic style fully embodies the refined and minimalist aesthetics of Song-era porcelain. At present, Heirloom Ge-ware porcelain is primarily found in museums and institutions worldwide such as the Palace Museum, Beijing, the Palace Museum, Taipei, and the Percival David Collection in the British Museum, London, though it can also be found in some private collections.
Notably, the collections in the Palace Museums on both sides of the Strait predominantly originate from the former Ming and Qing Imperial Court collections. Not only do these pieces exist in significant quantities, but they also serve as highly representative examples of Heirloom Ge-ware porcelain that fully reflect its stylistic characteristics.
北京故宮博物院藏"傳世哥窰"洗
黃衛文
明清時期，哥窰曾長期被認為是宋代名窰之一，哥窰瓷器亦為當時的鑑賞家與收藏者視為珍稀的宋瓷佳作。至近代，隨著現代科學古陶瓷研究工作的開展，人們發現，在哥窰有關文獻記載、考古發現與傳世器物之間確實存在著一些矛盾之處。
由於對材料的不同解讀，多年來，研究者們在哥窰的概念、燒造時代、窰址地點、生產性質、哥窰與其他窰場的關係等問題上尚未形成統一的認識。雖然對哥窰的認識觀點紛紜，但早在1982年出版的中國硅酸鹽學會編《中國陶瓷史》中就已將「哥窰與弟窰」、「哥窰與龍泉窰的黑胎青瓷」、「傳世哥窰器」並列。目前，學術界基本認可「傳世哥窰」這一概念，即將一類傳世至今的，胎色較深、施灰青或米黃色厚釉、釉面潤澤如酥且開有大小深淺不同開片紋的瓷器稱為「傳世哥窰」瓷器。
同時，研究者也普遍認為，傳世哥窰瓷器在造型、胎釉、裝飾、燒造工藝等方面具有比較明顯的宋代瓷器特徵，特別是傳世哥窰瓷器的藝術風格充分體現了宋瓷高雅極簡的美學風範。目前，海內外所見傳世哥窰瓷器主要收藏於北京故宮博物院、臺北故宮博物院、英國大維德基金會等國內外文博機構和個別海內外私人收藏者中。特別是海峽兩岸故宮博物院收藏的傳世哥窰瓷器，多來源於明清宮廷舊藏，不僅數量多，而且代表性強，充分反映了傳世哥窰瓷器的時代風格與特點。
設計師和收藏家：愛莎其人
愛莎·柏瑞蒂（Elsa Peretti）於1940年5月1日出生在義大利佛羅倫薩，是瑪麗·路易莎·琵珢尼（Maria Luisa Pighini ）和斐迪南多·柏瑞蒂（Ferdinando Peretti）的幼女。其父斐迪南多·柏瑞蒂是一位傑出的商人，一手創辦了義大利石油巨擎之一義大利石油公司（Anonima Petroli Italiana）。在童年時期，愛莎已經展現出她與生俱來的藝術創造力。她對大自然和動物充滿好奇心和熱愛，並對需要幫助的人有著強烈的同理心。她總是用科學家的敏銳和雕塑家的眼光觀察大自然向她展示最微小的細節。童年的經歷往往預示著一位藝術家的創作之路，而義大利及其美景對愛莎的審美一定產生過深遠的影響。然而，這些都還不足以點燃她的創作火花。在求學於羅馬和瑞士後，她在 21 歲那年毅然離家，拋棄了安逸和財富，前往一個不確定的未來。這對當時的年輕女性而言，是一個充滿勇氣的叛逆之舉。她在瑞士山區擔任法文老師和滑雪教練，繼而攻讀室內設計學位，並在1963 年搬到米蘭，與建築師達度·托利簡尼（Dado Torrigiani）共事。
This magnificent brush washer with its elegant form and subtle, monochromatic glaze is a masterpiece of Southern Song (1127-1279) or early Yuan (1279-1368) dynasty ceramic production. The apparent simplicity of its design, the undulating lines of the rim and sides enveloped in an unctuous, opaque glaze of creamy-grey tone and satiny finish suffused with a complex web of darker and lighter crackles perfectly represents the aesthetics that evolved under the Song and continued into the Yuan dynasty, a direct reflection of an outlook on life that propagated modesty over ostentation and simplicity over complexity. It belongs to a group of ceramics so highly esteemed by successive generations of connoisseurs that they were to influence the ceramics made for the Chinese Imperial Court well into the Qing dynasty.
The distinctive glaze with its dense network of two-toned crackles that covers the entire surface of this washer, is a distinguishing feature and identifies this washer as a rare piece of Ge ware (Ge yao), one of the five special types of ceramic wares highly coveted by the Song dynasty Imperial Court and elite and collected by Chinese emperors of succeeding dynasties. Along with Ru ware, Ding ware, Jun ware and Guan ware, Ge ware was ranked one of the 'Five Famous Wares of the Song dynasty' (Song dai wu da mingyao). Each of these five prized wares had its very own characteristics, the glazes distinguished by different colours, textures and surface finishes.
While Ru ware had the most luminous intense blue-green glazes, Jun ware the most vivid opaque blue glazes, and Ding ware the finest creamy, white-tinged glazes, Guan and Ge ware shared thick opaque glazes in similar tones ranging from grey and light green to a creamy ivory-grey tone like on the present washer. Glazes on both Guan and Ge ware were deliberately crackled to achieve a fine network of lines. The variation in the colour and the density of the crackles, a direct result of the control of the atmosphere and temperature during the firing process, have traditionally been used to distinguish Guan and Ge ware.
The crackled glazes on Ge ware have a visible double matrix of large, dark-stained crackles and a finer underlying network of light brown or golden crackles as this exquisite brush washer perfectly demonstrates. Since the mid 20th century, the term 'iron-wire and golden threads' (jinsi tiexian) has been used to aptly describe the intricate web of two-toned crackles on Ge ware glazes. This terminology is based on the physical appearance of the Ge glaze and does not take into consideration other sources of information such as textual records and archaeological material. Much of the classification of Ge ware is based on the term 'Heirloom Ge ware' and refers to a group of Ge pieces in the Qing Court Collections of the Palace Museums in Beijing and Taipei, many of them inscribed and classified by the Qianlong emperor as Ge ware. Yet today, even with a wealth of recent archaeological material available and intense research in China and the West, there is still much debate on when and where Ge ware was produced.
Frequently Asked Questions
What is the significance of the Ge-type mallow-shaped brush washer described in the text? The Ge-type mallow-shaped brush washer from the Song/Yuan Dynasty is described as a magnificent and highly important piece of Ge-ware porcelain. Its superb potting, unique creamy bluish-grey glaze with a network of fine black and golden crackles ("golden thread and iron wire"), and three cabriole legs exemplify the quintessential characteristics of Heirloom Ge-ware. The presence of nine spur marks on the underside indicates its firing method. Its rarity and aesthetic qualities, embodying the Song/Yuan aesthetic of simplicity and serenity, make it a highly valued piece among collectors and a testament to the artistry of the period.
Who was Elsa Peretti and what is her connection to the Ge-ware brush washer? Elsa Peretti (1940-2021) was a renowned Italian-born jewelry designer and philanthropist. She became famous as a model for significant photographers and designers before establishing herself as a groundbreaking jewelry designer, notably for Tiffany & Co. The text highlights that the magnificent Ge-type mallow-shaped brush washer was part of her personal collection, underscoring her appreciation for beauty and inspiring objects. Her collecting philosophy, as stated, was driven by the inherent value and symbolism she found in a wide range of items, from natural objects to fine art.
What is "Heirloom Ge-ware" (傳世哥窰) and what are its key characteristics according to the provided texts? "Heirloom Ge-ware" refers to a category of Ge-ware porcelain that has been passed down through generations and is primarily known through extant pieces rather than definitively identified kiln sites. Key characteristics include a relatively dark body (胎色較深), a thick, unctuous glaze in shades of greyish-blue or beige (施灰青或米黃色厚釉, 釉面潤澤如酥), and a network of crackles of varying sizes and depths, often described as "golden thread and iron wire" (開有大小深淺不同開片紋, 金絲鐵線). The glaze is also noted for its "butter lustre" (酥油光). Pieces are typically stilt-fired, often with multiple spur marks on the base, and may exhibit shrinkage points or marks.
What was the historical appreciation and significance of Ge-ware porcelain in China, particularly during the Ming and Qing dynasties? Ge-ware was highly esteemed as one of the five great kilns of the Song dynasty and was considered a rare and fine porcelain by connoisseurs and collectors during the Ming and Qing dynasties. Ming dynasty records indicate attempts to reproduce Ge-ware, suggesting its early recognition as a prized antique. Qing emperors, particularly Emperor Qianlong, showed great enthusiasm for collecting Ge-ware, ordering its appraisal, mounting, and cataloging. Qianlong even composed poems about Ge-ware pieces in the imperial collection and had them inscribed on the porcelain, reflecting his taste and the value he placed on these ancient ceramics as embodiments of virtue and cultural heritage.
How does the Elsa Peretti-owned Ge-ware brush washer relate to the Ge-ware pieces in the Palace Museum collection? The Elsa Peretti-owned Ge-ware mallow-shaped tripod brush washer is compared to the "Heirloom Ge-ware" washers in the Palace Museum collection. While the Palace Museum holds eight Ge-ware washers, mostly from the Qing imperial collection, the Peretti example, with its eight-lobed mallow shape and three cabriole legs, is noted as being slightly larger than the others. Its characteristics, such as the "golden thread and iron wire" crackles, the unctuous glaze with "butter lustre," and the presence of nine spur marks, align with the typical features of "Heirloom Ge-ware" found in the museum. Furthermore, the text suggests a close connection between Peretti's piece and the "Ge-ware tripod washer" recorded in Qing palace archives, potentially serving as a reference for later imitations.
Beyond her design work, what were Elsa Peretti's other significant contributions, particularly through her foundation? Elsa Peretti was not only a celebrated designer but also a dedicated philanthropist. The Nando and Elsa Peretti Foundation, established in 2015 (though operating for over 20 years prior), reflects her deep concern for environmental conservation and human welfare. The foundation supports a wide range of initiatives globally, focusing on biodiversity and endangered species protection, human well-being (including poverty alleviation, human rights, and women's and children's rights), and education, particularly for girls. Peretti actively participated in the foundation's work until her death, embodying a holistic vision that links human health and well-being to the care and preservation of nature. She also revitalized the abandoned medieval village of Sant Martí Vell in Catalonia, transforming it into a sanctuary and reflecting her meticulous aesthetic sensibilities.
What can the inscriptions by Emperor Qianlong on Ge-ware pieces tell us about the appreciation of these ceramics in the Qing Dynasty? The inscriptions and poems composed by Emperor Qianlong on Ge-ware porcelain provide valuable insights into the Qing court's appreciation and understanding of these ancient ceramics. His poems often linked the characteristics of Ge-ware, such as the crackled glaze, to moral virtues and historical significance. He viewed these Song dynasty pieces, representing the taste of the ancient Han people, as aligning with his own efforts to bring back values of harmony, purity, and abundance through a "revival of the ancient." His actions of ordering inscriptions and cataloging these items highlight their status as important cultural artifacts and objects of imperial connoisseurship.
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