拍賣筆記 vol.140 邦瀚斯倫敦：五代耀州窯剔刻牡丹紋罐 - A Five Dynasties Yaozhou Relief-Carved Flower-Pattern Jar

器呈扁圓腹狀，圈足略短而漸收，口沿微微外撇。通體刻畫纏枝花卉紋飾，或為牡丹，枝葉蜿蜒纏繞，葉脈細緻刻劃。整器施淺淡青綠釉色，釉汁於紋飾深處匯聚，呈現出較深的橄欖色調。直徑14公分（5 1/2英寸）

這類器物由於其特殊性，近年來價格高漲。日本學者兼陶藝家小山富士夫（Fujio Koyama）曾將此類瓷器冠以中國古籍記載中的「東窯」之名，意指「東方之窯」。稍後，長谷部樂爾（Gakuji Hasebe）重訪小山氏的研究，對一組具有蒼白泛白釉色、器形類似且特徵一致的青瓷碗進行了研究。他主張，這類被稱作「東窯型」的器物，有別於典型的耀州窯製品，反映出北宋時期北方青瓷窯口更為多元的生產情況。

五代耀州窯剔刻牡丹紋罐

來源：

倫敦古董商

Priestley & Ferraro Chinese ArtEmmanuel Christofides (1928-2020)，雅典和倫敦，於2005年10月18日從上處獲得

展覽著錄：

Priestley & Ferraro Chinese Art，《Recent Acquisitions》，倫敦，2005年

東方陶瓷學會，《The World in Monochromes》，倫敦，2009年，編號29D.

Priestley和M.Flacks，《A Life in the Company of Song Ceramics》，倫敦，2017年，第120-121頁，編號54 （著錄插圖）

這類風格鮮明、裝飾有深浮雕且工藝精細的瓷器，其產地來源在數百年間一直是個謎團。直至陝西省銅川市黃堡窯遺址的發掘，人們才明確了其窯口所在，從而確認它們屬於早期的耀州窯瓷器。例如，在黃堡窯五代地層中出土的一件造型和設計與本拍品相近的執壺，即見於《五代黃堡窯址》（北京，1997年），圖版29。在此發現之前，日本學者兼陶藝家小山富士夫（Fujio Koyama）曾將此類瓷器冠以中國古籍記載中的「東窯」之名，意指「東方之窯」，並認為這些瓷器來自史籍提及的北宋官窯。這種觀點植根於歷史文獻對「東窯」的記載，以及小山氏對這些卓越瓷器為御用器物的期望與認定。

當時，中國陶瓷考古研究尚處萌芽階段，像汝窯、耀州窯這樣著名窯口的遺址尚未被挖掘出來，小山富士夫藉由「東窯」概念來定義北宋御用陶瓷。在廣義的耀州青瓷（即常被稱作「北方青瓷」）之中，他發現一組帶有泛白釉色的器物，認為這些瓷器即古籍中所記載之「東窯」瓷器。隨著考古工作的推進，這些瓷器逐漸被納入耀州窯的廣義範疇中。稍後，長谷部樂爾（Gakuji Hasebe）重訪小山氏的研究，對一組具有蒼白泛白釉色、器形類似且特徵一致的青瓷碗進行了研究。他主張，這類被稱作「東窯型」的器物，有別於典型的耀州窯製品，反映出北宋時期北方青瓷窯口更為多元的生產情況。

後續的考古發掘進一步證明，「東窯型」瓷碗在確認屬於五代耀州窯的黃堡窯遺址中僅有少量發現，且其生產並未持續到北宋。然而，可明確紀年的墓葬出土了一批特徵一致的瓷碗，它們在尺寸、造型、胎質、釉色以及底足設計等方面皆有共同之處，年代可定於10世紀晚期至11世紀初期。這一發現表明，在北方青瓷的發展過程中，曾存在過一個時間短暫卻極具意義的階段，體現出該時期的複雜性與創新性。

另可參見一件相關的耀州窯花卉紋刻花罐，斷代為北宋/金代，12世紀，原藏於尤莫弗普勒斯（Eumorfopoulos）收藏，現存於倫敦維多利亞與艾伯特博物館（Victoria and Albert Museum），著錄於柯玫瑰（Rosemary Kerr）《宋代陶瓷》（Song Dynasty Ceramics，倫敦，2004年），第55頁，圖50。

另可比對一件小型而罕見的耀州窯罐，五代/北宋時期，曾於2018年5月16日在倫敦蘇富比（Sotheby's）拍賣，拍品編號69號。

A YAOZHOU RELIEF-CARVED FLOWER-PATTERN JAR

Five Dynasties

INSTINCT & KNOWLEDGE A LIFE IN THE COMPANY OF SONG CERAMICS

15 May 2025, 10:00 BST

London, New Bond Street

£60,000 - £80,000

The compressed globular body rising from a short tapering foot to a short slightly everted mouth rim, carved around the exterior with a continuous scene of meandering floral scroll, possibly representing peonies, the leaves with finely incised veins, covered in a subtle mint-green glaze pooling to a darker olive tone in the recesses of the carving, box. 14cm (5 1/2in) diam. (2).

Provenance:

Priestley & Ferraro Chinese Art, London

Emmanuel Christofides (1928-2020), Athens and London, acquired from the above on 18 October 2005

Published, Illustrated and Exhibited:

Priestley & Ferraro Chinese Art, Recent Acquisitions, London, 2005

Oriental Ceramic Society, The World in Monochromes, London, 2009, no.29

D.Priestley and M.Flacks, A Life in the Company of Song Ceramics, London, 2017, pp.120-121, no.54 (published and illustrated)

The origins of these striking wares, characterised by bold relief carving and refined craftsmanship, remained a mystery for centuries. It was only with the excavation of the Huangpu kilns in Tongchuan, Shaanxi Province, that their source was identified, establishing them as early Yaozhou wares. See for example, a ewer with a similar design as the present lot, excavated from the Five Dynasties stratum of the Huangpu site, illustrated in Wudai Huangpu Yaozhi, Beijing, 1997, pl.29. Before this discovery, Japanese scholar and potter Fujio Koyama had applied the ancient term 'Dongyao' wares to these pieces, meaning 'Eastern Wares', believing them to be products of the Northern Song Imperial kilns mentioned in texts. His interpretation was rooted in historical texts that mentioned this term 'Dongyao' and a desire to classify these remarkable works as Imperial creations.

At a time when archaeological studies of Chinese ceramics were in their infancy and kiln sites for celebrated wares like Ru and Yaozhou had yet to be unearthed, Koyama sought to define Northern Song Imperial ceramics through the Dongyao concept. Among the broader group of Yaozhou celadons, often referred to as 'Northern Celadon', he identified a subset of works with a whitish glaze and posited them as the so-called 'Dongyao' described in ancient records. As excavations progressed, however, these wares were absorbed into the broader category of Yaozhou ceramics. Later, Gakuji Hasebe revisited Koyama's findings, examining a group of celadon bowls with pale whitish glazes, similar shapes, and consistent features. He argued that these Dongyao-type wares, distinct from typical Yaozhou products, pointed to a more diverse production of northern celadons during the Northern Song period.

Further archaeological evidence revealed that only a few examples of these Dongyao-type bowls were found at the Huangpu kiln, identified as a Five Dynasties Yaozhou site, and their production did not continue into the Northern Song period. However, datable tomb excavations uncovered a cohesive group of bowls, sharing common characteristics of size, shape, clay, glaze tone, and foot design, dating from the late 10th to early 11th centuries. This discovery suggests a short-lived but significant chapter in the evolution of Northern Celadon production, reflecting the complexity and innovation of the period.

See a related Yaozhou jar carved with floral design, Northern Song/Jin dynasty, 12th century, from the Eumorfopoulos collection and now in the Victoria and Albert Museum, London, illustrated by R.Kerr, Song Dynasty Ceramics, London, 2004, p.55, fig.50.

Compare with a related small and rare Yaozhou jar, Five dynasties/Northern Song dynasty, which was sold at Sotheby's London, 16 May 2018, lot 69.