拍賣筆記 vol.145 邦瀚斯倫敦：北宋早期 定窯白釉刻牡丹紋罐「官」款 - A Incised Guan Northern Song Dynasty Dingyao Carved Peony-Pattern Jar
- SACA
- Mar 27
- 3 min read
罕見的器物，官字款。耀州窯的剔刻直視感，北宋早期的做法。
北宋早期 定窯白釉刻牡丹紋罐「官」款
£60,000 - £80,000
直壁微斂，外壁深雕纏枝牡丹紋，花瓣豐盈，枝葉脈絡清晰細緻，肩部斜削內收，頸部直立圓柱形，口沿微微外侈。整器施透明象牙色釉，釉面瑩潤，肩部及圈足處釉汁匯聚較厚，呈現微泛黃色調。底部局部施釉，足圈寬闊，足內刻劃「官」字標記。附盒。高10.7厘米（4 1/4英寸）。
來源：
倫敦古董商 Priestley & Ferraro Chinese Art
Emmanuel Christofides (1928-2020)，雅典和倫敦，於2001年11月13日從上處獲得
傳承：
倫敦Priestley & Ferraro中國藝術公司
埃馬努埃爾·克里斯托菲迪斯（Emmanuel Christofides，1928-2020年）舊藏，2001年11月13日得自上述藝廊。
展覽著錄：
Priestley & Ferraro Chinese Art，《Kilns & Conquerors. Chinese Ceramics from the 10th to the 14th Century》，倫敦，2001年，編號3D.
Priestley和M.Flacks，《A Life in the Company of Song Ceramics》，倫敦，2017年，第114-115頁，編號51（著錄插圖）
此罐器形珍罕獨特，雕刻工藝卓絕深邃。此件製作於定窯工匠突破傳統陶瓷工藝之際，彼時工匠們已不再局限於唐代以來廣受歡迎的素雅白釉器物，開始創作更複雜的器形與精細雕飾，以順應當時不斷變化的審美品味。其中最具代表性的雕刻定窯佳作為1969年晉中元寺塔出土之龍首淨瓶，見M. Medley著《The Chinese Potter》，牛津，1976年，頁107，圖版71號。
宋廷乃定窯最重要的贊助者之一，此器底部所刻之大而略顯匆促的「官」字款，或表明其為御用所製。定窯工匠從耀州窯與磁州窯已有的深浮雕技法中汲取靈感，並加以融合創新，形成獨特風格。此罐之近圓柱形的器身設計或係為突出罐身雕琢之碩大牡丹花卉與蜿蜒葉紋。
早先淨志寺塔之考古發掘也出土了數件早期定窯器，其中數件底部同樣刻有「官」字款記，與本件罐具有許多技術上的相似之處，例如肩部以精準的雕刻凹槽清晰地劃分不同平面之間的轉折，與《Treasures from the Underground Palaces》，東京，1997年，圖版57號所載之淨瓶頗為類似；此外，肩足釉汁匯聚處氧化而泛現淡黃之色澤，亦與前述同書圖版66號所示器盒相仿。
另可參考一件紐約大都會博物館藏北宋青瓷刻花罐，著錄於S.G. Valenstein著《A Handbook of Chinese Ceramics》，紐約，1989年，頁85，圖版75號。
A DINGYAO CARVED PEONY-PATTERN JAR
Incised Guan character, early Northern Song Dynasty
15 5月 2025, 10:00 BST
£60,000 - £80,000
A DINGYAO CARVED PEONY-PATTERN JAR
Incised Guan character, early Northern Song Dynasty
This extraordinary jar is extremely rare, for its rare form and striking deep-relief carving. It was created in a time when Ding kiln artisans were pushing the boundaries of traditional ceramics. Moving away from the plain white-glazed vessels popular since the Tang dynasty, potters began creating more elaborate shapes and intricate decorations to meet the evolving tastes of their clientele. The most renowned example of carved Dingyao is the dragon-spouted kundika from the Jinzhongyuan Temple Pagoda, unearthed in 1969, illustrated by M.Medley, The Chinese Potter, Oxford, 1976, p.107, fig.71.
The Song Court was one of the Ding kilns' most prestigious patrons, and the large, hastily inscribed guan(官 'official') mark on the base of this jar suggests it was crafted for Imperial use. Inspired by the deep-relief carving techniques already employed on Yaozhou and Cizhou wares, the Ding potters embraced this style, adapting it to their own aesthetic. The jar's near-cylindrical shape was likely chosen to emphasise the bold peony blossoms and flowing foliage carved into its surface.
The earlier excavation of the Jingzhi Temple Pagoda also yielded a range of early Dingyao wares, including several marked on the base with the character 'guan'. These early Ding wares from Jingzhi share several technical features with the present jar. These include a precisely carved groove at the shoulder, defining the transition between planes — similar to the kundika illustrated in Treasures from the Underground Palaces, Tokyo, 1997, no.57; and the pooling of glaze that oxidizes to a yellowish tone, as seen on the box, illustrated in Ibid.,no.66.
See a related celadon glazed jar carved with floral designs, Northern Song dynasty, in The Metropolitan Museum of Art, New York, illustrated by S.G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, p.85, fig.75.
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