拍賣筆記 vol.152 邦瀚斯倫敦：金代耀州窯月白釉劃刻蓮花紋折沿盤 - Emmanuel Christofides, A Yaozhou 'Moon-White'-Glazed Carved Lotus-Pattern Dish
- SACA
- Mar 29
- 7 min read
五代、宋代、金代，其實並不是核心的重點。每個時代都有好的東西，也有糟粕。收藏的意義是為了獲得複雜的鑑賞能力，所以器物本身是否高質量更為重要。傳承標籤，實際上就是信用值高的人的審美、鑑賞背書。這件器物釉色淡雅，刻花有別傳統的深剔刻，修足簡潔有力，勢必將會奪得佳績。
The Five Dynasties, Song, or Jin periods are not truly central to the matter. Each era produced both masterpieces and mediocrity.
The real essence of collecting lies in developing a sophisticated connoisseurship, making the intrinsic quality of the object paramount.
Provenance labels essentially represent endorsements of aesthetics and judgment from individuals of high credibility. With its elegantly subtle glaze, distinctive shallow carving that departs from traditional deep-cut designs, and its cleanly trimmed, confident footring, this piece will undoubtedly achieve significant recognition.
這件盤上雕飾的蓮花紋樣精緻典雅，完美體現了金代耀州窯瓷器的風格特徵，而此種風格正由北宋時期繁複密集的刻花、印模紋樣演變而來。盤子整體施「月白」釉，僅圈足內修胎細緻而未上釉；此種釉色較宋代耀州窯傳統青釉更為淺淡，且釉面中的氣泡更為密集。
這種注重釉色與器型協調、而非繁瑣裝飾的審美觀，反映了當時中國陶瓷審美觀念的普遍趨勢，與浙江龍泉窯在同一時期追求釉色與形制優雅統一的發展路線如出一轍；當時耀州窯與龍泉窯正是高品質青瓷生產的主要競爭者。
金 耀州窯月白釉劃刻蓮花紋折沿盤
A YAOZHOU 'MOON-WHITE'-GLAZED CARVED LOTUS-PATTERN DISH
Jin Dynasty
INSTINCT & KNOWLEDGE A LIFE IN THE COMPANY OF SONG CERAMICS
15 5月 2025, 10:00 BST
倫敦，新龐德街
£18,000 - £24,000
來源：倫敦古董商Priestley & Ferraro Chinese ArtEmmanuel Christofides (1928-2020)，雅典和倫敦，於1997年1月27日從上處獲得著錄：D.Priestley和M.Flacks，《A Life in the Company of Song Ceramics》，倫敦，2017年，第88-89頁，編號38
可參考一件金代耀州窯青瓷盤，同樣帶有模印與雕刻的花卉裝飾，且釉色與本品接近，著錄於《東亞藝術博物館開幕展覽》，卷一，英國巴斯，1993年，頁131，編號86。另可比較一件北宋至金代耀州窯類似雕蓮紋青瓷盤，見香港2019年出版的《尚善堂珍藏耀州窯瓷器：青瓷之萃》，頁172-173，編號36。此外，亦可參見一件出土於耀州窯遺址（銅川）的金代同類淺色調瓷碗，刊於《耀州窯》，西安，1992年，作者於該書中特別提及「月白釉」是金代耀州窯新發展出的釉色。
一、為何原文提到五代、宋、金時期並非收藏者的「核心焦點」？
原文強調，歷史斷代雖能提供文物的時代背景，但對於收藏者而言，更為重要的是陶瓷本身的品質與藝術價值。每一個朝代均有精品與平庸之作，若僅專注於特定年代的作品，將忽略對個別器物本身價值的全面評估。
二、根據原文，收藏陶瓷的根本價值或「意義」為何？
根據原文所述，收藏陶瓷的根本價值在於培養一種深刻而精妙的鑑賞能力。這種「複合式的鑑賞力」能夠讓收藏者超越單純的歷史斷代，而深入理解陶瓷的形制、釉色及紋飾等多層次的藝術細節。
三、收藏語境中所提到的「來源標籤」（provenance label）是什麼意思？
原文所述的「來源標籤」指的是對一件陶瓷真偽與藝術價值的認可與背書。它反映了業內權威人士或機構基於自身專業知識而做出的判斷與認定，從而為器物增加了一種信用價值（credit value）。
四、本文所示範的金代耀州窯月白釉盤，其主要風格特徵有哪些？
金代耀州窯的風格以典雅精緻為特色。此類月白釉盤通常具有較淺且精細的蓮紋雕刻，相較早期的深刻紋飾更為輕巧細膩，並採用色調偏淡的月白釉（yuebai）。圈足往往修整得乾淨俐落且自信，呈現一種釉色與器型和諧統一的美感，而非以密集紋飾取勝。
五、金代耀州窯的裝飾風格相較北宋時期有哪些變化？
原文指出，金代耀州窯的細膩雕刻風格是在北宋時期密集繁複的深刻、模印裝飾基礎上發展而來的。這代表著裝飾風格趨向更為簡約、精緻，或許在一定程度上減少了工藝的繁複程度。
六、何謂「月白釉」（yuebai），其與傳統宋代耀州窯釉色有何不同？
「月白釉」是耀州窯在金代出現的一種特色釉色，其特徵為色調較傳統宋代耀州青瓷的青綠釉色更淺、更柔和，呈現出略帶青綠調的白色。此外，月白釉內通常帶有較多氣泡，氣泡密度較高。
七、金代耀州窯月白釉反映了中國陶瓷美學的哪些廣泛趨勢？
金代耀州窯強調釉色與器形之間的和諧，避免過於繁複的紋飾，這與同時期中國陶瓷界的審美趨勢一致。同期龍泉窯的青瓷也呈現相似的美學追求，強調優雅的釉色與器形之間的整體和諧感。耀州窯與龍泉窯在當時皆為製作高品質青瓷的重要競爭者。
八、提供的來源記錄及引用文獻說明了此件耀州窯盤的何種重要性及研究價值？
詳盡的來源記錄顯示，此盤歷經知名藏家與權威古董商之手，並被收錄於權威宋、金陶瓷相關出版物中，彰顯其在陶瓷研究領域的重要性與受重視程度。文中對可比較器物及相關考古發現的引用，進一步將該器置於耀州窯整體歷史及風格演變脈絡中，尤其突顯金代月白釉出現的特殊意義。
A YAOZHOU 'MOON-WHITE'-GLAZED CARVED LOTUS-PATTERN DISH
Jin Dynasty
Sturdily potted with a wide well and recessed 'button' base, the curving sides rising to an everted flat rim, carved in the centre with a lotus medallion, covered in a subtle greenish-white glaze, box. 19.3cm (7 5/8in) diam. (2).
15 May 2025, 10:00 BST
London, New Bond Street
£18,000 - £24,000
Provenance:
Priestley & Ferraro Chinese Art, London
Emmanuel Christofides (1928-2020), Athens and London, acquired from the above on 27 January 1997
Published and Illustrated:
D.Priestley and M.Flacks, A Life in the Company of Song Ceramics, London, 2017, pp.88-89, no.38The elegantly carved flowering lotus on this dish exemplifies the refined Jin dynasty style, which had evolved from the intricate, densely carved, and moulded designs of the Northern Song period. The glaze, covering the dish entirely except for the neatly crafted countersunk foot, is a 'moon-white' (yuebai) type: lighter in tone and more densely bubbled than the Yaozhou glazes of the Song dynasty.
This sophisticated aesthetic, prioritising the harmony of glaze and form over elaborate ornamentation, reflects a broader trend in Chinese ceramics of the time. It parallels developments at the Longquan kilns in Zhejiang Province, which were key competitors in the production of high-quality green wares.
See a related Yaozhou celadon glazed dish with moulded and carved floral decoration, with similarly coloured glaze, Jin dynasty, illustrated in The Museum of East Asian Art Inaugural Exhibition, vol.1, Bath, 1993, p.131, no.86. Compare with a related Yaozhou carved celadon dish with similar lotus pattern, Northern Song or Jin dynasty, illustrated in Marvels of Celadon: The Shang Shan Tang Collection of Yaozhou Wares, Hong Kong, 2019, pp.172-173, no.36. See, also, a bowl of this same light tone, excavated from the Tongchuan, Yaozhou kiln, illustrated in Yaozhou Kiln, Xi'an, 1992, Jin dynasty, where the authors notes that 'moon white' glaze (yuebai you) was a development of the Jin dynasty.
Frequently Asked Questions about the Yaozhou 'Moon-White'-Glazed Dish
1. Why does the source text state that the Five Dynasties, Song, or Jin periods are not the "core focus" for collectors?
The source emphasizes that while historical periods provide context, the inherent quality and artistic merit of an individual ceramic piece are more significant for collectors seeking to develop a refined connoisseurship. Each era produced both exceptional and ordinary items, so focusing solely on a specific dynasty overlooks the importance of evaluating the object itself.
2. What is the primary value or "meaning" of collecting ceramics according to the text?
The fundamental value of collecting, as presented in the text, lies in the process of developing a sophisticated ability to appreciate and judge the quality of ceramic art. This "complex connoisseurship" allows collectors to move beyond simple historical attribution and understand the nuances of form, glaze, and decoration.
3. What does the term "provenance label" signify in the context of collecting?
A provenance label, according to the text, acts as a form of endorsement or validation of a ceramic piece's authenticity and aesthetic quality. It represents the informed opinion and judgment of reputable individuals or entities in the field, lending "credit value" to the object based on their expertise.
4. What are the key stylistic characteristics of the Jin dynasty Yaozhou ware exemplified by the featured "moon-white"-glazed dish?
The Jin dynasty Yaozhou style, as seen in this dish, is characterized by refined elegance. Specifically, it features delicately carved lotus patterns, often shallower than the deep carvings of earlier periods, and a move towards a lighter "moon-white" glaze (yuebai). The footrings are typically cleanly trimmed and confident, reflecting a broader aesthetic that prioritizes the harmony of glaze and form over dense ornamentation.
5. How did the decorative style of Jin dynasty Yaozhou ware evolve from that of the Northern Song period?
The text indicates that the refined carving style of the Jin dynasty Yaozhou ware developed from the more intricate, densely carved, and molded designs prevalent during the Northern Song period. This suggests a shift towards a more subtle and perhaps less labor-intensive approach to decoration.
6. What is "moon-white" (yuebai) glaze and how does it differ from the traditional Song dynasty Yaozhou glaze?
"Moon-white" (yuebai) glaze is a distinctive glaze type that emerged in the Jin dynasty at the Yaozhou kilns. It is characterized by a lighter, more subtle greenish-white tone compared to the traditional green (celadon) glaze of the Song dynasty Yaozhou ware. Additionally, the "moon-white" glaze typically contains a denser concentration of bubbles.
7. What broader trends in Chinese ceramic aesthetics does the Jin dynasty Yaozhou "moon-white" glaze reflect?
The emphasis on the harmony between glaze and form, rather than elaborate decoration, in Jin dynasty Yaozhou ware aligns with a wider trend in Chinese ceramics during that period. This aesthetic is paralleled by the developments at the Longquan kilns, which also focused on achieving an elegant unity of glaze and shape in their greenwares. The Yaozhou and Longquan kilns were major competitors in producing high-quality celadons at the time.
8. What does the provided provenance and the referenced literature suggest about the significance and study of this particular Yaozhou dish?
The detailed provenance, tracing the dish back to reputable dealers and collectors, along with its inclusion in established publications on Song and Jin ceramics, underscores its importance and recognition within the field. The references to comparable pieces and archaeological findings further contextualize the dish within the broader history and stylistic development of Yaozhou ware, particularly the emergence of "moon-white" glaze during the Jin dynasty.
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