拍賣筆記 vol.165 邦瀚斯倫敦：北宋磁州窯白地黑剔花牡丹紋梅瓶 - A Northern Song Dynasty Cizhou Sgraffiato Black And White Peony-Pattern Vase, Meiping
- SACA
- 8 hours ago
- 10 min read
宋代磁州窯陶瓷的突出成就之一，即是以黑白對比為特色的瓷器，尤其以劃花（sgraffito）技法的裝飾最為精妙。本件作品造型纖巧修長，紋飾動感盎然，於光亮如漆的黑釉中劃出鮮明的白地，格外亮麗精巧，可謂此高度精緻的陶瓷傳統中一例絕佳之作。
一般而言，其他磁州窯瓶器雖亦有黑白裝飾，但通常整體施以透明釉。本件梅瓶則展現了更進階的工藝，透明釉僅細緻地施於白化妝土的區域，而黑釉區域則保留其自然光澤，未經覆蓋。
來源：
倫敦古董商Priestley & Ferraro Chinese Art
Emmanuel Christofides (1928-2020)，雅典和倫敦，於2003年4月30日從上處獲得
展覽著錄：
Priestley & Ferraro Chinese Art，《Kilns & Conquerors. Chinese Ceramics from the 10th to the 14th Century》，2001年，編號18
D.Priestley和M.Flacks，《A Life in the Company of Song Ceramics》，倫敦，2017年，第116-117頁，編號52（著錄插圖）
本拍品經牛津熱釋光檢測編號P202c10（2002年12月9日），結果與其斷代相符
15 5月 2025, 10:00 BST
倫敦，新龐德街
£70,000 - £120,000
本件作品極為珍罕，目前僅有少數與之類似的例子，如東京五島美術館藏品，刊於《世界陶瓷全集》，卷12，東京，1977年，頁125，編號119。此外，大阪市立東洋陶瓷美術館亦藏有一例，原屬聞名遐邇的安宅收藏，早前則為盧芹齋（Loo）收藏，刊於魏根（J.Wirgin）著，《宋代陶瓷設計》（Song Ceramic Designs），斯德哥爾摩，1970年，圖版50f。
其他類似的北宋黑釉劃花牡丹紋梅瓶例子，還可見於劍橋大學菲茨威廉博物館（館藏編號OC.6-1937）；京都國立博物館（館藏編號GK159）；倫敦大英博物館藏品，見羅森（J.Rawson）著，《中國裝飾：蓮與龍》（Chinese Ornament: The Lotus and the Dragon），倫敦，1984年，圖62a。另參見克利夫蘭藝術博物館藏品（館藏編號1948.119）；以及刊於康蕊君（R.Krahl）主編之《China Without Dragons: Rare Pieces from Oriental Ceramic Society Members》，倫敦，2016年，編號66；京都國立博物館亦藏有一件類似之例，刊於《京都國立博物館名品圖錄》，京都，2004年，編號15。此外，紐約亞洲協會博物館亦收藏一例北宋磁州窯劃花牡丹紋瓶，刊於艾斯肯納齊（G.Eskenazi）著，《古董商之手：艾斯肯納齊眼中的中國藝術界》，倫敦，2012年，頁59。
此類瓶器傳統上歸為北宋時期，年代斷定應屬準確。然而河北磁縣觀台窯址出土的黑白劃花梅瓶碎片顯示，其製作年代約在12世紀初期（見《觀台磁州窯址》，北京，1997年，彩圖版21，圖2），此時大致橫跨北宋徽宗、欽宗至金朝熙宗初年。
觀台出土碎片雖與此例風格相似，但重要差異在於，觀台窯出土的器物裝飾全部施以透明釉，使黑、白兩色均有光澤；相對之下，本件梅瓶則技術更為精細，僅於白色化妝土部分精心施以透明釉，而黑釉區域則維持其天然光澤。因此，儘管乍看之下黑白磁州窯器物似有雷同，實則劃花技術變化甚大，且製作產地亦可能不同。
牡丹紋飾與北宋士人審美趣味高度契合。宋代文人雅士推崇牡丹為繁榮、富貴和文化精緻的象徵，譽之為「花王」。其與財富及社會地位的聯繫，使之備受文士、貴族及收藏家青睞。歐陽修（1007-1072）於《洛陽牡丹記》中，更詳盡地描繪了洛陽園林牡丹的盛景，讚譽牡丹之美並深入探討其文化意涵，彰顯出宋代文化中自然、藝術與知識追求的緊密聯繫。
另參考蘇富比香港2023年4月8日售出一件北宋磁州窯黑釉劃花牡丹紋梅瓶，拍品編號3511。
北宋磁州窯劃花牡丹紋梅瓶常見問題解答
問1：此瓶體現了北宋磁州窯瓷器何種特色？ 答1：北宋磁州窯瓷器以黑白對比著稱，尤其是運用劃花技法（sgraffito）最為出色。本件瓶器即透過在光亮黑釉上劃刻白色圖案，凸顯對比鮮明，展示了當時極高的藝術技巧與精緻的製作水平。
問2：本件梅瓶的上釉工藝與其他黑白磁州窯器有何不同？ 答2：一般黑白磁州窯瓶器大多全面施以透明釉；本件梅瓶則僅在白色化妝土區域細緻地施透明釉，保留黑釉的自然光澤。這種選擇性上釉的工藝更突出了劃花紋飾，與常見器物形成明顯區別。
問3：此瓶的產地與年代如何判定？ 答3：傳統上本件瓶被歸為北宋時期，熱釋光測定結果亦支持此年代歸屬。河北磁縣觀台窯址出土類似碎片，年代約為12世紀初（北宋末至金初），而本件瓶器則被認為是此時期精品的代表。
問4：何謂劃花技法，此瓶如何體現此技法？ 答4：劃花技法即在白色化妝土層上刻劃圖案，露出底層陶土（隨後施以黑釉）。此瓶上的牡丹紋飾，包括精細的葉脈及蓮瓣帶，均透過此技法製成，呈現黑釉之下的白色圖案。
問5：牡丹紋飾在北宋藝術文化中的意涵為何？ 答5：宋代士人崇尚牡丹，視之為「花王」，象徵富貴、優雅與文化品位。牡丹紋飾因與社會地位高度相關，廣受文士、貴族與收藏家的喜愛，反映了宋代對自然美學、藝術表達及知識追求的重視。
問6：此類北宋磁州窯劃花牡丹紋梅瓶是否常見？ 答6：此類採用特殊上釉技術的梅瓶極為罕見，目前僅少數知名博物館藏有類似器物，凸顯了其稀有性與收藏價值。
問7：本瓶的收藏經歷及展覽史為何？ 答7：本瓶收藏來源清晰，2003年由倫敦古董商Priestley & Ferraro Chinese Art售予Emmanuel Christofides，並曾於數個重要展覽與出版物中亮相，如《Kilns & Conquerors. Chinese Ceramics from the 10th to the 14th Century》（2001）和《A Life in the Company of Song Ceramics》（2017）。
問8：此瓶與觀台窯出土類似器物有何不同？ 答8：雖然觀台窯出土的碎片與本件瓶器同為黑白劃花風格，但觀台器物的裝飾皆全面施以透明釉，使黑白兩色同具光澤。本件瓶器則選擇性施釉，更加精緻細膩，暗示此類磁州窯器物在製作技術上可能存在差異，甚至產地亦可能不同。
A CIZHOU SGRAFFIATO BLACK AND WHITE PEONY-PATTERN VASE, MEIPING
Late Northern Song/early 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
£70,000 - £120,000
The result of Oxford Authentication Ltd. thermoluminescence test no.P202c10 dated 9 December 2002, is consistent with the dating of this lot.
Of elegant baluster shape surmounted by a narrow tapering neck with a lipped rim of creamy-ivory white tone, the exterior carved through the lustrous black-glaze with large flowering peonies, with meticulously incised veins and foliage above a band of upright lappets, box. 34.2cm (13 1/2in) high. (2).
Provenance:
Priestley & Ferraro Chinese Art, London
Emmanuel Christofides (1928-2020), Athens and London, acquired from the above on 30 April 2003
Published, Illustrated and Exhibited:
Priestley & Ferraro Chinese Art, Kilns & Conquerors. Chinese Ceramics from the 10th to the 14th Century, 2001, no.18
D.Priestley and M.Flacks, A Life in the Company of Song Ceramics, London, 2017, pp.116-117, no.52 (published and illustrated)
Among the most striking achievements of Song stoneware are the black-and-white Cizhou vessels, masterfully adorned using the sgraffito technique. This particular piece, with its gracefully slender silhouette and dynamic relief designs carved through lustrous black glaze to a radiant white ground, stands out as a particularly vibrant and sophisticated example of this highly refined ceramic tradition. Other vases may feature black-and-white decoration but are entirely covered with a clear glaze. In contrast, the present vase showcases a more advanced technique, with the clear glaze carefully applied solely to the white-slipped areas, preserving the natural gloss of the black glaze untouched.
The present lot is extremely rare, however, another comparable example of this type of meiping with similar decoration is in the Goto Art Museum, Tokyo, illustrated in Ceramic Art of the World, vol.12, Tokyo, 1977, p.125, no.119. See also another similar vase in the Museum of Oriental Ceramics, Osaka, formerly part of the renowned Ataka Collection and, prior to that, the Loo Collection, illustrated by J.Wirgin, Song Ceramic Designs, Stockholm, 1970, pl.50 f.
Other related Cizhou vases engraved with peonies in black glaze, meiping, Northern Song dynasty, can be seen in the Fitzwilliam Museum, Cambridge (acc.no.OC.6-1937); the Kyoto National Museum (acc.no.GK159); the British Museum, London, illustrated by J.Rawson, Chinese Ornament: The Lotus and the Dragon, London, 1984, fig.62a. See also a vase with peony decoration, Northern Song dynasty, in the Cleveland Museum of Art (acc.no.1948.119). See also a related vase, Northern Song dynasty, illustrated by R.Krahl, ed., China Without Dragons: Rare Pieces from Oriental Ceramic Society Members, London, 2016, no.66. Another is in the Kyoto National Museum, illustrated in Masterworks of the Kyoto National Museum, Kyoto, 2004, no.15. See also a related Cizhou stoneware sgraffiato-decorated vase with peony, Northern Song dynasty, in the Asia Society Galleries, New York, illustrated by G.Eskenazi, A Dealer's Hand: The Chinese Art World Through the Eyes of Giuseppe Eskenazi, London, 2012, p.59.
These vases are traditionally attributed to the Northern Song dynasty, a dating that is likely accurate. However, excavations at the Guantai kilns in Ci County, Hebei Province, have unearthed shards of closely related black-and-white sgraffiato meiping from strata corresponding roughly to the early 12th century. See Guantai Cizhou yaozhi, Beijing, 1997, col.pl.21, fig.2. This period spans the reigns of the Northern Song emperors Huizong and Qinzong, as well as the early years of the Jin dynasty under Emperor Xizong.
The Guantai shards belong to a class of vases with carved black-and-white decoration, similar to the present example. However, they differ in one key respect: the decoration on the Guantai vases is fully covered by a clear glaze, which enhances both the black and white elements. In contrast, the present vase exhibits a more refined technique, with the clear glaze meticulously applied only to the white-slipped areas, allowing the natural gloss of the black glaze to remain undisturbed. Thus, although many black-and-white Cizhou vessels may appear similar at first glance, the sgraffiato technique used to create them varied significantly, and the pieces likely originated from different kilns.
The decoration of peonies is also in keeping with Northern Song dynasty trends of the literati. During the Song dynasty, peonies were celebrated as symbols of prosperity, elegance, and cultural refinement, earning the title 'king of flowers' (hua wang). Their association with wealth and status made them highly sought-after by literati, nobles, and collectors. This admiration is epitomised in Ouyang Xiu's (1007-1072) essay, A Record of the Peonies of Luoyang (Luoyang Mudan Ji), which offers a vivid portrayal of the peony's allure in the famed gardens of Luoyang, a city renowned for its cultivation of the flower. Ouyang Xiu meticulously catalogued different varieties, praised their aesthetic qualities, and reflected on the cultural significance they held in Song society. His work not only highlights the sophisticated horticultural practices of the time but also underscores the broader connection between nature, art, and intellectual pursuits in Song dynasty culture, where the appreciation of flowers like the peony became a marker of taste and erudition.
Compare with a related Cizhou black-glazed sgraffiato peony vase, meiping, Northern Song dynasty, which was sold at Sotheby's Hong Kong, 8 April 2023, lot 3511.
Frequently Asked Questions: Northern Song Dynasty Cizhou Sgraffiato Peony Vase
Q1: What is significant about Cizhou ware from the Northern Song Dynasty, as exemplified by this vase? A1: Northern Song Dynasty Cizhou ware is particularly renowned for its black-and-white ceramics, with the sgraffito (劃花) technique being a standout decorative method. This vase showcases this achievement through its striking contrast of carved white designs against a lustrous black glaze, demonstrating a high level of refinement and artistic skill within this ceramic tradition.
Q2: How does the glazing technique of this particular meiping vase differ from other black-and-white Cizhou ware? A2: While other black-and-white Cizhou vases often feature an overall application of transparent glaze, this meiping vase employs a more sophisticated method. The transparent glaze is meticulously applied only to the areas with white slip, allowing the black glaze to retain its natural, unglazed sheen. This selective glazing highlights the carved decoration and distinguishes it from more common glazed black-and-white Cizhou pieces.
Q3: What is the origin and dating of this Northern Song Dynasty Cizhou sgraffiato peony vase? A3: Traditionally attributed to the Northern Song Dynasty, this dating is supported by a thermoluminescence test consistent with the period. While similar black-and-white sgraffito meiping shards have been found at the Guantai kilns in Hebei Province dating to the early 12th century (late Northern Song/early Jin Dynasty), this particular vase is considered a prime example of the high-quality wares produced during that era.
Q4: What is the sgraffito (劃花) technique and how is it evident in the decoration of this vase? A4: The sgraffito technique involves carving through a layer of slip (in this case, white slip) applied to the ceramic body, revealing the contrasting clay color underneath (which is then covered by a black glaze). On this vase, the dynamic peony patterns, including the meticulously incised veins and foliage, and the band of upright lappets are created using this technique, exposing the white ground beneath the black glaze.
Q5: What is the significance of the peony motif in Northern Song Dynasty art and culture? A5: During the Song Dynasty, the peony was highly revered by the literati and was considered the "king of flowers" (花王). It symbolized prosperity, wealth, elegance, and cultural refinement. Its association with high social status made it a popular motif among scholars, nobles, and collectors, reflecting the Song dynasty's appreciation for natural beauty, artistic expression, and intellectual pursuits.
Q6: Is this type of Northern Song Cizhou sgraffiato peony vase common? A6: No, this particular type of meiping vase with this specific glazing technique is considered extremely rare. The text mentions only a few comparable examples held in prominent museum collections worldwide, indicating its scarcity and high value among collectors and institutions.
Q7: What is the provenance and exhibition history of this specific vase? A7: This vase has a well-documented provenance, having been acquired from the London antique dealer Priestley & Ferraro Chinese Art in 2003 by Emmanuel Christofides. It has also been featured in several significant exhibitions and publications, including "Kilns & Conquerors. Chinese Ceramics from the 10th to the 14th Century" (2001) and "A Life in the Company of Song Ceramics" (2017).
Q8: How does this vase compare to similar finds from the Guantai kilns? A8: While shards found at the Guantai kilns share a similar black-and-white sgraffito style, a key difference lies in the glazing. The Guantai examples are fully covered in a transparent glaze, giving both the black and white areas a glossy finish. In contrast, this meiping vase showcases a more refined technique where the transparent glaze is selectively applied only to the white-slipped areas, preserving the natural matte gloss of the black glaze. This suggests potential variations in production techniques and possibly different kilns of origin within the broader Cizhou ware tradition.
Comentarios