小山富士夫《宋磁》一書具有十分重大的歷史和藝術意義，此書中精選的宋代器物都具有超越同品類質量和重要性的品質。秦峰男的這件器物便是在此書中有出版，對其國際流通價格有著重大的影響和正面作用。
42万成交
20万起拍，书面，22万电话，书面还在，26女士，28电话，30万网上，32万电话落槌，35网上。48牌号
Fujio Koyama's book ‘Song Ceramics’ is of great historical and artistic significance, as it contains a selection of Song dynasty wares that surpass the quality and importance of their counterparts.
This Qingbai Ewer by Mineo Hata was published in this book and has had a significant and positive impact on its international circulation price.
專場成交細節紀錄參考：
參考：
《宋代筆記 vol.44 小山富士夫《宋磁》中的磁州窯瓷器 - Koyama Fujio Song Ceramics, the Perception of Cizhou in early 20th Century Japan.》
《宋磁》編著小山富士夫，曾任日本東洋陶瓷學會委員長，（文部省文化財審議會專門委員，著名的中國古代陶瓷史及考古學研究家，其《宋磁》收入各大博物館及私人財閥收藏的精品宋瓷77件，運用當年最高的印刷技術，多用黑白珂羅版印刷，間有彩印貼片，印制極為清晰。除說明之外，並標注了收藏之處，書中所列成為世界所知的宋瓷名品。此書學術性和觀賞性兼具，是收藏與瓷器鑒賞的難得圖書資料。
宋 青白釉瓜稜式執壺
A qingbai melon-form ewer,
Song dynasty
the melon-form lobed body rising from a flat base to a tall, waisted cylindrical neck, set with a strap handle opposite the long curved spout, the handle detailed with a small loop at the top and incised with a leaf motif beneath, covered overall save for the base with a blue-tinged transparent glaze, Japanese wood box
25.5 cm
Condition Report
A small chip (approx. 1cm) to the tip of spout. A small flake (approx. 1cm) to the base edge. Some expected surface wear and scratches; and original firing imperfections, such as kiln grits.
流嘴沿帶一小磕（約1公分）。底邊亦見亦一小剝落（約1公分）。些許正常器面磨痕。原生窰燒瑕疵，如窰粘。
Provenance
Collection of a baron family.
Collection of Noda Tetsugoro (b. 1889).
男爵家族收藏
野田鉄五郎（生於1889年）收藏
Literature
Koyama Fujio, Souji [Song ceramics], Tokyo, 1943, pl. 63.
小山冨士夫，《宋磁》，東京，1943年，圖版63
Exhibited
Kyoto National Museum, Kyoto (according to the tag).
京都國立博物館，京都（據標籤）
這件瓜稜青白瓷壺是在宋代江西省景德鎮製造的，景德鎮在元代以後主導了整個中國的瓷器工業。
華南地區的窯廠早年以生產青瓷為主，到了十世紀開始生產白瓷。青白瓷器在化學成分和燒造技術上都與北方的青白瓷器不同（見下一條目北定瓷器）。青白瓷器是在「龍」窯中燒製的，因其狹窄且向上攀爬的結構像龍而得名。這種窯建在山邊或人造土丘上，其設計是為了從燃料（在這種情況下是木材）中獲得最大的熱量。青白瓷器是在還原氣氛中燒製的，也就是說，窯內被刻意剝離了氧氣，因此會產生一種獨特的玻璃狀、冷色、藍白色釉。在中文中，「青白 」的字面意思是 「藍白色」。
和其他白瓷一樣，青白瓷是用來代替銀器的。青白瓷也用於其他不用餐的日常用品，包括燈具、枕頭、香爐、盒子和小罐子。從十一世紀到十四世紀，青白瓷顯然是一個重要的出口系列，因為在韓國、日本、南亞、東南亞、西亞和北非都發現了青白瓷的例子。最早到達歐洲的中國瓷器之一 Fonthill 花瓶（現藏於愛爾蘭國家博物館，曾為十四世紀匈牙利國王所有）就是青白瓷。
維多利亞與阿爾伯特博物館（V&A）同款：
This eight-lobed ewer was made in Jingdezhen in Jiangxi province, a town that was to dominate the entire porcelain industry in China for century to come.
The kilns of southern China, which had earlier excelled in making green ware, started to produce white ware in the ten century. The resultant Qingbai porcelains differ from their northern counterpart in both chemical composition and firing technique (see following entry for Northern Ding wares). They were fired in a 'dragon' kiln, so called because its narrow and upward-climbing structure resembles a dragon. Such kilns were built into the side of a hill or a man-made mound and were designed to maximize heat from the fuel, which in this case was wood. Qingbai wares were fired in a reducing atmosphere, meaning the kiln was deliberately deprived of oxygen, resulting in a distinctive glassy, cool, bluish-white glaze. In Chinese, 'Qingbai' means literally 'bluish white'.
Like other whiteware, the ewer was made as a substitute for a silver vessel. Other daily not used to dining were also made in Qingbai porcelain, including lamps, pillows, incense burners, boxes and small jars. Qingbai ware was evidently an important export line from the eleventh to the fourteenth century, as examples have been found in Korea, Japan, South and South-East Asia, West Asia and North Africa. One of the earliest pieces of Chinese porcelain to reach Europe, the Fonthill vase (now in the National Museum of Ireland and once owned by a fourteenth-century king of Hungary) is of Qingbai ware.
Comments