拍賣筆記 vol.95 佳士得紐約：藍理捷，壺中居元末明初龍泉窯青釉小奩式香爐，25200美元 - J.J.Lally, A Yuan Ming Dynasty Longquan Celadon Tripod Censer
- SACA
- Mar 13
- 5 min read
來自壺中居的收藏，藍理捷退休專場售出25200美元。這類器物在日本戰國時代的大名中十分流行，特別是德川家康晚年幾乎每天都在聞香，小尺寸的香爐是香道中的利器，宋代「隔火空薰」的方式，在16世紀經志野宗信創立志野流後發揚光大。相信日本目前大量的存世元明龍泉香爐，是經日明貿易傳來的唐物。
This censer originates from the collection of Kochukyo (Huchūkyo) and was sold for US$25,200 at J.J. Lally & Co.'s retirement auction. Such vessels were highly favored among Japanese daimyo warlords during the Sengoku period (1467-1615). Tokugawa Ieyasu (1543-1616), in his later years, practiced daily incense appreciation rituals. Compact censers like this were essential tools in the Japanese incense ceremony (Kōdō). The Song dynasty technique of Gehuo Kongxun (隔火空薰, "indirect incense heating without direct flame") was revitalized in 16th-century Japan through Shino Sōshin's establishment of the Shino-ryū school, which systematized incense aesthetics. The significant number of extant Yuan and Ming dynasty Longquan celadon censers in Japan today likely arrived through Japan-Ming trade routes as prized karamono (唐物, "Chinese antiquities").
此類香爐的造型源於漢代（西元前206年 - 西元220年）古青銅鼎的形制。此式陶瓷器皿常於器身模印弦紋裝飾。
四川省博物館藏有一件形制極近的龍泉窯三足鼎式爐，器身同樣飾有雙凸弦紋兩道，載錄於《龍泉青瓷：四川省博物館藏》（澳門，1998年）第146-147頁，編號47。
另可參閱臨宇山人舊藏一例，器身飾三重弦紋帶，曾售於紐約佳士得，2018年3月22日，拍品527號。
元/明初 十四世紀末/十五世紀初 龍泉窯青釉小奩式爐
YUAN-EARLY MING DYNASTY, LATE 14TH-EARLY 15TH CENTURY
成交價：美元 25,200
估價：美元 8,000 – 美元 12,000
拍品終止拍賣: 2023年3月23日
3 3/8 in. (8.6 cm.) diam.,
reticulated silver cover,
inner lacquered box, Japanese wood box
來源
私人日本珍藏
壺中居, 東京
藍理捷, 紐約, 編號4891
拍品專文
The shape of this censer originates from archaic bronze lian vessels from the Han dynasty (206 BC - AD 220). Ceramic vessels of this form are often molded with bow-strings around the body. A Longquan tripod censer of closely related form, also decorated with two raised lines, in the collection of the Sichuan Provincial Museum, is illustrated in Longquan Celadon: The Sichuan Museum Collection, Macao, 1998, pp. 146-47, no. 47. See, also, an example with triple bow-string bands from the Linyushanren Collection, sold at Christie's New York, 22 March 2018, lot 527.
FAQ: Longquan Censers and Japanese Incense Culture
1. What is the historical significance of Longquan celadon censers in Japan? Longquan celadon censers, particularly those from the Yuan and Ming dynasties, were highly prized in Japan as karamono (Chinese antiquities). Their presence in Japan is largely attributed to trade between the two countries. These censers gained significant popularity among Japanese daimyo (warlords) during the Sengoku period (1467-1615), with figures like Tokugawa Ieyasu (1543-1616) reportedly using them daily for incense appreciation in his later years.
2. What role did these censers play in Japanese incense culture (Kōdō)? Compact Longquan celadon censers were considered essential tools in the Japanese incense ceremony, known as Kōdō. Their size made them practical for the refined rituals of incense appreciation, particularly the technique of "indirect incense heating without direct flame" (Gehuo Kongxun).
3. What is the "Gehuo Kongxun" technique and its importance in Japanese incense appreciation? Gehuo Kongxun (隔火空薰), meaning "indirect incense heating without direct flame," was a Song dynasty technique that involves heating incense over hot embers without direct contact. This method was revitalized and systematized in 16th-century Japan by Shino Sōshin, who founded the Shino-ryū school of incense aesthetics. This technique is fundamental to the subtle and nuanced experience of Kōdō.
4. What are the design origins of these Longquan censers? The shape of these ceramic censers is inspired by archaic bronze lian vessels from the Han dynasty (206 BC - AD 220). This connection to ancient Chinese forms highlights the reverence for Chinese culture in Japan during the periods of their import and use.
5. What are some common decorative features found on these Longquan censers? A common decorative feature found on these ceramic censers is the use of molded bow-strings or raised lines (xianwen) encircling the body of the vessel. Examples exist with both double and triple bands of these string-like decorations.
6. Can you provide examples of similar Longquan censers found in museum collections or auction records? Yes, a closely related Longquan tripod censer with two raised lines is housed in the Sichuan Provincial Museum, as documented in "Longquan Celadon: The Sichuan Museum Collection." Another example, featuring triple bow-string bands from the Linyushanren Collection, was sold at Christie's New York in March 2018. The specific censer discussed in the source, from the Kochukyo collection, was sold at a J.J. Lally & Co. auction for US$25,200 in March 2023.
7. What does the term "karamono" (唐物) signify in the context of Japanese art and antiques? Karamono (唐物) is a Japanese term that literally translates to "Tang things" or "Chinese things." Historically, it refers to Chinese goods, particularly art objects, antiques, and cultural items, that were highly valued and collected in Japan. The presence of Longquan censers as karamono underscores their prestigious status and their role in Japanese cultural life.
8. What can the provenance of a Longquan censer, such as the Kochukyo collection, tell us about its history and value? The provenance of a Longquan censer, indicating its history of ownership and passage through various collections (such as the Kochukyo collection, a private Japanese collection, and the collection of J.J. Lally & Co.), provides valuable insight into its history, cultural significance, and ultimately, its market value. Well-documented provenance from reputable sources enhances the desirability and authenticity of such objects.
Academic Translation Notes:
Cultural Terminology:
"壺中居" rendered as Kochukyo (with Japanese romanization in parentheses) clarifies its identity as a prestigious Japanese dealer.
"香道" translated as Kōdō preserves the cultural practice's Japanese identity.
"唐物" translated as karamono with parenthetical explanation maintains the term's historical nuance.
Historical Contextualization:
Added chronological markers (1467-1615 for Sengoku period; 1543-1616 for Tokugawa Ieyasu) for non-specialist readers.
Italicized Gehuo Kongxun with literal translation bridges technical terminology and accessibility.
Institutional References:
Specified "J.J. Lally & Co." rather than literal translation of "藍理捷" to align with international auction house recognition.
Linguistic Precision:
"隔火空薰" contextualized as a Song dynasty technique rather than direct translation, emphasizing its cross-cultural transmission.
"利器" interpreted as "essential tools" to convey functional significance in ritual practice.
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