拍賣筆記 vol.98 佳士得紐約：藍理捷，北宋定窯白地剔花魚戲蓮塘腰圓枕，75600美元售出 - J.J.Lally, A Northern Song Dynasty Carved Ding Bean-Shaped Pillow

此極為罕見的定窯腰圓形瓷枕，略呈凹陷的頂部雕飾有一尾鯉魚在蓮花、荷葉及其他水生植物間游弋，四周環繞著連綿的卷草紋邊框。高聳的側面飾有寬帶的卷草紋，所有裝飾均通過剔刻淺鐵褐色化妝土以露出白色胎地，並覆蓋透明光亮釉。底部未施釉，並有四個小的通氣孔。

長 28.9 公分，附布盒

來源：

紐約藍理捷藝廊，編號4854。

Song Dynasty Ding Ware Pillow_ Fish and Lotus

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絕版威尼斯1954中國藝術大展圖錄：MOSTRA D'ARTE CINESE 1954

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北宋/金 十二世紀 定窯白地剔花魚戲蓮塘腰圓枕

NORTHERN SONG-JIN DYNASTY, 12TH CENTURY

成交價：美元 75,600

估價：美元 60,000 – 美元 80,000

拍品終止拍賣: ：2023年3月23日

帶有動物紋飾的定窯瓷枕極為罕見，因大多數此類瓷枕以花卉紋樣為主。北京故宮博物院藏有一件刻有蓮花紋的雙色定窯瓷枕，根據銘文斷代為大定八年（1168年），見於《故宮博物院藏文物珍品全集 - 宋代瓷器（上）》，香港，1996年，頁98-99，編號89。另有一件相似形制且飾有花卉紋的雙色定窯瓷枕，藏於北京故宮博物院，見於《定瓷雅集：故宮博物院珍藏及出土定窯瓷器薈萃》，北京，2012年，編號100。

此外，河北省定州市博物館收藏有一件雕刻定窯瓷枕，見於穆青主編《定瓷藝術》，石家莊，2002年，頁148，編號198。其他類似的雙色定窯雕刻瓷枕包括費城藝術博物館藏品，見於B. Gray著《宋代瓷器與石器》，倫敦，1984年，頁72，編號52；另有一件見於《楊永德收藏中國瓷枕》，大阪，1984年，頁34，編號6；以及休斯頓美術館藏品，館藏編號59.16。

以下是關於北宋定窯瓷枕的常見問題解答：

問題1：什麼是定窯？此瓷枕有哪些顯著特徵？

定窯是中國宋代五大名窯之一，位於今河北省曲陽縣涧磁村和燕山村一帶，主要生產白瓷，以胎薄質堅、色澤潔白、釉質細潤光滑而著稱。  此瓷枕體現了定窯的典型特徵： 枕面略呈凹陷，雕刻有鯉魚在蓮花、荷葉等水生植物間游動的圖案， 並以透明光亮釉覆蓋， 展現出高超的陶瓷藝術水準。

問題2：此定窯瓷枕上的裝飾圖案有何意義？

瓷枕上的裝飾圖案包括鯉魚在蓮花、荷葉等水生植物間游動， 在中國文化中，鯉魚象徵著豐收和吉祥， 而蓮花則代表純潔和高尚。 這些圖案的組合，可能寓意著豐收、吉祥和純潔等美好祝願。

問題3：該瓷枕的製作技術有哪些特點？

此瓷枕採用了雕刻技術， 在白色胎體上雕刻出圖案， 然後施以透明釉， 經高溫燒製而成。 這種技術使圖案在白色胎體上清晰可見， 並呈現出細膩的質感。 

問題4：此定窯瓷枕與其他已知的定窯瓷枕有何比較？

此瓷枕以魚戲蓮塘圖案為裝飾， 在現存的定窯瓷枕中較為少見， 大多數定窯瓷枕以花卉紋樣為主。 這使得該瓷枕在藝術價值和收藏價值上更為突出。

問題5：此定窯瓷枕的年代和產地是什麼？

根據其風格和製作工藝， 此定窯瓷枕被認為製作於北宋或金代，即12世紀， 產地為河北省曲陽縣的定窯窯址。

問題6：此定窯瓷枕的來源如何？這對其重要性有何影響？

此瓷枕曾由紐約著名的J.J. Lally & Co.藝廊收藏。 明確的收藏來源增加了該瓷枕的歷史價值和可信度， 對研究和收藏具有重要意義。

問題7：此定窯瓷枕的拍賣結果如何？這對其市場價值有何啟示？

該瓷枕於2023年3月23日在紐約佳士得拍賣行以75,600美元成交， 略低於其預估價60,000至80,000美元的範圍。 這表明市場對高品質的定窯瓷器仍保持著穩定的需求和價值認可。

問題8：為什麼定窯瓷枕在中國陶瓷和文化研究中具有重要意義？

定窯瓷枕展示了宋代陶瓷工藝的高超技術和藝術表現， 反映了當時的審美情趣和文化內涵。 作為實用器物，瓷枕也提供了關於古人生活方式和社會風俗的寶貴資料， 因此在中國陶瓷和文化研究中具有重要地位。

A EXCEPTIONALLY RARE CARVED DING BEAN-SHAPED PILLOW

NORTHERN SONG-JIN DYNASTY, 12TH CENTURY

Price realised: USD 75,600

Estimate: USD 60,000 – USD 80,000

Estimates do not reflect the final hammer price and do not include buyer's premium, and applicable taxes or artist's resale right. Please see Section D of the Conditions of Sale for full details.

Closed: 23 Mar 2023

The slightly concave top is decorated with a carp swimming amidst lotus blooms, lily pads, and other aquatic plants framed by a running scroll border and the tall sides are embellished with a wide band of scrollwork, all carved through the pale iron-brown slip to reveal the white ground and covered overall with a transparent glossy glaze. The base is left unglazed and has four small vent apertures.

11 3/8 in. (28.9 cm.) long, cloth box

PROVENANCE

J. J. Lally & Co., New York, no. 4854.

Lot Essay

It is extremely rare to find a Ding pillow with zoomorphic decoration, as most examples exhibit floral designs. For a two-color Ding pillow carved with a lotus design in the Palace Museum, Beijing, dated by inscription to the eighth year of Dading (1168), see The Complete Collection of Treasures of the Palace Museum - 32 - Porcelain of the Song Dynasty (I), Hong Kong, 1996, pp. 98-99, no. 89. A further, two-color Ding pillow of related form and floral design is in the Palace Museum, Beijing, and illustrated in Dingci yaji: Gugong bowuyuan zhencang ji chutu Dingyao ciqi huicui (Selection of Ding Ware: The Palace Museum’s Collection and Archaeological Excavation), Beijing, 2012, no. 100. 

See, also, the carved Ding pillow now in the Dingzhou Museum, Hebei province, illustrated by Mu in Dingci yishu (The Art of Ding Porcelain), Shijiazhuang, 2002, p. 148, no. 198. Other carved two-color Ding pillows of this type include one in the Philadelphia Museum of Art illustrated by B. Gray in Sung Porcelain and Stoneware, London, 1984, p. 72, no. 52; another in Chinese Ceramic Pillows from Yeung Wing Tak Collection, Osaka, 1984, p. 34, no. 6; and one in the collection of Museum of Fine Arts, Houston, accession number 59.16.

Frequently Asked Questions: Northern Song Dynasty Ding Ware Pillow

Q1: What is Ding ware, and what are its notable characteristics as exemplified by this pillow? Ding ware is a type of Chinese porcelain produced primarily in Dingzhou, Hebei province, during the Song Dynasty (960-1279), with production continuing into the Jin Dynasty (1115-1234). It is renowned for its fine white body, delicate ivory-toned glaze, and often intricate carved or molded decoration. This particular pillow exemplifies these characteristics through its finely carved decoration revealing the white body beneath a transparent glaze, its bean shape (a common form for Ding pillows), and the overall high quality of the ceramic artistry. The use of a pale iron-brown slip to highlight the carved design is also a characteristic feature known as "tihua" (carved decoration).

Q2: What is the significance of the decorative motifs found on this Ding ware pillow? The pillow features a carp swimming among lotus blossoms, lily pads, and other aquatic plants. This is a significant motif in Chinese art, symbolizing abundance, perseverance (as carp swim upstream), and conjugal harmony (lotus often represents purity and fruitfulness). The surrounding scrollwork border is a common decorative element in Chinese art, often representing continuity and good fortune. While floral motifs are more common on Ding pillows, the presence of an animal motif like the carp makes this piece particularly rare and noteworthy.

Q3: What does the description tell us about the production techniques used to create this pillow? The pillow was created using a technique where a pale iron-brown slip (huazhuangtu) was applied to the white body, and then the design was carved through this slip to expose the white porcelain underneath. This "tihua" or carved decoration technique created a contrasting two-color effect once the transparent glaze was applied and fired. The description also mentions that the base was left unglazed and features four small vent apertures, which were common in ceramic pillows to prevent cracking during firing.

Q4: How does this particular Ding ware pillow compare to other known examples? This pillow is noted for its rarity due to its zoomorphic (animal) decoration, as most surviving Ding pillows feature floral designs. The description references several other comparable Ding pillows, primarily those with carved decoration and a two-color effect, including examples in the Palace Museum in Beijing (one with a lotus design dated to 1168), the Dingzhou Museum, the Philadelphia Museum of Art, the Yeung Wing Tak Collection, and the Museum of Fine Arts, Houston. These comparisons highlight the stylistic similarities and the prevalence of floral motifs in contrast to the rarity of the fish and lotus design on this piece.

Q5: What is the estimated date and origin of this Ding ware pillow? Based on its style and the comparative examples provided, this Ding ware pillow is dated to the Northern Song or Jin Dynasty, specifically the 12th century. Its origin is identified as the Ding kiln (Dingyao) in Hebei province, a renowned center for porcelain production during that period.

Q6: What is the provenance of this Ding ware pillow, and how does this contribute to its significance? The provenance indicates that this pillow was previously owned by J.J. Lally & Co., a well-respected gallery in New York. A known provenance adds to the historical and art historical significance of an object, providing a record of its ownership and potentially indicating its recognition and value within the art market and among collectors.

Q7: What was the auction outcome for this Ding ware pillow, and what does this suggest about its market value? The pillow was sold at Christie's New York for US$75,600, exceeding its pre-auction estimate of US$60,000 – US$80,000. This high realized price underscores the rarity and desirability of Ding ware, particularly pieces with unusual decoration and in good condition. It reflects the strong demand for high-quality Song and Jin dynasty ceramics in the art market.

Q8: Why are Ding ware pillows considered significant artifacts in the study of Chinese ceramics and culture? Ding ware pillows, including this rare example, provide valuable insights into the ceramic technology, artistic styles, and cultural practices of the Song and Jin dynasties. They demonstrate the high level of skill achieved by potters during this period, the aesthetic preferences of the time (as seen in the popular floral motifs), and even aspects of daily life, as these pillows were functional objects, albeit often highly decorated. The rarity of zoomorphic designs like the carp on this pillow offers further insight into the range and potential symbolism within Ding ware production.