德川美術館、根津美術館在1979年舉辦了一場半個世紀以來最重要的展覽，其中的天目茶碗部分，出版成《天目》一書，這本書是目前海內外學者、博物館公認的「天目」最具權威書籍。
這本圖錄集合了公家與私人的收藏，其中私人收藏有來自千利休茶道三千家的裏千家、表千家與武者小路千家，大名家族，寺廟，特別是相國寺大龍有馬賴底的灰被天目。
In 1979, the Tokugawa Art Museum and the Nezu Art Museum held one of the most important exhibitions in half a century, in which the section of Tenmoku Tea Bowls was published as the book Tenmoku, which is now recognised by scholars and museums at home and abroad as the most authoritative book on ‘Tenmoku’.
This catalogue brings together public and private collections, including the private collections of the Urasenke, Omotenke, and Musashi Korozenke of the three sen families of the Sen no Rikyu tea school, daimyo families, temples, and in particular the grey quilted 'Haikatsugi' tenmoku of the Sangokuji.
每一件器物均有十分詳細的傳承描述，這本圖錄作為連結20世紀初期《大正名器鑒》的重要出版，相互印證，也成為了日本有傳承天目茶碗的重要資料。
這次的展覽的選品水平自然不在話下，而這個《天目》一書的出版重要性在於能輔助當今傳世天目面臨的三大問題：1. 如何確認是否真為傳世品 ； 2. 如何確認傳承來源真實（包括箱書、仕覆真偽）；3.如何確認級別高低。
Each piece has a very detailed description of its lineage, and this catalogue serves as a link to the important publication of the Taisho Meisho Gazetteer in the early 20th century, corroborating each other and serving as an important source of information on the existence of the Tenmoku Tea Bowl lineage in Japan.
While the selection of items for this exhibition is of course of a high standard, the importance of the publication of this book ‘Tenmoku’ lies in its ability to assist in the three major problems faced by contemporary heirloom tenmoku: 1. how to confirm whether or not they are genuine heirlooms; 2. how to confirm the authenticity of the source of the heirloom (including the authenticity of the box book and the shifu); and 3. how to confirm the level of the grade.
關於第一個問題，是否為真傳世品，是一個非常關鍵的問題。
近年來，藏家不斷的追尋傳世品，爾真正在日本傳世的建盞的量並不是無限量供應。這種新受關注的“傳世品 / Heirloom”品類，有幾個明顯的特點：
1. 通體有彩光，並且與短暫的用茶水浸泡製作出來的彩光有明顯不同；
2. 底足的露胎初，由於長期的使用、擦拭，有十分油潤自然的質感，與新出土的乾澀作品有明確區別；
3. 其銀扣的製作方式，與近期中國的製作方式不同
Regarding the first question, whether it is a genuine heirloom or not is a very crucial issue.
In recent years, collectors have been looking for heirlooms, but there is not an unlimited supply of genuine Japanese heirloom marigolds. This new interest in the ‘Heirloom’ category has several distinctive features. 1:
1. the coloured light on the whole body is distinctly different from that produced by a brief soaking in tea water;
2. the exposed part of the foot, due to long-term use and wiping, has a rather rich and natural texture, which is clearly different from that of the newly unearthed and dry pieces;
3. the manner in which the silver clasp was made is different from that of recent Chinese production.
SACA學會茶司曾撰文討論：《建盏彩光：国宝油滴天目茶碗、吉州木叶与曜变的光彩研究 - Iridescent of Song Dynasty Tenmoku.》可供讀者參考。
作為《天目》茶碗中出版過，受到德川美術館、根津美術館兩個日本頂級博物館的加持，這是一個非常重要的「認識傳世天目」標準器。
標準器是所有認知的根基，也是古董鑑定的首要重點。收藏的底層邏輯一定要建立在「求真」的基石上。爾標準設定，也是要建立在這個基石上，經歷50年以上的考驗。
傳承的根本核心價值不是辯偽，而是一種對當下審美標準的檢驗，是一種謙卑的科學態度。審美並不是抽象的，審美在這種語境下是科學的。任何長期共識的形成，一定是建立在這樣的底層邏輯上，方能持久。
換而言之，傳承的重要性在於時間的考驗，輔助真偽，只是一個附加價值。任何詆毀傳承的行為，都是對人類過去的所有審美積累的全盤推翻，真正的藏家應該研究如何成為傳承的一部分，而不是去築造一座空中樓閣。
As one of the most famous Tenmoku tea bowls ever published, and with the support of two of Japan's top museums, the Tokugawa Museum of Art and the Nezu Museum of Art, this is a very important piece of standardware for ‘recognising the heirloom Tenmoku’.
The standard is the foundation of all knowledge and the primary focus of antique identification. The underlying logic of collecting must be based on the foundation of ‘truth-seeking’. The standard setting is also based on this cornerstone and has been tested for over 50 years.
The fundamental core value of inheritance is not the defence of forgery, but the examination of current aesthetic standards, a humble scientific attitude. Aesthetics is not abstract; it is scientific in this context. The formation of any long-term consensus must be based on such underlying logic in order to be sustainable.
In other words, the importance of heritage lies in the test of time, and aiding authenticity is only an added value. Any act of denigrating the heritage is a complete overthrow of all the aesthetic accumulations of mankind in the past. True collectors should study how to become a part of the heritage, rather than building a castle in the air.
保利北京2024拍賣《一色，一切色》專場
Lot 6374. 禾木兔毫天目盏
D 12.7 cm H 6.5 cm
RMB: 600,000 - 800,000
上手圖片：
上手視頻：
本品宋人墨書
宋人所謂的建窯茶碗的級別，毫無疑問與當下的體系標準有些許差別。在時空的輪換，抽離了飲茶的方式之後，這種存在於想像，浮於表面的視網膜欣賞模式固然不可強加於宋人。
宋代雖然是一個開放多元的時代，但也具備內斂堅韌的精神力量。這股力量在建窯茶碗的色系、盞型、釉色、露胎等特徵上都有很明確的表達，特別是禪茶一味的加持，使得建盞不僅僅是一個實用器，而是一種代表宋人精神和對禪宗理解的聖器。何謂聖杯，建窯茶碗是也。
在這樣的語境下，追求精神內核，顯然比追求技術性上的外像特徵更為重要。了解一件茶碗的美，因此要從精神內涵出發，而不是從其髮色、兔毫的多少出發。當然並不是說美本身不重要，而是美的標準，應該受到檢視，美的範疇，也應該受到檢視，並適時更新。
著名的龍光院曜變天目茶碗，雖然絢麗奪目，但龍光院住持說，佛法才是其核心，因此欣賞龍光院，要從其佛法之心去出發，此為方法論耶。
▲ 大德寺龍光院住持「小堀月浦」與「千宗屋」，在國寶茶室「密庵席」促膝長談。
此盃代表了一種建窯的內斂，溫潤而善良的傳世釉光，是出土品難以比擬的閃爍。傳世數百年的茶碗猶如一個千歲老人，看盡塵世喧囂，爾一言不語。
陰翳禮讚的典範，黝黑的建窯茶碗，是陰翳茶室裡的閃光。任何一位曾經在沒有燈光的茶室裡點過茶的茶人，定會知道真正觀賞建窯之美是在陰翳的自然光線下，欣賞時光流逝帶來的光影變化。
There is no doubt that the grading standard of Jian kiln tea bowls of the Song people is slightly different from the current standards. After the change of time and space, and the withdrawal of the way of drinking tea, this retinal mode of appreciation, which exists in the imagination and floats on the surface, certainly cannot be imposed on the Song people.
Although the Song dynasty was an era of openness and pluralism, it also possessed the spiritual strength of an inward-looking and resilient spirit. This force is clearly expressed in the colour scheme, the shape of the tea bowls, the glaze, the exposed tyre and other features, especially the Zen tea, which makes Jianzan not only a practical vessel, but also a sacred vessel representing the spirit of the Song people and their understanding of Zen Buddhism. What is a holy cup? A Jianzan tea bowl is also a holy cup.
In this context, the pursuit of the spiritual core is obviously more important than the pursuit of the technical features of the external appearance. To understand the beauty of a tea bowl, we should start from the spiritual connotation, not from its colour or the sheer volume and quality of hare's fur.
The famous Ryuko-in Yohen Tenomoku Tea Bowl is colourful, iridescent, but the abbot of Ryoko-in said that instead of the colourful surface, Buddhism is the real core of the bowl, so to appreciate Ryuko-in Yohen, we should start from the heart of Buddhism...such is the methodology.
This cup represents a kind of Jianyao inwardness, a warm and kindly heirloom glaze with a sparkle that is hard to match on unearthed pieces. The tea bowl, which has been handed down for centuries, is like a thousand-year-old man, who has seen the hustle and bustle of the world without saying a word.
The dark Jianyao tea bowl is a model of the shaded salute, a shining light in the shaded tea room. Any tea drinker who has ever ordered tea in a tea room with no light will know that the true beauty of Jian kiln is to appreciate the changes in light and shadow brought about by the passage of time under the natural light of the shade.
理解買的價值是有標準器之用，理解買的意義是對過往級別認知和當下系統對比疏理，是這件茶碗的重要賣點。此盞僅為目明之士所選，可與知者道，難與俗人言。
最後，關於建盞收藏，其底層邏輯，購藏的目的、意義，是未來藏家需要思考的重要問題，其中「求真」、「精神內核」亦然是關鍵詞。
拍賣時間：6 月 15 日(星期六)
拍卖厅 A 順延
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