宋代筆記 vol.111 龍美術館：南宋官窯琮式瓶，2006瀚海1650萬元，2008嘉德劉益謙2016萬元購藏 - Long Museum, Southern Song Dynasty Guan Cong Vase, RMB16.5m in 2006, RMB21.6m in 2008
- SACA
- Feb 16
- 11 min read
龍美術館的南宋官窯琮瓶是中國內地唯一一件南宋官窯琮瓶，由著名收藏家劉益謙2008年耗資2016萬（1850萬落槌）人民幣於嘉德拍賣購藏。
2025年3月龍美術即將迎來大展，首次將劉益謙收藏的一些重要古代器物展出，這件消失了17年的南宋官窯琮式瓶便是其中一件。
參考：
SACA學會公眾號
琮式瓶文章參考：
最新上手圖，來自網絡
這件作品的製作方式與大英博物館大維德爵士收藏的南宋官窯琮式瓶最為接近，同為圈足底，內為圓筒狀，外貼四個角燒造。
但是這件作品是採用內圓外方的傳統做法，相信製作的年代應該比大英博物館的要早一些，或者為同一時期的不同嘗試。
跨界策展
龍美術館的策展請來了蘇富比、佳士得團隊，博物館與拍賣行合作，成就一個大展，假如不久的將來拍賣，此次展覽也可以看為一個”付費預展“的嘗試。
蘇富比與佳士得等著名拍賣行與私人博物館的合作，展現了藝術界一種全新的模式。其主要優點在於能夠整合各方專業知識與資源。拍賣行擁有深厚的市場洞察、接觸高端藏家的渠道以及強大的行銷策略，而博物館則貢獻了嚴謹的學術研究和策展精神。這種合作模式能夠提升展覽的影響力，吸引更廣泛的觀眾，並有望提高展品的價值和知名度。
然而，這種模式也存在一些潛在的弊端。學術策展與商業利益之間的界線可能變得模糊，從而影響展覽的客觀性和學術價值。“付費預展”的概念可能讓部分人質疑，這樣的展覽究竟是為了傳遞知識還是僅僅作為未來拍賣的一個行銷工具。此外，這種合作模式可能會產生利益衝突，策展決策有可能受到潛在經濟收益的影響，而非純粹基於藝術或歷史的考量。
這種新模式促使我們重新思考藝術界中傳統角色的定位。它挑戰了商業與策展之間的明確界限，並引發了關於倫理標準、透明度以及文化機構與市場間不斷演變關係的新討論。這類合作的成功，將取決於如何在學術誠信與商業可行性之間取得微妙的平衡。
視頻來自網絡
南宋官窯瓶 龍美術館
1600萬：瀚海 2006 / 2016萬：嘉德 2008
關於拍賣經過，網絡文章有記載如下：
* 以下文字摘取自網絡，內容僅供參考，不代表SACA學會觀點：
“…… 2006年北京翰海春拍，人民幣1650萬元成交的南宋官窯琮式瓶，被一位南方買家納入囊中。約兩年之後，入手這件琮式瓶的藏家突然找到嘉德，提出要委託賣掉這件南宋官窯琮式瓶。
這位藏家失去了對瓷器收藏的興趣，執意要賣掉這件南宋官窯琮式瓶。2008年春拍，曾拍出1650萬元南宋官窯琮式瓶出現在嘉德拍場上，起拍價1800萬元。
當時內地的藝術品拍賣市場，客人主買明清書畫和官窯瓷器，收藏宋瓷的客人非常少。即便拍前多位有實力的客人都上手過，公認說東西好且少見，但似乎並沒人有決心和魄力花那麼一個大價錢把它拿下。
拍賣前夕，接到一個委託電話，事後知道，那也是本場收到的關於這件拍品的唯一一個委託——電話來自劉益謙先生。
拍賣當日
「先生，這件琮式瓶您是不是準備買？」
「是呀，我準備出5000萬買。」
「據我觀察，現場好像沒什麼人買，底價是1800萬，您出2000萬就差不多能買到了。」
而劉非常堅決：「我知道這件是非常好的東西，我一定要買到。」
拍賣師開始叫價，1200萬起價，1200萬……1300萬……1400萬……1600萬……
「要不要出價？」
「出價！」
「其實您不用急於出價，可以再等等，看場上是否還有人出價。」
「沒關係，出價！」
「1800萬！」
此刻場下氣氛似乎瞬間靜止，大概停頓一分鐘之後，落槌。劉益謙以1800萬元競得這件南宋官窯琮式瓶。
這似乎是市場上流通的被業內所公認的唯一一件南宋官窯的琮式瓶。如今，它收藏在龍美術館劉益謙的私人庫房內。”
* 以上文字僅供參考，內容不代表學會觀點。
關於南宋官窯琮瓶的常見問題解答
1. 什麼是南宋官窯琮瓶，龍美術館的這件作品為什麼具有重要意義？南宋官窯琮瓶是由南宋（1127-1279年）官方窯口生產的瓷器容器。這類瓶器以其獨特造型著稱，其設計靈感來源於古代玉琮，外形通常為方形或矩形，而內部則呈圓柱形。龍美術館的這件作品尤為重要，因為據稱它是中國大陸唯一的一件此類作品。此外，此次展覽標誌著這件琮瓶17年來首次公開展出。
2. 龍美術館的官窯琮瓶與大英博物館Sir David收藏中的琮瓶有何異同？兩件琮瓶在製作工藝上有許多相似之處，都採用了圓形底足、圓柱形內部以及外部燒制的角飾。然而，龍美術館的琮瓶採用了傳統的“內圓外方”製作方法，這使人們普遍認為它可能製作得更早，或是與大英博物館那件屬於同一時期的不同實驗性嘗試。文中並未詳細說明這種製作方法具體的差異。
3. 龍美術館即將舉辦的展覽在策展方面有哪些新意，其潛在的優點和缺點是什麼？此次展覽的一個創新之處在於與蘇富比和佳士得這兩家知名拍賣行的合作，這種模式在藝術界尚屬首次。其優點在於能整合拍賣行在市場運作、收藏家網絡和營銷策略方面的專業經驗與博物館在學術研究及策展方面的實力，從而提升展覽的知名度，吸引更廣泛的觀眾，並有望提高展品的價值和曝光率。但與此同時，也存在潛在缺陷：學術策展與商業利益之間的界限可能會變得模糊，進而引發人們對展覽客觀性和學術價值的質疑；此外，“付費預展”的概念也可能讓人質疑展覽究竟是為了傳遞知識，還是更多地作為未來拍賣的營銷工具；同時，策展決策有可能受到追求經濟利益的影響，從而出現利益衝突。
4. 文中對這種博物館合作模式提出了哪些擔憂？主要擔憂在於商業利益可能會侵蝕展覽的客觀性和學術價值。將展覽視為未來拍賣的“付費預展”這一概念，引發了人們對於展覽真實目的（教育性與營銷性之間）的疑問。此外，還存在策展決策可能更多受到潛在經濟收益驅動，而非純粹基於藝術或歷史考量的風險。
5. 劉益謙是如何購得這件南宋官窯琮瓶的，文中對購買過程透露了哪些細節？劉益謙於2008年在中國嘉德拍賣會上以1800萬元人民幣的價格購得這件琮瓶。據一篇未經覈實的網絡文章介紹，這件琮瓶曾於2006年以1650萬元人民幣的價格被另一位收藏家買下，但該收藏家後來因失去對瓷器收藏的興趣而決定出售。儘管這件作品因其質量和稀有性受到高度認可，但最初卻鮮有收藏家對其表現出濃厚興趣。劉益謙則表現出極大的決心，最終憑借堅決的出價成功收購。
6. 根據未經覈實的記述，劉益謙在購得這件琮瓶時表現得有多堅定？該記述描繪了劉益謙在購買這件琮瓶時的堅定決心。他曾表示如果必要，願意出價高達5000萬元人民幣，以確保獲得這件作品。即使有人建議他可以用更低的價格購得，他依然堅持按照標價出價，這充分體現了他對這件作品價值和意義的深切認可。
8. 這一南宋官窯琮瓶的案例對藝術界有何更廣泛的意義？這一案例引發了關於文化機構、藝術市場和私人藏家之間不斷變化的關係的重要討論。它挑戰了藝術界的傳統角色定位，並促使人們就倫理標準、透明度以及博物館展覽中學術誠信與商業可行性之間的平衡展開深入探討。此案例不僅突顯了私人藏家在藝術市場中日益增長的影響力，還反映了博物館與拍賣行之間合作趨勢的增強，同時也警示了這種模式可能帶來的風險和弊端。
The Long Museum’s Southern Song Dynasty official kiln cong vase is the only example of its kind in Mainland China. Renowned collector Liu Yiqian acquired it in 2008 at a Poly Auction for 18 million RMB. In March 2025, the Long Museum will stage a major exhibition—the first public display of several important ancient objects from Liu Yiqian’s collection—and this Southern Song official kiln cong-style vase, which had been out of public view for 17 years, will be among them.
The manufacturing technique of this piece closely resembles that of the Southern Song official kiln cong-style vase in the Sir David collection at the British Museum. Both feature a rounded foot, a cylindrical interior, and externally applied, burn-fired corner elements. However, this work employs the traditional method of a “round inside, square outside,” suggesting that it was likely produced earlier than the British Museum piece or represents a different experimental approach from the same period.
Musuem x Auction House Curation
The partnership between renowned auction houses such as Sotheby’s and Christie’s and private museums represents a fascinating new model in the art world. One major advantage is the pooling of expertise and resources. Auction houses bring in-depth market knowledge, access to high-caliber collectors, and robust marketing strategies, while museums contribute scholarly research and curatorial integrity. This collaboration can elevate the exhibition’s profile, attract a broader audience, and potentially increase the value and visibility of the artworks.
However, there are also potential drawbacks. Blurring the lines between academic curation and commercial interests may compromise the perceived objectivity and scholarly value of the exhibition. The notion of a “paid preview” might lead some to question whether the exhibition is primarily an educational showcase or a strategic marketing tool designed to drive future sales. Additionally, this model could create conflicts of interest, where curatorial decisions are influenced by potential financial gains rather than purely artistic or historical considerations.
Ultimately, this new approach invites us to rethink traditional roles in the art world. It challenges the clear-cut separation between commerce and curation, prompting discussions about ethical standards, transparency, and the evolving dynamics between cultural institutions and the market. The success of such collaborations will depend on maintaining a careful balance between academic integrity and commercial viability.
The Guan Vase, Long Museum
During the course of our research, the SACA Society came across an online article detailing a discussion with Liu Yiqian about the acquisition process. The following text is excerpted from that article. Its contents have not been verified and do not necessarily represent the views of the SACA Society:
“In the spring auction of 2006 at Beijing’s HanHai Auction, a Southern Song official kiln cong-style vase was sold for RMB 16.5 million to a buyer from southern China. About two years later, the collector who had acquired the vase unexpectedly contacted Poly Auction to commission its sale. Having lost interest in ceramic collecting, this collector was determined to dispose of the Southern Song official kiln cong-style vase. At the spring auction of 2008, the very same cong vase—which had previously fetched RMB 16.5 million—appeared at Poly Auction with a starting price of RMB 18 million.
At that time, the domestic art auction market was mainly focused on Ming and Qing paintings, calligraphy, and official kiln ceramics; few collectors were interested in Song ceramics. Even though several established collectors had already shown interest—acknowledging the piece’s quality and rarity—it seemed that none were willing to commit to such a high price.
On the eve of the auction, a commission call was received—the only one concerning this lot—and it turned out to be from Mr. Liu Yiqian.
On the day of the auction:
“Sir, are you planning to bid on this cong vase?”
“Yes, I intend to bid 50 million.”
“Based on my observation, there doesn’t seem to be much bidding in the room; the reserve is RMB 18 million. If you bid RMB 20 million, you should secure it.”
Resolutely, Liu replied, “I know this is an excellent piece; I must have it.”
The auctioneer then began calling for bids—starting at RMB 12 million, then RMB 12 million… RMB 13 million… RMB 14 million… RMB 16 million…
“Would you like to bid?”
“Bid!”
“Actually, you need not rush; you can wait and see if anyone else bids.”
“It’s fine, bid!”
“RMB 18 million!”
At that moment, the atmosphere in the room seemed to freeze. After a pause of about one minute, the gavel fell. Liu Yiqian secured the Southern Song official kiln cong-style vase with a bid of RMB 18 million.
This appears to be the only Southern Song official kiln cong vase in circulation that is recognized by experts.
Today, it is housed in Liu Yiqian’s private collection at the Long Museum.”
Frequently Asked Questions
about the Southern Song Dynasty Guan Cong Vase
What is a Southern Song Dynasty Guan Cong Vase, and why is the Long Museum's example significant?
A Southern Song Dynasty Guan Cong Vase is a ceramic vessel produced in the official kilns of the Southern Song Dynasty (1127-1279). These vases are known for their distinctive shape, which is inspired by ancient jade cong objects, featuring a square or rectangular exterior with a cylindrical interior. The Long Museum's example is exceptionally significant because it is reportedly the only such piece in Mainland China. Its upcoming exhibition marks the first time in 17 years that it will be publicly displayed.
How does the Long Museum's Guan Cong Vase compare to the one in the Sir David Collection at the British Museum?
Both vases share similar manufacturing techniques, including a rounded foot, a cylindrical interior, and externally applied corner elements that were burn-fired. However, the Long Museum's vase is believed to be earlier or perhaps an experimental piece from the same period as the British Museum vase, as it employs the traditional "round inside, square outside" construction method. The document does not expand upon what differentiates this method.
What is novel about the curation of the Long Museum's upcoming exhibition, and what are its potential benefits and drawbacks?
The exhibition is being curated in partnership with Sotheby's and Christie's, two renowned auction houses. This collaboration represents a new model in the art world. The benefits include the integration of the auction houses' market knowledge, access to collectors, and marketing strategies with the museum's scholarly research and curatorial expertise. This can increase the exhibition's profile and attract a wider audience. The document cites the collaboration can increase an art piece's value and visibility. However, the potential drawbacks include blurring the lines between academic curation and commercial interests, raising questions about the exhibition's objectivity and potentially leading to conflicts of interest where financial gains influence curatorial decisions.
What concerns does the source raise about this collaboration model for museums?
The primary concern is the potential for compromising the objectivity and scholarly value of the exhibition due to the influence of commercial interests. The concept of a "paid preview" for a future auction raises questions about the exhibition's true purpose (education vs. marketing). Additionally, there's a risk of curatorial decisions being driven by potential financial gains rather than purely artistic or historical considerations.
How did Liu Yiqian acquire the Southern Song Guan Cong Vase, and what does the source reveal about the circumstances of its purchase?
Liu Yiqian acquired the vase at a 2008 China Guardian auction for RMB 18 million. According to an unverified online article, the vase had previously been sold in 2006 for RMB 16.5 million to another collector who later lost interest in ceramics and decided to sell it. Despite its recognized quality and rarity, there was little initial interest among collectors, but Liu Yiqian was determined to purchase it, eventually securing it with his bid.
According to the unverified account, how resolute was Liu Yiqian in purchasing the Guan Cong Vase?
The unverified account portrays Liu Yiqian as being incredibly resolute in his desire to acquire the Guan Cong Vase. He stated his intention to bid RMB 50 million if necessary, demonstrating a strong commitment to owning the piece. Even when advised he could likely secure it for less, he insisted on bidding the asking price to ensure he obtained it, reflecting his deep appreciation for the vase's value and significance.
What broader implications does this case study of the Southern Song Guan Cong Vase have for the art world?
This case study raises important questions about the evolving dynamics between cultural institutions, the art market, and private collectors. It challenges traditional roles in the art world and prompts discussions about ethical standards, transparency, and the balance between academic integrity and commercial viability in museum exhibitions. It underscores the growing influence of private collectors and the increasing collaboration between museums and auction houses, while also highlighting the potential pitfalls of such partnerships.
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