這件器物克利夫蘭博物館定為南宋官窯，但根據最近學術屆共識，參考臨宇山人哥窯盤，這件器物可能應該定為哥窯。
This object was designated as Southern Song official ware by the Cleveland Museum, but according to recent scholarly consensus and with reference to the Linyushanren Ge ware dish, it might more appropriately be classified as Ge ware.
參考：
哥窯盤
克利夫蘭博物館
時期： 12世紀–14世紀
產地： 中國，浙江省朝代： 南宋（1127–1279）——元（1271–1368）
材質： 釉面淡褐色石器
尺寸：直徑：16.5 公分（6 1/2 吋）整體厚度：2.9 公分（1 1/8 吋）
捐贈： Severance A. Millikin 先生及夫人贈送 (1957.72)
來源：Men-Chu Wang，賣家編號35；（Frank Caro）
FAQ 哥窯
何謂哥窯及其重要性？
哥窯是一種中國瓷器，屬於石器類，以其刻意製作的裂紋釉面聞名，釉色常見藍色、灰色或米色。這種裂紋效果有時被形容為“金線鐵線”，即表現出細緻的金棕色裂紋和明顯的深棕或黑色裂紋，類似於玉石上的裂紋，而玉石在中國傳統中極受推崇。與官窯、汝窯、鈞窯、定窯並列，哥窯被認為是宋代“五大名窯”之一，因其精緻的美學和工藝水平深受宮廷及上流社會青睞，其歷史意義更在於展示了宋代藝術成就與技術的卓越。
識別與鑑定哥窯面臨哪些主要挑戰？
對哥窯的識別和鑑定存在多重挑戰：
窯址未確定：哥窯的具體生產地點尚無定論，儘管有各種理論，其中包括流傳甚廣但缺乏實證的長泉張氏兄弟說法。
年代爭議：學術界對哥窯的具體年代存在爭論，部分學者認為其應歸屬於元代而非南宋。
與官窯的區分：由於哥窯與為南宋宮廷生產的官窯在風格上有許多相似之處，兩者之間的辨識也顯得尤為複雜。即使連乾隆皇帝的記錄也時有不一致之處，進一步加劇了辨析難度。
該哥窯盤的來源紀錄如何？這件哥窯盤擁有詳盡的來源記錄，意指其所有權歷史清晰可查：
最初屬於美國華人藝術界重量級人物姚長福（C.F. Yao）的收藏。
隨後成為著名的Stephen Junkunc III收藏的一部分，此收藏以其廣泛且高品質的中國藝術品而聞名。
Junkunc去世後，該盤於2004年在紐約佳士得拍賣行售出。
後來，該作品又進入日本臨玉山人收藏，並於2015年及2024年再次登拍。
Stephen Junkunc III是誰？他與此哥窯盤有何關聯？
Stephen Junkunc III（約1904–1978）是一位備受尊敬的美國中國藝術收藏家，其收藏範圍涵蓋陶瓷、佛教藝術、玉雕、青銅器和繪畫等。Junkunc以其獨到品味著稱，僅從國際信譽卓著的經銷商處購得作品，並始終維持著極高的收藏標準。其名字代表著鑒賞力與品質的象徵，因此來自其收藏的作品備受推崇。Junkunc不僅慷慨借展藏品給各大博物館，其遺贈行為也為其收藏遺產增添了更多歷史與學術價值。
此哥窯盤的市場價值如何隨時間波動？該哥窯盤的市場價值曾經出現顯著變化：
2004年拍賣時售價為148萬美元；
2015年估價達4000萬港元，但最終未能成交
（流拍）；
到2024年，其估值降至約180萬至250萬美元（大約1440萬至1900萬港元）。
這一波動反映了整體藝術市場的變化、收藏家偏好調整、以及圍繞哥窯年代與歸屬爭議的持續影響，同時也體現了市場對Junkunc收藏地位及學術認識的演變。
2015年拍賣中該盤未成交的主要原因是什麼？
該盤2015年未能成交的主要因素，很可能是由於圍繞哥窯年代與產地的不確定性。針對哥窯究竟屬於南宋還是元代的爭論，令潛在買家產生顧慮與猶豫。
“金線鐵線”裂紋在哥窯中的意義何在？
“金線鐵線”裂紋是哥窯最具辨識度且深受青睞的特徵。這一名稱形象地描述了釉面上兩種截然不同的裂紋：
金線：細緻且呈金棕色的裂紋；
鐵線：較寬且呈深棕或黑色的裂紋。
這種雙重裂紋效果不僅具有強烈的視覺吸引力，也被視為高品質哥窯的標誌，猶如玉石中天然出現的裂紋。其形成原因在於泥料與釉料在熱脹冷縮過程中膨脹係數的差異。
乾隆皇帝等帝王對哥窯的欣賞與研究有何影響？
像乾隆皇帝這樣的帝王對哥窯的推崇與研究產生了深遠影響：
乾隆皇帝本人是哥窯及其他宋代瓷器的狂熱收藏家，其個人喜愛表現在多幅宮廷肖像及詳盡記錄中；
他曾下令在哥窯與官窯瓷器上題刻文字，雖然這些題款有時存在歸屬上的不一致，但充分反映了宮廷對這些瓷器的高度重視；
這些記錄和題款為後世學者提供了珍貴的歷史資料，有助於保存、傳播及深入研究這些藝術品，進而使哥窯在藝術史上的地位得以持續傳承。
Lobed Dish: Guan ware
12th-14th Century
China, Zhejiang province,
Southern Song Dynasty (1127-1279) - Yuan Dynasty (1271-1368)
glazed buff stoneware
Diameter: 16.5 cm (6 1/2 in.); Overall: 2.9 cm (1 1/8 in.)
Gift of Mr. and Mrs. Severance A. Millikin 1957.72
Provenance
Men-Chu Wang, Seller's No. 35; (Frank Caro)
FAQ on Ge Ware Dish: Song Dynasty Porcelain
What is Ge ware and why is it significant?
Ge ware is a type of Chinese porcelain, specifically stoneware, known for its deliberately crackled glaze, often in shades of blue, gray, or cream. The crackle effect, sometimes described as "golden thread and iron wire" due to the presence of both fine golden-brown and distinct dark brown/black crackle lines, was admired for resembling fissures in jade, a highly prized material. Ge ware, along with Guan, Ru, Jun and Ding wares, was regarded as one of the "Five Famous Wares of the Song Dynasty," prized by the imperial court and elite for its refined aesthetic qualities. Its significance lies in its unique beauty, the technical skill required to create the crackled glaze, and its historical importance as a representation of Song Dynasty artistic achievement.
What are the main challenges in identifying and dating Ge ware?
The identification and dating of Ge ware are challenging due to several factors. First, the exact location of the Ge ware kilns remains unconfirmed, although various theories exist, including the popular but unsubstantiated story of the Zhang brothers from Longquan. Secondly, there's an ongoing debate among scholars regarding the dating of Ge ware, with some arguing that it should be attributed to the Yuan Dynasty rather than the Southern Song Dynasty. Finally, distinguishing between Ge ware and Guan ware, another type of crackle-glazed porcelain made for the Southern Song court, can be complex due to their close historical association and similar characteristics. Even the Qianlong Emperor's attributions were inconsistent.
What is the provenance of the Ge ware dish discussed in the sources?
The Ge ware dish discussed has a well-documented provenance, meaning its history of ownership is known. It was originally part of the collection of C.F. Yao (Yao Chang Foo), a prominent figure in the American Chinese art scene. It then became part of the renowned Stephen Junkunc III collection, known for its extensive and high-quality holdings of Chinese art. After Junkunc's passing, the dish was sold at Christie's New York in 2004. Later, it became part of the Linyushanren Collection in Japan and returned to auction in 2015 and again in 2024.
Who was Stephen Junkunc III and why is his name important in relation to this Ge ware dish?
Stephen Junkunc III (c. 1904-1978) was a highly respected American collector of Chinese art. His collection was vast, encompassing ceramics, Buddhist art, jade carvings, bronzes, and paintings. Junkunc was known for his discerning taste, acquiring pieces only from trusted international dealers and setting a consistently high standard for his collection. His name is important because it signifies a history of connoisseurship and quality. Items from the Junkunc collection are highly regarded due to his reputation as a meticulous and knowledgeable collector. He also generously loaned pieces to museums and made bequests, which adds to his legacy.
How did the market value and appreciation of this particular Ge ware dish fluctuate over time?
The market value of the Ge ware dish has fluctuated significantly. In 2004, it sold for $1.48 million USD. In 2015, it was estimated at HKD 40 million but failed to sell (was "bought in"). By 2024, its estimated value had dropped to $1.8 - $2.5 million USD (approximately HKD 14.4 - 19 million). This fluctuation reflects several factors, including changes in the overall art market, evolving collector preferences, and ongoing debates about the dating and attribution of Ge ware, the increased awareness of Junkunc's place in the market and scholarly knowledge of Ge ware in general.
What factors contributed to the dish's failure to sell at the 2015 auction?
The primary factor contributing to the dish's failure to sell in 2015 was likely the ongoing uncertainty surrounding the dating and origin of Ge ware. The debate over whether Ge ware was produced during the Southern Song or Yuan Dynasty created hesitation among potential buyers.
What is the significance of the "golden thread and iron wire" crackle pattern in Ge ware?
The "golden thread and iron wire" crackle pattern is a highly desirable characteristic of Ge ware. It refers to the presence of two distinct types of crackle lines: a finer network of golden-brown lines ("golden thread") combined with broader, darker brown or black lines ("iron wire"). This double crackle effect is visually appealing and considered a hallmark of high-quality Ge ware, reminiscent of the natural fissures found in jade. The crackle lines resulted from differences in the coefficient of expansion between the clay body and the glaze.
How have emperors, like the Qianlong Emperor, influenced the appreciation and study of Ge ware?
Emperors like the Qianlong Emperor significantly influenced the appreciation and study of Ge ware through their patronage, collection, and documentation. The Qianlong Emperor, in particular, was an avid collector of Ge ware and other Song Dynasty ceramics. His personal admiration is evident in the inclusion of Ge ware in imperial portraits and detailed depictions of the imperial collection. Furthermore, inscriptions ordered by the Qianlong Emperor on Ge and Guan wares, though sometimes inconsistent in their attributions, demonstrate the imperial court's high regard for these ceramics and provide valuable historical context for modern scholars. Their interest in Ge Ware and documentation of the pieces helped preserve and promote these wares, ensuring their legacy for generations to come.
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