這件極為罕見的南宋龍泉窯貫耳壺是前商業狂人安宅英一（後破產被住友集團接濟），出租車公司老闆富田雅孝 Masataka Tomita（臨宇山人）的舊藏。南宋時代的官窯、龍泉窯均有燒造以商周青銅器為原型的器物，其中早期南宋官窯的器物造型與商周青銅器的造型如出一轍，相信為早期趙構（南宋第一位皇帝，宋徽宗之子，字德基，號損齋）宮廷所授意訂製。
南宋龍泉窯相信也接到了類似的訂單，燒造一批黑胎龍泉（現被廣泛認為是仿官），本品與存世南宋官窯的製作方式類似，但從胎土和釉的本身看，更接近龍泉窯。目前沒有考古沒有直接證據表明這類作品是來自宮廷的訂單，抑或是民間爭相效仿的作品。主流學者亦然認為，這類作品來自宮廷的訂單，從這個概念上說，其性質可能與南宋官窯相同。
這件作品由南京德基美術館收藏，並在2021年由該博物館舉行的《50 絕美—御宋 五大名窯珍品展》中以南宋官窯的身分展出。
This extremely rare Longquan kiln bottle from the Southern Song dynasty was in the collection of former businessman Eiichi Atak (who went bankrupt and was helped by the Sumitomo Group) and taxi company owner Masataka Tomita (Linyushanren). Both the official kilns and the Longquan kilns of the Southern Song dynasty produced wares based on Shang and Zhou bronzes, and the early Southern Song official kilns, which are of the same shape as the Shang and Zhou bronzes, are believed to have been commissioned by the court of the early Zhao emperor.
A similar order is believed to have been received by the Longquan kilns of the Southern Song dynasty for the firing of a batch of black-flavoured Longquan (now widely regarded as an imitation of the official Guan), which in this case is similar to that of the surviving Southern Song official kilns but is closer to the Longquan kilns in terms of both the clay and the glaze itself. There is no direct archaeological evidence to suggest that this type of work was either an order from the court or a popular copycat. Mainstream scholars have also suggested that this type of work came from a palace order, and in this sense it may be of the same nature as the official kilns of the Southern Song dynasty.
This work is in the collection of the Deji Art Museum in Nanjing, where it will be exhibited as a Southern Song imperial kiln in the exhibition 50 Absolute Beauty - Treasures of the Five Famous Kilns of the Imperial Song Dynasty, to be held there in 2021.
南宋 龍泉窯仿官釉貫耳壺
SOUTHERN SONG DYNASTY (1127-1279)
成交價
美元 1,092,500
估價
美元 40,000 – 美元 60,000
2018年3月22日
南宋 龍泉窯仿官釉貫耳壺
8 7/8 in. (22.5 cm.) high, Japanese triple wood box
來源
The Ataka Collection.
出版
日本經濟新聞社，《美の美展》，第6回，東京，1967年。
佳士得，《古韻天成：臨宇山人宋瓷珍藏展覽》，香港，2012年，182-183頁，編號79。
展覽
日本經濟新聞社，《美の美展》，第6回，東京日本橋三越百貨公司， 1967年8月29日至9月3日。
佳士得，《古韻天成：臨宇山人宋瓷珍藏展覽》，香港，2012年11月22至27日；紐約，2013年3月15至20日；倫敦，2013年5月10至14日。
拍品專文
本件龍泉窯仿官釉貫耳壺出自商代青銅壺。青銅壺在商代為盛酒的禮器，多為直頸、鼓腹、圈足，頸兩側設貫耳的形制，其器身裝飾或為一道或為多層滿工的饕餮紋，饕餮的中心以扉棱作分隔。（圖一）龍泉窯工在設計時去繁就簡，以橫向的凹綫代表青銅器上橫向排佈的紋飾帶，以縱向貼塑的泥條模仿青銅器上的扉棱。這種做法在仿古的同時，最大限度的表達了宋人崇尚素雅的審美情趣，是古今融合的典範。
兩宋之際博古之風盛行，文人雅士皆以收藏青銅器為好，並加以考訂、出版。這一風尚在宋徽宗之時達到了頂峰，他不僅命王黼編纂《宣和博古圖》，並且以《博古圖》為範式訂正《三禮圖》之謬誤重鑄青銅禮器，用於各類國家祭祀大典。靖康之難，宋室南遷，宗廟祭器泰半為金人所掠，途中又多有損之，及至紹興年間朝廷面臨祭典必不可省而祭器匱乏的窘境。於是用各類經濟材料替代青銅製作祭器被提上了日程。瓷器土質，象徵天地之性，因而成爲了製作祭器的不二選擇。南宋官窯置窯之初所在的修内司即隸屬於負責制作祭器的禮器局，見《文藝紹興，南宋藝術與文化.器物卷》，臺北，2010，13-14頁。國立故宮博物院藏有一件南宋官窯貫耳壺，體量碩大，氣勢恢宏，載於前揭書，50-51頁，編號I-2。此類南宋瓷仿銅禮器，多以《博古圖》為準繩，能夠較好的體現三代禮器的精神面貌。（圖二）
南宋時期，龍泉窯因其距行在臨安較近，而又有充沛的自然資源可資大規模窯業生産，在需要時亦會為宮廷燒製高質量的瓷器，見Rose Kerr，《Song Dynasty Ceramics》，倫敦，2004年，89頁。不難想象，在宮廷對禮器大量的需求下，龍泉窯所燒造的此類仿青銅禮器也是宮廷定燒的。而此件龍泉貫耳壺的釉色、釉質，特別是層層叠叠的冰裂狀開片，亦十分接近南宋官釉所追求的效果，見《文藝紹興，南宋藝術與文化.器物卷》，臺北，2010，編號II-1及II-3-5，應該是對官釉的刻意效仿。舊金山亞洲藝術博物館藏有一件與本品形制相同的壺，施加梅子青釉，載於He Li， 《Chinese Ceramics: A New Comprehensive Survey from the Asian Art Museum of San Francisco》，紐約，1996年，159頁，編號277。另一件近似的龍泉貫耳壺，施粉青釉，載於《Chinese Ceramics, Song Yuan Dynasty》，臺北，1988年，423頁。除了貫耳壺的器形外，龍泉窯亦燒造其他仿青銅禮器的器形，如大維德基金會所藏的一件龍泉青瓷簋，載於蘇玫瑰著，《Imperial Taste – Chinese Ceramics from the Percival David Foundation》，洛杉磯，1989年，45頁，編號20；以及四川遂寧金魚村窖藏出土的一件龍泉青瓷簋，載於朱伯謙，《龍泉窯青瓷》，臺北，1998年，155頁，編號124。
A VERY RARE AND IMPORTANT GUAN-TYPE LONGQUAN CELADON HU-SHAPED VASE
SOUTHERN SONG DYNASTY (1127-1279)
Price realised
USD 1,092,500
Estimate
USD 40,000 – USD 60,000
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:
22 Mar 2018
DETAILS
A VERY RARE AND IMPORTANT GUAN-TYPE LONGQUAN CELADON HU-SHAPED VASE
SOUTHERN SONG DYNASTY (1127-1279)
The pear-shaped body of oval section is divided into four horizontal registers which have raised vertical ridges on four sides simulating the flanges of archaic bronze vessels, and is flanked by two lug handles. The vase is covered overall with a lustrous glaze of bluish-green tone, suffused with extensive ice crackles and a wider network of gold crackles.
8 7/8 in. (22.5 cm.) high, Japanese triple wood box
PROVENANCE
The Ataka Collection.
LITERATURE
Nihon Keizai Shinbunsha, Bi no bi ten (The Beauty of Beauty Exhibition), no. 6, Tokyo, 1967.
Christie's, The Classic Age of Chinese Ceramics: An Exhibition of Song Treasures from the Linyushanren Collection, Hong Kong, 2012, pp. 182-183, no. 79
EXHIBITED
Nihon Keizai Shinbunsha, Bi no bi ten (The Beauty of Beauty Exhibition), no. 6, Tokyo Nihonbashi Mitsukoshi Department Store, 29 August to 3 September 1967.
Christie's, The Classic Age of Chinese Ceramics: An Exhibition of Song Treasures from the Linyushanren Collection, Hong Kong, 22 to 27 November 2012; New York, 15 to 20 March 2013; London, 10 to 14 May 2013.
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