SACA學會自2019年開始陸續推出的東方陶瓷學會（OCS London）藏家系列，這一系列意在以西方收藏的序列和角度，輔助中國藏家在現時的收藏中對整體收藏類別、級別的判斷。這些藏家都經歷了100年的歷史和市場考驗，其中肯禮夫勳爵（Lord Cunliffe）就是這批早期藏家中的佼佼者。
The SACA (Society for the Ancient Chinese Art) launched the Oriental Ceramics Society (OCS London) Collectors' Series from 2019 onwards. The series is intended to use the sequences and perspectives of Western collections to assist Chinese collectors in their judgement of the overall collection categories and grades in their current collections. These collectors have been in the market for over 100 years, and Lord Cunliffe is one of the best of these early collectors.
Lord Cunliffe
肯禮夫勳爵的美意識
* 感謝Benjamin W. Yim先生協助提供拍品來源及購藏資料。
肯禮夫勳爵（Lord Cunliffe），中國古代藝術收藏界如雷貫耳般的傳承與存在。
肯禮夫勳爵的父親Walter Cunliffe（1st Baron Cunliffe）曾在1913-1918年間任英格蘭銀行的行長；肯禮夫是第二代男爵（ Cunliffe of Headley）：Rolf Cunliffe（1899-1963年），他於1946年加入東方陶瓷學會。
Lord Cunliffe is a legacy and presence in the world of Chinese antiquities collecting.
Lord Cunliffe's father, Walter Cunliffe (1st Baron Cunliffe), was Governor of the Bank of England from 1913-1918; Cunliffe was the second Baronet (Cunliffe of Headley), Rolf Cunliffe (1899-1963), who joined the Oriental Ceramic Society in 1946. He joined the Oriental Ceramics Society in 1946.
▲ 肯禮夫勳爵（Lord Cunliffe）
肯禮夫勳爵無疑是20世紀西方最有影響力的中國藝術品藏家之一。1946年開始便是東方陶瓷學會的活躍成員，於1960年受頒為劍橋大學菲茨威廉博物館東方藝術館榮譽館長。
二戰後期其任職於英國皇家空軍，駐於倫敦，偶得閒暇步入了 Bluett 經營的古董店，購入了他平生第一件的中國古董。也許是幸運，也是是命運的安排，這一買，便開啓了他之後長達二十多年的收藏生涯。
肯禮夫勳爵雖對造型及紋飾較為簡潔的器物最為鍾愛，但仍收藏了許多不同種類的器物，年代跨越極廣，包括商代青銅、宋瓷、明瓷、玉器等等。
肯禮夫勳爵過世後，英國古董商 Bluett & Sons曾為其約600件的藏品進行估價，總額近90,000英鎊。（1963年）
Undoubtedly one of the most influential collectors of Chinese art in the West in the twentieth century, Lord Cunliffe was an active member of the Oriental Ceramics Society from 1946, and in 1960 was made Curator Emeritus of Oriental Art at the Fitzwilliam Museum, Cambridge University.
During the latter part of the Second World War, when he was stationed in London with the Royal Air Force, he had the leisure time to walk into the antique shop run by Bluett, where he purchased his first Chinese antique. Perhaps it was luck, or fate, that this purchase started his collecting career, which lasted for more than twenty years.
Although Lord Cunliffe's preference was for the simpler forms and decorations, he still collected a wide range of objects, spanning a wide range of dates, including Shang Dynasty bronzes, Song porcelains, Ming porcelains, jades, and so on.
After Lord Cunliffe's death, the British antiquities dealer Bluett & Sons valued his collection of some 600 pieces, totalling nearly £90,000. (1963)
肯禮夫勳爵的三件建窯茶碗
▲ 肯禮夫勳爵舊藏 傳世 銀油滴天目茶碗 / 佳士得 香港 2016
肯禮夫勳爵曾對此建盞做出以下評論：“Oscar Raphael曾有一件類似的建盞，現藏劍橋大學菲茨威廉博物館… 但並沒有我這件來得璀璨。”
宋代飲茶活動高度發展，其中鬥茶文化盛行，由裁判根據盞內茶液泡沫的質量及持久度評選。黑褐盞較能襯托白色茶沫觀察茶色，因此最受歡迎，其中又以紺黑地兔毫盞為貴。北宋蔡襄《茶錄》載: “茶色白，宜黑盞，建安所造者紺黑紋如兔毫，其坯微厚，熁之 久熱難冷，最為要用，出他處者，或薄或色紫，皆不及也。”
Lord Cunliffe made the following comment on this Jian bowl: "Oscar Raphael had a similar Jian bowl in the Fitzwilliam Museum, Cambridge... but it is not as brilliant as mine."
Tea drinking was highly developed during the Song Dynasty, and the culture of tea-fighting was prevalent, with judges selecting the cups based on the quality and persistence of the tea foam inside the calabash. The black and brown jian is more able to set off the white tea foam to observe the tea colour, so it is the most popular, among which the blue and black ground rabbit hair jian is the most expensive.
Northern Song Dynasty Cai Xiang "Tea Record": "Tea colour white, suitable for black marigolds, Jian'an made by the blue and black lines such as rabbit's hair, the billet is slightly thick, the long hot and hard to cold, the most important to use, out of other places, or thin or purple, are not as good as also."
▲ 肯礼夫勋爵旧藏 传世 银油滴天目茶碗 / 佳士得 香港 2016 / 东方陶瓷学会展览 1960年 no.196
宋徽宗《大觀茶論》盞項亦有類似說法:“盞色貴青黑，玉毫條達者為上，取其煥發茶採色也。”可見青黑釉地兔毫斑紋盞當時受重視的程度。
建窯黑釉屬高鐵含量的石灰釉，而石灰釉於高溫中容易流淌，釉裡層的氣泡將鐵質帶到釉表，於1250-1350度的高溫下，含鐵質的部分流成斑駁條紋，冷卻時析出晶體，因而形成貌似兔毫的斑紋。
Song Huizong "Daguan tea theory" also has a similar statement: "the colour of the bowl is expensive green and black, jade hair stripes up to the top, take its glowing tea colour also."
Jian kiln black glaze is a high iron content of lime glaze, lime glaze at high temperatures easy to flow, the glaze layer of air bubbles will bring iron to the glaze surface, in the 1250-1350 degrees Celsius of high temperature, the part of the flow of iron into the mottled stripes, precipitation of crystals when cooled, and thus the formation of mottled rabbit-hair appearance.
▲ 肯禮夫勳爵（Lord Cunliffe）舊藏，樂從堂舊藏，建窯兔毫鬥笠茶碗，香港蘇富比，346萬港幣
由於鐵氧化物在釉中的浮沈及氧化程度不同，會令斑紋的色澤及形態隨之而變，因此每件建窯器均獨一無二。兔毫斑紋見灰色、褐色、 銀白色、銀藍色、金黃色等。
Each piece of Jianyao ware is unique because the colour and form of the markings vary according to the degree of oxidation and the floating of iron oxides in the glaze. Rabbit-hair markings are found in grey, brown, silver-white, silver-blue, and golden-yellow.
▲ 傳世 建窯 天目茶碗，德川美術館 藏
SACA曾在《共飲千年：宋代茶碗中的未來科技與時空交織下的美意識 - Futuristic Technology in Jian Ware》一文中提到，建窯擁有高純的氧化鐵，因此以銀為貴。
而傳世之建窯茶碗（僅見日本傳承，茶道器物），經過數百年的使用、擦拭，通體煥發彩色的光澤，其觸感絲滑，這是在其他宋瓷產品上沒有的。
▲ 蘇富比亞洲藝術主席 司徒河偉（Henry Howard-Sneyd），在亞洲藝術週期間，分享灰被天目的審美心得 — 一件口沿有大漆修復的看似沒燒好的建窯，其修復用的大漆經過蘇富比日本同事的科學鑒定為日本桃山時代（15-16世紀），根據其絲綢包裹的精細程度，司徒河偉得出結論：1. 灰被天目是日本至少在500年前就珍惜的審美；2. 茶道和審美的角度，口沿的殘損並未減低人們對它的喜愛程度。
純粹技術性的指標：完整、完美、無暇，彷彿在建盞上已經越來越不適用；取而代之的是感情的審美、精神與傳承，這樣的思考方式，越來越被藏家所理解、接受。
Henry Howard-Sneyd, Sotheby's Chairman of Asian Art, shared his insights into the aesthetics of grey-covered tenmoku during Asian Art Week - a seemingly unfired kiln with lacquer restoration around the mouth rim, scientifically identified by Sotheby's Japanese colleagues as being from the Momoyama period in Japan (15th-16th centuries), and based on the fineness of the silk wrapping, Sneyd concluded that 1) grey-covered tenmoku is an aesthetic cherished in Japan since at least 500 years ago; and 2) from a tea ceremony and aesthetic point of view, it does not diminish the fact that it was made at least 500 years ago. On the basis of the fineness of the silk wrapping, Stuart concluded that 1) the grey covered with tenmoku was an aesthetic cherished in Japan at least 500 years ago, and 2) the damage to the mouth rim did not diminish its popularity from the point of view of the tea ceremony and aesthetics.
The purely technical indicators of completeness, perfection and flawlessness seem to have become less and less applicable in the appreciation of Heirloom Jian / Tenomku bowls; instead, it is the aesthetics, spirit and heritage of feelings that are being replaced, and this way of thinking is increasingly understood and accepted by collectors.
▲ 德川家康 舊藏，建窯灰被天目茶碗 / 德川美術館 藏
▲ 肯禮夫勳爵（Lord Cunliffe）舊藏 - 建窯柿紅、灰被天目茶碗 （T30） / 傳承：Bluett & Son 1948（£ 12.10）、肯禮夫勳爵（Lord Cunliffe）展覽：Mostra de Arte Cinese, Venice 1954、東方陶瓷學會展覽 1960年 no.197
Lord Cunliffe's Old Collection - Jian kiln persimmon red and grey tianmu tea bowl (T30) / Heritage: Bluett & Son 1948 (£12.10), Lord Cunliffe exhibition: Mostra de Arte Cinese, Venice 1954, Oriental Ceramics Society exhibition 1960 1960 no.197
▲ 右：建窯柿紅、灰被天目茶碗 / 東方陶瓷學會展覽 1960年 no.197 ； 左：肯禮夫勳爵（Lord Cunliffe）舊藏，樂從堂舊藏，建窯兔毫鬥笠茶碗，香港蘇富比，346萬港幣 / 東方陶瓷學會展覽 1960年 no.196
Right: Jian kiln tea bowl with persimmon red and grey tianmu / Oriental Ceramic Society Exhibition 1960 no.197; Left: Lord Cunliffe's old collection, Lok Seng Tong's old collection, Jian kiln tea bowl with rabbit hair and hats, Sotheby's Hong Kong, HK$3.46 million / Oriental Ceramic Society Exhibition 1960 no.196
肯禮夫勳爵三件出色建窯茶碗代表了審美上的三個方向：1. 彩光洋溢的宋代銀兔毫 / 油滴、2. 宋人夏日用的鬥笠型平茶碗、3. 千利休喜愛、德川家康藏大名物同款灰被天目茶碗。
這三件宋代建盞展示了肯氏審美穿越時空的精准狙擊，至今依然引人深思。
Lord Cunliffe's three outstanding Jian kiln tea bowls represent three important aesthetic categories in Jian wares: 1. Heirloom Iridescent Song dynasty Silver Hare's Fur / Yuteki (Oil Spot) Tenomku bowl, 2. Conical Shape bowl or referred to as 'Flat Tea Bowl' which were thought to be used in summer by the Song Dynasty people, and 3. a grey quilted or Haikatsugi Tenmoku tea bowl appreciated and treasured by Japanese Tea Master Sen no Rikyu and Fuedal Lords Tokugawa Ieyasu.
These three Song Dynasty Jianzan demonstrate the precision of Ken's aesthetic through time and space, and are still thought-provoking today.
結語
無疑，每一個顯赫私人收藏，都是藏家本人付出最真切的熱誠，耗費一生數十餘載，從目利到目明，日積月累，在謙卑低調與膽大心細中造就。不買什麼，似乎比買什麼更難。
面對自我重復與名利慾望的誘惑，每一個在今天仍被記住的藏家都在日復一日的哲學思考中，走出了一條屬於自己的「君子之路」…
如今的藏家如何找到方向？何謂同類中的精品？是隨波逐流，還是聽從內心的呼喚… 這是一個問題。
肯禮夫舊藏中國藝術珍品，是將昔日英國古董界熾熱的購藏氣氛重現眼前的使者，黃金的歲月湧現眼前…
重現偉大藏家靈魂深處的思考，每個人都彷彿能從中找到屬於自己的那份答案。從中國到英倫，再從英倫回到家鄉，一百年原來是這麼短暫…
Conclusion
Undoubtedly, every prominent private collection is the result of the collector's sincerity, a life spent over several dozen years, and the cumulative efforts of the collector, who has gone from blind to blind, in a humble and low-profile manner, and with a bold and careful mind. What not to buy seems to be more difficult than what to buy.
Faced with the temptation of self-recovery and the desire for fame and fortune, every collector who is still remembered today has walked out of a "gentleman's path" of his own in the course of philosophical contemplation day in and day out...
How do collectors today find their way? What is the best of the best? To go with the flow, or to listen to the call of the heart... this is the question.
The Cunliffe Collection of Chinese Art Treasures is the messenger that brings back the heated atmosphere of the British antiques world in the past, and the golden years are now in front of us...
The golden age is now upon us... The soulful thoughts of great collectors are reproduced, and everyone seems to be able to find their own answers in them. From China to England, and from England back to home, a hundred years is such a short period of time...
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