작품 상세

(Lots 1-10 correspond to lots 801-810 in the paper catalogue.) 809 宋 官窯粉青釉多棱直頸瓶 H22.5cm 原共箱蓋款：大正三年（1914 年）二月 久手堅憲二入藏 鈐印：久手堅憲貳印 原共箱標籤：重要美術品 宋官窯蓮式花入 紫檀臺付共箱｜貴 永藏商事株式會社標籤：骨董第〇六五號｜宋官窯蓮式花入 來源：日本永藏商事株式會社收藏，065 號藏品 久手堅憲二收藏 附永藏標籤、紫檀原木座 瓶花形口微侈，長束頸，折肩，直腹，圈足內凹，平底。胎體稍薄，通體施青釉，釉色粉青，釉層肥腴瑩潤，幽雅凝重。釉面自然開片紋向四面八方交織成網絡，口緣、棱角處因釉薄而顯露出紫灰色胎骨，獨具特色。口及折肩處作十八瓣花形，從頸、器身至足施以疏朗有致的豎條褶棱，線條流暢俐落，充盈單純、典雅效果。足隨形滿釉，內凹平底，有十枚支釘痕，露出黑褐胎色。整體造型規整新穎，釉色淡雅脫俗，為罕見宋代官窯佳瓷。 自六世紀晚期，隋煬帝與波斯薩珊王朝建立外交關係之後，推動中國與中亞、內蒙地區頻繁貿易往來，當地所產金銀器也隨之東傳，深受隋唐貴族喜愛。唐代中晚期，金銀器普遍流行多曲瓣器形，也開啟陶瓷器模仿金銀器之風氣；遼代，將延展性強的金銀板錘鍱成花口形器，強調器物的弧曲變化，使口沿凸凹突出，整體造型如盛開花朵，反映在瓷器製作上則略延後至五代的白瓷與越窯青瓷，並延續至兩宋諸窯。 然以此類別出心裁的多棱直頸瓶甚為罕見，博物館藏佳例如 1972年甘肅省定西市漳縣城東徐家坪東坡地「漳縣汪世顯家族墓」出土的兩件南宋〈官窯粉青釉多棱直頸瓶〉、，被視為汪氏家族墓最珍貴的兩件藏品，現分別藏於甘肅省博物館與漳縣博物館（註），兩者造型及釉色與本品極為類似，可資比較，皆屬宋代官窯中少見精品。另台北國立故宮博物院庋藏南宋〈官窯青瓷菊花式盤〉，器形作花口，底部有支燒痕，及支點處露出黑灰色胎土的特徵與本品極為類似，可資參考。 民初許之衡《飲流齋說瓷》：「勝代崇文物，官窯重楷模。精華四海萃，供億萬緡輸。」是對宋代官窯瓷器之讚美。官窯作為宋代五大名窯之一，素有「舊官」、「新官」之區別。「舊官」指北宋官窯，創建於宋徽宗元年（1101 年），因皇帝趙佶的獨特審美，當時貢瓷並不能達到其高雅藝術審美需求，故引入汝瓷及開封東窯等窯口窯系的製作精華，由中央政府直接設立窯口；「新官」則指南宋官窯，北宋滅亡後，宋室南渡，定都臨安，為滿足宮廷祭祀、飲食、陳設及賞賜之用，「襲故京遺制」而設立專燒皇家貢瓷之窯口。據南宋葉寘《坦齋筆衡》及顧文薦《負喧雜錄》記載：「宣政間（政和間）京師自置窯燒造，名曰官窯。中興渡江，有邵成章提舉後苑，號邵局，襲故京遺制，置窯於修內司，造青器，名內窯。澄泥為範，極其精緻，油色瑩澈，為世所珍。後郊壇別立新窯，亦曰官窯。」南宋官窯窯址分別位於杭州鳳凰山下的「修內司官窯」，又稱「內窯」；以及杭州南郊烏龜山的「郊壇官窯」，亦稱「烏龜山官窯」。 官窯瓷器由頂尖匠人專為古代皇帝和貴族燒製，有薄胎和厚胎兩種胎體，又分為灰白色胎及黑灰胎。其中褶棱裝飾器身的形式於唐代即已存在，而本品頸、腹皆飾多道褶棱，頸棱密而腹棱疏，為承襲唐代八棱式瓶之創新作品，其複刻原型可參閱清宮舊藏，北京故宮博物院庋藏唐〈越窯秘色瓷八棱瓶〉；另件以褶棱裝飾之官窯青瓷可參見清宮舊藏，北京故宮博物院庋藏宋〈官窯瓜棱直口瓶〉，與本瓶皆為多棱長直頸，薄胎，粉青釉色潤澤，釉薄處呈現紫灰色胎，富有古樸穩重情趣，極為稀少而珍貴。褶棱裝飾手法不僅克服器物素面帶來的單調感，更取得極佳視覺效果，予人「不飾之飾」的含蓄美感。 宋代，工商業和科學技術發達，正值文人士大夫文化興盛時期，書畫、瓷器皆開創新領域，以瓷器五大名窯「汝、官、哥、定、鈞」的審美藝術為例，喜愛素色之器，造型簡約為上，線條比例和諧，被尊為「經典」。 此種素雅美學如台北國立故宮博物院庋藏南宋〈官窯青瓷菊花式盤〉、清宮舊藏，北京故宮博物院庋藏宋〈官窯葵瓣口盤〉及本件宋〈官窯粉青釉多棱直頸瓶〉，造型樣式雖有個別變化，然技法極為類似，皆通體施滿釉，底有支釘痕，釉面滿布開片紋，片紋較為密集，猶如不規則的蜘蛛網縱橫交錯，又被稱為「百圾碎」，為官窯瓷器所追求恰到好處的簡約美學之傑作，展現瓷器燒造藝術巔峰。 宋代官窯佳瓷素以器型簡潔精緻、色調素雅柔和的審美，使瓷器愛好者紛紛趨之若鶩，然其存世數量稀少，素來在國際市場上備受推崇。 如拍賣於香港蘇富比 2008 年 4 月 11 日，編號 2601，南宋〈官窯粉青釉紙搥瓶〉，以港幣 6 千 7 百 52 萬 7 千 5 百元 成交，隨著流通量的遞減更加奇貨可居，締造此類宋瓷精品之不斐身價。 日本鎌倉時代，約為中國宋元時期，浙江、福建等沿海地區生產的江南精品瓷器，成為海路陶瓷貿易的主角，主要由皇室、寺廟神社、幕府或富裕商家珍藏；至二十世紀初，隨著歐美列強進入中國，展開各種遺跡挖掘，許多從前未知的古代遺物和歷史文物相繼出土。約 1920 至 1930 年日本駐杭州領事米內山庸夫，於南宋官窯「郊壇下」與「修内司」窯址採集，被稱為「米內山陶片」的大量陶片及窯道具等，再次掀起南宋官窯熱潮。如本件南宋〈官窯粉青釉多棱直頸瓶〉，便是極受日本喜愛的珍罕官窯佳瓷，為大正三年（1914 年）二月日本永藏商事株式會社購入之貴重美術品，後再由社長久手堅憲二收藏，視作珍寶秘藏至今。細觀之，本品頸、腹皆飾多道褶棱，褶棱疏密有致，口沿及肩略有參差花齒狀，釉色沉靜潤澤，猶如美玉質感，整器保存完整，品相上乘，彌足珍貴。 The bottle has a slightly flared mouth, a long neck, folded shoulders, a straight belly, a recessed circular foot, and a flat bottom. The body is slightly thin, covered entirely with a blue glaze that has a powdery green hue, the glaze layer is thick and lustrous, elegant and substantial. The glaze surface naturally exhibits crackle patterns that intertwine in all directions, and the edges and corners reveal the purple-gray body due to the thin glaze, which is uniquely characteristic. The mouth and folded shoulder are designed in an eighteen-petal flower shape, with clear and well-proportioned vertical pleats from the neck, body to the foot, the lines are smooth and neat, exuding a simple and elegant effect. The foot is fully glazed, with a recessed flat bottom, showing ten support nail marks, revealing a black-brown body color. The overall shape is neat and novel, and the glaze color is elegant and refined, making it a rare piece of Song Dynasty official kiln porcelain. Since the late sixth century, after Emperor Yang of the Sui Dynasty established diplomatic relations with the Persian Sassanian Empire, trade between China and Central Asia and Inner Mongolia became frequent, and the local gold and silverware was transmitted eastward, deeply favored by the nobles of the Sui and Tang Dynasties. In the mid to late Tang Dynasty, gold and silverware became widely popular in many curved petal shapes, also initiating the trend of ceramics imitating gold and silverware; in the Liao Dynasty, gold and silver sheets were hammered into floral shapes, emphasizing the curvature of the objects, making the mouth and edge protrude and recede, the overall shape resembling a blooming flower, which reflected in porcelain production slightly later in the Five Dynasties with white porcelain and Yue kiln celadon, and continued into various kilns of the Northern and Southern Song Dynasties. However, such creatively designed multi-faceted straight-neck bottles are extremely rare. Notable examples from museum collections include two Southern Song official kiln powder blue multi-faceted straight-neck bottles excavated from the "Wang Shixian Family Tomb" in the East of Xujiaping, Zhang County, Dingxi City, Gansu Province in 1972, regarded as the most precious items of the Wang family tomb, currently housed in the Gansu Provincial Museum and Zhang County Museum respectively (note), both with shapes and glaze colors very similar to this piece, making for a good comparison, both being rare fine products from the Song Dynasty official kiln. Additionally, the National Palace Museum in Taipei holds a Southern Song official kiln celadon chrysanthemum-shaped plate, which has a floral mouth shape, burn marks at the bottom, and features revealing black-gray clay at the support points, very similar to this piece, which can serve as a reference. During the early Republic of China, Xu Zhiheng wrote in "Yin Liu Zhai Shuo Ci": "In a superior era, culture is esteemed, and official kilns follow models closely. The essence gathers from all seas, supplying millions of taels." This is a praise for the porcelain of the Song Dynasty official kiln. The official kiln, as one of the five famous kilns of the Song Dynasty, is distinguished as "old official" and "new official." The "old official" refers to the Northern Song official kiln, established in the first year of the reign of Emperor Huizong of Song (1101), due to Emperor Zhao Ji's unique aesthetic, at that time the tribute porcelain could not meet his high artistic aesthetic demands, so the best production techniques from Ru porcelain and Kaifeng Dong kiln and other kiln systems were introduced, directly established by the central government; the "new official" refers to the Southern Song official kiln. After the Northern Song's demise, the Song court moved south and established its capital in Lin'an, to meet the needs for royal sacrifices, dining, display, and gifts; kilns for producing royal tribute porcelain were established under the "remnants of the old capital's regulations." According to records from the Southern Song's Ye Zhi in "Tan Zhai Bi Heng" and Gu Wenjian in "Fu Xuan Za Lu": "During the Xuan Zheng period (Zheng He period), the capital established kilns for making, named official kilns. After the revival across the river, Shao Chengzhang supervised the rear garden, called Shao Bureau, inheriting the old capital's regulations, established kilns in the repair inner office, made blue vessels, named inner kiln. Chengni was used as a mold, extremely delicate, the oil color was clear, treasured by the world. Later, a new kiln was separately established in the suburbs, also called official kiln." The sites of the Southern Song official kiln are located at "Repair Inner Office Official Kiln," also known as "Inner Kiln," under Phoenix Mountain in Hangzhou; and "Suburban Altar Official Kiln," also known as "Turtle Mountain Official Kiln," in the southern suburbs of Hangzhou. Official kiln porcelain was produced by top craftsmen specifically for ancient emperors and nobles. There are both thin and thick body types, distinguished as gray-white body and black-gray body. The form of pleated decoration on the body already existed in the Tang Dynasty, while this piece features multiple pleats on both the neck and belly, with the neck pleats dense and the belly pleats sparse, representing an innovative work inheriting the Tang Dynasty's octagonal bottle style, the original prototype can be referenced from the former Qing Palace collection, the Beijing Palace Museum holds a Tang Dynasty Yue kiln secret color porcelain octagonal bottle; another piece of official kiln celadon with pleated decoration can be seen in the former Qing Palace collection, the Beijing Palace Museum holds a Song Dynasty official kiln melon-shaped straight-neck bottle, both bottles are multi-faceted long straight necks, thin bodies, with a powdery blue glaze that is lustrous, and the thin glaze reveals a purple-gray body, possessing a rustic and stable charm, extremely rare and precious. The pleated decoration technique not only overcomes the monotony of the plain surface of the object but also achieves an excellent visual effect, giving a subtle beauty of "undecorated decoration." In the Song Dynasty, commerce, industry, and technology flourished, marking a period of cultural prosperity for the literati and scholars, with painting, calligraphy, and porcelain exploring new realms. For example, the aesthetic art of the five famous kilns of porcelain: "Ru, Official, Ge, Ding, Jun," favored plain-colored wares, with a simple shape prioritized, harmonious proportions of lines, and were revered as "classics." This kind of elegant aesthetic is exemplified by the Southern Song official kiln celadon chrysanthemum-shaped plate held by the National Palace Museum in Taipei, the former Qing Palace collection, the Beijing Palace Museum holds a Song Dynasty official kiln sunflower petal plate, and this Song Dynasty official kiln powder blue multi-faceted straight-neck bottle. Although their shapes vary individually, the techniques are very similar, all entirely glazed, with bottom support nail marks, the glaze surface densely covered with crackle patterns, resembling an irregular spider web interwoven, also called "hundred scraps," a masterpiece of the official kiln porcelain that pursues a just-right simple aesthetic, showcasing the peak of porcelain firing art. Song Dynasty official kiln fine porcelain is renowned for its simple and exquisite shapes, and elegant and soft tones, making porcelain enthusiasts flock to it, yet its existing quantity is scarce, consistently esteemed in the international market. For example, at an auction at Sotheby's Hong Kong on April 11, 2008, item number 2601, a Southern Song official kiln powder blue paper-wrapped bottle sold for HKD 67,527,500. As the circulation decreases, it becomes increasingly sought after, creating remarkable value for such fine Song porcelain. During Japan's Kamakura period, approximately the same as China's Song and Yuan periods, exquisite Jiangnan porcelain produced in coastal areas such as Zhejiang and Fujian became the main characters in maritime ceramic trade, primarily collected by the royal family, temples, shinto shrines, the shogunate, or wealthy merchants; by the early twentieth century, with European and American powers entering China, various archaeological excavations commenced, many previously unknown ancient relics and historical artifacts were unearthed successively. Around 1920 to 1930, Mi Nezumi, the Japanese consul in Hangzhou, collected a large number of ceramic shards and kiln tools known as "Mi Nezumi pottery shards" from the Southern Song official kiln sites of "Under the Suburban Altar" and "Repair Inner Office," reigniting the craze for Southern Song official kiln pieces. The Southern Song official kiln powder blue multi-faceted straight-neck bottle is a rare official kiln fine porcelain highly favored in Japan, purchased by the Japanese Yōzō Trading Company in February of the third year of the Taisho era (1914), later collected by president Jukutei Kenken as a treasured secret until now. Upon close observation, this piece features multiple pleats on both the neck and belly, with pleats arranged in a sparse yet orderly manner, the mouth and shoulder slightly uneven with floral tooth-like shapes, the glaze color is serene and lustrous, resembling the texture of fine jade, and the entire piece is well-preserved, with excellent condition, making it extremely precious. (English translation for reference only; Chinese version prevails in case of discrepancies.) 預估價： TWD 4,800,000-6,000,000 RMB 1,090,900-1,363,600 AN EXTREMELY RARE CELADON-GLAZED GUAN-TYPE VASE SONG DYNASTY H22.5cm With Nagakura label and origianl zitan stand PROVENANCE: Nagakura Shoji Co., Ltd., No. 065 Kudeken Kenji Collection