A MAGNIFICENT AND IMPORTANT LARGE LONGQUAN CELADON KINUTA VASE
A MAGNIFICENT AND IMPORTANT LARGE LONGQUAN CELADON KINUTA VASE
A MAGNIFICENT AND IMPORTANT LARGE LONGQUAN CELADON KINUTA VASE
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A MAGNIFICENT AND IMPORTANT LARGE LONGQUAN CELADON KINUTA VASE
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南宋 龍泉窯青釉大魚龍耳瓶 蘇玫瑰 (獨立學者) 釉色佳妙的龍泉窯雙魚耳紙槌瓶自面世至今,聲名一直長盛不衰,而本拍品的器型格外挺拔,加上雙耳造型新穎、細膩生動,想必依然能在芸芸佳作中脫穎而出。紙槌瓶的雙耳可分為兩大類:樸拙的鳥形耳 (常謂鳳耳) 出現頻率較高,另一款是精心模製但較為罕見的魚龍耳。以本拍品而言,其魚龍耳尤為生動傳神。 此類器物名曰「紙槌瓶」,而日文名稱中的「砧 (kinuta)」即指木槌,日本在南宋 (公元1127至1279年) 和元代 (公元1279至1368年) 均有進口此類作品。一如本拍品,該等紙槌瓶皆以幽微素雅的龍泉釉著稱,「砧青瓷」一詞便是極言其釉色之美。北宋 (公元960至1127年) 時期製作宮廷用器的窯口,其燒造的紙槌瓶泰半寬沿盤口,折肩棱角分明,器身幾乎筆直。定窯曾燒造少量紙槌瓶,大維德中國藝術館藏一例,其瓶口略歛,圖見畢宗陶 (Stacey Pierson) 著作《Song Ceramics - Objects of Admiration》頁20-1編號1 (倫敦:大維德中國藝術館,2003)。也許更值得一提的是,在特為北宋宮廷燒造的汝窯器中,也有這類紙槌瓶的芳蹤。1987年,河南寶豐縣清涼寺窯址出土了一件汝窯盤口紙槌瓶,圖見《大觀:北宋汝窯特展》頁114-5編號23 (臺北:國立故宮博物院,2006),臺北故宮亦珍藏兩例口沿破損的近似汝窯瓶,圖見前述著作頁116-19編號24及25。雖然形似紙槌,但其原型其實可能是伊斯蘭地區西部 (伊朗是可能性之一) 傳入中國的玻璃器。1997年,在印尼海域發現的印坦沉船貨物中,也有同一形制的玻璃器殘片。據稱,此乃北宋年間的船隻。1986年,一個斷代為公元1018年之前的遼代陳國公主墓也出土了近似的伊斯蘭玻璃瓶,圖見前述著作圖錄編號25,圖2。尤須一提的是,南宋學者洪邁 (公元1123至1202年) 著作《夷堅志》中曾提到,北宋徽宗 (公元1100至1126年在位) 亦庋藏了一批進口玻璃器。 龍泉窯紙槌瓶在現代日本備受推崇,堪可為其重要性現身說法。大阪和泉市久保惣記念美術館藏一例銘「萬聲」青磁鳳耳紙槌瓶 (高30.8公分),此物貴為「日本國寶」,圖見《特展:中國陶磁》頁125編號182 (東京:東京國立博物館,1994)。另有一例安宅舊藏龍泉窯鳳耳紙槌瓶 (高29.2公分),現藏大阪市立東洋陶磁美術館,圖見長谷部樂爾編著的《世界陶磁全集》卷十二之「宋」編號209 (東京:1977),日本當局將之列為「重要文化財」(圖一),京都陽明文庫銘「千聲」紙槌瓶 (高26.2公分) 亦然,圖見《宋磁》頁104編號67 ( 大阪市立東洋陶磁美術館,1999)。別的日本珍藏也有龍泉窯雙耳紙槌瓶的蹤影,例如:東京國立博物館,圖見《《東京國立博物院圖版目錄:中國古陶磁篇》頁91編號372 (東京);根津美術館;畠山記念館,圖見林屋晴三及H. Trubner合著的《Chinese Ceramics from Japanese Collections》編號22 (紐約:Asia House Gallery,1977)。名古屋的德川美術館亦珍藏一例魚龍耳紙槌瓶,圖見《南宋の青磁》展覽圖錄編號23 (根津美術館,2010) (圖二),同一場展覽亦呈獻了東京靜嘉堂文庫美術館藏中的兩件近似例 (編號24及25)。 傳世龍泉窯紙槌瓶的高度大多介乎23至30公分之間,以臺北故宮的鳳耳瓶為例,其瓶身通高25 公分,圖見《文藝紹興:南宋藝術與文化 (器物卷)》頁88-9編號II-6 (臺北:2011)。但另有一批器型較小的近似例,一者為北京故宮博物院清宮舊藏鳳耳瓶 (高17.5公分),圖見《故宮博物院藏文物珍品全集33:兩宋瓷器 (下)》頁110編號98 (香港:1996);另一例是紐約大都會藝術博物館1950年購藏之作,其瓶身飾魚龍耳 (高 17.1公分)。1983年,松陽縣南宋古墓亦曾出土兩件紙槌瓶,一者飾魚龍耳 (高16公分),另一例飾鳳耳 (高26.5公分),圖見朱伯謙編著的《龍泉窯青瓷》頁148-9編號115-6 (臺北:1999)。重慶 (前為四川轄下城市) 開縣溫家鎮窖藏文物之中,也有一例元代鳳耳瓶 (高25公分),現藏重慶中國三峽博物館。 本品通高35公分,比例舒展和諧,器身如斯挺拔者在傳世品中屈指可數。 1939年之前,四川曾出土一件高35.6公分、釉面開片的鳳耳紙槌瓶,圖見上述長谷部樂爾編著的《世界陶磁全集》卷十二之「宋」編號208;據稱,此作現已納入日本私人珍藏。東京都世田谷區五島美術館的鳳耳紙槌瓶通高33.5公分,圖見《五島美術館名品圖錄》圖版86 (東京:1960)。 本拍品源於京都一個重量級的私人珍藏,其器身之高 (35公分) 和所飾的魚龍耳 (又名飛魚耳) 均獨樹一幟。此類神獸魚身龍首,細節生動傳神,迥異於較為常見但流於抽象寫意的鳳耳。早於青銅時代,中國文獻已有提及魚龍,與《山海經》相關的傳說中也有其身影。時至唐代 (公元618至907年),長沙窯、越窯等地均有燒造繪有或剔刻魚龍紋的陶瓷作品,但及至宋 (公元960至1279年) 、遼 (公元907至1125年) 時期,方出現高溫陶瓷魚龍的立體裝飾。到了宋代,魚龍耳以正蛻化為龍的鯉魚造型居多。這一形象源自鯉魚逆流而上、躍過龍門的故事,相關的傳說至少可上溯至東漢時期。據說,鯉躍龍門之後即可化龍升天,所以這一神話未幾便演變為莘莘學子科場中舉、飛黃騰達的象徵。蒙古治下,此類魚龍耳逐漸成了貴重金屬器的裝飾。聖彼得堡埃爾米塔日博物館藏金盃亦飾魚龍耳,此盃很可能出自公元十三世紀末至十四世紀欽察汗國,它曾亮相於紐約大都會藝術博物館2002年舉辦的「The Legacy of Genghis Khan – Courtly Art and Culture in Western Asia, 1256-1353」展覽,詳見圖錄頁18,圖11,圖錄編號139。 除了上文提到的北京故宮和松陽縣實例,已發表作品中也有一小批魚龍耳紙槌瓶。巴婁爵士 (Sir Alan Barlow) 舊藏一例 (高16.8公分),今藏倫敦維多利亞與艾伯特博物館,圖見柯玫瑰 (Rose Kerr) 著作《Song Dynasty Ceramics》頁94編號95 (倫敦:維多利亞與艾伯特博物館,2004)。另一例為玫茵堂珍藏小瓶 (高16.3公分),圖見《L’Âge d’Or de la Céramique Chinoise [中國陶瓷黃金年代)]》頁118編號88 (巴黎:賽努奇亞洲藝術博物館,1999)。卡爾‧坎普 (Carl Kempe) 珍藏中也有二例近似瓶 (分別高20和26公分),圖見Bo Gyllensvärd著作《Chinese Ceramics in the Carl Kempe Collection》頁51編號98及99 (斯德哥爾摩/哥德堡/烏普薩拉:Almqvist & Wiksell,1962)。弗利爾美術館藏一例魚龍耳紙槌瓶 (高25.9公分),圖見《The Freer Gallery of Art, I China》編號89 (華盛頓特區:1972)。其他的魚龍耳龍泉瓶近似例包括:伍祖 (Njoo) 珍藏 (高26公分),曾於「Chinese Celadons and Other Related Wares in Southeast Asia」展出,詳見圖錄圖版73左方 (新加坡:Arts Orientalis,1979);羅布迪 (Brodie Lodge) 珍藏 (高28公分),此瓶曾於1960年在倫敦展出,詳見東方陶瓷協會《宋代藝術》展覽圖錄編號173圖版64右方 (倫敦:藝術委員會,1960)。日本大名松平不昧 (1750至1818年) 舊藏一件魚龍耳近似例 (高28.5公分),後經紐約佳士得於2008年3月拍出 (拍品編號561)。 顯然,自鎌倉時代 (公元1192至1333年) 以降,此類紙槌瓶在日本炙手可熱,就此可證諸1323年駛往日本途中在韓國新安水域沉沒船隻上的兩件文物,圖見《新安海底文物》展覽圖錄彩色圖版3 (首爾:國立中央博物館,1977) 。該船應是從浙江寧波港啟航,而寧波東門口海運碼頭遺址亦曾出土同類紙槌瓶的器頸與魚龍耳殘片,圖見1981年《浙江省文物考古說學刊》圖版XI:8。 中國陶瓷在日本地位尊崇,這一現象由來以久,但在鎌倉時代 (公元1192至1333,約與南宋同期) 的日本,中國藝術品更是一時風頭無兩。誠如日本學者西田宏子教授所言,時至鎌倉時代,「…… 佛寺與武士階級在各種儀式、內部裝潢和茶道活動中所用的藝術和裝飾藝術品,泰半是從中原進口。」相關的論述,詳見西田教授所撰 <The Collection and Appreciation of Chinese Art Objects in 15th-16th Century Japan, and their Legacy> ,全文發表於畢宗陶編著的「Colloquies on Art & Archaeology in Asia」系列之二十《Collecting Chinese Art: Interpretation and Display》頁10 (倫敦:大維德基金會,2000)。這些作品統稱「唐物」,除鎌倉之外,日本多個歷史遺蹟皆曾出土大量的相關文物,足證時人對「唐物」何等趨之若鶩。無論是福井縣的一乘谷朝倉氏遺址,或是廣島的草戶千軒遺址,乃至多個京都遺址和港口城市博多,其出土的宋元中國陶瓷殘片均數量可觀,就此可參見西田教授前述著作。此外,許多日本名寺仍坐擁一批數百年來代代相傳的中國宋瓷。以京都大德寺為例,其珍藏中便有一例與本拍品形制相同的魚龍耳龍泉瓶,圖見《大德寺の名寶》圖版96 (京都:1985)。 綜觀同類型的絕妙龍泉窯紙槌瓶,本拍品在在俱屬箇中上品。
南宋 龍泉窯青釉大魚龍耳瓶

SOUTHERN SONG DYNASTY (1127-1279)

細節
南宋 龍泉窯青釉大魚龍耳瓶13 ¾ in. (35 cm.) high, silk pouch, Japanese double wood box
來源
武山勘七 (1854-1907) 珍藏, 名古屋, 日本
武山勘七 (1854-1907) 珍藏, 春秋園, 名古屋, 日本; 大阪美術俱樂部, 1914年1月20日, 拍品編號274
秦峰男珍藏, 神戶, 日本
拍場告示
Please note that this lot is subject to an import tariff, and please refer to the Conditions of Sale for further information.
請注意,本拍品有相關入口關稅,詳情請查閱業務規定。

榮譽呈獻

Vicki Paloympis (潘薇琦)
Vicki Paloympis (潘薇琦) Head of Department, VP, Specialist

拍品專文

A Magnificent and Unusually Large Longquan Celadon Kinuta Vase
Rosemary Scott, Independent Scholar

While Longquan vases of this form and with such an exquisite glaze have been highly prized from the time of their manufacture to the present day, the current vase would have been especially revered for its exceptional size and the shape and accomplished rendering of its handles. Kinuta vases were made with two types of handles – the more usual being in a relatively simple bird form (generally identified as a phoenix) and the rarer being in the form of a well-modelled dragon-fish. The current vase has especially fine dragon-fish handles.

The Japanese name kinuta, refers to a mallet, as these are regarded as mallet-shaped vases, and were imported into Japan in the Southern Song (1127-1279) and Yuan (1279-1368) dynasties. Like the current example, they were often characterised by especially fine Longquan glazes, and so the term kinuta is also sometimes applied as a complimentary term in relation to a glaze. In the Northern Song dynasty (AD 960-1127) the mallet form with wide flattened mouth, sharp shoulder junctions and almost straight sides, was made in two of the ceramic wares associated with the imperial court. A small number of Ding wares were made in this form, and an example with reduced mouth is in the collection of the Percival David Foundation (illustrated by Stacey Pierson in Song Ceramics - Objects of Admiration, Percival David Foundation, London, 2003, p. 20-1, no. 1). Perhaps more significantly, Ru wares made specifically for the Northern Song court, have been found in this form. A mallet-shaped Ru ware vase with wide flattened mouth was excavated in 1987 at the kiln site of Qingliangsi, Baofengxian, Henan province (Grand View: Special Exhibition of Ju Ware from the Northern Sung Dynasty, National Palace Museum, Taipei, 2006, pp. 114-5, no. 23), while the National Palace Museum, Taipei has two similar Ru ware vases with damaged mouths (ibid., pp. 116-19, nos. 24 and 25). The shape, despite resembling a paper mallet, may in fact have been introduced to China as a glass vessel from the Islamic west, possible Iran. Fragments of glass vessels of this shape were found in 1997 amongst the cargo of the Intan wrecked ship excavated off the Indonesian coast. This ship is believed to date to the Northern Song period. An Islamic glass vessel of this form was also found in 1986 in the tomb of the Princess of Chen of the Liao dynasty, the terminus ante quem for which is 1018 (illustrated ibid. cat. no. 25, fig. 2). It may also be significant that, according to the Southern Song scholar Hong Mai (1123-1202) in his Yijianzhi (Record of the Listener), the Northern Song Emperor Huizong (r. 1100-1126) had a collection of imported glass.

The esteem in which Longquan kinuta vases are held can be seen in the approbation they have received in modern Japan. A kinuta vase, with phoenix handles (height of 30.8 cm.), known as Bansei (Ten Thousand Cries), in the Kuboso Memorial Museum of Arts, Izumi, Osaka, has been designated as a Japanese National Treasure (see Special Exhibition – Chinese Ceramics, Tokyo National Museum, Tokyo, 1994, p. 125, no. 182). Another of phoenix-handled Longquan mallet vase (height of 29.2 cm.), from the Ataka Collection, now in the Museum of Oriental Ceramics, Osaka (see Gakuji Hasebe (ed.), Sekai Toji Zenshu, vol 12, Sung, Tokyo, 1977, no. 209), has been designated an Important Cultural Property by the Japanese authorities (Fig. 1), as has an example, height 26.2 cm., known as Sensei (A Thousand Cries) in the Yomei Bunko, Kyoto (see Museum of Oriental Ceramics Osaka, Song Ceramics, 1999, p. 104, no. 67). Longquan twin-handled kinuta vases can be found in several other collections in Japan, such as the Tokyo National Museum (see Illustrated Catalogues of Tokyo National Museum – Chinese Ceramics, Tokyo, p. 91, no. 372), the Nezu Museum, and the Hatakeyama Memorial Museum (see S. Hayashiya and H. Trubner, Chinese Ceramics from Japanese Collections, Asia House Gallery, New York, 1977, no. 22). An example with dragon-fish handles from the Tokugawa Art Museum, Nagoya, is illustrated in the exhibition catalogue Heavenly Blue: Southern Song Celadon, Nezu Museum, 2010, no. 23) (Fig. 2), while two further examples from the collection of the Seikado Bunko Art Museum, Tokyo, were included in the same exhibition (nos. 24 and 25).

The majority of surviving Longquan vases of kinuta form are between 23 and 30 cm. high – such as the phoenix-handled vase in the collection of the National Palace Museum, Taipei, which is 25 cm. tall (see, Dynastic Renaissance – Art and Culture of the Southern Song – Antiquities, Taipei, 2011, pp. 88-9, no. II-6). However, there is a group of smaller examples like the vase with bird-shaped handles from the Qing Court Collection in the Palace Museum, Beijing (height 17.5 cm.) illustrated in The Complete Collection of Treasures of the Palace Museum – 33 – Porcelain of the Song Dynasty (II), Hong Kong, 1996, p. 110, no. 98, and the vase with dragon-fish handles (height 17.1 cm.), which was acquired by the Metropolitan Museum of Art, New York, in 1950. Two kinuta vases were excavated from a Southern Song dynasty tomb in Songyang county in 1983 – one with dragon-fish handles was 16 cm. high, while the other had phoenix handles and a height of 26.5 cm (see Zhu Boqian (ed.), Celadons from Longquan Kilns, Taipei, 1999, pp. 148-9, nos. 115-6). A Yuan dynasty phoenix-handled vase (height 25 cm.) was excavated from a hoard at Wenjia, Kaixian, Chongqing city (previously part of Sichuan province) and is now in the National Museum of the Three Gorges.

The current vase is one of a very small group of taller kinuta vases, and stands at 35 cm. high—with perfectly harmonious proportions. A vase, 35.6 cm. high, with bird handles and crackled glaze was excavated in Sichuan province prior to 1939, and is illustrated by Gakuji Hasebe (ed.) in Sekai Toji Zenshu, vol 12, Sung, op. cit., no. 208; it is believed to be currently in a private Japanese collection. A kinuta vase 33.5 cm. high with phoenix handles is in the collection of the Gotoh Museum of Art, Setagaya City, Tokyo (see Gotō bijutsukan meihin zuroku [Illustrated masterpieces from the collection of Gotoh Art Museum], Tokyo, 1960, pl. 86).

The current vase, which comes from an important late 19th-early 20th century private collection in Nagoya, is unusual not only in its height (35 cm.) but in having handles in the shape of yulong or feiyu (dragon-fish). These creatures have fish-like bodies and dragon-shaped heads, and are depicted in considerable detail, in contrast to the more common bird-shaped handles, which are rarely depicted in any great detail. Dragon-fish are mentioned in Chinese literature as early as the Bronze Age, and appear in legends related in the Shanhaijing (Classic of Mountains and Seas). They were included in painted and incised decoration on ceramics of the Tang dynasty (AD 618-907), from kilns such as Changsha and Yue, but do not seem to occur in three-dimensional high-fired ceramic form until the Song (AD 960-1279) and Liao (AD 907-1125) dynasties. By the Song dynasty handles such as these depicted a carp in the process of turning into a dragon. This evokes a legend, which dates from at least as early as the Eastern Han dynasty, and tells of the carp swimming up river to the Dragon Gate Falls. If it is successful in leaping over the gate it turns into a dragon. This legend soon came to represent the success of the Chinese scholars, who studied hard to pass the civil service examinations, and if they achieved the highest grade would attain a good official post. Such dragon-fish handles came to be applied to vessels made in precious metals during the Mongol period. A gold cup with twin handles of this type, probably originating from the Golden Horde in the late 13th-14th century, is in the collection of the State Hermitage Museum, St. Petersburg and was included in the New York Metropolitan Museum’s 2002 exhibition The Legacy of Genghis Khan – Courtly Art and Culture in Western Asia, 1256-1353, catalogue no. 139, illustrated p. 18, fig. 11.

In addition to the Beijing Palace Museum and Songyang county vases mentioned above, a small number of other kinuta vases with dragon-fish handles have been published. An example (height 16.8 cm.) from the collection of Sir Alan Barlow, is now in the Victoria and Albert Museum, London and is illustrated by Rose Kerr in Song Dynasty Ceramics, Victoria and Albert Museum, London, 2004, p. 94, no. 95. Another small example (height 16.3 cm.) from the Meiyintang collection is illustrated in Musée Cernuschi, L’Âge d’Or de la Céramique Chinoise, Paris, 1999, p. 118, no. 88. One of the two vases of this type in the Carl Kempe collection is 20 cm high and the other measures 26 cm. (see Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Almqvist & Wiksell, Stockholm/Göteborg/Uppsala, 1962, p. 51, nos. 98 and 99 respectively). A further kinuta vase with dragon-fish handles (height 25.9 cm.) is in the Freer Gallery of Art, illustrated in The Freer Gallery of Art, I China, Washington D.C., 1972, no. 89. Other known examples of dragon-fish handled Longquan vases include one from the Njoo collection is 26 cm high (exhibited in Chinese Celadons and Other Related Wares in Southeast Asia, Arts Orientalis, Singapore, 1979, pl. 73, left), and a kinuta vase from the Brodie Lodge collection, which is 28 cm. high, and was exhibited in London in 1960 (see Oriental Ceramic Society, The Arts of the Sung Dynasty, The Arts Council, London, 1960, no. 173, pl. 64, right). A further dragon-fish handled vase, height 28.5 cm., formerly in the possession of Lord Matsudaira Fumai (1750-1818), was sold by Christie’s New York in March 2008, lot 561.

It is clear that such vases were appreciated in Japan from Kamakura period (1192-1333) as evidenced by two examples, which were excavated from the wreck of a vessel which sank off the Sinan coast of Korea in about 1323 on its way to Japan, (illustrated in the exhibition catalogue Xin’an haidi wenwu [Cultural Relics from the Sinan Seabed], National Museum of Korea, Seoul, 1977, colour plate 3). This vessel would have left China from the port of Ningbo, Zhejiang province, and a shard of the neck and dragon handle from one of these kinuta vases was excavated from the ancient wharf site of Dongmenkou at Ningbo (see Zhejiangsheng wenwu kaogusuo xuekan, 1981, pl. XI:8).

While Chinese ceramics had long been admired in Japan, the Kamakura period (1192-1333), coinciding with the Southern Song dynasty, saw a renewed vogue in Japan for Chinese art. Indeed, the Japanese scholar Professor Hiroko Nishida has noted that in the Kamakura period: ‘…the majority of the art and decorative art objects used in the ceremonies, interior decoration and tea drinking events of Buddhist Temples and the military class were objects imported from China.’ (Hiroko Nishida, ‘The Collection and Appreciation of Chinese Art Objects in 15th-16th Century Japan, and their Legacy’, Collecting Chinese Art: Interpretation and Display, S. Pierson (ed.). Colloquies on Art & Archaeology in Asia No. 20, Percival David Foundation, London, 2000, p. 10.) These objects were called karamono (Chinese things). Excavated evidence for their popularity can be seen in profusion not only in Kamakura itself, but at a variety of historical sites throughout Japan. Significant numbers of Song and Yuan Chinese ceramic sherds have been excavated at the Ichijo-dani site in Fukui prefecture, the Kusadosengen site in Hiroshima, several sites in Kyoto, and the port city of Hakata (Nishida, op. cit.). In addition, some major Japanese temples still have in their possession Song dynasty Chinese ceramics, which have been preserved over the centuries. The Daitoku-ji temple in Kyoto, for example, has in its collection a Longquan vase of the same form as the current example, with dragon-fish handles (see Daitoku-ji no meiho, Kyoto, 1985, pl. 96).

The current vessel is a particularly impressive example of this greatly admired type of Longquan kinuta vase.

更多來自 靈心慧目: 秦峰男中國藝術集珍

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