Subtle Beauty: The Aesthetics of Song Dynasty | A

B | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 1

2 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 3

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香港

2023 年 11 月 25 至 28 日

上午 10 時至下午 6 時

香港金鐘太古廣場一期 20 樓

邦瀚斯藝廊

Subtle Beauty:

The Aesthetics of Song Dynasty

宋韻・凝簡

Hong Kong | Wednesday 29 November 2023 at 2pm

4 | Bonhams Lot 127

Subtle Beauty: The Aesthetics of Song Dynasty | 5

BONHAMS (HONG KONG) LTD

Suite 2001

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88 Queensway

Admiralty

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www.bonhams.com/hongkong

GLOBAL HEAD,

CHINESE CERAMICS

AND WORKS OF ART

Asaph Hyman 阿薩夫

+44 (0) 207 468 5888

asaph.hyman@bonhams.com

ENQUIRIES

HONG KONG

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+852 2245 3709

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NORTH AMERICA

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+ 1 415 503 3333

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SALE NUMBER

28990

PAYMENT

For an overview of the payment

process please refer to Clause 9

of the “NOTICE TO BIDDERS”

at the back of this catalogue.

ILLUSTRATIONS

Front cover: Lot 116, 120 and

114

Back cover: Lot 123

VIEWING

25 - 28 November

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For company account or other

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Failure to do this may result in your

bids not being processed.

We would like to thank

William Tsao for the design

and Mark French and Wan

Photography for the photography

of the catalogue.

CITES REGULATIONS

AND IVORY

Please be aware that all Lots

marked with the symbol Y are

subject to CITES regulations,

as specified in Clause 13 of the

Notice to Bidders contained at

the end of the catalogue.

瀕危野生動植物種國際貿易公約

條例

請注意：本目錄中標有Y符號的拍

賣品受瀕危野生動植物種國際貿

易公約規限，詳情請參閱目錄後部

分「競投人通告第13條」。

The United States Government

has banned the import of ivory into

the USA. Lots containing ivory are

indicated by the symbol Ф printed

beside the lot number in this

catalogue. Please note since

March 2016 China has imposed

a ban on the import of ivory.

美國政府已禁止對象牙進口。本圖

錄中含象牙的拍品會在拍品編號旁以Ф標註。中國政府自2016年3月

起已禁止對象牙進口，敬請留意。

PHYSICAL CONDITION OF

LOTS IN THIS AUCTION

PLEASE NOTE THAT THERE

IS NO REFERENCE IN THIS

CATALOGUE TO THE PHYSICAL

CONDITION OF ANY LOT.

INTENDING BIDDERS MUST

SATISFY THEMSELVES AS TO

THE CONDITION OF ANY LOTS

AS SPECIFIED IN CLAUSE 15

OF THE NOTICE TO BIDDERS

CONTAINED AT THE END OF

THE CATALOGUE.

As a courtesy to intending bidders,

Bonhams will provide a written

indication of the physical condition

of lots in this sale if a request is

received up to 24 hours before the

auction starts. Such report is also

available for download from

Bonhams website. This written

indication is issued subject to

Clause 1.6 of Appendix 2 to the

Notice to Bidders.

拍賣品之狀況

請注意：本目錄並無說明任何拍賣

品之情況。按照本目錄後部分所載

之「競投人通告第15條」，準買家

必須從拍賣前親自確定拍賣品之

狀況。

純為方便準買家，本公司如在拍賣

開始前24小時收到準買家的要求，

本公司可提供書面上的狀況報告。

狀況報告同時可從本公司網頁下

載。該報告是依據「競投人通告第

1.6條」提供。

REGISTRATION

IMPORTANT NOTICE

Please note that all customers,

irrespective of any previous

activity with Bonhams, are

required to complete the Bidder

Registration Form in advance of

the sale. The form can be found

at the back of every catalogue

and on our website at www.

bonhams.com and should be

returned by email or post to the

specialist department or to the

bids department at

info.hk@bonhams.com

To bid live online and / or leave

internet bids please go to www.

bonhams.com/auctions/28990

and click on the Register to bid

link at the top left of the page.

Subtle Beauty: The Aesthetics of Song Dynasty

Hong Kong | 29 November 2023 at 2pm

香港 | 2023 年 11 月 29 日 下午 2 時

Bonhams (Hong Kong) Ltd. Trading Office

Suite 2001, One Pacific Place

88 Queensway

Admiralty

Hong Kong

Bonhams (Hong Kong) Limited Registered No. 1426522 Registered Office: Room 5501 / 55F, Central Plaza, 18 Harbour Road, Wanchai

6 | Bonhams Chen Xie

London, New Bond Street

Rachel Hyman

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Lazarus Halstead

London, Montpelier Street

Colin Sheaf

Consultant

Dessa Goddard

US Head, Asian Art

Asaph Hyman

Global Head, Chinese Art

Gigi Yu

Hong Kong

Yixue Ge

Hong Kong

London, Montpelier Street

Lidia Lee

London, Montpelier Street

Claire Hui Tang

Paris

International Chinese Ceramics

and Works of Art Team

Benedetta Mottino

London, New Bond Street

Tracy Hui

Hong Kong

Edward Luper

London, New Bond Street

Olivia Xu

London, New Bond Street

Global

Asia

London

Paris

Michael Hughes

New York

Bruce MacLaren

New York

Jing Wen

Paris

Caroline Schulten

Paris

Subtle Beauty: The Aesthetics of Song Dynasty | 7

Katniss Xu

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Sydney

Australia

Bonhams Global Network

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Suhyung Kim

Bonhams Skinner,

Boston Mass.

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Bonhams Skinner,

Boston Mass.

8 | Bonhams Sale Information

AFTER SALE COLLECTION

All sold lots will be available for collection

after 10.00 on Thursday 30 Nov from:

Bonhams Hong Kong office

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88 Queensway, Admiralty,

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SHIPPING

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STORAGE CHARGES

Storage charges will commence one month

after the date of the auction at the following rate:

HK$800 per lot per month

拍賣後提貨

所有售出的拍品將可於2023年11月30日上午

十時後提貨。提貨地址如下：

邦瀚斯拍賣行

香港金鐘道88號

太古廣場一期20樓2001室

運輸事宜

有關提貨、運輸費用、出口證等事宜的查詢，

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working day after the Sale so that all sums are

cleared by the seventh working day after the Sale.

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lot and an export licence is (or may be) required.

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現金：如所購得的拍賣品總值不超過HK$80,000，

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所購得的拍賣品總值超過HK$80,000，HK$80,000

以外的金額，必須以現金以外的方式支付

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戶，請注意把競標牌號碼及發票資料寫上，以作

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Swift Code 國際匯款代碼

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If paying by bank transfer, the amount

received after the deduction of any bank

fees and/or conversion of the currency of

payment to Hong Kong dollars must not be

less than the Hong Kong dollars amount

payable, as set out on the invoice.

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there is no additional charge for purchases

made with these cards;

Credit cards: American Express, Visa and

Mastercard only. There is a HK$200,000 limit on

payment value.

Payment by telephone may also be accepted

up to HK$200,000, subject to appropriate

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not available for first time buyers. If the amount

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如果閣下通過銀行轉賬付款，我們所收的款額

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款，將不收取額外的費用

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卡付款的話，本公司每次拍賣接受總數不超過HK$200,000。如所購得的拍賣品總值超過

HK$200,000，閣下可使用匯款或以上提及的 方

式支付。 在符合我們的規定下，如要以通過電

話的形 式以信用卡支付，本公司每次拍賣接受

的總 數不超過HK$200,000，但此方式不適用於

第 一次成功競拍的買家。

中國銀聯（CUP）借記卡：以此方法付款，將

不收取額外的費用 　

Subtle Beauty: The Aesthetics of Song Dynasty | 9

10 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 11邢瓷类银，越瓷类玉——陆羽《茶经》

“Xing porcelain resembles silver, while Yue porcelain

resembles jade.”

— Lu Yu’s “The Classic of Tea”

12 | Bonhams Monochrome glazed porcelain has been an integral part of the

development of porcelain and is a type of porcelain that has a large

quantity of surviving examples. From the moment porcelain appeared,

monochrome glazes such as celadon and a small number of blackbrown glazed porcelain were produced, and subsequently, the variety

of monochrome glazed porcelain increased.

Looking at the development context of monochrome glazed

porcelain, from the prevalence of celadon in the early period, to the

production of porcelain in the northern regions during the Northern

Dynasties, it broke the dominance of celadon in the south. During

the Sui and Tang dynasties, porcelain kilns in the northern and

southern regions developed together, forming a pattern of \"Southern

Celadon and Northern White\". Northern kilns were characterised

by producing a wide variety of wares, while the south focused on

celadon production. The Song dynasty saw the highest number of

porcelain kilns in China, resulting in a great variety of glaze colours.

In the Yuan dynasty and later, porcelain production centered around

Jingdezhen, and the development of coloured glazed porcelain

reached unprecedented levels.

Compared to other types of ceramics, monochrome glaze gives

people different feelings of purity, subtlety, introversion, tranquility,

and elegance. Different periods of glazes give people different visual

experiences. For example, during the Six Dynasties period, celadonglazed porcelain had many animal shapes such as mythical beasts,

bear lamps, and bixie, giving a mysterious and majestic feeling. Tang

dynasty's celadon porcelain was as clear as ice and jade-like, with an

emerald colour resembling mountains, and white porcelain resembling

silver and snow. Song dynasty's Ru and Guan kilns showcased a

restrained, introverted, and elegant beauty. The multi-coloured glazes

from Jingdezhen kilns during the Yuan, Ming, and Qing dynasties

were evenly pure, soft, delicate, and thought-provoking.

Monochrome glazed ceramics can be divided into two categories: a

type that is purely in one tone without any decoration; the other type

with decoration, often using techniques such as moulded decoration,

incision, carved pattern, embossing, and openwork etc., on glazes

such as moulded celadon glaze, carved celadon glaze, and celadon

glaze with applied decoration. Other glaze colours can also be

decorated in various ways.

The development of glazed porcelain can be divided into three

stages:

Early stage: Xia – Southern and Northern Dynasties Period

During this period, the main production area for firing celadon

porcelain was Zhejiang, and the kilns were mostly dragon kilns,

ranging from tens of meters to several tens of meters long. Due to

different glaze ingredients, body colour, position inside the kiln, and

firing atmosphere, various glaze colours were formed, including

yellowish celadon, greyish celadon, yellow, green-brown, and

emerald green. The shapes were similar to contemporary bronze

wares, with a richer variety of animal and biomorphic models, such

as bear-shaped lamps, mythical beast vessels, frog-shaped water

basins, ram-shaped candle holders, lion-shaped stands, tiger cubs,

tiger-shaped lamps, bixie, bird-shaped cups, etc. Partial decoration

with animal motifs was also popular, such as chicken-head jars, ramhead jars, tiger-head jars, where various decoration techniques were

applied including carving, moulding, openwork, applied decoration,

polychrome decoration etc.

Development Stage: Sui, Tang, Five Dynasties, and Song

Dynasty

During the Sui, Tang, and Five Dynasties period, with the rise of

porcelain production in the northern region, there was an increase in

the variety of porcelain. In the southern kilns, celadon ware continued

to be popular, with an increase in the number of kilns producing

celadon. Longquan kilns, in addition to celadon, also produced

black glaze, green glaze, red glaze, and other types of wares. In the

northern region, in addition to celadon, there were also white glaze,

yellow glaze, persimmon glaze, teadust glaze, green glaze, blue

glaze, and other types of wares. During this period, the porcelain

production in the north and south developed in a balanced manner,

forming a pattern of \"Southern Celadon and Northern White\". In the

southern region, the dragon kiln remains dominant, with a significant

increase in length. During the Tang dynasty, kilns were often 40 to 50

meters long, with the longest kiln in Jingdezhen reaching 70 meters.

In the northern part, the mantou kiln remains predominant. There

was an increase in variety of porcelain, and famous kilns started

to emerge. Depending on the local conditions, porcelain with local

characteristics was produced using local materials. The shapes

were diverse, with some imitating gold and silverware or plants and

Lot 110 The Porcelain Charm -

The development and appreciation

of monochrome porcelain

Xiaoqi Feng

Subtle Beauty: The Aesthetics of Song Dynasty | 13

flowers, featuring gourd-like and petal-like forms. Various glaze

colours also appeared, such as glazes in celadon, white or black

tone, with painted polychrome decoration and slip decoration.

Bird-shaped cups (Lot 110) were seen in Yueyao celadon wares

from the Two Jin periods. The shape of this type is usually decorated

with a bird body on one side and a bird tail on the other side. By the

Tang and Five Dynasties period there have been changes to the birdshaped cups with the bird tail being flat or slightly upturned, and a

handle underneath the tail. The overall shape of the object is vivid

and lifelike.

White glaze is a major product produced by various kilns in the

northern region, represented by Xing kiln in Hebei, Ding kiln, and

Gongyi kiln in Henan. Xing kiln and Ding kiln have cleaner body and

glaze, while Gongyi kiln's glaze has a slightly yellowish hue. The

white-glazed figurative pillow was produced in Xing kiln, where there

was an example of a white-glazed ‘elephant’ candlestick sold at

Christie’s in 2021. The ‘elephant’ pillow (Lot 101) in this auction has a

pure glaze with a slight yellowish tint, and the posture of the elephant

is calm, with its trunk hanging down and curled inward, different from

the above mentioned example which was depicted with a slightly

curled outward trunk. In addition, Xing kiln sancai-glazed rabbitshaped pillows and white-glazed elephants were also unearthed from

Tang dynasty tombs, with similar shapes, sizes, and appearances.

From the existing examples, it can be seen that the pillow size in

the Tang dynasty was relatively small. The ceramic pillows made

in various kilns during the Tang dynasty were also smaller in size

compared to those made in the Song dynasty. There is a viewpoint

that believes the smaller size of Tang dynasty pillows was mainly for

acupressure purposes, which makes sense to some extent. However,

this is not always the case. Pillows with a height of around 5 to 6

centimeters are more reasonable for acupressure, while those taller

than 10 centimeters may have other uses.

White-glazed foliate-rim dishes (Lots 102 and 106), were popular

during the late Tang and Five Dynasties period. The glaze is pure and

flawless, resembling blooming flowers. The four-petal lotus-shaped

rim has a greater undulation, showcasing the effect of flowers in full

bloom, embodying superb craftsmanship, which are rare pieces of

artwork.

The Song dynasty was a period of great development for porcelain

kilns in China. Due to the demand for both domestic and export,

kilns were established everywhere, resulting in numerous kiln sites

and the emergence of many famous kilns. The longest kiln furnace in

the Song dynasty reached over 134 meters, and the increase in kiln

length clearly increased the firing capacity and production. Building

on the previous generations' production of porcelain, the Song

dynasty was able to create porcelain with distinct characteristics,

resulting in a wide variety of decorative coloured glaze ceramics.

The aesthetics of the Song people have their unique features. They

emphasised delicate expression and harmony. The aesthetics of

nature, humanity, and art in the Song dynasty embody the pursuit

of elegance, peace, and introversion. This pursuit of elegance and

harmony is well reflected in Song dynasty porcelain. The glaze

colours of Song dynasty porcelain are more diverse, with rare

varieties such as sky blue, pale blue, lavender blue, and plum blue.

There are numerous famous kilns in different regions, each with

rich glaze colours. For example, Ru kiln has sky blue and pale blue;

Zhanggongxiang kiln has green and blue; Guan kiln has gray blue

and lavender blue; Ge kiln has beige-yellow; Jun kiln has moon white,

sky blue; Yaozhou kiln has green yellow and green; Longquan kiln

has lavender blue and plum blue; Yue kiln has secret celadon colours,

etc. All of these exhibit distinct regional characteristics and convey a

sense of purity, elegance, and tranquility. Other glaze colors like Ding

kiln's ivory white, Huozhou kiln's pinkish white, Ding kiln and Cizhou

kiln's green glaze, Ding kiln and Dangyangyu kiln and Yaozhou kiln's

brown glaze, Jingdezhen kiln's underglaze blue, Jizhou kiln and Jian

kiln's black glaze, etc. all have their own unique features.

Black glaze was a type of ceramic widely produced in porcelain

kilns in both the northern and southern regions during the Song

dynasty. According to a 70-year study of kiln sites by the Palace

Museum, 138 kilns have been discovered to have produced black

glazed ceramics, with the possibility of more being discovered in the

future. Most of these kilns were active during the Song, Jin, and Yuan

dynasties. While some kilns were specifically dedicated to producing

black-glazed ceramics, many also produced other types of ceramics

alongside them. Initial statistics show that among the 138 kilns, the

majority produced a large quantity of black-glazed tea bowls, which

were popular not only in the palace but also among the general

public. This popularity was influenced by changes in tea-drinking

Lot 101 Lot 102 Lot 106 Lot 123

14 | Bonhams habits and the trend of \"tea competitions\". Famous kilns during this

time included the Ding kiln in the north, Dangyangyao kiln in the

southern region, Jian Kiln, and Jizhou kiln.

One example of a black-glazed bowl from this time is Lot 123, which

has a conical shape resembling a bamboo hat and is covered in

black glaze with some areas revealing the clay underneath due to the

thin glaze. The foot is also covered in black glaze, with some areas

applied with brown glaze showing the clay. This style was inspired by

the Jian kiln in the south, but due to differences in clay composition,

kilns in the north would brush on a brown glaze to imitate the high

iron content found in Jian ware. This can also be seen in blackglazed bowls from the Ding kiln in Hebei, Cizhou kiln in Hebei,

Linfen kiln in Shanxi, and Zibo kiln in Shandong. Kilns in Sichuan

and Chongqing, such as the Guangyuan kiln, Xiba kiln, Chongqing

kiln, and Rongchang kiln, were also influenced by northern kilns

and would brush on the brown glaze on the bottom of their black

glazed bowls. Inside the bowl, there is a design of blooming peonies

decorated in gold. The Ding kiln was known for using gold paint, and

many excavated kiln sites have discovered black glazed and white

glazed ceramics with gold designs. One such example is a brownglazed bowl in the collection of the Tokyo National Museum, with two

painted peony buds in gold. Whether in the north or south during

the Song dynasty, existing vessels in complete condition with gold

designs are rare and considered valuable works of art. Another blackglazed bowl in a bamboo hat shape (Lot 124) has a texture, dripping

glaze, and body that resemble products from the Jian kiln. This bowl

shape was one of many produced by the Jian kiln, ranging from over

20 centimeters to just a few centimeters in diameter. There were

various forms, including flared, open, contracted, straight, and bound

mouths. This particular bowl can be considered one of the typical

pieces from the Jian kiln.

Qingbai glaze was a type of ceramic widely produced in the

Jingdezhen kiln during the Song dynasty, with a glaze colour between

celadon and white, resembling the texture of pale green jade, making

it very sought-after. Kilns in the southern region also commonly

produced this type of ceramic, becoming an important type along

with celadon-glazed, white-glazed, and black-glazed ceramics during

the Song dynasty. Decorations included carving, incising, moulding,

stacking, openwork, and brown paint splashing. This hexagonalshaped lobed box (Lot 109) has moulded decorations on the lid and

sides, with precise floral patterns and a lustrous greenish-white glaze.

Flourishing Period: Yuan, Ming, and Qing Dynasties during the

Yuan, Ming, and Qing Dynasties

Jingdezhen gradually became the center of porcelain production in

China. Monochrome glazed varieties continued to increase. Building

on the foundation set during the Song dynasty, the Yuan dynasty

continued to produce blue and white porcelain and introduced Shufu

white glaze, blue glaze, red glaze, and turquoise glaze. Decorations

included openwork, gilding, stacking, dotting, carving, and incising.

In addition to Jingdezhen, the Longquan kiln in Zhejiang also

experienced a period of unprecedented growth, producing ceramics

with engraved, stamped, dotted (brown and red colour), and exposed

clay decorations.

During the Ming and Qing Dynasties, Jingdezhen established an

imperial workshop, producing ceramics that represented the highest

level of craftsmanship at the time. The imperial kiln mainly produced

blue and white porcelain, as well as underglaze, overglaze, doucai,

wucai, and various coloured glazes.

During the Ming dynasty, exquisite varieties such as Yongle sweet

white, emerald green, Xuande ruby red, sacrificial red, sacrificial blue,

poweder-blue, Hongzhi yellow glaze, Zhengde peacock blue, Jiajing

blue glaze, and green glaze were highly prized.

Compared to the Ming dynasty, the Qing dynasty produced a larger

quantity of glazed ceramics with more refined craftsmanship, richer

and more stable glaze colours, and a wider range of forms. Many of

these ceramics featured painted designs, which sometimes resulted

in standardized shapes. Some shapes, glaze colours, and patterns

were used from early Qing until the end of the Qing dynasty.

In the Qing dynasty, there was a greater focus on the decoration

of glazed ceramics, showcasing the culmination of decorative

techniques from previous dynasties. These decorations included

carving, stamping, incising, stacking, openwork, relief-carving, gilding

etcs. Gilt decoration was extensively used on various glazes. Not only

gilding but also gold decoration as ground with overglaze enamels

were also used. This significantly enriches the decoration of coloured

glazed porcelain.

Lot 124 Lot 109 Lot 114 Lot 113

Subtle Beauty: The Aesthetics of Song Dynasty | 15

Besides Jingdezhen, another important porcelain kiln is Longquan

kiln. Since the Song dynasty, it has had close connections with

Jingdezhen kiln. They have the same shape and decoration styles.

Longquan kiln's celadon reached unprecedented heights during the

Song and Yuan Dynasties, pushing celadon to its peak. By changing

the formula of the body and glaze, the production process became

more refined and the celadon achieved an unparalleled colour and

luster. Looking at the objects from Longquan kiln, one can truly

appreciate the beauty of the colour green.

The Southern Song dynasty lobed washer (Lot 114) has a wellproportioned shape and pure glaze. The rim is slightly lighter in colour

due to the thinner glaze, while the recessed areas have a deeper

colour, giving off a sea-green hue. The two spiral lines are simple and

clean. The six-petal flower mouth is a common decoration in Song

dynasty porcelain, but this one has a natural and harmonious shape

with a sunken outer and raised inner design, resembling a blooming

flower. The shape and glaze of this washer are both of the highest

quality.

The Southern Song dynasty celadon drum-shaped chess piece jar

(Lot 113) is adorned with raised bosses on both the top and bottom,

and has floral and ring decorations symmetrically placed on the body,

with a pure glaze. The Yaozhou kiln also produced similar engraved

drum-shaped chess jars, with a different glaze tone.

The Longquan kiln cong-shaped vase (Lot 115) is a classic vessel

from the Southern Song dynasty. Its shape is inspired by ancient

bronze ware, with a round mouth and base, symmetrical top and

bottom, and a square body with eight trigrams decorating all four

sides. During the Southern Song dynasty, changes in the formula

allowed for thicker glazes, resulting in a more jade-like texture and a

warmer glaze surface.

The Yuan dynasty moulded peony pattern phoenix tail vase (Lot

116) is tall and sturdy, reflecting the high level of large-scale pottery

production during the Yuan dynasty. The convex guqin string pattern

on the upper neck echoes the double-layered chrysanthemum petal

pattern on the foot and leg, while the neck and belly are decorated

with branch and entwined peony patterns, showcasing the superb

ceramic skills of the Longquan kiln. It is one of the most exquisitely

Lot 115 Lot 116 Lot 117 Lot 118

designed vessels from the Yuan dynasty. Similar examples are at the

Palace Museum, the Topkapi Palace Museum in Turkey, and other

museums.

The early Ming dynasty was another important period in the

development of the Longquan kiln after the Southern Song and

Yuan Dynasties. According to historical records and archaeological

discoveries, during the early Ming dynasty, the Longquan kiln

and Jingdezhen kiln both produced porcelain for imperial use.

The Longquan kiln produced celadon and the Jingdezhen kiln

produced blue and white porcelain. They had the same shapes and

decorations, suggesting that they used the same designs and one

was sent to the Jingdezhen imperial kiln, while the other went to the

Longquan kiln. The objects produced by both kilns were very similar,

with the only difference being the glaze - one was celadon and the

other was blue and white. The Longquan kiln barbed-rim plate (Lot

117) has a well-proportioned shape and a pure glaze. Compared

to the Yuan dynasty, the glaze of the Ming dynasty is even more

deep and rich, reaching another peak in the history of Longquan kiln

porcelain production. The Ming dynasty Longquan kiln ‘chicken-heart’

bowl (Lot 118) has the same shape as the blue and white example

from the Yongle period of Jingdezhen. The outer mouth decorated

with a spiral pattern, the lower part with a chrysanthemum petal

pattern, the inner mouth with a scroll pattern, and the bowl's interior

with four-petal flower patterns and similar auspicious cloud patterns

on both sides, which are also similar to the Yongle decorations. The

glaze is a pure and vivid celadon, making it an excellent work from

the early Ming dynasty of Longquan kiln.

These exquisitely crafted ceramic pieces have withstood the test of

time and are now displayed in front of us, allowing us to appreciate

the great creations of our ancient ancestors and the beauty of

porcelain, which is truly a blessing.

16 | Bonhams 單色釉瓷器貫穿瓷器發展的始終，是存世量很豐富的一類瓷器。 從

瓷器一出現就是單色釉──青釉，還有少量黑褐釉瓷器，此後單色釉

瓷器品種不斷增多。

從單色釉瓷器的發展脈絡來看，從早期南方盛行青瓷，直到北朝時期

北方開始燒製瓷器，才打破南方青瓷一統天下的局面。 隋唐時期南

北方瓷窯共同發展，形成南青北白的模式。 北方瓷窯以燒造多品種

為特徵，南方以燒青瓷為主。 到宋代是中國瓷窯最多的時代，瓷器

釉色品種極大的豐富。 元代及以後瓷器生產以景德鎮為中心，色釉

瓷器空前發展。

單色釉與其他類瓷器比較，給人純淨、含蓄、內斂、寧靜、優雅等不

同感受。 不同時期的釉給人不同的視覺感受。 例如六朝時期青瓷，

造型很多動物形象，神獸、熊燈、辟邪，有些神秘、威嚴的感覺；唐

代的青瓷如冰似玉，千峰翠色，白瓷類銀類雪；宋代汝、官哥皇家

用瓷的含蓄、內斂、優雅；元明清景德鎮窯五光十色的各色釉的勻淨、

柔和、嬌嫩，耐人尋味。

單色釉瓷器可分為廣義與狹義兩種：一種是純然一色的單色釉，不帶

任何裝飾；另一種是帶有裝飾的，多是在胎體上使用印花、劃花、剔花、

堆塑、鏤空等，如青釉印花、青釉劃花、青釉剔花、青釉堆塑、青釉

鏤空，其他釉色也同樣可以加各種裝飾。

從色釉瓷器的發展來看，可以分為三個階段：

早期階段：夏─魏晉南北朝時期

這段時期燒造青釉瓷器的產地以浙江為主，窯爐多為龍窯，從十幾公

尺到幾十公尺長。由於配釉、胎色、窯中位置與燒造氣氛不同，形成

多種釉色，有青黃、青灰、黃、青褐、翠青等。 造型與同時期銅器

有相似者，動物、各種仿生模型較為豐富，如熊燈、神獸尊、蛙式水

盂、羊形燭台、獅形插座、虎子、虎形燈、辟邪、鳥形杯等。也流行

局部裝飾動物形象的，如雞首壺、羊首壺、虎頭壺等。裝飾方法有劃

花、印花、鏤空、戳印、堆塑、褐色點彩、褐色彩繪等。

發展階段：隋唐五代─宋代

隋唐五代時期，由於北方瓷業的興起，瓷器品種增加。南方瓷窯仍盛

行青釉，燒造青釉的窯口增多，長沙窯除青釉以外還有黑釉、綠釉、

紅釉等。北部除青釉以外，還有白釉、黃釉、醬釉、茶末釉、綠釉、

藍釉等。這段時期南北製瓷業發展平衡，形成南青北白的大格局。窯

爐南方仍以龍窯為主，窯的長度明顯增加，唐代窯長多 40、50 米，

最長的景德鎮南窯長達 70 公尺；北方仍以饅頭窯為主。瓷器品種增多，

著名瓷窯嶄露頭角。各地因地制宜，利用當地原料燒製出具有本地特

色的瓷器。造型豐富，有些仿金銀器或仿植物花卉，造型上出現瓜稜、

花瓣形。裝飾技法多樣，沿用早期瓷器的裝飾，刻花、印花、劃花、

堆塑等，出現青釉褐彩、青釉綠彩、青釉褐綠彩、白釉褐彩、白釉綠

彩、白釉籃彩、黑釉窯變、剪紙貼紙等。

鳥形杯 ( 拍品 110) 見於兩晉時期越窯青瓷，器物在杯的造型基礎上，

兩側一邊裝飾鳥身，一邊裝飾鳥尾，到唐五代時期，鳥形杯有所變化，

鳥尾平或微上翹，尾下有柄，整個器形生動傳神。

白釉是北部地區各瓷窯燒製的大宗產品，以河北邢窯、定窯、河南鞏

義窯為代表。邢窯、定窯器物胎釉較潔白，鞏義窯釉色有些泛黃。白

釉象形枕，邢窯有燒造，2021 年佳士德拍賣象形燭台極為精緻。本

次拍賣的象形枕 ( 拍品 101) ，釉色純淨，白中微泛黃，象的神態安然，

象鼻下垂內卷，與 2021 年拍賣的一件象鼻下垂微外卷不同。此外唐

墓還出土邢窯三彩兔形枕、白釉象，形狀大小、外觀均相似。鞏義窯

也燒製三彩虎形枕，雖形像不同，但風格大同小異。 從以上枕形來看，

唐代枕尺寸較小。其它各窯唐代燒造的瓷枕，尺寸也都比宋代瓷枕小。

有一種觀點認為唐代枕尺寸小多作脈枕，有一定道理。其實不盡然，

小的枕高五、六公分的作脈枕較為合理，高於 10 公分的，可能有其

他用途。

白釉花口盤 ( 拍品 102 及 106) ，晚唐五代流行，釉色純淨無瑕，形

似盛開的花朵，四瓣蓮花瓣口起伏較大，更具花朵盛開的效果，體現

了高超的成型技藝，是難得的作品。

宋代是我國瓷窯大發展時期，由於內、外銷的需要，各地紛紛建立瓷

窯，窯場眾多，著名瓷窯大量出現，宋代最長的窯爐達 134 米多，窯

長的增加顯然可以增加裝燒量，提高產量。在前代燒製瓷器的基礎上，

燒製具有自身特徵的瓷器，形成多品種、多裝飾的各種色釉瓷器。宋

人的美學具有獨到之處，他們注重細膩的表達與和諧，宋人對於自然、

人文以及藝術的美學都體現出對典雅、平和、內斂的追求。在宋代瓷

器上很好的體現了這種追求典雅、和諧的自然美。 宋代瓷器的釉色

更豐富，出現天青、天藍、粉青、梅子青等名貴品種。各地名窯眾多，

釉色豐富。汝窯天青、天藍、張公巷青綠、官窯灰青、粉青、哥窯米黃、

鈞窯月白、天藍、耀州青黃、青綠、豆青、龍泉粉青、梅子青、越窯

秘色等，都具有鮮明的地域特徵，體現了純淨、優雅、恬淡的意境。

Lot 110 Lot 101 瓷韻——

色釉瓷器的發展與鑑賞

馮小琦

Subtle Beauty: The Aesthetics of Song Dynasty | 17

其他色釉如定窯牙白、霍州窯粉白、定窯、磁州窯綠釉、定窯、當陽

峪窯、耀州窯醬釉、景德鎮窯的青白釉、吉州窯、建窯黑釉等，都各

具特色。

黑釉是宋代南北方瓷窯大量燒製的品種，從故宮博物院 70 年的窯址

調查中得知，已發現的燒造黑釉器物的瓷窯有 138 處，加上尚未調查

和發現的瓷窯數量還會多。其中大量是宋金元時期的。這些瓷窯有些

是專門燒黑釉瓷器的，大部分是既燒黑釉瓷器，同時兼燒其他品種。

初步統計在 138 處燒造黑釉器物的瓷窯中大部分瓷窯均燒製黑釉茶

盞，燒造量極大。它不僅為宮廷使用，民間也廣為流傳。其流行與飲

茶方式的改變及鬥茶的流行有關，北方定窯、當陽峪窯、南方建窯、

吉州窯等都是當時燒製黑瓷的名窯。

黑釉撇口碗 ( 拍品 123) ，形狀像鬥笠，全身施黑釉，口沿因釉薄顯

露胎色。足底黑釉施至近足。露胎部分塗醬色，這種做法是仿建窯的，

北方仿建窯因為胎土不一樣，燒不出建窯含鐵很高的胎色，故刷醬色

彌補。河北定窯、磁州窯、山西臨汾窯、山東淄博窯黑釉碗盞底都刷

有醬色。四川重慶地區瓷窯受北方瓷窯影響，四川廣元窯、西壩窯、

重慶窯、榮昌窯等仿建窯黑釉碗盞底部也都刷有醬色。碗內以金色彩

繪折枝牡丹紋。宋代使用金彩較多的是定窯，窯址出土不少黑釉、白

釉加金彩的標本。傳世器物有東京國立博物館收藏的一件醬釉碗，內

以金色彩繪折枝牡丹兩朵，牡丹含苞待放。此件碗內所繪折枝牡丹一

朵，牡丹也含苞待放，與定窯的牡丹紋風格一致。宋代不論北方還是

南方，帶有金彩的完整器物少之又少，是難得的佳作。另一件黑釉碗

為斗笠式 ( 拍品 124) ，從黑釉的質感、垂釉、胎體等方面看，是建

窯產品。這種碗形是建窯多種碗式之一。建窯從 20 多公分到幾公分

的碗都有。形式多樣，有撇口、敞口、斂口、直口、束口多種，此件

當屬建窯幾種典型器之一。

青白釉是宋代景德鎮窯大量燒製的品種，釉色介於青白之間，有青白

玉的質感，頗受人們喜愛。南方地區瓷窯普遍燒製，成為宋代除青釉、

白釉、黑釉之外另一個重要品種。裝飾有刻花、劃花、印花、堆塑、

鏤空、褐色點彩等。印花盒呈六瓣花形 ( 拍品 109) ，盒蓋、側有印

花裝飾，花紋清晰，釉色青白瑩潤。

Lot 102

Lot 123

Lot 106

Lot 124

18 | Bonhams 繁榮階段：元明清時期

元明清時期景德鎮逐漸成為全國的製瓷中心。單色釉品種不斷增加。

元代在宋代的基礎上，繼續燒製青白瓷，並出現卵白釉、藍釉、紅釉、

孔雀綠等。裝飾有鏤空、描金、堆粉、點彩、刻花、劃花等。除景德

鎮以外，浙江龍泉窯也是空前發展時期，裝飾有刻劃花、印花、點彩

（褐彩、紅彩）及露胎裝飾。

明清時期，景德鎮建立御窯廠，其生產的瓷器代表了當時瓷器製作的

最佳水準。景德鎮御窯生產的瓷器，以青花為主要產品，除青花以外

還有釉下彩、釉上彩、鬥彩、五彩及各種顏色釉。

明朝永樂甜白、翠青、宣德寶石紅、霽紅、霽藍、灑藍、弘治黃釉、

正德孔雀藍、嘉靖藍釉、綠釉等都是當時的名貴品種。

清代與明代色釉瓷器相比較，數量更多，製作工藝更精，釉色更加豐

富和穩定，造型種類更多樣，由於製瓷多有畫樣，有些造型顯得程式

化，一些造型、釉色、紋飾從清初一直燒到清末。

清代更重視色釉瓷器的裝飾，集歷代裝飾之大成，把色釉瓷器的裝飾

做到極致。刻花、印花、劃花、堆塑、鏤空、浮雕、描金等。描金大

量使用，藍釉、黃釉、紅釉、淡藍釉、淡綠釉、黑釉甚至鈞釉瓷器上

均使用。不僅描金，還用金作釉，金釉上再加琺瑯彩。極大豐富了色

釉瓷器的裝飾。

除景德鎮以外，一個非常重要的瓷窯是龍泉窯。從宋代開始，它與景

德鎮窯聯繫密切。同時代有相同的器形、紋飾。龍泉窯青釉發展到宋

元時期，達到前所未有的高度，把青瓷推向巔峰。 由於改變了胎釉

的配方，製作過程更加精細，青釉達到了前所未有的色澤與潤度，從

龍泉窯器物上，才感悟出青色之美。

南宋花口洗 ( 拍品 114) ，造型規整，釉色純淨，口沿因釉薄顏色稍淡，

弦紋凹處釉色深，微泛湖藍色，輔以兩道旋紋，簡潔乾淨。六瓣花口

是宋瓷最常見的裝飾，此花口外凹內凸，極為自然和諧，俯視如盛開

的花朵，造型、釉色均為上乘。

Lot 109

Lot 113

Lot 114 Lot 115

Subtle Beauty: The Aesthetics of Song Dynasty | 19

Lot 116 Lot 117 Lot 118

南宋青釉鼓釘棋子罐 ( 拍品 113) ，上下各飾一週鼓釘，腹部對稱有

花卉穿環裝飾，釉色純淨。 同類器形耀州窯也有刻花鼓釘棋子罐，

但釉色與之不同。龍泉窯琮式瓶 ( 拍品 115) 是南宋時期龍泉窯的經

典器物，造型來自古代青銅器，口、足圓形，上下對稱，器身為四方

形，四面出八卦紋裝飾。南宋時期因改變了胎釉的配方，可以施厚釉，

因此，釉的玉質感更強，釉面更加溫潤。元代印花牡丹紋鳳尾瓶 ( 拍

品 116) ，形體高大而不變形，反映了元代燒製大件器物的水平。裝

飾上頸上部的凸弦紋與足脛的兩層菊瓣紋遙相呼應，頸部與腹部主題

紋飾為折枝、纏枝牡丹紋，花紋清晰，體現了龍泉窯高超的製瓷技藝，

是龍泉窯元代精美的器形之一。故宮博物院、土耳其托普卡普宮等博

物館有收藏。

明朝初年是龍泉窯發展史上繼南宋、元代之後的另一個重要時期。根

據文獻記載與考古發掘，明初龍泉窯與景德鎮窯同為宮廷生產御用瓷

器，龍泉窯燒青釉，景德鎮窯燒青花，造型、紋飾相同，應是同一個

畫稿，一個發往景德鎮御窯廠 ，一個發往龍泉窯。兩窯所燒器物極

為相似，只不過一個是青釉，一個是青花。龍泉窯菱花口大盤 ( 拍品

117) ，造型規整，釉色純正，較元代相比，明代釉色更加深沉翠綠，

達到龍泉窯製瓷史上又一個高峰。明代龍泉窯雞心碗 ( 拍品 118) ，

造型與景德鎮永樂時期青花雞心碗一樣，外口飾迴紋，下部飾菊瓣紋，

碗內口飾卷枝紋，碗心飾四瓣花紋及類似正反如意雲紋，與永樂紋飾

也很相似，釉質青翠純淨，是明初龍泉窯佳作。

這些陶瓷發展史上精美作品，歷經滄桑，如今完好的展現在我們面前，

使我們了解古代先民的偉大創作，欣賞瓷器之美，實乃幸事。

20 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 21

PROPERTY FROM A DISTINGUISHED ASIAN PRIVATE

COLLECTION

顯赫亞洲私人珍藏

101

AN EXTREMELY RARE WHITE-GLAZED 'ELEPHANT' PILLOW

Tang Dynasty

Boldly modeled, standing foursquare atop an oval plinth, the elephant

with bulging eyes, pointed ears and tusks folded to the sides, its

trunk tilting to one side and back supporting a flat top that acts as

the headrest, covered in an ivory-tinged glaze stopping on the oval

foot, box.

11.5cm (4 1/2in) long (2).

HKD300,000 - 500,000

US$38,000 - 64,000

唐 白釉象形枕

Provenance:

Priestley & Ferraro, London

The Ten-Views Lingbi Rock Retreat Collection, no. PR1

來源 :

Priestley & Ferraro，倫敦

北美十面靈璧山居收藏，編號 PR1

Subtle Beauty: The Aesthetics of Song Dynasty | 21

22 | Bonhams Pillows made of multiple materials such as jade and ceramic can

be seen as early as the Sui dynasty (581-618), and developed to

its full potential in the Song/Yuan dynasties. Requiring masterful

skills to produce, the ceramic pillows from the Tang (618-907) and

Song (960-1279) dynasties are highly prized for their historical value.

The pillows are designated as cooling aids while sleeping and were

also believed to keep the eyes healthy. Those of smaller sizes were

endowed with multiple functions such as wrist rest and paper weight.

Besides keeping the head cool, ceramic pillows also function as

auspicious gifts or displays that could protect homes and families

from evil spirits. Animal-shaped pillows were increasingly produced

in the Sui and Tang dynasties. White elephant is an important motif

in Buddhist art as a symbol of strength and high morality during the

Sui and Tang dynasties. Compare a related Xingyao white-glazed

elephant excavated from a Tang tomb in Xingtai, Hebei, illustrated

in Zhongguo chutu ciqi quanji [Complete Collection of Ceramic Art

Unearthed in China], Beijing, 2008, vol. 3, pl. 61. Also see a whiteglazed lion pillow formerly in the Ellsworth collection, sold at Christie's

New York, 20 March 2015, lot 824.

此拍品造型生動，枕面及底座呈橢圓形，頂面略凹，中間塑四足立象，

俯首而站，沉穩敦實。枕式較高，通體白釉光潤潔淨，胎質縝密，工

藝極高。保存完整，兼具觀賞性和實用性。

瓷枕最早見於隋，唐代之後大興，廣為流行，宋金元時期最為鼎盛。

此件尺寸較為精巧，然五代、北宋後較多見大型頸枕，作為夏令寢具，

質堅清涼，沁膚怡神，李時珍在《本草綱目》中就曾言：「久枕瓷枕，

可清心明目，至老可讀細書。」而小型瓷枕通常為腕枕或書枕，亦可

用於診脈、護袖、鎮紙等，用途多樣。

瓷枕不僅是重要的納涼器具，尚有鎮宅闢邪、憑枕寄意的作用。秦漢

時期，陶瓷工匠對動物形象的塑造技巧已經純熟，待到隋唐時期、瓷

枕興起之際，獸形枕成為當時主流的題材。大象造型極為稀少，在隋

唐時期的佛教藝術中作為菩薩坐騎出現。可參閱一例河北邢臺市唐墓

出土的邢窯白釉象，見張柏主編，《中國出土瓷器全集》，卷三，北京，

2008 年，圖版 61。另見一例安思遠舊藏唐 / 北宋白瓷獅枕，售於紐

約佳士得，2015 年 3 月 20 日，拍品編號 824。

Image courtesy of Hebei Institute of Cultural Relics

河北省文物研究所藏

Subtle Beauty: The Aesthetics of Song Dynasty | 23

Subtle Beauty: The Aesthetics of Song Dynasty | 23

24 | Bonhams THE PROPERTY OF A GENTLEMAN

士紳藏品

102

A WHITE-GLAZED QUATREFOIL DISH

Five Dynasties/Song Dynasty

The gently rounded sides supported on a straight ring foot rising to

an undulating open mouth incorporating four sharply pointed rims,

glazed overall with an even ivory tone, the foot rim left unglazed

revealing the white body, fitted box.

13.3cm (5 1/4in) diam. (2).

HKD40,000 - 60,000

US$5,100 - 7,700

五代 / 宋 白釉花口盤

Provenance:

A Taiwanese private collection

來源 :

台灣私人收藏

Compare a similar example of a quatrefoil white 'Dingyao' dish, Five

Dynasties, sold at Sotheby's London, 11 May 2011, lot 6.

敞口斜腹，口沿呈四瓣菱形花口，高圈足，外壁流釉如淚，釉色純淨，

足底露胎，胎質細白。整體線條勻稱秀美，給人以形體挺拔、輕巧靈

動之美感。盤外壁及底部多有釉水凝結， 即俗稱的「淚痕」， 通體無紋，

以器形和釉色取勝。

參考一件五代定窯白釉花口盤，其造型與本器可資比較，見倫敦蘇富

比，2011 年 5 月 11 日，拍品編號 6。

24 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 25

103

AN EXQUISITE AND RARE XINGYAO WHITE-GLAZED ZHADOU

Tang Dynasty

Thinly potted with a slightly compressed globular body supported on

a short base, extending to a wide flared conical rim, applied overall in

an attractive white glaze, the flat base left unglazed revealing the fine

white body, box.

11cm (4 3/8in) high (2).

HKD150,000 - 200,000

US$19,000 - 26,000

唐 邢窯白釉渣斗

Provenance:

An important Taiwanese private collection

來源 :

重要台灣私人收藏

The present lot is particularly striking in its lustrous white glaze,

superb and elegant potting as well as its well-balanced proportion of

the vessel, demonstrating the high level of quality already achieved by

craftsmen as early as the Tang dynasty.

Wares of this form were inspired by metalworks of the Tang dynasty

and functioned as spittoons in the early days. Smaller ones were also

used to contain tea leaves as one of the tea instruments. Xingyao

wares from Hebei province were amongst the finest ceramic wares

during the Tang and Five Dynasties period. The kilns were best known

for their pure white body and highly glossy glaze, and renowned for

their production of tea bowls and bowl stands. Xingyao stonewares

of this type are particularly rare.

See a similar Tang dynasty zhadou in the Palace Museum, Beijing,

illustrated in Porcelain of the Jin and Tang Dynasties. The Complete

Collection of Treasures of the Palace Museum, Hong Kong, 1996,

cat. no. 144. Compare also a related Tang dynasty white-glazed

zhadou in Shanxi Provincial Museum, illustrated in The Complete

Collection of Ceramic Art Unearthed in China, vol. 5, Beijing, 2008, p.

45, pl. 45.

口沿寬如盤，斜直壁，呈斗笠形，下承圓腹球身，足部內斂，平底，

無圈足。器身內外施白釉，釉質溫潤，積厚處泛青。

渣斗的器型最初來源於唐代金銀器唾壺的樣式，置於餐桌日常使用，

小型渣斗亦用於盛載茶渣，故也列入茶具範疇。河北邢窰為唐至五代

名窯之一，因其胎白如雪，釉色晶瑩，被視為當朝至臻。邢窰遍產茶

具，如本拍品相似之渣斗尤為罕見。北京故宮博物院藏一唐代邢窰渣

斗，載於《故宮博物院藏文物珍品全集：晉唐瓷器》，香港，1996 年，

圖版 144。另可參考山西博物院藏一件唐代白釉唾盂，見《中國出土

瓷器全集》，卷五，北京，2008 年，頁 45，編號 45。

Subtle Beauty: The Aesthetics of Song Dynasty | 25

26 | Bonhams A HONG KONG CONNOISSEUR'S COLLECTION OF SONG

AND MING PORCELAIN

資深香港私人收藏宋明瓷器

(Lots 104, 108, 114, 117, 118, 123, 124)

104

A PAIR OF SMALL DINGYAO WHITE-GLAZED DISHES

Northern Song Dynasty

Delicately potted with shallow and gently flared sides resting on a

wide flat base, each covered overall in a creamy-white glaze slightly

pooling above the base, leaving the mouth rim unglazed, box.

Each 11cm (4 3/8in) diam. (3).

HKD60,000 - 80,000

US$7,700 - 10,000

北宋 定窯白釉小盤一對

Provenance:

Acquired in the 1980s

來源 :

入藏於 1980 年代

26 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 27

THE PROPERTY OF A GENTLEMAN

士紳藏品

105

AN EXQUISITE PAIR OF SMALL DINGYAO 'DAYLILY' BOWLS

Northern Song Dynasty

Each bowl finely potted with deep round sides rising from a short

narrow foot, freely carved to the interior with a daylily spray and

curled leaves, covered inside and out with a lustrous ivory-toned

glaze pooling slightly in characteristic tear-like streaks on the exterior,

the mouth rim remains unglazed revealing the white biscuit, box.

Each 9cm (3 1/2in) diam. (3).

HKD100,000 - 150,000

US$13,000 - 19,000

北宋 定窯白釉刻萱草紋小碗一對

Provenance:

One of the pair:

John Sparks Ltd., London (label)

The British Antique Dealers Association (label)

Both:

A Taiwanese private collection

來源 :

其一：

John Sparks，倫敦 （標籤）

英國古董商協會（標籤）

一對：

台灣私人收藏

Compare a very similar carved Ding 'daylily' bowl, Northern Song

dynasty, sold at Christie's Hong Kong, 6 October 2015, lot 105.

碗敞口，深弧壁，矮圈足。通體施象牙白釉，外壁釉面有垂釉痕，圈

足修削齊整，口沿一圈露胎，胎質細密。外壁光素，內飾刻划萱草紋，

線條流暢灑脫，為定窯刻花白瓷器中的經典品類。參考香港佳士得售

出一件北宋定窯白釉萱草紋碗，與本器相似，2015 年 10 月 6 日，拍

品編號 105。

Subtle Beauty: The Aesthetics of Song Dynasty | 27

28 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 29

30 | Bonhams PROPERTY FROM A DISTINGUISHED ASIAN PRIVATE

COLLECTION

顯赫亞洲私人珍藏

106

AN EXQUISITE AND RARE DINGYAO WHITE-GLAZED

FOLIATE-RIM DISH

Five Dynasties/Song Dynasty

Finely potted as a dish of shallow rounded form, the undulating rim

rising from a ring foot and cut into four lobed petals, each defined

by a pointed tip at the centre, covered all over in an even ivory glaze

with characteristic teardrops on the underside, the glaze falling short

of the foot revealing the fine white clay body, fitted box.

15.6cm (6 1/8in) diam. (2).

HKD450,000 - 550,000

US$58,000 - 70,000

五代 / 宋 定窯白釉花口盤

Provenance:

The Muwen Tang Collection of Simon Kwan, Hong Kong

Sotheby's London, 12 November 2003, lot 1

Eskenazi Ltd., London

The Ten-Views Lingbi Rock Retreat Collection, no. EK192

來源 :

關善明先生沐文堂收藏

倫敦蘇富比，2003 年 11 月 12 日，拍品編號 1

Eskenazi Ltd.，倫敦

北美十面靈璧山居收藏，編號 EK192

Exhibited:

Song Ceramics from the Kwan Collection, Hong Kong Museum of

Art, Hong Kong, 1994, cat. no. 8

展覽：

《關氏所藏宋代陶瓷》，1994 年，香港藝術博物館，編號 8

30 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 31

The combination of refined white body, sophisticated thin potting and

ivory tinged glaze forming the tear-like markings on the outside of this

exquisite dish strongly indicates its origin at the highly respected Ding

kilns in Hebei, from Tang throughout Song dynasty.

The form of foliate rim dish is inspired by early gold and silver wares

of Tang dynasty, but four-pointed dishes of this crisply cut form are

very rare. A similar dish is illustrated in Sekai toji zenshu, vol. 11,

Tokyo, 1976, pls. 90-91; another in Chinese Ceramics in the Carl

Kempe Collection, Stockholm, 1964, pl. 341. A further example

dated Tang or Five Dynasties, is included by Regina Krahl in Chinese

Ceramics from the Meiyintang Collection, vol. 3(II), London, 2006,

pl. 1413. A dish of the same shape but bearing a painted mark can

also be found in the collection of Victoria & Albert Museum, see R.

Kerr, Song Dynasty Ceramics, London, 2004, p. 42, nos. 33 and

33a.

本品呈四瓣花口狀，撇口，斜弧腹，圈足。器物施白色釉，瑩潤柔和，

潔白細膩，釉面薄而堅硬。胎質細膩，燒結程度高。內外無多余紋飾，

極為素雅，宛如一朵盛開的梅花，清淡高雅。定窯花口器物傳世較少，

器型周正完整者更稀有。定窯為宋代五大名窯之一，其造型規整、胎

質潔白、釉質溫潤，深受時人喜愛，金代劉祁在《歸潛誌》中稱贊定

窯：「定窯花瓷甌，顏色天下白」。

海外館藏數件相似例子，可參閱《世界陶瓷全書》，卷十一，東京，

1976 年， 圖 版 90-91； 另 一 例 見《Chinese Ceramics in the Carl

Kempe Collection》，斯德哥爾摩，1964 年，圖版 341。見另一例定

為唐 / 五代的定窯花口盤，載於康蕊君著《玫茵堂中國瓷器》，卷三下，

倫敦，2006 年，圖版 1413。倫敦維多利亞與艾伯特博物館藏一件帶

款的北宋定窯花口盤，見柯玫瑰著《宋瓷》，倫敦，2004 年，頁 42，

圖版 33 及 33a。

Subtle Beauty: The Aesthetics of Song Dynasty | 31

32 | Bonhams THE PROPERTY OF A GENTLEMAN

士紳藏品

107

A FINELY CARVED DING 'LOTUS' DISH

Northern Song Dynasty

The gently rounded sides supported by a short narrow ring foot and

further rising to a flared hexafoil rim bound in copper, the center of

the base incised with a freely-drawn lotus seed pod and furled leaves

framed within an medallion, the interior sides carved with a scrolling

band of lotus blossoms and leaves, the exterior subtly incised with

six ribs indicating the lobes, covered overall with an ivory-toned glaze

pooling to a darker tone on the exterior, box.

20cm (7 7/8in) diam. (2).

HKD200,000 - 250,000

US$26,000 - 32,000

北宋 定窯白釉刻花蓮荷紋盤

Provenance:

A Taiwanese private collection

來源 :

台灣私人收藏

Compare a similar dish with incised lotus design, dated Northern

Song to Jin dynasty, illustrated in Decorated Porcelains of Dingzhou:

White Ding wares from the collection of the Palace Museum, Taipei,

2014, p. 90, pl. II-43.

此器造型規整，秀麗典雅，釉色均勻，白中帶牙黃。荷花圖案常見於

定窯器物，但本拍品通壁飾以蓮蓬、荷葉、荷花為裝飾，實屬稀少。

由斜刀拉出的寬刻面、與直刀勁力深刻的細線，交互呈現豐富的畫面，

而篦劃出的平行短弧線，則表現出花瓣飽滿的體積感，頗有宋代花卉

寫意的脫俗自然之感。參考一件台北故宮博物院藏相似的北宋至金代

刻花蓮荷紋盤，出版於《定州花瓷：院藏定窯系白瓷特展》，台北，

2014 年，第 90 頁，圖版 II-43。

Image courtesy of the Palace

Museum, Taipei 台北故宮藏

32 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 33

A HONG KONG CONNOISSEUR'S COLLECTION OF SONG

AND MING PORCELAIN

資深香港私人收藏宋明瓷器

(Lots 104, 108, 114, 117, 118, 123, 124)

108

A PAIR OF SMALL QINGBAI-GLAZED LOBED DISHES

Northern Song Dynasty

Each dish elegantly potted with shallow, rounded sides divided into

six lobes on the interior by raised ribs and notches on the everted

rim, covered inside and out with a glaze of lustrous pale aqua tone,

the flat hollowed bases unglazed exposing fine white body, box.

Each 10.1cm (4in) diam. (3).

HKD50,000 - 70,000

US$6,400 - 8,900

北宋 青白釉花口小盤一對

Provenance:

Acquired in the 1980s

來源 :

入藏於 1980 年代

Porcelain dishes of this type are commonly associated with the Hutian

kilns at Jingdezhen. The qingbai effect is believed to be an imitation

of jade. The lobed form is inspired by metal and lacquer wares of

the Tang and Song dynasties. Compare a six-petal dish, made in

the Hutian kiln, previously in the Qing Court collection and now in

the Palace Museum, Beijing, see Porcelain of the Song Dynasty: The

Complete Collection of Treasures of the Palace Museum, vol.2, Hong

Kong, 1996, pl. 163

兩隻小盤呈六瓣葵花形，平底無圈足，素胎底內凹。內外壁通身施淡

青釉面，碗底露細白胎土，有黃褐色墊燒痕跡。腹部內出筋，轉折有

力，給人以形體挺拔、輕巧靈動之美感。釉色雅致，溫潤如脂。

整器造型別致典雅，極具雋美秀潤之氣。比較北京故宮博物院所藏一

件同類例子，見《故宮博物院藏文物珍品全集：兩宋瓷器（下）》，香

港， 1996 年，圖版 163。

Subtle Beauty: The Aesthetics of Song Dynasty | 33

34 | Bonhams PROPERTY FROM A DISTINGUISHED ASIAN PRIVATE

COLLECTION

顯赫亞洲私人珍藏

109

A RARE CARVED QINGBAI LOBED 'FLORAL' BOX AND COVER

Song Dynasty

With deep rounded sides softly divided into six lobes, the box

decorated on the lower half of the body with carved flower heads on

each facet, the domed cover with a flat top decorated with a band of

scrolling foliage in high relief and a centric floral motif at the top, all

covered in a thin translucent crackled pale blue glaze with exception

of the rims and flat base, revealing the refined white body and the

smoked markings left during the firing on the base, box.

11.5cm (4 1/2in) diam. (3).

HKD350,000 - 400,000

US$45,000 - 51,000

宋 青白釉剔刻花卉紋六棱蓋盒

Provenance:

The Ten-Views Lingbi Rock Retreat Collection, no. CY1

來源 :

北美十面靈璧山居收藏，編號 CY1

34 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 35

The tall cylindrical lobed shape and deeply carved floral decorations

of the present lot is very rare. Qingbai boxes and covers are typically

shorter and more shallow, and many decorations were moulded.

A Qingbai box and cover in gourd form but with similar elongated

proportions is in the Victoria and Albert Museum, London, illustrated

by R.Kerr, Song Dynasty Ceramics, London, 2004, p. 104, no. 106.

本拍品由蓋、身兩部分組成，子母口相合，上下對稱，內弧作六棱狀，

平足。蓋面微隆，剔刻花卉紋飾，腹部外壁棱面刻單體花卉。蓋盒器

身施青白釉，所刻花紋在勻淨的青白釉面上若隱若現，青白相映，素

雅恬靜。口部及底足光素無釉，可見細膩白胎及支燒痕跡。

青白釉蓋盒最常見有矮身的器形，且模印花紋居多，此拍品六棱高

身造型，在如此輕薄小巧的器物上再進一步剔刻紋飾，體現了當時

窯工對此技藝的極致掌控，尤顯珍貴。維多利亞及阿伯特博物館藏

一件同類高身的青白釉瓜式蓋盒，見 Rose Kerr 編，《Song Dynasty

Ceramics》，倫敦，2004 年，頁 104，編號 106。

Subtle Beauty: The Aesthetics of Song Dynasty | 35

36 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 37

38 | Bonhams PROPERTY FROM A DISTINGUISHED ASIAN PRIVATE

COLLECTION

顯赫亞洲私人珍藏

110

A RARE AND UNUSUAL YUEYAO 'BIRD-FORM' CUP

Five Dynasties

Raised on a high splayed foot, applied to the exterior of one side

with a standing bird detailed with bulging eyes, a pointed beak and

outspread wings, its head extended upright beyond the mouth rim

and its square-cut tail forms part of the handle on the opposite side,

finely incised in thin lines to resemble its plumage, covered overall

with an olive-green glaze, box.

15cm (5 7/8in) wide (2).

HKD280,000 - 350,000

US$36,000 - 45,000

(detail)

五代 越窯青釉鳥形杯

Provenance:

An English private collection, acquired in Hong Kong in the 1980s

Christie's Hong Kong, 9 July 2020, lot 2876

來源:

英國私人收藏，於1980年代購自香港

香港佳士得，2020年7月9日，拍品編號2876

Subtle Beauty: The Aesthetics of Song Dynasty | 39

Bird-form vessels were used as ladles for wine in ritual ceremonies

during the Warring States Period, where this form of vessels were

revived in the Yue kilns during the Five Dynasties period. Compare a

nearly identical bird-form cup also dated to the Five Dynasties in the

collection of the Palace Museum, Beijing, illustrated in Porcelain of

the Jin and Tang Dynasties: The Complete Collection of Treasures of

the Palace Museum, Hong Kong, 1996, p. 256, no. 234.

鳥式杯仿漢代銅器形制，深腹，敞口微斂，高圈足外撇。杯外壁貼塑

一直立飛鳥，伸展雙翅，頭部略高於碗沿，對側飾鳥尾為柄。鳥身及

尾部布細密劃線紋，圓眼，尖嘴，表情生動，體態優美，栩栩如生。

內外均施青釉，釉面有細小的開片。釉色青翠，釉光瑩潤，是一件造

型獨特的越窯青瓷。

戰國時期，鳥形杯已用作舀酒禮器，造型新穎別緻，所飾鳥兒栩栩如

生。五代時越窯再次進行燒制，越窯始自東漢，至唐、五代時是其鼎

盛時期，主要燒造青瓷，並形成了獨特風格，成為南方著名的青瓷

窯。北京故宮博物院藏有一件五代近似例，見《故宮博物院藏文物珍

品全集：晉唐瓷器》，香港，1996年，頁256，圖版234。

Image courtesy of the Palace Museum,

Beijing 北京故宮博物院藏

Subtle Beauty: The Aesthetics of Song Dynasty | 39

40 | Bonhams 111

A RARE FLUTED LONGQUAN CELADON JAR AND COVER

Song Dynasty

Elegantly potted, the ovoid body carved with vertical flutes rising from

the flat base to the rim, the circular cover surmounted by a small

knop, covered overall in a lustrous sea-green glazes, the base left

unglazed burnt orange in the firing, box.

10.8cm (4 1/4in) high (3).

HKD30,000 - 50,000

US$3,800 - 6,400

宋 龍泉青釉瓜棱蓋罐

Provenance:

Sotheby's London, 11 December 1990, lot 241

來源:

倫敦蘇富比，1990年12月11日，拍品編號241

112

A LONGQUAN CELADON RIBBED TRIPOD INCENSE BURNER

Southern Song Dynasty

Finely potted in a cylindrical form, the exterior encircled by six evenly

spaced raised ribs, supported on three slightly splayed feet and rising

to a straight mouth rim, covered overall in a pale bluish-green glaze

with the exception of the flat base to reveal the beige biscuit, two

Japanese wood boxes.

5.4cm (2 1/8 in) high (3).

HKD30,000 - 50,000

US$3,800 - 6,400

南宋 龍泉青釉弦紋三足奩式爐

Provenance:

Collection of the Kounoike Family, no. 16

Formerly in the collection of a Tokyo Art Club member

來源:

鴻池男爵家松筠亭藏品，編號16

東京美術俱樂部會員舊藏

This type of incense burner originates from archaic bronze prototypes

lian from the Han dynasty and often decorated with bow-strings

around the body. The delicate size of the present lot is designated

for the literati's taste as the 'Four Arts of Life' - incense burning,

tea brewing, flower arrangement and painting appreciation - which

became a long pursuit in the Song dynasty.

For complete cataloguing, 詳盡圖錄內容請瀏覽

BONHAMS.COM/28990

111

112

Subtle Beauty: The Aesthetics of Song Dynasty | 41

PROPERTY FROM A DISTINGUISHED ASIAN PRIVATE

COLLECTION

顯赫亞洲私人珍藏

113

A SMALL LONGQUAN CELADON 'DRUM-FORM' JAR AND

COVER

Southern Song Dynasty

Delicately potted in the form of a drum, the globular body applied

with a pair of moulded plum flower handles suspending rings at

opposite sides, further applied with a band of small protruding

bosses around the base and the cover, covered overall in a glaze

of powder-green tone, the mouth and foot rim unglazed and burnt

orange during firing, box.

7.7cm (3 in) diam. (3).

HKD350,000 - 400,000

US$45,000 - 51,000

南宋 龍泉粉青釉貼花鼓釘紋蓋罐

Provenance:

An important Hong Kong family collection, acquired in the 1970s

Christie's Hong Kong, 3 December 2021, lot 2819

來源:

香港重要私人收藏，於1970年代購藏

香港佳士得，2021年12月3日，拍品編號2819

Exhibited and published:

University Museum and Art Gallery, The University of Hong Kong,

The Multiplicity of Simplicity - Monochrome wares from the Song to

the Yuan dynasties, 2012, no. 78

展覽及出版

香港大學美術博物館，《大繁若簡-宋金元朝的單色釉瓷》，2012年，

圖版78

The form and design of the present lot, inspired by Shang and Zhou

dynasties archaic bronzes, has demonstrated archaism as an important

element of the Song dynasty aesthetic. Compare a similar example

illustrated by Regina Krahl, Chinese Ceramics from the Meiyintang

Collection, Vol. 3 (II), London, 2006, no. 1576. A further example is

illustrated in The Rosalind Ching Pastor Collection: Catalogue of an

Exhibition at the Honolulu Academy of Arts, 2005, p. 9.

蓋罐型似坐墩，有蓋，子母口，器身弧腹向外鼓起，口足收斂，底足

內凹。腹部貼塑梅花紋銜環雙耳，蓋沿、近足處各飾一周凸起的鼓釘

紋。通身施青釉，瑩潤如玉，釉層勻厚。底足外圈無釉，中間施釉，

足端邊緣露胎處呈淺褐火石紅色。器形古樸，尤以鼓釘和貼花裝飾最

具特色。

鼓釘紋源自商周青銅器，宋代仿古之風蔚然，反映出當時的格古審

美。參考一件十三世紀的龍泉鼓釘罐，其釉色和尺寸均類似，見《玫

茵堂藏中國陶瓷》卷三下冊，倫敦，2006，頁585，圖版1576。參見

另一例出版於《The Rosalind Ching Pastor Collection》，檀香山藝術

學院，2005年，頁9。

Subtle Beauty: The Aesthetics of Song Dynasty | 41

42 | Bonhams A HONG KONG CONNOISSEUR'S COLLECTION OF SONG

AND MING PORCELAIN

資深香港私人收藏宋明瓷器

(Lots 104, 108, 114, 117, 118, 123, 124)

114

AN EXQUISITE LONGQUAN CELADON HEXAFOIL BRUSH

WASHER

Southern Song Dynasty

Delicately potted with slightly flaring walls rising to an open mouth of

hexafoil form, the exterior decorated with one raised band around the

rim and a further rib above the foot, covered overall with a lustrous

layer of even powder-green glaze, the foot rim unglazed, revealing

the reddish-beige body during firing, box.

11.2cm (4 3/8in) diam. (2).

HKD150,000 - 200,000

US$19,000 - 26,000

南宋 龍泉窯粉青釉葵口洗

Provenance:

Acquired in the 1980s

來源:

入藏於1980年代

42 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 43

A Longquan celadon brush washer of this lobed form and size, and of

similar glaze texture, is in the Kanazawa Nakamura Memorial Museum

collection, illustrated in Asahi Shimbun, Song Ceramics, Tokyo, 1999,

cat. no. 72; see another related example in Palace Museum, Taipei,

illustrated in Gugong Song ci tulu: Longquan yao, Ge yao, ji qita

geyao, Taipei, 1974, no. 19. Compare also a similar washer in the

Tokyo National Museum, published in Illustrated Catalogues of Tokyo

National Museum: Chinese Ceramics I, Tokyo, 1988, p. 126, no. 502.

洗口呈六瓣葵花形，斜直壁，淺圈足。外壁上下飾兩棱弦紋，造型簡

練雋雅。通體施粉青釉，色澤清亮澄澈，具有溫潤的玉質感，邊稜及

口沿略透灰白色胎體。圈足露胎，修削工整，胎釉結合處呈火石紅。

南宋時期的龍泉窯，通過燒製出色青如玉的粉青、梅子青等青瓷，成

為其最具代表性的工藝巔峰。此種葵口洗在南宋官窯中常見，器形規

整秀麗，製作極為精良，應是龍泉窯進貢或貴族雅士之珍賞。筆洗乃

書房必備之雅物，南宋的龍泉葵口洗，正符合傳統文人追求的素雅境

界。

日本金澤市中村紀念美術館藏一件類似南宋時代「青磁輪花洗」，

收錄於《宋磁》，朝日新聞社，1999年，圖版72; 另見台北故宮藏

一例，釉面佈冰裂紋，收錄於《故宮宋瓷圖錄：龍泉窯, 哥窯及其他

各窯》，台北，1974年，圖版19；及另一例帶開片葵口洗，藏於東

京國立博物館，收錄於《東京國立博物館圖版目錄：中國陶磁篇：

1》，東京，1988年，頁126，圖版502。

Subtle Beauty: The Aesthetics of Song Dynasty | 43

44 | Bonhams THE PROPERTY OF A GENTLEMAN

士紳藏品

115

A MAGNIFICENT LONGQUAN CELADON CONG-FORM VASE

Song Dynasty

Of characteristic cong form originated from the archaic jade

prototype, supported on a broad circular foot ring, the square tubular

body subtly moulded with eight sections of horizontal flanges around

each edge, covered overall with a thick lustrous bluish-green glaze in

imitation of jade texture thinning on the raised flanges and pooling to

a slightly darker tone at the recesses, the foot ring unglazed to reveal

the body underneath burnt brown during the firing, box.

26.8cm (10 1/2in) high (2).

HKD1,200,000 - 1,500,000

US$150,000 - 190,000

宋 龍泉青釉琮式瓶

Provenance:

Hellner Collection, Stockholm, Sweden

來源:

Hellner家族收藏，斯德哥爾摩，瑞典

Published:

Rose Kerr, Jade Green and Kingfisher Blue: Longquan Wares from

Museums and Art Institutes Around the World, Melton, 2023, p. 63,

pl. 52

出版:

柯玫瑰，《梅青色醉龍泉窯：世界博物館及藝術學院藏龍泉窯集

萃》，Melton，2023年，頁63，圖版52

Notable for its elegant form and subtle glaze colour, the present lot

is a remarkable testament to the technical advances made at the

Longquan kilns during the Song dynasty, which saw the creation of

numerous brilliant celadon monochrome glazes.

Cong-shaped Longquan vases resemble one of the most classic and

characteristic types of Song ceramics imitating both the shapes and

colours of archaic jade prototypes. The present lot was formerly in

the collection of Johannes Hellner (1866-1947), a renowned Chinese

art connoisseur from Sweden. Several similar examples can be found

in renowned collections throughout the world, see one from the

Palace Museum, Taipei, illustrated in Dynastic Renaissance: Art and

Culture of the Southern Song: Antiquities, Taipei, 2010, p. 91, pl. II-7.

琮式瓶，圓唇，方柱式長身，上下短頸，矮圈足。整器四壁各印有八

組突起的長短棱紋為裝飾，造型端莊周正。通身施粉青釉，釉面瑩潤

光亮，積釉處具玻璃質感。圈足露胎，呈火石紅。

龍泉琮式瓶為南宋始有的瓷器造型，器型仿自新石器時代良渚文化中

祭祀所用的玉琮。自良渚文化以來，玉琮開創玉器文明，象徵「天圓

地方」，禮教中用於祭地；到宋代始燒青瓷琮式瓶，亦將瓷器用作大

禮之器，使用者皆為王權貴族，等級之高可見一斑。此瓶來源於瑞

典外交大臣約翰·黑納爾（Johannes Hellner, 1866-1947）家族舊

藏，瓷器收藏以高古珍品為佳。同類器物可見一例藏於台北故宮，收

錄於《文藝紹興：南宋藝術與文化：器物卷》，台北，2010年，頁

91，圖版II-7。

Subtle Beauty: The Aesthetics of Song Dynasty | 45

Subtle Beauty: The Aesthetics of Song Dynasty | 45

46 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 47

48 | Bonhams PROPERTY FROM A DISTINGUISHED ASIAN PRIVATE

COLLECTION

顯赫亞洲私人珍藏

116

A MAGNIFICENT AND SUPERB LONGQUAN CELADON

'PEONY' YENYEN VASE

Song/Yuan Dynasty

Sturdily yet elegantly potted, the baluster body rising from a slightly

spreading foot to a cylindrical neck broadening to a wide flaring rim,

the tall trumpet neck decorated with three floral sprays, all between

a group of concentric bands leading to the flared mouth rim and

another set of ridges at the shoulder, the lower baluster section

boldly featuring a wide band of peony blooms in moulded relief borne

on leafy scrolling vines, above a border of overlapping upright lappets

at the base, covered overall in a thick celadon glaze of an attractive

blue-green tone with the exception of the foot rim revealing the

biscuit in burnt orange, wood stand, Japanese wood box.

60cm (23 5/8in) high (3).

HKD4,000,000 - 6,000,000

US$510,000 - 770,000

宋/元 龍泉窯青釉纏枝牡丹紋鳳尾尊

Provenance:

Mayuyama & Co. Ltd., Tokyo

來源:

繭山龍泉堂，東京

Published:

Mayuyama, Seventy Years, vol. 1, Tokyo, 1976, p. 166, pl. 485

出版:

《創業七十周年紀念：龍泉集芳》，卷一，繭山龍泉堂，東京，

1976年，頁166，圖版485