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A fine Chinese Jian black-glazed 'hare's fur' 'tenmoku' tea bowl, Southern Song dynasty 建窰兔毫禾目天目茶
英国
05月14日 下午5点 开拍 /9天22小时
拍品描述 翻译
A fine Chinese Jian black-glazed 'hare's fur' 'tenmoku' tea bowl, Southern Song dynasty 南宋 建窰兔毫禾目天目茶盞 The fine and robustly potted bowl with deep sides rising to an indented rim, covered overall in a black-glaze with cascading russet 'hare's fur' streaks and pooling short of the foot, revealing the purple-tinged brown bodyDimensions:12.8cm diameterProvenance:Japanese private collection; Santos Collection 來源: 日本私人收藏; 桑托斯收藏 This present bowl is illustrated in Santos, A. Varela. Tang to Qing Ceramics, 2017/2018 catalogue, cat. 11.Notes:Please note a similar bowl sold at Sotheby's, New York, 19 September 2023, lot 770; another example with a silver rim sold at Sotheby's, New York, 19 March 2024, lot 499; another from the Linyushanren collection sold at Christie's, 2 December 2015, lot 2028; another from the Yangdetang collection sold at Christie's, Hong Kong, 30 November 2016, lot 3156 During the Northern Song dynasty, the Jian kilns of Fujian province were renowned for producing dark-bodied tea bowls coated with lustrous black-brown glazes. These surfaces were animated by distinctive streaks and splashes, the most celebrated of which are known as ‘hare’s fur’ (tuhao wen), as seen on the present example, and ‘oil spot’ (youdiyou). In both types, the dramatic visual effects result from a high concentration of iron oxides that migrated to the surface during firing and crystallised into iron-rich mineral formations. Tea bowls decorated with ‘hare’s fur’ were later known in Japan as nogime tenmoku, where they were also held in particularly high esteem. The understated appearance of these bowls made them especially suitable for use in Buddhist temples, and they were greatly admired during the Song dynasty. Their deep, glossy black glazes provided a striking contrast to the white froth of whipped tea, a quality that contributed to their growing popularity beyond monastic settings. Emperor Huizong (r. 1101–1125), famed for his refined taste in tea, praised black-glazed tea bowls and particularly those with ‘hare’s fur’ decoration such as the present example as the most desirable. Along with the practice of whipped tea, Song dynasty Jian tea bowls are believed to have reached Japan during the Kamakura period (1185–1333), coinciding with the introduction of Zen Buddhism, and they have been treasured there ever since. For examples of this type, please refer to a bowl exhibited in Karamono temmoku [Chinese Temmoku], MOA Art Museum, Atami, 1994, cat. no. 6. The exhibition catalogue juxtaposed several important heirloom temmoku bowls preserved in Japan with a substantial group of excavated examples from the kiln sites, effectively demonstrating both the breadth of quality and the exceptional standard of the pieces collected in Japan. Another bowl now in the Metropolitan Museum of Art, New York, was shown in Hare’s Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics, 400–1400, Harvard University Art Museums, Cambridge, Massachusetts, 1996, cat. no. 83. Only a single sherd exhibiting a similar glaze effect is illustrated in J. M. Plumer. Temmoku: A Study of the Ware of Chien, Tokyo, 1972, p. 59, pl. 8. 同類器物可參考紐約蘇富比2023年9月19日,拍品編號 770;紐約蘇富比2024年3月19日,一件帶銀扣(銀邊)之實例,拍品編號 499;香港佳士得 2015年12月2日,「臨宇山人」珍藏專場,拍品編號 2028;香港佳士得2016年11月30日,「養德堂」珍藏專場,拍品編號 3156。 建窯(福建省)在北宋時期以深色胎骨與黑褐釉面著稱,其釉色變化主要源於燒製過程中氧化鐵的遷移與結晶。本品展示了最著名的「兔毫」紋樣,即在黑釉中呈現纖細的金銀色條紋。另一種常見的變化為「油滴」。這些效果是高濃度鐵氧化物在高溫下結晶形成的物理現象。建盞深邃亮澤的釉面,與宋代「點茶法」中打出的白沫形成強烈對比,因此廣受文人與禪宗僧侶青睞。宋徽宗在《大觀茶論》中對此推崇備至,認為「盞色貴青黑,玉毫條達者為上」。此類器物隨禪宗於鎌倉時期(1185–1333)傳入日本,被稱為「野雉目天目」,並成為日本茶道文化中至高無上的珍藏。 學術著錄與展覽可參考MOA美術館: 1994年於熱海舉辦之《唐物天目》展覽,目錄編號 6。該展覽首次將日本流傳之「傳世天目」與建窯遺址出土之瓷片進行對比,確立了此類器物的質量標準;哈佛大學藝術博物館: 1996年舉辦《兔毫、玳瑁與鷓鴣斑:中國黑褐釉瓷(400–1400)》展覽,目錄編號 83(現藏於紐約大都會藝術博物館);J.M. Plumer 著: 《天目:建窯研究》,東京,1972年,頁 59,圖版 8。

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