| 中文版 English

具体要求

其它要求

-
关闭
A GREEN-GLAZED MOULDED ‘SCROLLING FOLIAGE’ STEM CUP STAND 绿釉刻卷草纹盏托 China, Song-Yuan dynasty (960-1368) D.12.5cm - H.4cm of lobed foliate form with an everted rim, comprising a shallow tray supported
爱尔兰
06月24日 晚上6点 开拍 /3天5小时
拍品描述 翻译
A GREEN-GLAZED MOULDED ‘SCROLLING FOLIAGE’ STEM CUP STAND 宋-元 绿釉刻卷草纹盏托 China, Song-Yuan dynasty (960-1368) D.12.5cm - H.4cm of lobed foliate form with an everted rim, comprising a shallow tray supported on a tall, deep foot ring. The profile is well balanced, with rounded and fluid lines. It is covered overall in a rich green glaze of lustrous, deep emerald tone. The glaze surface is densely suffused with fine crackle, producing a pronounced glassy effect. The interior of the tray is moulded with a continuous band of scrolling foliage, the lines fluid and elegantly rendered, arranged in a regular and well-balanced composition. At the centre rises a moulded cup stand, full and well formed, integrally modelled with the tray. Provenance: A Paris art instructor’s collection Note The development of green-glazed ceramics can be traced back to the Han dynasty, when, under the influence of cultural exchanges with the Western Regions and the introduction of lead-glazing technology, low-fired lead green glazes using copper oxide as the colorant and lead as the flux were first applied on a large scale to earthenware. The glaze tended towards a yellowish-green tone, and its surface was prone to developing a silvery iridescence due to environmental effects. These wares were primarily used as funerary objects, with very few utilitarian examples, establishing the technical foundation of later green glazes characterized by low-temperature firing and copper coloration. From the Wei, Jin, Northern and Southern dynasties through to the Sui dynasty, northern kiln sites continued the Han tradition of green-glazed pottery. The glaze gradually became purer in tone, and combinations of green, yellow, and brown glazes began to appear, foreshadowing the emergence of sancai wares. In the Sui dynasty, lead-glazing techniques became more advanced, resulting in more stable green tones, while some wares experimented with porcelain bodies, marking a transition towards porcelain glazes. The Tang dynasty represents the peak of green-glazed development. Low-fired green glaze became one of the key colours in Tang sancai, combined with yellow, white, and brown glazes to produce rich and vivid effects. It was widely applied to figurines, dishes, ewers, and other vessels. At the same time, Yue kiln celadon in the south, using iron as the colorant, exhibited greenish tones that provided an aesthetic reference for later high-fired green-glazed porcelain. From the Five Dynasties through the Song, Liao, and Jin periods, green glaze entered a phase of continuation and innovation. The Five Dynasties maintained the Tang sancai green-glaze tradition, with more restrained and refined tones, while some kilns began producing monochrome green-glazed wares. During the Song dynasty, northern kilns such as Cizhou and Ding continued to produce low-fired green-glazed wares, often undecorated and characterized by warm, gentle tones. In the south, Longquan and Jingdezhen kilns produced celadons using iron as the colorant, achieving various shades of bluish-green, forming a complementary relationship with northern low-fired green glazes. In the Liao and Jin periods, influenced by Tang traditions, green-glazed wares combined nomadic and Central Plains aesthetics, featuring bright glaze colours and decorations dominated by impressed and carved motifs, with diverse vessel forms. By the Yuan dynasty, green-glaze technology in northern kilns continued to develop, with more refined low-fired lead green glazes. The glaze became lustrous and often exhibited fine natural crackle. It was commonly applied to stem cup stands, dishes, and bowls for daily use. Some pieces were fully glazed without exposed body, reflecting strict craftsmanship and forming the characteristic style of northern green-glazed ceramics in the Song–Yuan period. 绿釉瓷器的发展历史可追溯至汉代,当时受西域文化与铅釉技术传入影响,以氧化铜为着色剂、铅为助熔剂的低温铅绿釉首次大规模应用于陶器,釉色偏黄绿,釉面易因环境影响泛出“银釉”,多用于明器,实用器极少,奠定了后世绿釉“低温、铜着色”的技术基础,魏晋南北朝至隋代,北方窑场延续汉代绿釉陶传统,部分器物釉色趋于纯净,开始出现绿釉与黄釉、褐釉的搭配,为三彩的出现埋下伏笔,隋代铅釉技术进一步成熟,绿釉色调更稳定,部分器物尝试以瓷土为胎,向瓷釉过渡,唐代是绿釉发展的鼎盛期,低温绿釉成为唐三彩的核心釉色之一,与黄、白、褐釉搭配,釉色浓翠鲜亮,广泛应用于俑、盘、壶等各类器物,同时南方越窑青瓷以铁为着色剂,呈现出偏绿的色调,为后世高温绿釉瓷提供了审美参照,五代至宋辽金时期绿釉进入延续与创新阶段,五代延续唐代三彩绿釉传统,釉色更趋素雅,部分窑场开始烧制单色绿釉器,宋代北方磁州窑、定窑系等生产低温绿釉瓷,以素面为主,釉色温润,南方龙泉窑、景德镇窑以铁为着色剂烧制青釉瓷,呈现出不同层次的“青绿色”,与北方低温绿釉形成南北呼应,辽金时期受唐代工艺影响,绿釉器兼具游牧文化与中原工艺特征,釉色明快,装饰以印花、刻划花为主,器型多样,至元代,绿釉工艺在北方窑场继续发展,低温铅绿釉技术更趋成熟,釉色莹润,釉面常带细密冰裂开片,多应用于盏托、盘碟等日用器,部分器物施满釉,无露胎,工艺严谨,形成了宋元时期北方绿釉瓷器的典型风貌。
Condition:With multiple areas of surface wear to the glaze. The green glaze is unevenly fired, showing pronounced variations in tone and intensity.

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
10
100
50
500
100
1,000
200
2,000
250
5,000
500
10,000
1,000
20,000
2,000
50,000
5,000
100,000
10,000
+

委托价 (已有0次出价)

欧元

价格信息

拍品估价:1,000 - 2,000 欧元 起拍价格:700 欧元  买家佣金:

拍卖公司

Adam's
地址: James Adam & Sons Ltd. 26 St Stephens Green Dublin 2 Ireland
电话: 35316760261
邮编: 000
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种:
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时,请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种:
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账,所以请您在汇款时,选择足额到账,或在汇款金额的基础上加上汇款手续费(如25美金)。
4. 国际转账汇款时, 您需要知道海外拍卖行以下汇款信息:
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码(8位字母数字组合,必填项, 如: BFKKAT2K)
* 收款银行清算码(9位数字组合,选填项)
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输, 您只需要支付相关的运费及保险费(如您需要)即可;有的海外拍卖行会推荐几家长期合作的运输公司, 这些运输公司有着良好的信誉和高质量的工作效率,您大可放心。您只需要提供您的收货地址, 竞得拍品账单。 运输公司会根据您提供的信息给您报价, 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了, 信用卡是最常用的支付手段, 当然还有其他像PayPal,转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税,需由包裹接受人(即买家)自行承担。 征收标准:具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品,如枪支、管制刀具、象牙、犀角等;中国买家不得通过本平台参与上述物品的拍卖活动;任何情形下,买家均须对自己的竞拍行为独立承担责任。
服务热线:400-608-1178
查看全部小贴士