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A RARE CELADON GLAZED CANDLE HOLDER 青釉六棱高足莲瓣烛台 China, Sui dynasty (581-618) H.18cm This Sui dynasty celadon-glazed candle holder is of well-proportioned form and clearly defined structural hierarchy. It represents a typi
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06月24日 晚上6点 开拍 /3天5小时
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拍品描述 翻译
A RARE CELADON GLAZED CANDLE HOLDER 隋 青釉六棱高足莲瓣烛台 China, Sui dynasty (581-618) H.18cm This Sui dynasty celadon-glazed candle holder is of well-proportioned form and clearly defined structural hierarchy. It represents a typical Northern celadon type of the Sui period, continuing the ceramic tradition of the Northern Dynasties while anticipating the formal developments of Tang dynasty ceramics. Comprising three main sections—tray, high stem, and lamp cup—the design is both functional and aesthetically refined. The base features a wide-rimmed, shallow tray with two raised concentric cord bands in the centre, serving both decorative purposes and to collect dripping wax. Rising from the centre is a hexagonal hollow stem, straight and upright, supporting the upper lamp cup. The cup is modelled in the form of a lobed lotus blossom, with a hexagonal hollow candle tube in the centre for holding the wick, demonstrating a sophisticated and highly functional design. Overall, the piece is covered with a yellowish-green celadon glaze (also described as greenish-yellow or millet-toned glaze). The glaze is even and semi-translucent, with a network of fine crackle throughout, characteristic of Sui dynasty celadon ware. The tone is warm and elegant, with darker olive-brown pooling in the recesses. Well fused to the body, the glaze reveals a robust, slightly granular ceramic fabric at the exposed foot, consistent with Northern kiln traditions such as the Xiangzhou and Xing kiln systems. The lamp cup is formed as a lotus-lobed rim, a classic decorative motif influenced by Buddhist art from the Northern and Southern Dynasties through to the Sui and Tang periods. The lotus petals are elegantly spread with simple, restrained lines, reflecting the Sui aesthetic of simplicity, strength, and understated grandeur in ceramic design. 此件隋代青釉烛台造型比例匀称,结构层次分明,为隋代北方青瓷的典型器型,既承袭了北朝陶瓷工艺传统,亦开启了唐代陶瓷器型发展之先河。 器物由承盘、高柄、灯盏三大部分构成,设计兼具实用性与审美意趣。底部为宽沿浅腹承盘,盘心起两道凸起的同心圆弦纹,既作装饰,亦可承接烛泪;盘心直立中空六棱高柄,挺拔周正,承托上部灯盏;灯盏作莲瓣花口造型,盏心设中空六棱烛管以固定烛芯,设计精巧,功能完备。 通体施青黄釉(亦作黄绿釉、米黄釉),釉面匀净莹润,呈半透明状,满布细密开片,为隋代青瓷的典型特征。釉色温润古雅,积釉处呈深橄榄褐色;胎釉结合紧密,露胎处可见坚致、略具颗粒感的瓷胎,符合相州窑、邢窑系等北方窑场的烧造工艺特征。 灯盏的莲瓣花口造型,是南北朝至隋唐时期受佛教艺术影响形成的经典装饰母题。莲瓣舒展,线条简练克制,尽显隋代陶瓷 “简约雄浑、内敛大气” 的时代审美风格。 Note A similarly shaped piece was excavated from the tomb of the Li family of Zhao Commandery, Xigaocun, Zanhuang, Hebei Province, and is now in the Hebei Museum. (see image 5) 一件形制相近的器物出土于河北省赞皇西高村赵郡李氏家族墓,现藏于河北省博物馆。(如图5)
Condition:A firing crackle on the main tray

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