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絞胎小蓋罐 TANG DYNASTY (AD 618-907)
美国
09月17日 晚上9点 开拍 / 09月15日 下午3点 截止委托
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拍品描述 翻译
唐 絞胎小蓋罐
3 7/8 in. (9.8 cm.) high, cloth box
唐 絞胎小蓋罐 3 7/8 in. (9.8 cm.) high, cloth box 盧芹齋,紐約,1949年12月Pauline B. (1910–2000年) 及 Myron S. Falk (1906–1992年) 珍藏,編號31Falk珍藏(一)中國瓷器及工藝精品,紐約佳士得,2001年10月16日,拍品編號19 洛杉磯郡博物館,《Chinese Ceramics from the Prehistoric Period through Ch'ien Lung, Los Angeles》,1952年,頁63,編號83Myron S. Falk,《Neolithic to Ming, Chinese Objects–The Myron S. Falk Collection》,康州哈特福德,1957年,頁8,編號19東方陶瓷學會,《Catalogue of an Exhibition of the Ceramic Art of China》,倫敦,1971年,編號48 洛杉磯,洛杉磯郡博物館,「Chinese Ceramics from the Prehistoric Period through Ch'ien Lung」,1952年,編號83北安普敦,史密斯學院美術館,「Neolithic to Ming, Chinese Objects–The Myron S. Falk Collection」,1957年,編號19倫敦,東方陶瓷學會,「The Ceramic Art of China」,1971年,編號48 北美私人珍藏重要中國藝術
拍品專文 Marbling, known as jiao tai in Chinese, became a popular decorative technique on Tang dynasty ceramics and was applied to a variety of forms, including jars, cups, bowls, dishes, and censers. Sections of marbled clay were also inlaid into larger objects, such as pillows, to create a striking decorative effect. The popularity of marbled wares among the Tang aristocracy is demonstrated by the discovery of a small number of horses made from marbled clay among the burial goods of Princess Yongtai, who received a grand reinterment in AD 706. The marbled appearance could be achieved either by combining clays of different colors during the formation of the vessel or by applying two contrasting slips to its surface. In both cases, the finished piece was subsequently covered with a transparent glaze. The most common glazes were amber, as seen on the present covered jar, as well as green and colorless glazes. Examination of the current jar and cover clearly shows that it was made by combining contrasting clays, and further reveals that the upper and lower halves were constructed separately before being luted together. This process required considerable technical skill on the part of the potter and was executed with notable success on the current jar. The effect is less refined on a smaller, similarly glazed jar lacking a cover, excavated at Xianyang, Shaanxi province, in 1952. The tomb from which the Xianyang jar was recovered has been dated to AD 714. The jar, now in the Shaanxi Provincial Museum, is illustrated in Zhongguo wenwu jinghua daquan – Taoci juan, 1993, p. 247, no. 246. Another larger marbled jar with amber glaze, also lacking a cover, is illustrated by R. Krahl in Chinese Ceramics from the Meiyintang Collection, vol. I, 1994, no. 230. A marbled bowl with amber glaze in the Tokyo National Museum is illustrated in Sekai Toji Zenshu, vol. 11, Sui Tang, Tokyo, pp. 101–2, no. 79. The popularity of Tang dynasty marbled wares in Japan is further evidenced by the excavation of shards from a Chinese 8th-century marbled pillow at the site of Daian-ji Temple in Nara, illustrated in the same volume, p. 252, no. 237. Such marbled pillows were produced at a number of kiln sites in northern China, including the Gongxian kilns in Henan province. A small ring-handled cup with similar marbling and amber glaze, formerly in the Anders Hellstr?m Collection and now in the Museum of Far Eastern Antiquities, Stockholm, is illustrated in Oriental Ceramics, The World's Great Collections, vol. 8, Tokyo, 1982, no. 25.

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