| 中文版 English

具体要求

其它要求

-
关闭
北宋/? 耀洲窯刻花卉紋?碗
法国 北京时间
2021年12月08日 开拍 / 2021年12月06日 截止委托
拍品描述 翻译
北宋/? 耀洲窯刻花卉紋?碗
Diamètre: 23,3 cm. (9 1⁄8 in.), bo?te en bois japonaise
Private Japanese Collection, acquired in the 1980s.
拍品专文 For Elegant Gatherings -A Rare and Important Yaozhou Bowl Rosemary Scott, Senior International Academic Consultant Bowls of this distinctive form are believed to have been used as warming bowls for small wine ewers at elegant gatherings in the Song dynasty. Certain types of wine were served warm and so the ewer holding the wine stood in a bowl of this type, containing hot water, which would help to retain the warmth of the wine. Such warming bowls and ewers are occasionally seen among the celadon-glazed Yue wares from Zhejiang, as in the case of the Yue bowl and ewer, now in the Capital Museum, Beijing, which were excavated in 1981 near Beijing from a Five Dynasties tomb dated to AD 995. Song dynasty ceramic sets of wine ewer and warming bowl are more common amongst qingbai glazed porcelains from the Jingdezhen kilns of Jiangxi province, but small numbers of Yaozhou examples are known, including that in the collection of the Palace Museum, Beijing, illustrated in The Complete Treasures of the Palace Museum, 32, Porcelain of the Song Dynasty (I), Hong Kong, 1996, pp. 114-5, no. 102). The Palace Museum bowl bears similar decoration to the current bowl, but is a little less finely-made, while its glaze lacks the brilliance and clarity of the glaze on the current vessel. Similar bowls are known in sizes ranging from 21.5 cm. diameter, to 23.5 cm. diameter. The Palace Museum bowl is of the smaller type, while the current bowl has a diameter of 23.3 cm. Bowls and ewers for the serving and retaining the warmth of wine are depicted in a number of extant paintings of elite gatherings, such as The Night Revels of Han Xizai by Gu Hongzhong (AD 937-975), a 12th century copy of which is in the Palace Museum, Beijing; Literary Gathering by the Northern Song Emperor Huizong ( r. 1100-1126), which is in the collection of the National Palace Museum, Taipei; and Eighteen Scholars of the Tang, which has also traditionally been attributed to Emperor Huizong, and is also in the collection of the National Palace Museum, Taipei. The fact that a ewer was intended to stand in the bowl possibly explains why there is a neat unglazed ring on the interior of the current, and similar, Yaozhou bowls. When the unglazed foot rim of the ewer was placed upon it, the unglazed ring inside the bowl would have provided a small amount of friction, which would have prevented the ewer from sliding about inside the bowl when the vessels were carried together to and from the table. The carved decoration on this bowl and the small number of related bowls is both unusual and distinctive. The interior walls are decorated with a carved and combed design of lotus flowers and leaves on water, while the exterior has a wide band of so-called ‘cash pattern’, below which is a somewhat narrower vegetal scroll band. This decoration is all carved using the characteristic Yaozhou technique, which involved the decorator holding the carving implement at an angle, so that one side of the cut went deeper into the clay then the other. When combined with the ideal Yaozhou glaze, such as that seen on the current bowl, the transparent olive-green glaze pooled in the deeper incision, appearing darker and producing a particularly effective dichromatic effect, which enhanced the impact of the design. The current bowl is a particularly fine example of the brilliant olive-green glaze for which these kilns are famous. The potters at Yaozhou were believed to have used a specific type of local rock as a significant ingredient in the glazes. Research has shown that this rock, called fuping glaze stone, could have been pulverized and simply mixed with small amounts of clay, silica and a phosphatic flux, such as wood ash, in order to make a good celadon glaze. Like the glaze on the earlier Yue celadon-glazed wares, the Yaozhou glaze was a so-called ‘lime glaze’, in contrast with the later Longquan celadon glazes which were ‘lime-alkali glazes’. The best Yaozhou glazes, like that on the current bowl, are transparent, bright, glossy, and olive green in colour. They contain relatively few large gas bubbles to obscure the design, but do contain very fine bubbles which scatter the light and add brilliance to the glaze. Fine Yaozhou celadon wares were highly prized in the Northern Song and Jin dynasties, and were presented as tribute to the Northern Song court. Both the Song Shi (Official History of the Song) and the Yuanfeng jiu yu zhi (Gazetteer for the Empire’s Nine Regions in the Yuanfeng reign [1078-1085]), compiled by Wang Cun (1023-1102), mention such tribute gifts. Indeed, fifty sets of tribute ceramics from the Yaozhou kilns are mentioned as being sent to the court over the period from AD 1078 to 1106. The appreciation of fine celadon-glazed wares at the Chinese court had been established in the Five Dynasties and early Song dynasty when celadon-glazed Yue wares were sent as tribute from Zhejiang province. As the popularity of white-glazed Ding wares began to wane at court in late 11th century, Yaozhou celadons became increasingly popular. A small number of Yaozhou celadon bowls of similar shape and decoration to the current bowl are known. A kiln waster of such a bowl has been excavated from amongst the Jin dynasty remains at the Yaozhou kiln site (see Shaanxi Tongchuan Yaozhouyao, Beijing, 1965, pl. xxi:3). Complete bowls of this type are also in the Barlow Collection (illustrated by M. Medley in Yüan Porcelain and Stoneware, London, 1974, pl. 79A), and in the Asia Society New York (illustrated by Y. Mino and K. Tsiang in Ice and Green Clouds: Traditions of Chinese Celadon, Indianapolis, 1987, pp. 152-3, no. 58). The latter bowl bears an inscription in ink on the interior, which is generally accepted to be of the period, and which provides a date equivalent to AD 1162. A further similar bowl, but with an additional decorative band around the interior rim, is in the collection of the Henan Provincial Museum (illustrated in Museums of China, vol. 7, Henansheng bowuguan, Tokyo, 1983, pl. 131). The considerable importance attached to bowls of this kind in Japan can be inferred from the fact that two Yaozhou bowls of similar shape and decoration to the current bowl have been accorded the national status of ‘Important Art Object’. One of these was previously with the famous dealer Junkichi Mayuyama, and was published in Mayuyama, Seventy Years, Volume One, Tokyo, 1976, p. 120, no. 345. This bowl was sold by Sotheby’s New York in September 2018. The other similar bowl given the status ‘Important Art Object’ is in the collection of the Tokyo National Museum and was included in the exhibition Masterpieces of Yaozhou Ware, held at the Museum of Oriental Ceramics, Osaka, in 1997, and illustrated as catalogue no. 96.

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
+

价格信息

拍品估价:40,000 - 60,000 欧元 起拍价格:40,000 欧元  买家佣金: 25.00% + VAT 服务费:平台服务费为成交总金额(含佣金)的3%

拍卖公司

Christie's France
地址: 9 Avenue Matignon
邮编: 75008
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