Lot 2015 A rare Cizhou sgraffiato 'peony' jar, Northern Song dynasty | 北宋　磁州窰白地剔黑彩牡丹紋罐

A rare Cizhou sgraffiato 'peony' jar, Northern Song dynasty | 北宋　磁州窰白地剔黑彩牡丹紋罐

HKD 600,000

600,000 - 1,200,000 HKD

未知

The jar has been professionally restored.

罐破損，經專業復修。

If a condition report is provided to assist you with assessing the condition of the lot, it is for guidance purposes only. Such condition report may not refer to all faults, restoration, alterations, or adaptations because Sotheby's is not a professional conservator or restorer but rather a condition report is a statement of subjective, qualified opinion genuinely held by Sotheby's. For these reasons, any such condition report is not an alternative to taking your own professional advice regarding the condition of the lot. Prospective buyers should also refer to the Guide for Buyers at Auction which includes important notices concerning the type of property in this sale.

Japanese wood box
h. 21.2 cm
来源：Kochukyo Co., Ltd, Tokyo.
展览：To So Meito Ten [Masterpieces of Tang and Song Ceramics], Ceramic Society of Japan, Nihonbashi Shirakiya, Tokyo, 1964, cat. no. 184.
Chugoku Bijutsu-Ten Series. So Gen no Bijutsu [Chinese Art Exhibition Series: The Art of Song and Yuan Dynasties], vol. 4, Osaka Municipal Art Museum, Osaka, 1978, cat. no. 1–142.
Toyo toji meihin ten / Masterworks of Eastern Ceramics, Aichi Prefectural Ceramic Museum, Seto, 1994, cat. no. 40.
Song Ceramics, Tobu Museum of Art, Tokyo, and Museum of Oriental Ceramics, Osaka, 1999, cat. no. 93.
5th Anniversary Exhibition. All-Stars of the Okada Collection: Masterworks of Korin, Jakuchu, Hokusai and the Ru Ware Kilns, Okada Museum of Art, Hakone, 2018–19, exh. no. 45 (unillustrated).
著录：Nihon Bijutsu Kogei / A Monthly Journal Devoted to the Study of Works on Far Eastern Art, vol. 304, January 1964 (Kochukyo Co., Ltd advertisement).
Gakuji Hasebe, Ceramic Art of the World, vol. 12: Song dynasty, Tokyo, 1977, pl. 232.
Osaka Municipal Art Museum, ed., So Gen no Bijutsu [The Art of Song and Yuan Dynasties], Osaka, 1980, pl. 162.
Gakuji Hasebe, Chugoku no toji [Chinese Ceramics], vol. 7: Cizhou ware, Tokyo, 1996, pl. 54.
Kobayashi Tadashi, ed., Masterpieces of the Okada Museum of Art, vol. 1, Tokyo, 2013, no. 8.
图录
说明：來源
壺中居，東京
展覽
《唐宋名陶展》，日本陶磁協会，日本橋白木屋，東京，1964年，編號184
《中国美術展シリーズ：宋元の美術》，卷4，大阪市立美術館，大阪，1978年，編號1–142
《東洋陶磁名品展》，愛知縣陶磁資料館，瀨戶，1994年，編號40
《宋磁―神品とよばれたやきもの》，東武美術館，東京、大阪市立東洋陶磁美術館，大阪，1999年，編號93
《開館5周年記念展―美のスターたち―光琳．若冲．北斎．汝窯など名品勢ぞろい》， 岡田美術館，箱根，2018–19年，展覽編號45（沒載圖）
出版
《日本美術工芸》，卷304，1964年1月（壺中居廣告）
長谷部楽爾，《世界陶磁全集》，卷12：宋，東京，1977年，圖版232
大阪市立美術館編，《宋元の美術》，大阪，1980年，圖版162
長谷部楽爾等編，《中国の陶磁》，卷7：磁州窰，東京，1996年，圖版54
小林忠編，《岡田美術館名品撰》，卷1，東京，2013年，編號8
This striking jar is impressive for its bold and vigorous floral scroll, which has been endowed with an added sense of three-dimensionality through its deep carving and delicate incised lines. Vessels decorated in this distinctive sgraffiato technique, where the design is carved through a dark brown or black slip to reveal the contrasting white slip beneath, were produced primarily at the Cizhou kilns in the Guantai area, Cixian, Hebei province, during the Northern Song dynasty. Fragments of similarly decorated vessels have been recovered from this site, as illustrated in The Cizhou Kiln Site at Guantai, Beijing, 1997, col. pl. 21, no. 2.
Jars decorated with similar peony motifs are more commonly known in larger sizes, such as one included in the exhibition Song Ceramics, Tobu Museum of Art, Tokyo, 1999, cat. no. 93. The dynamic peony scroll is also closely related to those found on meiping vases of the period, such as an example from the collection of Margaret C. Osgood, now in the Worcester Art Museum, included in the exhibition Freedom of Clay and Brush through Seven Centuries in Northern China. Tz’u-chou Type Wares, Indianapolis Museum of Art, Indianapolis, 1980, cat. no. 39. The same exhibition catalogue illustrates four other meiping of this type: in the Kyoto National Museum, Kyoto, fig. 97; in the Museum Yamato Bunkakan, Nara, fig. 98; in the collection of the former royal house of Yi, Seoul, fig. 99; and in the British Museum, London, fig. 100.
本罐紋飾鮮明，其纏枝花卉自然有力，匠人以深剔及刻劃技法，使紋飾更富立體感。此剔花技法，乃於白化妝土上施黑或深褐化妝土，再剔刻紋飾以露白底，主要產於北宋時期河北磁縣觀台一帶之磁州窰。該遺址曾出土紋飾相近之器物殘片，見1997年北京出版《觀台磁州窰址》，彩圖版21，編號2。
飾有相近牡丹紋之罐，傳世品多見尺寸較大者，例如東京東武美術館展出一例，著錄於《宋磁》，東京，1999年，圖錄編號93。這種刀法豪放且有力的纏枝牡丹紋在同時期的磁州窰梅瓶上也可見，參考 Margaret C. Osgood 舊藏、現存於伍斯特藝術博物館一例，曾展出於印第安納波利斯藝術博物館，見《Freedom of Clay and Brush through Seven Centuries in Northern China. Tz’u-chou Type Wares》，印第安納波利斯，1980年，圖錄編號39。該展覽圖錄亦載錄了另外四件同類梅瓶作例：一為京都國立博物館藏品，圖97；一為奈良大和文華館藏品，圖98；一為首爾前李王家舊藏，圖99；以及倫敦大英博物館藏品，圖100。