LOT 604
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An exceptional Longquan celadon 'kinuta' arrow vase, Southern Song dynasty｜南宋 龍泉青釉弦紋貫耳壺
作品估价：HKD 1,500,000 - 2,000,000
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图录号：
604
拍品名称：
An exceptional Longquan celadon 'kinuta' arrow vase, Southern Song dynasty｜南宋 龍泉青釉弦紋貫耳壺
拍品描述：
An exceptional Longquan celadon 'kinuta' arrow vase,
Southern Song dynasty
南宋 龍泉青釉弦紋貫耳壺
potted with an ovoid body supported on a tall foot, surmounted by a long cylindrical neck decorated with two raised ribs,flanked by two tubular handles, covered overall save for the footring in an unctuous bluish-green glaze suffused with widely dispersed crackles, Japanese wood box
28 cm
Collection of Hayakawa Senkichirō(1863-1922).
Hayakawa-ke Goshozohin nyusatsu [Collection of the Hayakawa Family], TokyoArt Club, Tokyo, 1923, lot 292.
早川千吉郎（1863-1922）收藏
《早川家御所蔵品入札》，東京美術倶楽部，東京，1923年，編號292
Glowing with a soft sea-green tone, this grand vase is an exquisite example of the finest wares produced at the Longquan kilns in the Southern Song dynasty. Its delicate jade-like surface, suffused with crackles, perfectly complements the simplicity and harmony of its unassuming yet elegant shape. Known to Japanese connoisseurs as kinuta (‘mallet’), after its more common appearance on vases of a ‘mallet’ shape, this luminous blue-green glaze effect appears to only be found on the highest quality of Longquan ceramics and has long been coveted by collectors. Some scholars even suggest that these exemplary wares – unprecedented in earlier Longquan production – may have been produced under imperial patronage which had erstwhile been limited to the ‘official’ guan kilns of Hangzhou; see Suzanne G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, p. 99.
The simple archaic form of the present lot is typical of the refined aesthetics in vogue at the height of the Song dynasty. Following a dramatic political shift from a society ruled by a hereditary aristocracy to one governed by a central bureaucracy of highly educated scholar-officials, the Song dynasty saw the rise of a Neo-Confucian ideology, in which conceptions of virtue and beauty were derived from the ideals of the past. With a jade-like glaze and cylindrical handles inspired by archaic bronze vessels, the present piece is a testament to this new fascination with antiquity and the skilful appropriation of ancient aesthetics into the Song artistic repertoire.
Very few vases of this remarkable quality and size still survive. Compare two very similar vases of this shape from the Qing court collection: one preserved in the Palace Museum, Beijing, exhibited in Tianxia Longquan: Longquan qingci yu quanqiuhua / Longquan of the World: Longquan Celadon and Globalization, vol. II, Beijing, 2019, cat. no. 12; the other in the Palace Museum, Taipei, illustrated in Lung-chüan Ware of the Sung Dynasty, Hong Kong, 1962, pl. 3, alongside a similar vase in the more conventional shape of a bronze hu, inscribed with a poem from the Qianlong Emperor, pl. 1. See also a slightly larger vase sold at Christie’s Hong Kong, 1st December 2009, lot 1862; and another, of smaller size, from a Japaneseprivate collection, exhibited in Longquan Ware: Chinese Celadon Beloved of the Japanese, Nagoya, 2012, cat. no. 20.
Two other related vases are known, very similar to the present but with more dramatically flared rims and single bow-string designs around their necks: one from the collection of the Kanagawa Prefectural Museum, illustrated in Mayuyama, Seventy Years, vol. I, Tokyo, 1976, pl. 481; the other sold at Christie’s London, 15th December 1980, lot 167 and again, 15th July 1981, lot 105.
色澤翠青光潤，貫耳壺高貴隽秀，屬南宋龍泉窰最精良之作，釉面如玉細膩，相襯開片紋，素雅器形，靜謐簡約，和諧絕美。青釉色翠泛藍，光耀明亮，較多見於紙槌瓶器形，日本鑑賞家遂沿用「砧」（意謂「槌」）稱此釉色，向來被視為龍泉瓷之最，深得藏家仰慕。部分學者推測，此類龍泉瓷，與早期作例相異，或為南宋朝廷下令燒造，與位於杭州的官窰並行，見 Suzanne G. Valenstein，《A Handbook of Chinese Ceramics》，紐約，1989年，頁99。
貫耳弦紋壺器形，源自高古青銅器，反映宋時至為風行的慕古情懷。兩宋統治階級從貴族世襲轉變為文人菁英階層，促使新儒學盛行，汲古鑑今，從歷史經典中尋求隽永美感與真理。如此美玉般的釉色，搭配古青銅器形，本品巧妙結合古物之美與當朝製瓷技藝，體現宋代美學精髓。
存世龍泉瓷中，相類品質與尺寸者極少。比較清宮舊藏二例，其一藏於北京故宮博物院，展出於《天下龍泉：龍泉青瓷與全球化》，卷2，北京，2019年，編號12；另一例為台北故宮博物院藏品，錄於《故宮藏瓷：龍泉窰》，香港，1962年，圖版3，同刊一例龍泉青釉弦紋方壺，下銘乾隆皇帝御製詩，圖版1。參考一件尺寸略大作例，2009年12月1日售於香港佳士得，編號1862；日本私人收藏一例，尺寸較小，展於《龍泉窯青磁展：日本人の愛した中国陶磁》，名古屋，2012年，編號20。
比較與本品相近二例，口沿外撇，頸部僅飾單弦紋：一為神奈川縣立博物館，刊於《龍泉集芳》，卷1，東京，1976年，圖版481；另一售於倫敦佳士得，1980年12月15日，編號167，及1981年7月15日，編號105。