定窯白釉刻花碗 / Ding Sake Cup

宋代 公元. 960 – 1279

d. 11 厘米

出處
東京 木雞古美術
香港 松心閣

類似作品
埃斯肯納茲展覽 2015

河北省定窯的陶工通常會將碗和盤倒置燒制,稱為「覆燒」,以防止變形。這種方法需要將邊緣的釉擦拭乾淨,以免附著在窯爐結構上。燒制完成後,未施釉的邊緣會用金、銀或銅鑲邊。這些飾帶不僅可以遮蓋未施釉的邊緣,還可以防止這些昂貴奢華的器物被磕碰。

這只碗是同類產品中質量最好的,髮色銀白,器壁比同類更薄,通體施白色釉。上海博物館藏有一隻釉色偏黃的同款器物,內壁以硃砂寫有「長壽酒」三字,因此,這類器物也被認為是宋時代的酒杯。宋徽宗文會圖中君主與賓客共飲畫面中,也曾出現該類作品。

萱草紋的刻劃流暢且果斷自信,匠人自由的揮灑與酥潤的釉面完美結合,觀者的思緒帶回到宋代文人的園林之中。

SOLD – 已售出

A Ding White Glaze Carved Floral Bowl

Song Dynasty AD. 960 – 1279
d. 11 cm

Provenance
Mokkei Arts, Tokyo
Lam’s Gallery, Hong Kong

Similar Examples
Eskenazi Exhibiiton 2015

It was a common practice of the potters at the Ding kilns in Hebei province to fire their bowls and dishes upside down in order to prevent warping of the thin walls. This method necessitated that the rims were wiped clean of glaze to avoid adhesion to the kiln structure. After firing, the unglazed rims were then banded with gold, silver or copper. Not only did these bands conceal the unglazed rims, they also aided in the prevention of chipping of these expensive and luxurious wares.

this bowl is the finest quality of its type, with thin body and white lustrous glaze throughout. The carving is fluid with decisive confidence, the freedom of brushes and glaze draws the viewer’s attention back to the Song literati’s garden.

$1.00