Subtle Beauty: The Aesthetics of Song Dynasty | 49

Subtle Beauty: The Aesthetics of Song Dynasty | 49

50 | Bonhams The Yenyen vase was inspired by the archaistic bronze gu as a

prototype, and its flaring mouth rim and trumpet neck resemble a

phoenix spreading out its tail feathers. Longquan kilns in Zhejiang

province was renowned for making these wares from early Song to

late Ming dynasty, vessels of such size were used as a vase or tribute.

Meanwhile, Longquan ceramics were introduced overseas during

maritime trade, and soon became popular among noble households

and zen temples in Japan. Similar vases were also among the cargo

of the shipwreck sank off Sinan, South Korea in 1323.

Similar large vases with applied moulded decoration typical of the

Song and Yuan dynasty can be found in a few public and private

collections in Japan. Compare with a similar vase decorated with

peony decoration and olive-green glaze, Yuan dynasty, in the

collection of Kyoto National Museum, plate no. 259-6049; another

similar vase at Tokyo National Museum. See a further comparable

example dated Yuan dynasty excavated in Shomyo Temple, currently

in the collection of Kanazawa Bunko, Yokohama, Japan. A related

Song dynasty celadon-glazed vase in pair, was designated as

important cultural property in Ashikaga city, Japan.

The present lot was originally from Mayuyama & Co., Ltd, a

prominent Japanese dealer in fine oriental art since the 1950s, and

was illustrated in its seventieth-year anniversary catalogue 'Seventy

Years'. Mayuyama Matsutaro(1882-1935), the first President of the

company, founded the business in 1905 and named it Ryusen after

his expertise - Chinese Longquan celadon wares, in which Mayuyama

began his success in business.

尊撇口，呈喇叭狀，長束頸，溜肩，深弧腹漸收，近足處外撇，圈足

露胎，內凹。口沿外側至頸部環繞弦紋，中間飾浮雕牡丹三組，肩部

亦有數道弦紋，作為瓶頸至瓶身之分界線。下方腹部飾一圈纏枝牡丹

紋，線條流暢，出筋勁挺，底部飾修長仰蓮瓣紋。除圈足，通體施梅

子青釉，釉層勻厚，色澤如玉。造型碩大而優雅，修足規整，足圈內

外見火石紅，色澤沉穩；器底為保証燒造時的穩定，作內凹處理，釉

面平滑溫潤，工藝細緻精湛。

鳳尾尊起源於宋末元初，由古代銅器「觚」演變而來，因器型曲線優

美、形似鳳凰舒展尾羽而得其名。《飲流齋說瓷》曰：「鳳尾足長而

豐，底處蓋散開略同鳳尾，故名。」鳳尾尊以龍泉窯最為有名，自元

代開始流行，至明末仍盛行，常作為陳設花器或供御賞瓶，以尺寸高

碩者居多。同時，龍泉瓷器亦隨着世界貿易的通道流向海外各地，

1975年韓國新安發現的元代沉船出水文物中可見同類型器物。

12世紀中後期至13世紀末期，出口至日本的龍泉青瓷數量頗豐，西

至博多、太宰府、京都，東至鐮倉及平泉等地，多見於寺廟禮佛及

貴族清賞，常被視為傳家或鎮寺珍寶，代代相傳。遍索公私收藏，

尺寸及裝飾與本拍品最近者，可見一例元代貼花牡丹唐草紋瓶，高

49.7cm，藏於日本京都國立美術館；另一例高69.5cm，卷草紋飾較

繁複，藏於東京國立博物館。另見元代龍泉青釉鳳尾尊，於日本神奈

川縣橫濱市金沢區稱名寺內金沢貞顯（1278-1333）墓出土，釉色及

紋飾均與本拍品極為相似。足利市另有一對定於南宋的龍泉青釉鳳尾

尊，被列為國家重要文化財產。

此鳳尾尊早期來源於東京繭山龍泉堂藏品，著錄於紀念繭山龍泉堂創

立七十周年而特別編著的收藏圖錄——《龍泉集芳》。繭山龍泉堂由

第一任主人繭山松太郎（1882-1935）於明治三十八年（1905年）

創立，至今已餘百年歷史，專攻中國古美術，早期以龍泉瓷器起家，

後期涉獵書畫、青銅器等多個門類。憑藉過人的眼光，「繭山龍泉

堂」成為日本當時最知名和重要的古董商，與山中商會齊名，至今日

本多間頂級博物館的藏品，亦曾由其經手。被收錄進1976年出版圖

錄《龍泉集芳》中的珍藏，更是多年經手器物中的無上極品，廖若

星辰。

Mayuyama & Co., Mayuyama, Seventy

Years, vol. 1, Tokyo, 1976

繭山龍泉堂，《創業七十周年記念：龍

泉集芳》，卷一，東京，1976年

Subtle Beauty: The Aesthetics of Song Dynasty | 51

Subtle Beauty: The Aesthetics of Song Dynasty | 51

52 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 53凡绿豆色莹净无瑕者为上——明・陆容《菽园杂记》

“Best ones are those that are shining, clear,

and flawless in a green bean colour.”

— Lu Rong, Shuyuan Zaji [Miscellaneous Records of the Shuyuan Garden]

54 | Bonhams A HONG KONG CONNOISSEUR'S COLLECTION OF SONG

AND MING PORCELAIN

資深香港私人收藏宋明瓷器

(Lots 104, 108, 114, 117, 118, 123, 124)

117

A LARGE LONGQUAN CELADON BARBED DISH

14th/15th century

Brilliantly potted, the evenly fluted sides rising to a wide, everted

barbed rim in elegant bracket lobes, all radiating from a plain circular

well on the interior, applied overall with a thick and lustrous layer of

deep olive-green glaze pooling to a darker tone in the recesses and

save the unglazed ring on the base burnt orange from firing, wood

box.

48cm (18 7/8in) diam. (2).

HKD600,000 - 800,000

US$77,000 - 100,000

十四/十五世紀 龍泉青瓷菱口折沿大盤

Provenance:

Acquired in Hong Kong circa 2005

來源:

約2005年入藏於香港

The present lot is notably rare for the impressive size, restrained

interior, and elegantly barbed rim. Longquan wares produced during

the Yuan and Ming dynasties were more generous in size and some

were found with new decorative styles. The large Islamic gold and

silver plate was believed to be the prototype of the current kind of

emerging everted rim charger during the period. The shape and

decoration are similar to the blue and white chargers produced during

the Yongle and Xuande period, from the Imperial kiln in Jingdezhen.

It is also worthy to note that chargers like the present lot were

commonly found in the Imperial collection, with a diameter between

30 and 70 centimetres, and it is especially rare when it is over 50

centimetre.

Compare a related example with a lobed rim and an undecorated

well, dated to the early 15th century, illustrated by Regina Krahl,

Chinese Ceramics in The Topkapi Saray Museum, Istanbul: A

Complete Catalogue I: Historical Introductions, Yuan and Ming

Celadon Wares, London, 1986, p. 304, no. 245. See also an example

illustrated in Gu gong bo wu yuan cang Ming chu qing hua ci (Early

Ming blue and white porcelain in the Palace Museum), Beijing, 2002,

pl. 40.

Base

盤呈菱花式，敞口，平折沿，沿面刻畫雙線紋隨形勾邊，淺弧腹，圈

足。胎體厚重，盤為外通施青釉，釉層肥腴，釉色瑩潤。為壁底部光

素無紋，為外壁印一圈菊瓣紋，折沿處釉薄，映出白色胎骨。裹足滿

釉，底部足為留一澀圈無釉，為墊燒痕跡，露胎呈火石紅。

龍泉窯在元明時期持續活躍，不僅引入新裝飾風格，器型尺寸愈加敦

碩。折沿盤乃該時期新創，原型應為伊斯蘭金銀器大盤，其造型和紋

飾與同時期景德鎮御窯燒造的永樂、宣德青花盤相似。值得留意的

是，此類大盤亦是宮廷藏明代龍泉窯青瓷中數量最多者，直徑一般在

30至70厘米之間，50厘米以上尤稀。本拍品器型規整秀美，釉色青

翠潤澤，工藝精湛，應為宮廷御製的龍泉窯上乘精品。

參考一件土耳其托普卡比宮珍藏之十五世紀早期龍泉菱花式大盤，

著錄於Regina Krahl，《Chinese Ceramics in The Topkapi Saray

Museum, Istanbul》，卷一，倫敦，1986年，頁304，圖版 245。再

對比一件相似例子，見《故宮博物院藏明初青花瓷》， 北京，2002

年，圖版40。

Subtle Beauty: The Aesthetics of Song Dynasty | 55

Subtle Beauty: The Aesthetics of Song Dynasty | 55

56 | Bonhams 118

AN EXCEPTIONALLY RARE AND SUPERB CARVED

LONGQUAN CELADON 'LOTUS' BOWL

Yongle

Finely potted with deep rounded sides supported on a short narrow

foot, the exterior moulded with slender upright lotus petals radiating

from a band of small circlets above the foot, all beneath an incised

keyfret scroll around the rim, the interior with a stylised floret

medallion, encircled by a band of interlinking foliate scrolls, all below

a floral scroll at the rim, covered overall in a rich, lustrous sea-green

glaze, fitted box.

15.9cm (6 1/4in) diam (2).

HK$600,000-800,000

US$77,000 - 100,000

明永樂 龍泉青釉刻蓮瓣花卉紋蓮子碗

Subtle Beauty: The Aesthetics of Song Dynasty | 57

Subtle Beauty: The Aesthetics of Song Dynasty | 57

58 | Bonhams Although applied in a celadon glaze, the present bowl bears a

resemblance to the iconic lianzi bowl, which is very rare. It is

interesting to note that the shape and carved decorations can

be seen on blue and white wares made in the imperial kilns at

Jingdezhen during the Yongle period, see a Yongle bowl with lotus

petals on the exterior illustrated by John A. Pope, Chinese Porcelain

from the Ardebil Shrine, Washington D.C., 1956, pl. 47, no. 29.326.

The similar interlocking floral pattern also appears on blue and white

lotus bowl in the collection of Palace Museum, Beijing, illustrated in

Gugong bowuyuan cang Ming chu qinghua ci [Early Ming blue and

white porcelain in the Palace Museum], vol. 1, Beijing, 2002, p. 122,

pl. 62.

In 1393, Taizu, the first emperor of Ming, valued the Longquan kilns

to the fullest and ordered that some imperials wares be produced

there besides the traditional origin of Jingdezhen kilns. They both

followed the same court-ordered patterns and specifications, while

Jingdezhen wares showcased the design in red or blue underglaze,

Longquan wares were carefully stamped, moulded, incised or carved

in relief covered with a thick, lustrous celadon glaze, to achieve the

same decorations with unparalleled craftsmanship. Even Jingdezhen

kilns in the Ming and Qing dynasties strive to imitate the Longquan

wares during that period. Compare a related Jingdezhen floral bowl

dated mid-15th century, illustrated in Green-Longquan Celadon of

the Ming Dynasty, Palace Museum, Taipei, p. 286, pl. 164. in similar

shape and glaze with incised floral pattern.

An identical bowl was included in the Exhibition of Yuan and Ming

Ceramics, Idemitsu Museum of Arts, Tokyo, 1977, pl. 164. A similar

carved Longquan lotus bowl from the T.Y. Chao collection, was sold

at Sotheby's Hong Kong, 19 May 1987, lot 216; another example

from the Karen Dean Bunting Trust was sold at Christie's London, 5

July 1983, lot 259.

廣口，深腹，弧壁，小圈足，碗心內凹，底心出臍，俗稱蓮子碗。口

沿外壁飾一圈回紋，底部刻一圈修長蓮瓣紋，近圈足處環刻蓮子紋；

口緣內壁刻一圈花卉卷草紋，碗心中央飾一朵四瓣葵花紋，外接一組

幾何紋及勾連花卉紋。通體施厚釉，呈豆青綠，釉色清透亮澤，具玻

璃質感，足底修刮工整，露火石紅澀圈。

不難發現，碗身紋飾與明永樂青花瓷如出一轍，外壁參考上海博物館

藏一件景德鎮窯青花纏枝花卉紋碗，內壁參考故宮博物院藏青花菊瓣

紋碗，卷枝紋及勾連花樣，為永樂時期特有。

據文獻記載，明太祖十分重視龍泉窯，將其與景德鎮御窯並肩。明初

的龍泉大窯楓洞岩，已被考古探明為洪武、永樂兩朝之貢瓷產地，

燒造官府用器的產量甚至一度高於景德鎮；明初王侯將相墓葬中，

亦可見龍泉窯。因此，明代處州龍泉窯的造型、紋飾，都與同時期饒

州景德鎮燒造的青花瓷高度相似，皆源自朝廷頒佈之「官樣」。所繪

圖案，景德鎮窯用青花、釉裡紅或暗花表現；龍泉窯則通過划刻、模

印、貼花等手法，在單色青釉器上體現紋樣，釉色泛綠，光亮瑩潤，

工藝複雜而考究，因此，明初龍泉窯具有極高的藝術成就，以至明清

時期，景德鎮窯都曾襲仿龍泉窯風格，見故宮博物院藏，一例十五世

紀景德鎮窯制青瓷劃花蓮子碗。

由於傳世數量極少，拍賣所見無幾，與本品相似拍品，見香港蘇富

比，1987年5月19日，趙從衍舊藏專場，拍品編號216；另一例見同

拍場，2000年5月2日，拍品編號603；以及倫敦佳士得，1983年7月

5日，拍品編號259，可資比較。

Image courtesy of the Palace Museum, Beijing

北京故宮博物院藏

Subtle Beauty: The Aesthetics of Song Dynasty | 59

Subtle Beauty: The Aesthetics of Song Dynasty | 59

62 | Bonhams 119

A LARGE JUNYAO SKY-BLUE GLAZED BOWL

Yuan Dynasty

The sturdily potted bowl rising from a slightly splayed cylindrical foot

to a gently inverted rim, covered overall in an attractive sky-blue glaze

thinning to a mushroom tone at the mouth rim.

21.9cm (8 5/8in) diam.

HK$80,000-100,000

US$10,000 - 13,000

Offered without reserve

無底價拍品

元 鈞窯天藍釉大碗

Jun bowl of this type had been popular since the Song dynasty, and

the size became larger when it came to the Yuan dynasty. A similar

blue-glazed Jun bowl dated Southern Song dynasty, is illustrated by

R.Krahl in Chinese Ceramics from the Meiyintang Collection, London,

1994, vol. I, p. 221, no. 387. See a further similar example in the

collection of Palace Museum, Taipei, illustrated in A Panorama of

Ceramics in the Palace Museum: Chün Ware, Taipei, 1999, pp. 178-

179, pl. 71.

碗口微斂，弧壁深腹，圈足。整器施天青釉，口沿釉薄處呈青褐色，

圈足露胎，胎體厚重。釉色如雨後天青，勻潤恬靜。海內外博物館均

可見數例類似藏品，元代器物尺寸往往較宋代同類型大，玫茵堂珍藏

中，有一件宋代鈞窯碗可資比較，見康蕊君，《玫茵堂中國陶瓷》，

卷一，倫敦，1994年，頁221，圖版387。另見一件台北故宮藏天青

釉鈞窯碗，收錄於《故宮藏瓷大系：鈞窯之部》，臺北，1999年，

頁178-179，圖版71。

62 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 63

120

AN EXQUISITE JUNYAO TWIN-HANDLED JAR

Northern Song Dynasty

Superbly potted with a globular body flanked by two small loop

handles on both sides at the mouth rim, the body covered overall

with an elegant sky-blue glaze that stops above the foot and the

base inside the jar, revealing the foot burnt brownish during the firing,

Japanese wood box.

12cm (4 3/4in) high (2).

HK$700,000-900,000

US$130,000 - 190,000

北宋　鈞窯天藍釉雙繫罐

Provenance:

Christie's Hong Kong, 4 April 2017, lot 108

來源:

香港佳士得，2017年4月4日，拍品編號108

Jun ware was produced at a number of kilns in Henan province from

the Song dynasty through the fifteenth century. The distinctive blue

colours of the glaze ranging from sky-blue to violet are the result of

a chemical reaction that occurs during the firing and cooling process

due to the variations in glaze thickness.

Compare a Jun ware jar with loop handles dated Yuan dynasty, with

a more heavily potted body, acquired from Yamanaka & Company,

New York, and now in the Freer Gallery of Art, Washington D.C.

直口，短頸，圓鼓腹，寬圈足，肩部兩側置一對環形繫耳。通體厚施

天藍釉，口沿及繫邊緣薄釉處微透青褐色胎體，圈足無釉。造型敦厚

古拙，釉色淡雅，如晨光熹微，靜謐典雅。

鈞瓷以天然窯變的釉色見長，藍紫相映，凝厚深沉，燒造肇始於北宋

河南禹縣，一直延續至十五世紀。宋代鈞瓷大多釉厚而均內，胎質細

膩緻密，窯變自然。可比較一件來源於紐約山中商會的元代鈞窯雙繫

罐，胎體較厚，現藏於美國華盛頓弗利爾美術館。

Subtle Beauty: The Aesthetics of Song Dynasty | 63

64 | Bonhams 121

A RARE MARBLE-GLAZED BOWL

Song Dynasty

Of rounded sides slightly flaring at the rim supported on a straight

broad ring foot, covered inside and out with a marbled straw and

dark brown glaze, depicting a seamless pattern of six-petal florets,

the geometric lines of dark brown clay evenly layered against a beige

clay ground forming the petals, box.

17.3cm (6 3/4in) diam. (2).

HK$100,000-150,000

US$13,000 - 19,000

宋 白釉絞胎碗

Provenance:

Christie's Hong Kong, 27 Nov 2019, lot 3060

來源:

香港佳士得，2019年11月27日，拍品編號3060

The present lot showcases the interpretation of the marbling

technique, which first appeared in the Tang dynasty. This technique

involves layering or folding together different-coloured clays in a

manner that they remain distinct yet harmoniously intertwined. The

method is carefully calculated allowing for control over the design,

therefore the precise pattern of the evenly distributed florets on the

present bowl is unparalleled.

Compare a related bowl of floral blooms with multiple layers of petals

below rows of overlapping leaves of similar size (diam. 16 cm.), also

dated to the Yuan period, excavated in Shenmu county, Shaanxi

province, and illustrated in Yang Peijun ed., Ceramics: Selected

Treasures of Shaanxi History Museum, 2003, no. 111.

撇口，深弧腹，下承圈足。底足露胎，修削工整，可見胎質細潤。通

身罩透明釉，光亮柔和，胎泥以黑白兩色攪合後拉坯成型，造型樸

實，裝飾獨特，通體呈現羽狀花瓣幾何紋，細密繁複，極富裝飾效

果。

絞胎工藝始創於唐代，是瓷器燒造中重要的創新手法，延續至宋元。

由於高溫下各色胎泥收縮率不同，極易造成胎體開裂，因此工藝難度

極高，良品率低，本碗品相完好，實屬稀有。見一例元代陝西神木縣

出土類似品種，收錄於楊培鈞著《陝西歷史博物館珍藏陶瓷器》，

2003年，圖版111。

64 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 65

122

A SUPERB AND RARE DING PERSIMMON-GLAZED CONICAL

BOWL

Northern Song Dynasty

Finely potted with thin sides flaring to the rim, the shallow dish

supported on a short tapering foot, covered overall with a smooth

persimmon glaze thinning to a moss-green tone on the rim and also

covers the base. The foot ring remains unglazed exposing the warm

brown clay body with sharply cut markings, box.

13cm (5 1/8in) diam. (2).

HK$350,000-400,000

US$45,000 - 51,000

北宋 定窯紫金釉斗笠碗

Provenance:

Eskenazi Ltd., London, 2006

The Ten-Views Lingbi Rock Retreat Collection, no. EK298

來源:

Eskenazi，倫敦，2006年

北美十面靈壁山居收藏，編號EK298

It is rare to find a Dingyao persimmon-glazed bowl of this outstanding

quality. It is believed that Ding wares with persimmon glazes were

produced after lacquer prototypes. The similarity in colour and form

in the two materials is demonstrated by a persimmon-coloured

lacquer tea-bowl stand, excavated from a Song tomb at Heqiao,

Jiangsu province and a persimmon-coloured Ding ware teabowlstand, as illustrated and discussed by R.Krahl, 'Song Lacquer: Model

for Imperial Porcelain', Chinese Lacquer from the Jean-Pierre Dubosc

Collection and Other, Eskenazi, London, 1991, p.10, figs.3-4.

A Dingyao-type persimmon-glaze bowl was sold in our London

rooms, 14 May 2009, lot 71. See also a rare Ding persimmon-glazed

bowl sold at Christie's New York, 23 March 2023, lot 865. Compare

also an example of a Jin dynasty Ding persimmon-glazed bowl, sold

at Christie's Hong Kong, 30 May 2018, lot 2976.

敞口，微侈，直壁，斜腹，下承小圈足，俗稱之「斗笠盞」。露胎，

足內亦施釉。器形雅致，盞內外滿施紫金釉，釉面瑩潤均勻，成型難

度極高。定窯中紫金釉歷代受收藏家追捧，其等級極高。參考倫敦

邦瀚斯2009年5月14日售出一例，亦參考另一宋代紫定釉斗笠碗，售

於紐約佳士得，2023年3月23日，拍品編號865；再對比一件金代例

子，售於香港佳士得，2018年5月30日，拍品編號2976。

Subtle Beauty: The Aesthetics of Song Dynasty | 65

66 | Bonhams 123

AN EXCEPTIONALLY RARE GILT-DECORATED BLACKGLAZED 'FLORAL' BOWL

Northern Song Dynasty

The wide rounded sides rising to an everted rim, supported on short

foot ring, the interior formerly applied in gilt with the decoration of a

blossoming peony borne on a leafy spray and left with subtle marks,

overall covered in black glaze thinning at the mouth rim and above

the ring foot in a lighter russet colour, the foot unglazed revealing the

white biscuit, box.

13.7cm (5 3/8in) diam. (2).

HK$400,000-600,000

US$51,000 - 77,000

北宋 黑釉描金牡丹紋碗

Provenance:

Acquired in the 1980s

來源:

入藏於1980年代

Subtle Beauty: The Aesthetics of Song Dynasty | 67

Subtle Beauty: The Aesthetics of Song Dynasty | 67

68 | Bonhams The peony painted in gold on the interior are faded throughout the

times yet the pattern can be traced by the silver shiny outlines. It

is interesting to note that during the Northern Song dynasty, a very

small number of wares were applied with gilt decorations. Potters

applied the gold onto the glaze by mixing it with garlic juice before

the second firing. This decorative method rarely appears on northern

wares and is most likely exclusive to Ding wares at very limited

quantities.

A few examples include a black Ding bowl with gilt lotus decorations,

in the MOA Museum of Art, Japan, illustrated in So ji[Song ceramics],

Tobu Museum of Art, Tokyo; The Museum of Oriental Ceramics,

Osaka; Hagi Uragami Museum, Hagi, 1999, catalogue no. 37;

another black Ding bowl with gilt peony motifs, in The Museum of

Oriental Ceramics, Osaka, ibid., no. 38. Another black Ding bowl with

gilt decorations was excavated from the site of the Goryeo imperial

palace, currently in the National Museum of Korea, illustrated in

Chinese Ceramics at the National Museum of Korea, Seoul, 2007, p.

448.

敞口撇唇，斜直壁，淺圈足，作斗笠式，圈足露胎。內外施黑釉，邊

緣釉層較薄處呈醬色。外壁光素無紋飾，盞心描繪牡丹花卉紋，唯金

彩脫落，僅留有描金痕跡，呈銀白色，筋脈極為清晰，技藝嫺熟。

古代瓷器中之金彩裝飾始於宋代，南宋周密在其所著的《癸辛雜識》

中記載：「金花定碗用大蒜汁調金描畫，然後再入窯燒之，永不復

脫。」即工匠利用調和好金料的蒜汁，在已燒成的黑釉盞上描繪圖

案，再次經低溫烘燒而成。北宋時期，僅有極少量的黑定器物裝飾

有金彩。可參閱日本靜岡縣熱海MOA美術館收藏，一件金彩束蓮紋

黑定碗，見《宋磁》，東武美術館、大阪市立東洋陶瓷美術館及山

口縣立萩美術館，1999年，圖版37；大阪市立東洋陶瓷美術館收藏

一件金彩牡丹紋黑定碗，見前著圖版38。以及韓國首爾國立中央博

物館，收藏一件傳出土於高麗王宮遺址之金彩黑定碗，見《Chinese

Ceramics at the National Museum of Korea》，首爾，2007年，頁

448。

Image courtesy of the Museum of

Oriental Ceramics, Osaka

大阪市立東洋陶瓷美術館藏

68 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 69

Subtle Beauty: The Aesthetics of Song Dynasty | 69

70 | Bonhams 124

A BLACK-GLAZED 'OIL-SPOT' BOWL

Song Dynasty

Of conical form rising from a short foot to a slightly flared rim, applied

overall with a think lustrous black glaze with 'oil spot' markings on

both sides, thinning to russet at the rim and pooling in heavy droplets

above the unglazed foot revealing a warm brown stoneware, box.

12.3cm (4 7/8in) diam. (2).

HK$150,000-250,000

US$19,000 - 32,000

宋 黑釉油滴斗笠碗

Provenance:

Acquired in the 1980s

來源:

入藏於1980年代

The present lot is particularly rare for its elegantly potted conical form

with the attractive silver speckles. See examples of a pair of blackglazed conical bowls with silvery splashes, illustrated in Hare's Fur,

Tortoiseshell and Partridge Feathers. Chinese Brown- and BlackGlazes Ceramics, 400-1400, Cambridge, 1995, cat. no. 45a and

b. See also a rare black-glazed 'oil spot' bowl, Northern Song - Jin

dynasty, from the Aoyama Studio collection and sold at Sotheby's

Hong Kong, 9 October 2020, lot 28.

敞口，斜直腹，小圈足，作斗笠形。盞外壁掛厚釉，近足處垂淚珠狀

釉滴，底部露深棕色胎，胎骨質堅，修刮豪放。內外滿施黑釉，釉色

如漆，釉面密佈大小不一的銀灰色金屬光澤斑點，似繁星點點，後代

稱之為油滴。宋人好鬥茶，黑色茶盞倍受文人雅士的推崇, 其中建窯

兔毫、油滴盞均是茗茶所用之上品。

參考一對黑釉油滴碗，收錄於《Hare's Fur, Tortoiseshell and

Partridge Feathers. Chinese Brown- and Black-Glazes Ceramics,

400-1400》，哈佛藝術博物館，劍橋，1995年，編號45a及b。另參

考青山局舊藏一件北宋至金代黑釉油滴天目茶盞，售於香港蘇富比，

2020年10月9日，拍品編號28。

70 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 71

125

A RARE PAIR OF CIZHOU BLACK-GLAZED 'OIL-SPOT' BOWLS

AND STANDS

Song Dynasty

The pair of tea bowls covered inside and out with a thick black

glaze suffused with a dense network of russet 'oil spots' splashes,

stopping on the exterior above at the foot ring revealing the buff

stoneware; the pairing tea bowl stands covered in similar glaze but

in a warmer persimmon colour, raised on a hollow splayed circular

foot, supporting a horizontal band of upturned flange, encircling the

globular sides to hold the bowl, fitted box.

bowl: 11.4cm (4 1/2in) diam.; stand: 4.2cm (1 5/8in) high (4).

HK$100,000-150,000

US$13,000 - 19,000

宋 磁州黑釉油滴天目盞及茶托一對

Provenance:

A Taiwanese private collection

來源:

台灣私人收藏

Oil spot tea bowls were initially produced in the Jian kilns; the effect

is due to decreased temperature during firing while the glazes were

still boiling. This had the effect of fixing iron-rich spots before they

ran down as streaks. As the spots crystallised as magnetite, the

spots took on a silvery sheen. This effect was copied in the North of

China in the Song and Jin periods by applying iron-rich slip beneath

standard black glazes.

盞敞口，弧壁，深腹，圈足；盞托圓口，鼓腹，托檐上翹，高圈足。

內外施黑釉，釉面均勻密佈油滴紋，紋路及口沿呈醬褐色。厚釉至足

內外，圈足修削整工整，常見於磁州窯黑釉盞。盞托胎骨釉色皆同，

應為一對。

宋代鬥茶文化盛行，宋人審美古樸風雅，黑釉茶盞大興其道，能襯托

出白色茶沫。其中油滴盞最為稀有，由釉中所含鉄分於釉面形成結晶

而成，肖似油滴浮於水面，注入清水或茶湯后幻化千色，十分耀眼。

Subtle Beauty: The Aesthetics of Song Dynasty | 71

72 | Bonhams 126

A RARE GREEN JADE CUP STAND AND A JIAN BLACKGLAZED TEA BOWL

Song Dynasty

The hollowed cup stand carved at the incurved rim of the globular

body with a band of ruyi scrolls, repeated as an outer border on

the circular 'saucer' which is raised on a shallow, gently splayed

foot, the stone of a yellowish-green tone with vines of russet color;

accompanied by a black-glazed tea bowl of Jian kilns, potted with

deep rounded sides rising from a short straight foot to an intended

rim, covered overall with a lustrous black glaze thinning to the edges

of the bowl in a copper-russet tone, the glaze falling short of the foot

revealing the buff clay body.

stand: 16cm (6 1/4in) diam.; bowl: 11.4cm (4 1/2in) diam.

HK$500,000-700,000

US$64,000 - 89,000

宋 青玉盞托及黑釉建盞一組

Provenance:

Jade cup stand:

The William S. Arnett Collection, Atlanta, Georgia

Christie's New York, 13 September 2018, lot 905

來源:

青玉盞托：

William S. Arnett舊藏，亞特蘭大，喬治亞州

紐約佳士得，2018年9月13日，拍品編號905

It is extremely rare to find a cup stand of this size made from jade as

the majority are either silverware, porcelain or lacquer. Cup stands of

this type were used as utensils specifically made for the preparation

and offering of tea as early as the Tang dynasty. It served the practical

purpose of an elaborate saucer that held a steaming hot tea bowl so

as not to burn the fingers of the guests, and also to provide a stable

support for bowls with a small foot. See an example of jade cup

stand dated Song dynasty sold at Christie's New York, 13 September

2018, lot 905.

Tea wares continued to evolve during the Song dynasty (960-1279),

a period during which the tea culture reached its peak. Black-glazed

Jian ware became the most appreciated vessels for drinking tea

because of its understated glaze would best compliment the white

froth of the whipped tea. The present lot also includes an ideal

example of Jian tea bowl, the elegant glaze represents the top quality

of its kind.

盞托青玉質，仿宋代茶具中標準盞托之形制，圓口，腹略鼓，外延平

盤，下承高足外撇，上下通空，用以墊高或承托茶盞。盞托由耳杯及

承盤發展而來，始製於東晉，唐代隨著江南地區飲茶風俗的興起，產

量增加，時至茶文化盛行的宋代，盞托式樣繁多，南北瓷窯無不燒

製。

見一件臺北故宮藏南宋宮廷畫師劉松年作《攆茶圖》，清晰描繪了宋

代點茶的具體禮法：一名僕役左手執茶盞、右手提水注，意欲點茶，

桌上陳列著一疊紅色盞托，以及茶匙、茶筅等。

72 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 73

日本京都大德寺藏南宋《五百羅漢圖·吃茶》也記載了僧人手持盞托

品茗的場景。今所見茶盞以青瓷、漆器為多，唯玉雕者極其少見，極

盡其奢。口沿及盤沿划刻一圈紋飾，華貴而含蓄。參考一例紐約佳士

得售出之黃玉盞托，2018年9月13日，拍品編號905。

言及宋朝茶事，建盞便是根據點茶法而燒造的重要器具。北宋時

代，點茶法在建州(今福建省建甌縣)發展得最為完備，衍生出「鬥

茶」的風俗，講究注水、擊拂及泡沫生成的力道與時機，茶以色白

為尚，而黑釉建盞則是最能清楚襯托出白色茶沫的品種。此件拍品

中的黑釉盞，口沿下凹一圈，碗心寬且深，適宜注湯擊拂，厚胎厚

釉，更能保持水溫。

Subtle Beauty: The Aesthetics of Song Dynasty | 73

74 | Bonhams 127

A RARE MOTHER-OF-PEARL-INLAID BLACK LACQUER CUP

STAND

Yuan Dynasty

Of semi-spherical form resting on a thin shallow dish and supported

on a short flared foot, the rounded sides and both sides of the dish

elaborately adorned with mother-of-pearl inlays depicting continuous

scrolls of blooming daisy, Japanese wood box.

16cm (6 1/4in) diam. (2).

HK$150,000-180,000

US$19,000 - 23,000

元 黑漆嵌螺鈿纏枝雛菊紋盞托

The present cup stand is comprised of a bowl-shaped support, a

dish and a foot, echoing with the typical cup stand on literati's tea

table during the Song dynasty, and is remarkable for the fine inlay

work. The technique of using carved mother-of-pearl inlay on black

lacquer was prevailing in Yuan dynasty, but mostly plates and boxes

passed down. It is very rare to see examples like the present lot.

A very similar example was sold at Sotheby's Hong Kong, 9 October

2020, lot 92; compare also a related example sold in Christie's Hong

Kong, 26 November 2014, lot 2921.

托斂口，弧壁；盤平出，口微上卷，圈足外撇。通體髹黑漆，托外壁

和盤內外以螺鈿嵌雛菊紋飾，圈足處亦見小花紋飾，工藝精巧，別具

匠心。

此器之形制與宋代典型茶托相似，碗形茶托用以承盞，中空無底，帶

托盤而下有足。元代喫茶風氣雖不及宋代之盛，在茶史上屬過渡時

期，但茶器尚依宋制，茶托仍常見於茶桌上。黑漆地嵌螺鈿於元代頗

為流行，唯留存不多，主要是盤、盒、箱等小型器具，作盞托更為罕

有。

參考一件同時期黑漆嵌螺鈿盞托，大小類近，同樣飾有雛菊紋，可資

比較，見香港蘇富比，2020年10月9日，拍品編號92；亦可對比一

件同時期褐漆嵌螺鈿盞托，唯以「列女傳」故事作題材，見香港佳士

得，2014年11月26日，拍品編號2921。

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Subtle Beauty: The Aesthetics of Song Dynasty | 75

76 | Bonhams 128

AN EXQUISITE PARCEL-GILT SILVER LOBED CUP AND CUP

STAND

Song Dynasty

The shallow cup of circular form resting on a flared foot, the rounded

sides divided into six lobes by raised curve lines and elegantly

embellished with a band of hexafoil flowers along the petals' edges,

decorated to the centre in repoussé with a hexafoil blossom, the

details of the pistil incised by fine carving; the cup stand of similar

design with a raised central holder, the slightly everted rim resembled

the petals and precisely adorned with fine lines, the central part nicely

decorated to imitate the pistil.

Cup: 12.8cm (5in) wide; cup stand: 18cm (7 1/8in) wide (2).

HK$80,000-100,000

US$10,000 - 13,000

宋 銀鎏金花式盤盞 一組兩件

Compare a related example attributed to the Southern Song dynasty

from the collection of the Shaowu City Museum, Fujian, illustrated

and discussed in Dynastic Renaissance: Art and Culture of the

Southern Song: Antiques, Taipei, 2010, pp. 182-183. See also

a similar repoussé-decorated silver flower-shaped cup, dated to

Southern Song dynasty, exhibited in J. J. Lally & Co., Silver and Gold

in Ancient China, 2012, also illustrated in the exhibition catalogue, no.

27.

此盤盞器型優雅，似盛開花朵，以錘鍱法裝飾，工藝上乘，具宋代高

雅之氣。參考福建省邵武市博物館所藏一套銀鎏金梅月紋盤盞，為南

宋出土文物，著錄於《文藝紹興—南宋藝術與文化：器物卷》，台

北，2010，頁182至183。另見藍理捷藝廊展出一件南宋梅月紋花口

銀盞，《Silver and Gold in Ancient China》，2012年，亦載於展覽

圖錄，編號27。

Interior of cup stand Interior of cup

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Subtle Beauty: The Aesthetics of Song Dynasty | 77

78 | Bonhams 129

A RARE LOBED AGATE EWER AND COVER

Song/Jin Dynasty

Of baluster shape connected with a raised handle and a long spout,

finely carved with six-lobed sides rising to a short straight neck, all

resting on a flat and flared foot; the slightly stepped cover with a

deftly carved beast on top, wood box.

16.5cm (6 1/2in) high (3).

HK$60,000-80,000

US$7,700 - 10,000

宋/金 瓜棱式瑪瑙壺

The present lot is elegantly shaped in the form of a lobed melon,

resembled the style of the Qingbai lobed ewers in Song dynasty. See

a related example of Qingbai ewer, but of a more ovoid shape, in the

Feng Wen Tang Collection, later sold in these room, 9 October 2014,

lot 211.

此壺整體高雅，線條流暢，仿宋代瓜棱式蓋壺。參考一件南宋青白釉

瓜棱壺，為奉文堂珍藏，後於香港邦瀚斯釋出，2014年10月9日，拍

品編號211。

78 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 79

THE PROPERTY OF A GENTLEMAN

士紳藏品

130

A RARE PAIR OF LOBED AGATE CUPS AND STANDS

Song Dynasty

Each cup of lobed shape imitating the mallow with six finely carved

thin petals rising from the circular foot; each stand of mallow-shaped

with a gently raised platform at the centre, supporting on a short

flared foot with evenly distributed openwork carvings on the side, all

with silver-mounting around the rims, box.

Cup: each 6.1cm (2 3/8in) wide; stand: each 8.2cm (3 1/4in) wide

HKD80,000 - 120,000

US$10,000 - 15,000

宋 花口瑪瑙杯及盞托一套

For related examples of similar vessels attributed to Song dynasty,

see an agate lobed cup stand sold at Christie's Paris, 11 December

2013, lot 27; also an agate floral-lobed bowl from the Robert

Ellsworth Collection, later sold at Christie's New York, 19 March

2015, lot 597. Both are of larger size than the present lot but with

comparable design revealing the aesthetic features of the period.

有關宋代瑪瑙器，參考巴黎佳士得所售一件瑪瑙花口盞托，2013年

12月11日，拍品編號27；另見一件安思遠舊藏之瑪瑙花口杯，售於

紐約佳士得，2015年3月19日，拍品編號597。兩例尺寸較本品大，

唯其設計皆能反映宋代美學之特點。

Subtle Beauty: The Aesthetics of Song Dynasty | 79

80 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 81

82 | Bonhams 131

A SUPERBLY CARVED BLACK AND RUSSET JADE CARVING

OF A DOG

Song Dynasty

Skilfully carved as a recumbent dog with its eyes and ears finely

outlined, the head naturally turned backward, the paws casually

crossed and slightly extended forwards, the brawny body

accentuated by a pronounced spine and deftly carved muscles,

the curly tail flicked to one side, claws on the underside also finely

incised, box.

12.5cm (4 7/8in) long (2).

HKD120,000 - 150,000

US$15,000 - 19,000

宋 墨玉雕臥犬

See a related example of crouching jade dog dated to the same

period but of much smaller size, illustrated in J. Rawson, Chinese

Jade from the Neolithic to the Qing, London, 1995, pl. 26:10; and

another related jade dog, attributed to late Song or early Ming

dynasty, from the collection of Alan and Simone Hartman, sold at

Christie's Hong Kong, 28 November 2006, lot 1440.

參考一件同時期玉雕臥犬，但尺寸較小，著錄於Jessica Rawson，

《Chinese Jade from the Neolithic to the Qing》，倫敦，1995年，

圖版26:10；另見哈特曼伉儷珍藏一例，後於香港佳士得釋出，2006

年11月28日，拍品編號1440。

82 | Bonhams

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84 | Bonhams 132

A PALE GREEN JADE CARVING OF A RABBIT

Song Dynasty

Deftly carved as a recumbent rabbit with a rounded tail, its long

ears gently laid against the back and legs tucked under the body,

embellished by the fine carving of its smiling face.

5.5cm (2 1/8in) long

HKD60,000 - 80,000

US$7,700 - 10,000

宋 青白玉雕玉兔

See a similar example, dated to the Southern Song dynasty, from

the tomb of Shi Shengzu in Quzhou, Zhejiang Province, illustrated in

Zhongguo mei shu quan ji: gongyi meishu bian 9: yuqi [The Complete

Volumes on Chinese Art: Arts and Crafts section 9: Jades], Beijing,

1986, p. 138, pl. 246; also another example from the collection of

late Sir Joseph Hotung, sold recently at Sotheby's Hong Kong, 9

October 2022, lot 102.

參考一件南宋玉兔形鎮，出土於浙江省衢州市史繩祖墓，著錄於《中

國美術全集：工藝美術編9：玉器》，北京，1986年，頁138，圖版

246；亦可比對一件宋或以前之黃玉臥兔，為何鴻卿爵士私人珍藏，

後於香港蘇富比釋出，2022年10月9日，拍品編號102。

132

133

133

A WHITE AND RUSSET JADE 'DEER' CARVING

Song Dynasty

The crouching deer with four legs folded on both sides forming a flat

base, its head facing forward, surmounted by a pair of large lingzhi

fungus-shaped horns, depicted with finely incised eyes and mouth

rendering a serene expression, its short tail pointing downwards, with

a vertical perforation drilled behind the neck to the base, the stone of

greyish white tone with areas of russet.

5.8cm (2 1/4in) wide

HK$50,000-70,000

US$6,400 - 8,900

宋　白玉帶皮雕臥鹿

Provenance:

Collection of Quincy Chuang, Hong Kong

來源:

莊貴侖收藏，香港

In Chinese Daoism culture, deers are the mounts of the immortals,

eaters of the sacred lingzhi fungus, and scouts on the way to the

sacred mountain and the stream of the elixir of life, thus became the

emblems of beauty and longevity.

Compare a green jade deer in the Palace Museum, Beijing, illustrated

in Yang Boda, Zhongguo yuqi quanji [Complete collection of Chinese

jades], Hebei, 2005, p. 436, no. 38.

Subtle Beauty: The Aesthetics of Song Dynasty | 85

133 (continued)

本件拍品白玉為材，玉質溫潤致密，局部帶有沁色，色澤凝厚。玉鹿

為靜態伏臥狀，頭部較小，收頸呈三角形，嘴部閉合，以深劃刻的

「一」字表現。頭頂利用玉皮巧琢珍珠盤式雙角，身形飽滿肥碩，背

部隆起，下垂短尾。整體將鹿之溫良內斂的神態和性情描摹盡出，呈

現一種平和的狀態，形神俱備，頗具韻味。鹿自古以來都為祥瑞之

獸，《抱樸子》記載：「鹿壽千歲，滿五百歲則色白」。故而古人以

鹿為題，常取長壽之意；也有以「鹿」取諧音為「祿」，有添官加

祿之意。可參考一例唐代青玉臥鹿，收錄於楊伯達著《中國玉器全

集》，河北，2005年，第436頁，圖38。

134

A SUPERBLY CARVED WHITE JADE DOG

Song Dynasty

Naturalistically rendered a crouched hound, its head turned sharply

backwards, depicted with rounded eyes, pointed ears and an

elongated muzzle, the front paws held together and its hind legs

tucked underneath its body, the smoothly polished stone of an even

white tone.

6.2cm (2 1/2in) wide

HK$100,000-150,000

US$13,000 - 19,000

宋 白玉雕臥犬

Provenance:

Collection of the Phoenix Art Museum, Arizona

Sotheby's New York, 28 November 1994, lot 19

來源:

美國鳳凰城美術館舊藏

紐約蘇富比，1994年11月28日，拍品編號19

玉色白如脂，質感柔潤，圓雕一臥犬趴伏於地，長嘴、尖耳、圓眼，

扭頭回望，四肢端坐，尾部緊貼於腿側，造型生動，神情閑適。身軀

圓潤，四肢、尾巴等細部雕刻入微。宋代動物形狀的玉雕擺件，造型

充滿妙趣，亦可作為鎮紙、筆擱使用，是文人書房常設賞玩之雅物。

Subtle Beauty: The Aesthetics of Song Dynasty | 85

86 | Bonhams PROPERTY FROM AN IMPORTANT HONG KONG PRIVATE

COLLECTION

重要香港私人收藏 (Lots 135 – 137)

135

A SUPERB WHITE JADE 'THREE RAMS' CARVING

Song Dynasty

Exquisitely carved as a group of three rams in recumbent position,

the largest ram with curved horns resting elegantly with its head

looking upward and its long beard flapping, the two offsprings

smoothly carved with rounded body nestled by its side and gazing at

one another, all depicted with almond-shaped eyes, box.

7.4cm (2 7/8in) long (2).

HK$480,000-550,000

US$61,000 - 70,000

宋 白玉雕三羊開泰

Exhibited and published:

Chinese Jade Animals, Hong Kong Museum of Art, Hong Kong,

1996, no.90

Published:

Jiang Tao and Liu Yunhui ed., Jades from the Hei-Chi Collection,

Beijing, 2006, p.153

展覽及出版：

《中國肖生玉雕》，香港藝術館，香港，1996年，編號90

展覽及出版：

姜濤及劉雲輝編，《熙墀藏玉》，北京，2006年，頁153

The three rams group is commonly referred to san yang and forms

an auspicious motif of san yang kai tai, which celebrates the arrival

of Spring and wishes for a better fortune. The present lot is fluidly

carved with excellent attention to details, successfully exhibiting a

sense of playfulness and elegance at the same time.

Compare two jade rams discussed and illustrated in J. Rawson,

Chinese Jade from the Neolithic to the Qing, London, 1995, pp.

367-368, where the style of carving and especially the depiction of

the ram's face are highly associated with the present lot, revealing

the distinct feature of the Song dynasty workmanship. See another

related example, of similar style and composition, sold at Christie's

Hong Kong, 28 May 2014, lot 3241.

白玉質，透潤溫糯，圓雕母羊與其子，寓意三陽開泰。整體線條流

暢，雕琢細膩，打磨圓潤，優雅可愛。

參考兩例同樣反映宋代雕工風格，著述於Jessica Rawson，

《Chinese Jade from the Neolithic to the Qing》，倫敦，1995年，

頁367至368；另見香港佳士得所售一例，2014年5月28日，拍品編

號3241。

86 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 87

(detail)

Subtle Beauty: The Aesthetics of Song Dynasty | 87

88 | Bonhams 136

AN EXQUISITE PAIR OF WHITE JADE 'MANDARIN DUCKS'

PLAQUES

Liao Dynasty

Each of rectangular form, carved in high relief with a pair of mandarin

ducks kissing and flapping wings, resting on a lotus leaf, both

mounted on bronze plaques of similar sizes, box.

Each 4.5cm (1 3/4in) long (3).

HK$280,000-350,000

US$36,000 - 45,000

遼 白玉雕鴛鴦踏荷帶銙一對

Published:

Jiang Tao and Liu Yunhui ed., Jades from the Hei-Chi Collection,

Beijing, 2006, p.164

出版：

姜濤及劉雲輝編，《熙墀藏玉》，北京，2006年，頁164

The mandarin duck couples are believed to be lifelong companion,

which then symbolise a blissful marriage and fidelity. It has been

widely featured in various works of art to offer wishes to the newly

married couple.

鴛鴦普遍被視為結伴終生之象徵，寓意幸福美滿的婚姻及對伴侶之忠

誠，故為常見紋飾，多用於祝福新婚夫婦。

88 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 89

137

A VERY RARE WHITE AND RUSSET JADE 'BIRD' FINIAL

Song Dynasty

Superbly carved in the form of a bird with its head inclined to the left,

delicately portrayed with rounded eyes, a short beak and two carved

horns, its wings held closely and feathers incised symmetrically with

simplistic lines and scrolls, the tail outstretched, the underside drilled

with a hole for attachment purposes.

4cm (1 5/8in) high

HK$450,000-500,000

US$58,000 - 64,000

宋 白玉鳩杖首

Exhibited and published:

Chinese Jade Animals, Hong Kong Museum of Art, Hong Kong,

1996, no.77

Published:

Jiang Tao and Liu Yunhui ed., Jades from the Hei-Chi Collection,

Beijing, 2006, p.144

展覽及出版：

《中國肖生玉雕》，香港藝術館，香港，1996年，編號77

出版：

姜濤及劉雲輝編，《熙墀藏玉》，北京，2006年，頁144

The simple and primitive depiction on the bird's face in the present

lot is possibly inspired by the style from the Han dynasty; compare

two jade bird carvings in the Palace Museum, Beijing, illustrated in

Compendium of Collection in the Palace Museum: Jade 4, Beijing,

2011, pp. 182-183, pls. 238-239, where both carved with small

rounded eyes and a short beak using clear lines.

For further Song dynasty examples, see a jade bird staff finial

illustrated in Roger Keverne, Jade, London, 1991, p. 122, fig. 25;

also compare a related example from the Gerald Godfrey collection,

later sold at Christie's London, 6 November 2007, lot 41.

圓晴，眼角微微向外延，短喙，頭帶兩彎角；鳥身圓潤，斂翅翹尾。

腹下有一圓孔，以把玉鳩安於杖上。觀此玉鳩雕工簡樸素雅，或受

漢代風格影響，參考北京故宮博物院所藏兩例，均以利落線條勾劃

圓晴短喙，載於《故宮博物院藏品大系：玉器篇》，卷四，北京，

2011，頁182至183，圖版238至239。

至於宋代玉鳩例子，可見知名古董商Roger Keverne，《Jade》，倫

敦，1991，頁122，圖25；另見Gerald Godfrey收藏一例，後於倫敦

佳士得釋出，2007年11月6日，拍品編號41，其面部及羽毛之裝飾可

與本品對比。

Subtle Beauty: The Aesthetics of Song Dynasty | 89

90 | Bonhams 138

A WHITE JADE 'BOY AND CAT' GROUP

Song Dynasty

Deftly carved as a boy kneeling and gently leaning to pet a little cat

crouching on his shoulder, box.

4cm (1 5/8in) long (2).

HK$60,000-80,000

US$7,700 - 10,000

宋 白玉雕童子戲貓

The present lot depicts the motif of longevity as cat has the pun

of mao, which means at the age of eighty to ninety. Such theme is

widely adopted to offer wishes of good health and long life, especially

to the senior in the family.

See a related example depicting the theme of 'boy and cat', also

dated to the Song dynasty, in the Museum of East Asian Art, Bath,

illustrated in Angus Forsyth and Brian McElney, Jades From China,

Bath, 1994, pl. 242.

此玉雕以童子戲貓為題，乃祝壽之意，因貓音近「耄」，即年紀約

八十至九十歲，有長壽之寓意。類近題材之例子可參考英國巴斯

東亞藝術博物館所藏一宋代童子戲貓玉雕，著錄於《Jades From

China》，巴斯，1994，圖版242。

139

A PALE GREEN AND RUSSET JADE 'WRESTLING BOYS'

GROUP

Song/Ming Dynasty

Playfully carved with two boys wrestling, one boy with downward

eyebrows bended his waist and attacking the other on his head,

another boy with joyful expression grabbing the other's arm and

waist with his left leg lifted, both wearing long robes and pants, their

hair combed into a small tuft.

7.5cm (3in) long

HK$60,000-80,000

US$5,100 - 7,700

宋/明 青玉雕相撲童子

The present lot is notable for its vivid carving of an unusual and

interesting subject matter. Compare a similar example of smaller size

from the Robert Youngman collection, sold at Sotheby's Hong Kong,

2 April 2019, lot 3433. The 'boys' subject continued to be popular in

the Ming dynasty, see a related jade carving in the Palace Museum,

Beijing, accession no. Gu 87158.

此玉雕題材少見，玩味十足，參考Robert Youngman所藏一件玉雕

童子，唯尺寸較小，後售於香港蘇富比，2019年4月2日，拍品編

號3433。及至明代，仍可見類近題材，參考北京故宮博物院收藏一

例，館藏編號：故87158。

138

139

Subtle Beauty: The Aesthetics of Song Dynasty | 91

140

A RARE PALE GREEN JADE ‘BOY’ ORNAMENT

Song Dynasty or earlier

Intricately carved in openwork with a boy whose arms akimbo, his

head slightly turned and looked down with a confident expression,

the long-sleeved robes billowing in the wind with its bottom hem

slightly covered his long boots; proudly stood on the finely incised

auspicious clouds which rose on his left to his height.

12cm (4 3/4in) high

HK$150,000-200,000

US$19,000 - 26,000

宋或更早 青玉雕善財童子

The present lot depicts a boy standing on auspicious clouds and

patrolling, which probably referred to the Shancai tongzi, literally

the boy who brings wealth, usually appeared to be the acolyte of

Guanyin.

Compare an almost identical jade carving of a 'boy' figure, dated

to Five Dynasties, in the Zhejiang Provincial Antique Archaeology

Institute, Hangzhou, illustrated in Ancient Jade of Hangzhou, Beijing,

2003, p.107, no.110.

雕一童子，站立祥雲之間，俯瞰世人，雙手叉腰，衣袍飄帶飛揚，應

為善財童子。玉雕整體造型利落，以簡單線條刻劃細節，陰刻線條精

細，人物輪廓明顯。參考一件五代玉雕善財童子，於2000年杭州雷

峰塔地宮出土，現為浙江省文物考古研究所收藏，造型類近，可供比

對，見《杭州古玉》，北京，2003，頁107，編號110。

Subtle Beauty: The Aesthetics of Song Dynasty | 91

92 | Bonhams 141

A PALE GREEN JADE 'DRAGON AND FAIRY' CUP

Song/Yuan Dynasty

Deftly carved with an oval-shaped body with deep sides tapering

to a recessed base, one side carved in high relief with a clambering

dragon, skilfully portrayed with bulging eyes and a flapping long

beard, the opposite side carved with a fairy also in high relief,

gorgeously dressed in fluttering robes with her hair tied up into

chignons, holding on the rim with both hands and gazing the dragon

with a gentle smile.

12cm (4 3/4in) wide

HKD80,000 - 100,000

US$10,000 - 13,000

宋/元 玉雕遊龍仙子杯

See a very similar example in the Songzhutang collection, illustrated

in T. Fok, The Splendour of Jade: The Songzhutang Collection of

Jade, Hong Kong, 2011, pl. 81, and later sold in these room, 30 May

2017, lot 60.

此杯做工精細，一旁飾爬行之遊龍，對飾長袍飄逸之仙女。整體渾厚

圓潤，別具匠心。參考一件松竹堂珍藏之灰白玉遊龍仙子杯，載於霍

滿棠，《韞玉生輝：松竹堂珍藏玉器》，香港，2011年，圖版81，

後於香港邦瀚斯釋出，2017年5月30日，拍品編號60。

92 | Bonhams

Subtle Beauty: The Aesthetics of Song Dynasty | 93

142

A MOTTLED BROWN JADE 'BOYS' BRUSH WASHER

Song Dynasty

Of circular form with deep side and rested on a short foot, skilfully

conceived and carved in high relief to the exterior with five boys

playfully looking upward, standing on rockworks and clambering to

the rim, their hands connected by sprays of lingzhi or lotus branches,

box.

11.5cm (4 1/2in) long (2).

HK$250,000-300,000

US$32,000 - 38,000

宋 褐玉雕童子攀石洗

Provenance:

An English private collection

來源：

英國私人收藏

The softly polished stone and its deep tones suggest the probability

of a Song date. Carving of the boys further impels such indication.

Compare an example of similar carving style on the figure in the

Victoria and Albert Museum, London, accession no. C1894-1910.

Both appear to be the common style adopted in the Southern Song

period.

Compare another related example dated to the Song dynasty in the

Palace Museum, Beijing, illustrated in Compendium of Collection

in the Palace Museum: Jade 5, Beijing, 2011, p. 65, pl. 56, but

the stone is of pale greenish tone and depicted with a ritual theme

instead.

此筆洗上所雕刻之童子為宋代風格，參考倫敦維多利亞與艾伯特博物

館收藏一例，館藏編號C1894-1910。又可參考北京故宮博物院一件

玉雕童子洗，唯以神話作裝飾題材，見《故宮博物院藏品大系：玉器

篇》，卷五，北京，2011，頁65，圖版56。

Subtle Beauty: The Aesthetics of Song Dynasty | 93

94 | Bonhams 143

A RARE YELLOW JADE ARCHAISTIC 'TAPIR' VESSEL AND

COVER, XI ZUN

Song Dynasty

Exquisitely carved in the form of a tapir-like mythical beast with an

adjustable head as the cover, with bulging eyes and lifted ears,

the powerful rounded body carved in high relief with a taotie mask

on each sides amidst dense kuilong pattern, further decorated

with a fierce tiger on its back as the handle, the stout legs similarly

decorated with its tail pointed downward, with inscription on the

underside, box.

16.5cm (6 1/2in) high (3).

HK$60,000-80,000

US$10,000 - 13,000

宋 黃玉雕仿古犧尊

The present lot carved in archaistic way to imitate the bronze vessel

xi zun during the Warring States period, see an example of this

kind of vessel in the National Palace Museum, Taipei, accession

no. Zhong tong 000124N000000000. It continued to appear in the

Song dynasty, see a tapir-shaped vessel sold in our London rooms,

3 November 2022, lot 117. It is rare to see xi zun in the form of jade

carving.

尊為盛酒器，「犧尊」通作牛形的尊。本拍品眼神凌厲，雙耳挺

立，身軀壯碩，四足結實，通體刻饕餮紋、夔龍紋等仿古紋飾。背

上飾一猛虎為把手，頭首為可活動之注口。其形制仿戰國時期犧

尊，參考台北故宮博物院館藏一戰國中期犧尊，館藏編號：中銅

000124N000000000。宋代亦流行鑄造仿古犧尊，參考倫敦邦瀚斯售

出一例，2022年11月3日，拍品編號117；仿古犧尊多為銅器，作玉

器則較為罕見。

144

A SMALL PALE GREEN JADE ARCHAISTIC FACETED VASE

AND COVER, FANG HU

Song Dynasty

Finely carved as a faceted pear-shaped vase imitating the archaic

bronze fang hu, the neck decorated in low relief with a band of

V-shaped pattern, each sides extensively carved with kuilong pattern,

and the shoulders sat with a pair of archaistic handles suspending

loose rings; the cover decorated with geometric pattern and carved

in high relief with four hares standing on each edge, all rested on a

slightly flared foot, box.

11.5cm (4 1/2in) high (3).

HK$80,000-100,000

US$10,000 - 13,000

宋 青玉雕仿古帶蓋方壺

See two related examples, but of pear shape, sold at Christie's New

York, 24 March 2011, lot 1684 and 13 September 2018, lot 904.

作青銅方壺形，施仿古紋飾，壺身雕夔龍紋，方蓋四角各飾玉兔。

參考兩件仿古玉壺，均售於紐約佳士得，2011年3月24日，拍品編號

1684及2018年9月13日，拍品編號904。

143

144

Subtle Beauty: The Aesthetics of Song Dynasty | 95

145

A WHITE JADE PEACOCK HAIRPIN

Song Dynasty

Elegantly worked in a slender form from a lustrous stone of even

white colour, one end vividly carved as a peacock with its wings

outspread on the side and tail upwards, featuring the plumage with

pierced holes, tapering to a plain pointed end, stand, fitted box.

16.4cm (6 1/2in) wide (3).

HK$120,000-150,000

US$15,000 - 19,000

宋 白玉雕鳳首髮簪

此髮簪白玉質，潤澤晶堅。簪頭尖細，身修長，簪尾立體雕琢一鳳形

飾，雙翼伸展，長尾上翹，羽翼豐滿，鉆有小孔及琢刻陰線表示羽

毛，刀工爽朗利落，造型莊嚴秀美。

古代女子十分重視秀髮，並視其為情感之載體，青絲即為「情絲」，

因此髮飾的發展多樣、精美，宋代雕玉工藝已登峰造極。簪，始稱

「笄」，除具有固冠、固發的實用功能外，還具裝飾作用。此鳳首簪

雕百鳥之王，象徵尊貴的地位，也有太平祥瑞的寓意，當為皇家貴族

使用，十分珍貴。

146

A WHITE JADE RETICULATED 'TWIN PHOENIX' PENDANT

Song Dynasty

Of circular shape, delicately carved in openwork with two confronting

phoenixes in profile, holding a knot of long ribbons with their beaks,

box.

5.7cm (2 1/4in) diam. (2).

HK$40,000-60,000

US$5,100 - 7,700

宋 白玉鏤雕雙鳳珮

The motif of twin phoenix facing one another, which symbolises a

harmonious marriage, could be seen as early as the Tang dynasty,

see a related jade pendant of similar pattern in the Palace Museum,

Beijing, illustrated in Zhongguo mei shu quan ji: gongyi meishu bian

9: yuqi [The Complete Volumes on Chinese Art: Arts and Crafts

section 9: Jades], Beijing, 1986, p. 129, pl. 230; also in goldwares

during the period of Song, compare a related pierced gold plaque of

similar design, discovered in a tomb of Southern Song dynasty in Luo

Qingjia, Zhejiang Province, illustrated in Yang Zhishui, Zhongguo jinyin

qi [Silver and Gold wares in Ancient China], vol. 3, p. 1049, pl. 207-2.

白玉質，白皙透瑩，鏤雕對稱雙鳳紋，二鳳相向，口銜帶結。此類雙

鳳圖案有鳳凰于飛、鸞鳳和鳴之寓意，早見於唐代，參考故宮博物院

所藏一件唐代玉鏤雕雙鳳珮，著錄於《中國美術全集：工藝美術編

9：玉器》，北京，1986年，頁129，圖版230；亦見於宋代金器，比

較一件鴛鴦紋金帔墜，出土於浙江省東陽市湖溪鎮羅青甲南宋墓，載

於揚之水，《中國金銀器》，卷3，2022年，頁1049，圖版207-2。

145

146

96 | Bonhams “Playing the zither, loving the peaceful night;

Enjoying the way of music in my leisurely dwelling.”

— Extract from Zhu Xi, Autumn Night Listening to the Rain with a Mind Full of Reverence

Subtle Beauty: The Aesthetics of Song Dynasty | 97

鸣琴爱静夜，乐道今闲居——

宋

・朱熹《秋夜听雨奉怀子厚》

98 | Bonhams THE PROPERTY OF A GENTLEMAN

士紳藏品

147

A FINE CONFUCIUS-STYLE 'PIANQIU' LACQUERED QIN

Southern Song Dynasty

Of Confucius-style form, the slightly domed body with two waisted

section on both side, the black-lacquered surface finely crackled

into small shefu (shefu) lines, the top inlaid with thirteen motherof-pearl studs (hui), the reserve above the longchi (dragon pool)

incised and infilled with cinnabar lacquer with two-character name

reading pianqiu (A leaf of the autumn), the area underneath fengzhao

(phoenix pool) incised with Jiajing marks reading jiajing sishisannian

bayue zao guxianlv ([This qin] of Guxian tone made in August at the

43rd year of the Jiajing's reign), corresponding to 1564, and followed

with a seal reading zhengfu zhibao (The Treasure of Princely House

of Zheng), the seven pegs (zhen) and two geese feet (yanzu) of pale

green jade, bag.

Overall 121.8cm (47 3/4in) long, shoulder 19.5cm (7 3/4in) wide, tail

14cm (5 1/2in) wide

HKD1,500,000 - 1,800,000

US$190,000 - 230,000

南宋 仲尼式「片秋」琴

Provenance:

The Yanqinzhai Collection, Hong Kong

來源:

香港硯琴齋珍藏

Exhibited:

The University Museum and Art Gallery, Gems of Ancient Chinese

Zithers: Shum's Collection of Ancient Qin from the Last Millennium,

University of Hong Kong, 14 October-5 December 1998

The Chang Foundation Museum, The Ancient Chinese Zither(Qin),

Taipei, 2000

展覽：

香港大學美術博物館，「古琴薈珍—硯琴齋宋元明清古琴展」，香

港，1998年10月14日-12月5日

鴻禧美術館，「2000年台北古琴藝術節唐宋元明百琴展」，台北，

2000年

Published and illustrated:

B. Yung, Gems of Ancient Chinese Zithers: Shum's Collection of

Ancient Qin from the Last Millennium, Hong Kong, 1998, p. 15, pl. 18

Taipei Municipal Chinese Classical Orchestra and The Chang

Foundation ed., The Ancient Chinese Zither(Qin), pp. 80-81

出版及著錄：

榮鴻曾編，《古琴薈珍—硯琴齋宋元明清古琴展》，香港，1998

年，頁15，圖版18

台北市立國樂團及鴻禧美術館編，《古琴紀事圖錄》，台北，2000

年，頁80-81