- 71
北宋 登封窰白地刻牡丹紋枕
估價
80,000 - 100,000 USD
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招標截止
描述
- ceramic
of rectangular section tapering towards the base, the concave top and sides exquisitely carved through the creamy-white slip to the dark body with long stems bearing large peony blooms among leafy foliage, covered overall in a transparent glaze save for the underside covered in a white slip
展覽
《中國陶瓷精品展》，國立歷史博物館，台北，1987年，頁33
Condition
There are two restored chips to the edge of the pillow which has been filled and painted over.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
拍品資料及來源
This pillow is notable for its bold and vigorous floral scroll which has been endowed with an added sense of three-dimensionality through its carving and delicately incised lines. Pillows decorated with the sgraffito technique, which involved the application of a layer of white slip subsequently carved to reveal the brownish body of the piece, were produced at the Dengfeng kilns in Henan province, Northern China, during the early Northern Song dynasty (960-1127). Fragments of similarly decorated vessels were unearthed in the Dengfeng area; for example see a reconstructed ewer illustrated in Series of China's Ancient Porcelain Kiln Sites. Dengfeng Kiln of China, Beijing, 2011, pl. 57.
A similar ingot-shaped pillow, in the Shanghai Museum, Shanghai, is published in The Complete Works of Chinese Ceramics. Song Dynasty (I), vol. 7, Shanghai, 1999, pl. 196; another in the Musée Guimet, Paris, is illustrated in Ceramic Art of the World. Song Dynasty, vol. 12; Tokyo 1977, pl. 112; and a third published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 3, pt. II, London, 2006, no. 1532. See also two cloud-shaped pillows of this type, the first from the Lucy Maud Buckingham collection, and now held in the Art Institute of Chicago, Chicago, and the second in the Yamato Bunkakan Museum, Nara, published in Jan Wirgin, Sung Ceramic Designs, Stockholm, 1970, pl. 41, nos. g and j.
A similar ingot-shaped pillow, in the Shanghai Museum, Shanghai, is published in The Complete Works of Chinese Ceramics. Song Dynasty (I), vol. 7, Shanghai, 1999, pl. 196; another in the Musée Guimet, Paris, is illustrated in Ceramic Art of the World. Song Dynasty, vol. 12; Tokyo 1977, pl. 112; and a third published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 3, pt. II, London, 2006, no. 1532. See also two cloud-shaped pillows of this type, the first from the Lucy Maud Buckingham collection, and now held in the Art Institute of Chicago, Chicago, and the second in the Yamato Bunkakan Museum, Nara, published in Jan Wirgin, Sung Ceramic Designs, Stockholm, 1970, pl. 41, nos. g and j.