北宋 磁州窰黑地刻白花牡丹蓮紋梅瓶

well potted with a tall slender tapered body sweeping up to a round shoulder, surmounted by a short waisted neck and tapering mouth, the body freely carved through the layer of dark brown slip with three main registers, the slip falling short of the countersunk base, the central frieze with a large peony and lotus bloom against a striated ground, between a thin border picked out with scrolling motifs and a broad band with upright overlapping lappets

楊永德收藏

《楊永德伉儷珍藏黑釉瓷》，西漢南越王博物館，廣州，1997年，編號19
《楊永德伉儷珍藏中國古代黑釉瓷》，香港中文大學文物館，香港，1999年

The vase is in overall good condition, with the exception of a bruise to the rim (0.4cm wide) probably caused by impact, the area next to this possibly lightly retouched. There is a shallow flake to the lower edge of the neck (0.6cm wide). The foot has a shallow chip (2cm wide) and other minor nicks.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present vase belongs to a rare group of sgraffiato wares involving a labour-intensive technique to produce the two-slip decoration. Shards similarly decorated and carved have been found at the Cizhou kilns at Guantai, Cixian, Hebei Province, the majority of which seems to emerge from strata corresponding to the Northern Song dynasty; for related fragments recovered from this site see Yutaka Mino, The Cizhou Kiln at Guantai, Beijing, 1997, col. pl. 21, fig. 96.

For discussions and illustrations of similar pieces in important collections, compare Suzanne Valenstein, A Handbook of Chinese Ceramics, New York, 1989, p. 93, no. 88 for an illustration of a carved meiping now in the Metropolitan Museum of Art, New York. A vase in the British Museum is illustrated in Yutaka Mino, Freedom of Clay and Brush through Seven Centuries in Northern China: Tz'u-chou Type Wares, 960-1600 A.D., Indianapolis Museum of Art, 1981, pp. 102-3, pl. 39 and fig. 97. Others, in the Kyoto National Museum and the Ise Foundation respectively, are published in Charm of Black & White Ware: Transition of Cizhou Type Wares, Osaka Municipal Museum of Art, 2002, nos 51 and 52. A more freely incised meiping with different borders is in the Museum of Fine Arts, Boston, illustrated in Wu Tung, Earth Transformed Chinese Ceramics in the Museum of Fine Arts Boston, 2001, p. 63. The John D. Rockefeller 3rd Collection example is illustrated in Treasures of Asian Art: The Asia Society's Mr and Mrs John D. Rockefeller 3rd Collection, New York, 1994, p. 161, no. 154.