Overlooking all things in the universe, the mountains are secluded and idle, and the people in the Mountains are also linyu.
LinyuShanren, a famous Collector in Japan, is known as "Song Porcelain Hunter" and "The Most Dedicated Man to Song Porcelain", and the white glazed carved Xuanhua Dakasa-style bowl with 11.5 million hammers on the Poly Autumn Auction a few days ago is his treasure.
The name "Linyu Shanren", which exudes classical Chinese romantic conception, is only its elegant name, and its real name is Masataka Tomita. The origin of this ya name is related to a Northern Song Dynasty Black Ding kiln partridge patterned bucket bowl.
Northern Song Dynasty Heiding kiln partridge pattern bucket bowl New York Christie's 2018 auction RMB26.67 million yuan sold Linyu Shanren old collection
In this way, there are three complete pieces of dingyao bucket bowls in the world, and the other two are in the National Palace in Taipei, when this black kiln appeared at Christie's in Hong Kong, Chiaki Oshima, the owner of the famous Japanese antique shop Chiaki Tei, told LinyuShanren that this kiln was the first in the world and suggested that he buy it. Linyushan people flew to the National Palace in Taipei, compared the bowl, found that it was superior to the two pieces hidden in the National Palace in Taipei, and resolutely photographed it.
Chiaki Oshima said: "This kiln is like a spaceship in space, leading us into the deep universe, endless stars coming at us in all directions, the oil spots in the cup are like shooting stars, first gathered in the distance, and then pounced on us, and as if they escaped in the middle, the shape is like an umbrella, expanding from a small point, almost sucking us in." "The elegant name she gave to the Linyu Mountain people is derived from this.
In the 1970s, Linyushan, mingu, began to collect Chinese ceramics, and in the 1990s, especially in 1996, after meeting Qianqiuting, he focused his collection on song porcelain masterpieces.
Its collection has two principles: first, to seek refinement and not to seek more, to ensure the quality of each utensil, to buy three or five utensils a year; second, perseverance, year after year patient, persistence, the collection as a long-term hobby or career. Therefore, the collection of Yushan people in the past few decades is not much, but each piece can be called a masterpiece of famous kilns. The height of a collector is determined not by the number of his collections, but by the level of his highest few utensils, and there are nearly thirty pieces of LinyuShanren collections that have appeared on the auction field at a price of more than one million, and this time the white glaze carved Xuanhua Dakasa bowl with tens of millions of hammers is one of the rare best.
Mingding kiln white glaze carved Xuanhua Dakasa-style bowl Beijing Poly 2021 autumn auction RMB11.5 million hammer
The bucket bowl is named because it resembles a bucket when upside down, and this product is slightly extravagant, obliquely straight under the abdomen to the circle foot, and the shape of the vessel is elegant and beautiful, which fully reflects the aesthetic taste of the Song people who advocate simplicity and elegance.
Ding kiln such a large caliber bucket bowl is quite rare, commonly seen diameter of more than ten centimeters of bucket type utensils, because of the oblique thin wall of the application of carving easy to make the wall collapse, molding is extremely difficult, and this piece of bucket bowl is particularly open, the size of 21 cm, is even more rare. The belly of this vessel is relatively shallow, and the inner wall is carved with a long oblique knife and a straight knife, with clean lines and smooth and picturesque, making it unparalleled in both artistry and scarcity. The mouth edge is covered with copper inlaid with copper, and it is the original inlay, which is completely different from most of the kiln vessels seen on the market, which are covered with copper inlaid during the Qing Dynasty to the Republic of China.
In addition, this product is a typical representative of the kiln-like carved flower vessel. The inside of the vessel is engraved with grass on the side of the bowl. The scratches are gentle and clean, the lines are free and unrestrained, the ornaments are all a knife, there is no possibility of re-cutting, reflecting the characteristics of "writing with a knife and supporting the shape with a line". Through thousands of sketches, the craftsman can achieve this state of having hills in his chest and a knife like a god, and transform ordinary dots and lines into beautiful patterns. The similar pattern is more typical in the Ding kiln, and the excavator can refer to the similar products excavated from the Song Tomb in JiangyinXiagang, Jiangsu Province, and the well in Shaoxing, Zhejiang.
Like The Linyushan people are obsessed with the collection of ancient Chinese ceramics at home and abroad, such as Cocoon Mountain Longquan Hall, Stephen Qiongken III, etc., if the collection is compared to a pyramid, then the composition of the spire is to show its collection strength of the fine products, and the part of the tower base is to rely on collectors to learn professional knowledge day after day and constantly iterate on the quality of their collections to consolidate.
Longquan kiln green glaze fold along the wash transaction price of $1,025,000 Linyu Shanren old collection
Ancient ceramics are relics of history, looking back at the history of the development of ancient ceramics in China, there are many epoch-making excellent varieties: Neolithic splendid faience pottery, elegant celadon in the south of the Six Dynasties, uniform white porcelain in the north of the Sui Dynasty, secret color celadon in the Tang Dynasty Yue kiln, Ru kiln that embodies the royal style of the Song Dynasty, Kangxi Qinghua in the single step of this dynasty... Wait, there are all kinds of beauty, beauty is not abundant, just like the water of the Yellow River ups and downs, rolling out a magnificent climax, always rushing forward on this vast land.
People who have just started collecting are very necessary to understand the overall history of the development of ceramics, at least to prevent low-level mistakes. But to know how to identify ancient ceramics, the most important thing is to look at the physical object, just read the book, look at the catalog, you can understand the historical knowledge, but can not solve the problem of distinguishing the true and false in the actual operation, slightly some grades of imitations are all made according to the catalog, are designed in advance of the trap.