Category：Ceramics Condition Report：Overall in good condition except for incomplete glaze in some area, 整体状况良好 Description (Traditional Chinese)：China, Qing dynasty or earlier
Dimensions: 6" (15.24cm) H
仿古代青銅器造型，八方，雙貫耳，頸部兩道鉉紋。釉質厚潤，凝重，釉色淺灰白，瓶主體呈粉質感。施釉有厚薄不均現象。釉面“金絲鐵線”開片，此類小器物開大紋片者尤為稀少珍貴。胎質褐色帶黑，口沿部位因釉薄而呈現淡褐紅色。雙耳及底足內因釉厚及釉質黏度大，足內和耳部有縮鈾或露胎現象。器內及足內施滿釉。
明曹昭《格古要論》稱哥窯：“哥窯色青，濃淡不一，亦有鐵足紫口，色好者纇董窯。” 南宋葉寶真《坦齋筆衡》記載：“中興渡江，有邵成章提舉後苑，號邵局，襲故京遺制，置窯於修內司，造青窯器，名曰內窯，澄泥為範，極其精緻，油色潤徹，為世所珍。後，郊壇下別立新窯，比舊窯大不人牟矣。“
可是修內司窯，窯址存在但尚未被發現，也無傳世實物印證。而所說的傳世哥窯瓷器，有宮中傳流的實物，但至今仍然未發現窯址。 《格古要論》引用南宋葉寶真《坦齋筆衡》和顧文薦《負日宣雑錄》理論，補充曰：“官窯器，宋修內司燒者，土脈細潤，色青帶粉紅，濃淡不一，有蟹爪紋，紫口鐵足，色好者於汝窯相類。”按照曹昭之說，傳世哥窯才具有其所描述的修內司窯器的各種特徵。目前多數學者也認同曹昭之說，把傳世哥窯歸認為制自南宋修內司窯。
非常奇妙的是，一側耳部附近釉內氣泡大而密集，“聚珠攢沫”，表面似乎成人“面部微汗”之感。相比器物的其他部分，此處釉面相對亮澤，氣泡中多有黑點，疑燒窯過程之技術局限。北京故宮所藏修內司窯雙耳三足爐，釉面同樣是此類狀況，幾乎別無二致。在哥窯的簽定中，除了眾所週知的“金絲鐵線”，“紫口鐵足”外，其釉色呈粉青，月白，油灰，青黃等，釉質深濁不清透，釉層凝厚不均。胎色有黑灰，深褐，深灰，淺褐，淺灰等。燒製方法為裹足支釘燒或圈足墊餅燒。哥窯最主要，最奇妙的一個特徵即所謂的“聚珠攢沫”。陶瓷鑑定界先輩孫瀛洲先生在其《元明清瓷器的鑑定》一文中指出， “如官，哥釉泡之密似攢珠，。。。這些都是不易仿做的特徵，可以當作劃分時代的一條線索。”
宋人在瓷器的釉色和造型上美學追求，前無古人，後無來者，堪稱中國古代陶瓷的典範。貫耳瓶造型較多，縱然類似器型貫耳統徑尺寸差異頗大，但比例和視覺上依然端莊典雅。
比如《千禧年宋代文物大展》的傳世官窯貫耳瓶（圖A）比北京故宮清宮舊藏郊壇官窯貫耳扁瓶（圖B 92）耳徑大許多。日本朝日新聞社文化企畫局文化企畫部《封印された南宋陶磁展》龍泉窯貫耳長頸瓶（圖C）雙耳耳徑比同時期故宮博物館藏修內司窯貫耳長頸瓶（圖D 32）的耳徑要窄細很多。
對比圖1:
器型，尺寸與故宮博物館藏“修內司窯貫耳八方扁瓶”（高14.9mm， 口徑4.6 －3.7mm， 足徑4.8 － 6.4mm）類似。 （《宋代官窯瓷器》圖42）
對比圖2:
釉色，開片，耳部縮鈾與故宮博物館藏“修內司窯貫耳扁瓶”類似。 （《宋代官窯瓷器》圖40）
對比圖3:
一側耳部氣泡，釉面與故宮博物館藏“修內司窯雙耳三足爐”類似。 （《宋代官窯瓷器》圖48）
對比圖4:
胎質，呈色與故宮博物館藏“修內司窯膽式瓶”類似。 （《宋代官窯瓷器》圖34）
Provenance:
H.H. Pao Collection, Toronto
多倫多鮑恆發家族珍藏
H.H. Pao 鮑恆發 (Sear Hang Hwei Pao) (1937-2009) is recognised as one of Canada’s most revered dealers and collectors of Chinese art during the second half of the twentieth century. The Pao & Moltke gallery was an institution in Toronto’s prestigious Yorkville neighbourhood for over forty years and was frequented by Chinese art collectors, academics, and curators alike.
Mr. Pao was of Shanghainese descent and came from a long line of Chinese art collectors. His father in particular had a well-known collection of Chinese Huanghuali furniture. Surrounded by art throughout his childhood, Mr. Pao was inspired to study at the State Academy of Fine Arts in Stuttgart, Germany, in the 1950s. It was here he met his future wife and business partner, Countess Nadia von Moltke-Kirsten. Together they studied at the Academy of Arts, Berlin, for another four years.
In the late 1960s, Mr. Pao and his wife moved to Toronto and opened the Peking Gallery at Church and Gerrard. In the 1970s, they changed the gallery’s name to Pao & Moltke Ltd., relocating to Yorkville Avenue, before finally moving to its iconic location at Toronto’s Four Seasons Hotel where it remained until his retirement in 2006.
Although Mr. Pao dealt in a wide range of Asian artwork, his primary passion was ceramic figures and vessels from the Han (206 BC-220 AD) to Tang (618-907 AD) dynasties. In Toronto, his inventory of early Chinese ceramics was arguably only surpassed by the holdings of the Royal Ontario Museum. Many of these objects were acquired through his travels to China from as early as the 1970s and from cities such as New York, London, and Hong Kong.
古董商鮑恆發 (H.H.Pao) 高古瓷器珍藏
鮑恆發 (H.H.Pao) (1937-2009) 被公認為是20世紀下半葉加拿大最受尊敬的中國藝術品交易商和收藏家之一。其所經營的Pao＆Moltke藝廊，坐落於多倫多著名的約克維爾 (Yorkville) 高端社區，歷經40餘載，生意興隆，門庭若市。營業期間，受到眾多中國藝術收藏家，業界名流，學者和策展人的頻繁造訪，可謂“笑談有鴻儒，往來無白丁”。其中香港著名古董藏家張宗憲每次到多倫多，必定造訪鮑先生的藝廊。
鮑先生是上海人，來自頂級中國藝術品收藏世家。鮑先生的父親以其精品中國黃花梨家具收藏而聞名。鮑先生在整個童年時代都被藝術所包圍，長期的耳濡目染，使他決定於1950年代進入德國斯圖加特國家美術學院學習。在這裡，他遇到了未來的妻子和商業夥伴納西婭·馮·莫爾特克·基爾斯滕伯爵夫人 (Countess Nadia von Moltke-Kirsten)，並一同在柏林藝術學院度過了四年的進修時光。
1960年代後期，鮑先生及夫人來到多倫多定居。在教堂街 (Church St.) 和杰拉德街 (Gerrard st.) 開設了北京藝廊 (Peking Gallery)，後於1970年代將藝廊的更名為Pao＆Moltke Ltd.，遷至約克維爾大街，最終移至位於多倫多四季酒店的標誌性位置後，持續營業直到其2006年退休為止。
在鮑先生經手過的眾多精美亞洲藝術品中，他偏愛從漢代 (公元前206年至220年) 到唐代(公元618年至907年) 的陶瓷造像及器物。在多倫多，鮑先生的的高古中國陶瓷收藏質量，從廣度與深度上來講，或許只有皇家安大略博物館的庫藏才可與之相提並論。鮑先生私人珍藏中許多藏品都為其70年代往來穿梭於中國，紐約，倫敦及香港的藝術品尋寶之旅途中所獲。
清或更早 官窯灰青釉八方貫耳瓶
---以下为第三方软件翻译，仅供参考---
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