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宋代耀州窑及青白瓷

今之视昔柯玫瑰

Song through 21St century eyeS yaozhou and qingbai ceramicS by roSe Kerr

meijering art books

First published Meijering Art Books VOF, 2009 Rooijsestraat 11, 6621 AH Dreumel the Netherlands www.meijeringartbooks.com

Meijering Art Books VOF, 2009 年首次印刷 Rooijsestraat 11, 6621 AH Dreumel the Netherlands www.meijeringartbooks.com

Rose Kerr asserts her moral right to be identified as the author of this book.

柯玫瑰维护其作为本书作者而不涉及实质的精神权利

Designed by Irma Boom Photography by Iwan Baan, Petra and Erik Hesmerg, Gerrit Schreurs Translation by iLen Technology Co., Ltd., Ng Kai Yuen, Wang Yuan Sheng

设计 Irma Boom 摄影 Iwan Baan, Petra 和 Erik Hesmerg, Gerrit Schreurs 翻译深圳市艾朗科技有限公司、吴继远、汪垣生 ISBN 978-90-79920-01-3

ISBN 978-90-79920-01-3 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, without written permission of the publishers.

Front jacket illustration: Meiping bottle, qingbai ware, Southern Song dynasty (fig. 2-22), page 113 Printed by Lecturis BV in the Netherlands

Dedicated to 谨以此书献给 Koo Liong Bing 高隆明

China is always in my thoughts 梦牵中华

前言

宋代简史

2 对比耀州窑与青白瓷的外观和美感制作: 瓷土、成型与装饰手法、釉、窑与烧制窑址和市场的分布

48 94 154

3 用途文人雅器宗教器具饮食器皿梳妆用品及寝具随葬品

180 269 301 369 416

底座视图

434

尾注参考书目编年史表鸣谢摄影制版者摄影出版信息

447 449 450 451 452 454 455

Contents Foreword 1

a brief history of the Song dynasty

9 13

2 contrasts The Appearance and Aesthetic Appeal of Yaozhou and Qingbai Wares Manufacture: Clays, Forming and Decorating Methods, Glazes, Kilns and Firing Distribution of Sites and Markets

152

3 uses Scholarly Use Religious Use Dining and Drinking Beauty and Sleep Burial

178 268 300 368 414

46 90

Views of bases

434

Endnotes Bibliography Chronology Acknowledgement Illustration Credits Photography Colophon

447 448 450 451 452 454 455

Foreword This book acts both as an introduction to two important Chinese kilns and their products, and as an illustrated catalogue of a collection of the family of Koo Liong Bing (Gao Longming 高隆明, 1907-1992). The collection reflects a personal taste in acquiring the best quality Yaozhou and qingbai wares, and in seeking out unusual forms and rare vessels. The publication of the collection has as one of its chief purposes to honour Koo Liong Bing, a gentleman from a widely dispersed Chinese family whose ancestral home was in Haicheng 海澄 in southern Fujian 福建 province. Koo Liong Bing always had faith in the strength and spirit of China, its people and its culture. The collection acts as a fine assemblage of two very distinct ceramic types that were greatly admired in China at the time of their manufacture. During the first half of the 20th century, Song dynasty ceramics came to the attention of both Asian and Western connoisseurs, and astonishing collections were formed. In recent years, by contrast, less attention has been paid to the period, and it is therefore pleasing to see the formation of a collection of good quality. The approach to researching this collection has not merely been to describe and illustrate pieces, however. The intention is to place the ceramics in their historical, geographical, economic and social contexts, using the latest research from both China and the West. In part 2, ‘Contrasts’, differences between the two wares are investigated. These vary from aesthetic appearance and appeal, to contrasts in manufacture and markets. In part 3, ‘Uses’, the two wares are discussed together, in many cases, forms and functions were very similar. The design of the book is unlike other conventional volumes on Chinese ceramics. The colours of the pages have been carefully matched to the tones found in Chinese paintings, murals and textiles of the period. Some may believe that the Song dynasty was a period of muted and subdued colours. However, documentary and pictorial evidence tell us that the subtle hues of the Yaozhou and qingbai ceramics illustrated in this book were in fact only one component in a lively, vibrantly coloured Song world. Rose Kerr

前言耀州瓷与青白瓷, 年代悠远, 杰出并重, 同为中国名瓷。本书将借助图牍史卷, 展示高隆明先生 (1907–1992) 家族之收藏, 展品均为披沙淘金, 精粹上选, 以此质地优良, 雅极妙至的艺术形式, 一则阐述两窑之重要异同, 二则再现风格迥异的独特审美品味。高隆明先生来自福建省, 祖籍为闽南海澄镇, 家族兴旺, 宗室繁茂, 四海绵延, 先生侨居他乡, 却终身“梦牵中华”, 乃对本民族之国力、精神、民众以及传统文化情有独钟, 坚贞不二, 在此寄以对高隆明先生的深切缅怀。两窑瓷器, 泾渭之别, 聚于一室, 交映生辉。早在生产之初, 已是名闻遐迩。时至二十世纪上半叶, 宋瓷之美始为东西方鉴赏者所注目, 继而各地搜集速具规模。审美之念, 此消彼长, 因时变迁, 虽近期低迷, 但此赋色鲜明、精材良质的上品收藏, 则会令人耳目一新。本书宗义并非单纯讲解图示, 而是重在融器物于历史, 衬地理经济及人文之背景, 并依据中外最新研究成果, 使读者能高屋建瓴, 一览无余。例如第二部分“对比”: 调研两窑差异, 就美学和器形, 论及生产销售, 不一而足, 面面俱到。第三部分“用途”: 则综合论断, 剖析二窑, 求得形制及功用之大同。本书设计亦推陈出新, 有别于传统瓷书, 娇黄霁青, 姹紫嫣红, 浓妆淡抹, 不同凡响。更精选国画经典, 古墓壁影, 绫罗绢饰, 遵年代之风格, 合美趣于一体, 成独家之方言。曾闻宋代国祚多舛, 色调低暗, 但此书中以精妙的耀州青白诸器, 加之文献图片, 现身说法, 展示宋朝原有的生机勃勃的真实侧面。柯玫瑰

1,2 = alternative courses of yellow river after 1194

China during the Song dynasty 宋朝时期的中国

A Brief History of the Song Dynasty

The Song Dynasty lasted just over three hundred years, from ad 960 to 1279. This simple chronology conceals a turbulent and politically unstable era, constantly imperilled by hostile peoples in the north. In fact, the period can more properly be catalogued as including the Liao dynasty (907-1125), the Jin dynasty (1115-1234) and the Western Xia dynasty (1038-1227).1 The Liao were originally nomadic tribesmen, descended from the great tribes of Huns in the northern steppelands. They were called Khitans (Qidan 契丹 in Chinese) and their homeland was in the north-east. By 925 the Khitans ruled eastern Mongolia, Manchuria and a swathe of northern China, including present-day Beijing. They had maintained an uneasy alliance with China’s Song rulers, until the latter made an alliance with the Jurchen and destroyed their empire in the north-east. The Jurchen (Nuzhen 女真 in Chinese) were another tribe from the north-eastern Steppes, who established a far-reaching power base.2 By 1127 they had swept south of the Yellow River, after destroying the Northern Song capital in Kaifeng and imprisoning the reigning emperor and many of his family. The remnants of the Song élite fled south, and a border was established between the Southern Song and the Jurchen Jin dynasty, though the line was often breached and border fighting continued for years. In the north, ceramic kilns such as Yaozhou came under the rule of the Jin. In the 12th century, good-quality products were still manufactured, but later on, standards declined. By 1234 the Jurchen had been driven out by invading Mongols, who went on to impose their own Yuan dynasty over the whole of China in 1279. The Western Xia (Xi Xia 西夏) were Tangut peoples originating in Tibet and later settling in north-western China’s Yellow River basin. Through a skilful process of marriage alliances, diplomatic manoeuvres and military aid, the Western Xia managed to maintain both their centre of power and relations with the rulers of the Five Dynasties, the Song and the Jin. By the early 13th century the Western Xia were under constant attack from the Mongols, and were eventually defeated in 1227. The ethnically Han Chinese Song dynasty arose from the ashes of the Five Dynasties period (907-960). This was a tumultuous and violent time in north China, when many of China’s established, scholarly, gentry families disappeared, to be replaced by a military élite whose influence persisted for most of the 10th century.3 In spite of volatile years of warfare and social unrest, handicraft businesses such as pottery kilns continued in production. In fact, workshops at Yaozhou, located in the vulnerable loess plateau of Shaanxi province, made wares that were of extremely high quality. Pieces like the bowl in fig. 1-1, the small jar in fig. 1-3 and the ewer in fig. 1-4 demonstrate the superlative qualities of potting and glazing of the Five Dynasties period.

Hunyuan

H H EB EB EI EI H EB EI

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SHENYANG

Xing yao yao Zibo Xing Zibo Xing yao Zibo MONGOLI A Cizhou (Guantai) (Guantai) I N N E RJINAN Cizhou JINAN Region Autonomous Cizhou (Guantai) JINAN

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CHUAN CHUAN CHUAN

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FUJ I AN

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Jizhou

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G U A NG X I

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GUANGDONG Xicun Chaozhou CANTON NANNING

SONG SONG DYNASTY DYNASTY CERAMIC CERAMIC SITES SITES SONG DYNASTY CERAMIC SITES

Map of Southern Song Boundary between Jin and Southern Song after 1127 Kiln sites Provincial capitals

Lianjiang FUZHOU

Dehua

YUN N AN Yuxi

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YY Y

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Huozhou Autonomous Huozhou SH HA AN N DONG DONG Ye Hebiji Region Hebiji llow S SiH A N DONG Hebiji X I Yaozhou R ve r Dangyangyu Yaozhou Dangyangyu Longquanwu - Yaozhou KAIFENG Dangyangyu KAIFENG Datong Xunyi Xunyi X KAIFENG BEIJING Xunyi ZHENGZHOU Gongxian ZHENGZHOU I Gongxian Hunyuan Huairen ZHENGZHOU Gongxian Dengfeng XI’AN Mixian Dengfeng XI’AN Mixian TIANJIN Dengfeng XI’AN Mixian Xiaoxian Linru SHA Xiaoxian Linru Yuxian SHA A AN NX X II Yuxian aaii Xiaoxian Linru (Ruzhou) SHA A N X I (Ruzhou) HEBEI u Yuxian i u Hua Baofeng H (Ruzhou) Baofeng Lushan YINCHUAN Lushan H Baofeng Ding yao (Qingliangsi) ANGSU Lushan (Qingliangsi) JJ II ANGSU (Qingliangsi) J I ANGSU TAIYUAN H ENA ENA N N Jingxing H Shouzhou Shouzhou H ENA N Shouzhou w HEFEI ello HEFEI SHANXI Xing yao HEFEI Zibo NANJING Jiexiu NANJING LANZHOU NANJING Cizhou (Guantai) HU UB B EI EI JINAN H ver SHANGHAI A NH NH UI UI H U B EI SHANGHAI A Riiver eR SHANGHAI A NH UI ttzzzee River Fanchang WUHAN Huozhou Fanchang u WUHAN t Fanchang ggyyu n WUHAN SHANDONG Hebiji hhaanngyu a Shanglinhu h Shanglinhu aaYaozhou Dangyangyu nggttzzee Shanglinhu HANGZHOU n HANGZHOU Ningbo KAIFENG Ningbo HANGZHOU Xunyiangtze Ningbo ZHENGZHOU Gongxian Nanfeng Nanfeng Nanfeng Dengfeng XI’AN ANG Jingdezhen ZHEJ IIMixian ANG Jingdezhen ZHEJ NANCHANG ZHEJ IYuxian ANG NANCHANG Xiaoxian Linru S H A A NX I Jingdezhen NANCHANG ai (Ruzhou) Hu Wenzhou Baofeng Wenzhou Lushan CHANGSA CHANGSA Wenzhou (Qingliangsi) J I ANGSU Longquan Longquan CHANGSA Longquan H UNA UNA N N H JJ II A HENAN A NG NG X X II Jianyang Shouzhou H UNA N Jianyang J I A NG X I Jianyang UIZHO UIZHO U U HEFEI FUJ FUJ II AN AN UIZHO U FUJ I AN NANJING SI C H UA N NG Jizhou HUBEI Lianjiang NG Jizhou ver Lianjiang SHANGHAI ANHUI NG Jizhou Ri Lianjiang Pengxian tze FUZHOU FUZHOU Fanchang WUHAN yu FUZHOU Dehua Dehua ng Dehua CHENGDU ha Shanglinhu Anxi angtze Nan’an Anxi Nan’an HANGZHOU Anxi Ningbo Nan’an Tong’an Tong’an Quanzhou G U ANGX I Quanzhou G U ANGX I CHONGQING Tong’an Quanzhou G U ANGX I Autonomous Region Nanfeng Autonomous Region Autonomous Region GU UA A NG NG D DO O NG NG Jingdezhen ZHEJ I ANG G NANCHANG G U AXicun NG D O NG TAI TAI WAN WAN Xicun TAI WAN Chaozhou Chaozhou Han River River Xicun Wenzhou CANTON Chaozhou Han CANTON Han River CHANGSA CANTON Longquan

南宋地图 1127 年后金与南宋之间的边界窑址省会

Nan’an Quanzhou

TAI WA N Han River

宋代简史

从公元 960 年到公元 1279 年, 大宋王朝维持了三百多年。隐藏在简单的年表下的, 是一个动荡飘摇的政治时代, 其间宋朝始终遭受着北方敌对民族的侵扰。在史实中, 这段时期的北方各王国主要有辽代 (907-1125)、金代 (1115-1234)、西夏王朝 (1038-1227)。1 辽原本是游牧民族, 起源于北部草原的匈奴大部落。他们又被称为契丹人, 建国于东北。公元 925 年, 契丹人统治了蒙古东部、满洲和中国北部的一部分, 包括现在的北京地区。辽与宋朝的统治者维持了一段不稳定的联盟, 其后宋朝与女真结盟并摧毁了东北的辽王朝。女真是东北大草原上的另一个部落, 他们建立了广阔的势力范围。2 公元 1127 年, 女真人横扫黄河以南地区, 摧毁了北宋的首都开封, 并虏掠了当时的宋朝皇帝和众多皇族。宋皇室的残部南逃后建立了南宋, 在南宋和女真人建立的金代之间划定了边界。但由于边界经常被侵犯, 导致战争频繁, 达数年之久。北方的许多瓷窑, 例如耀州窑均落入金的统治之下, 在 12 世纪时仍能生产出高品质的瓷器, 但其后水准日见衰退。1234 年, 蒙古人入侵, 将女真人赶出了中原, 更于 1279 年统一中国建立了元朝。西夏人是起源于西藏的唐古特人, 后迁徙中国西北的黄河盆地。通过巧妙的联姻、外交策略和军事支援, 西夏人既维护他们的权力中心又保持了与五代、宋朝和金朝统治者的关系。13 世纪早期西夏王朝不断遭到蒙古人的攻击, 最终于 1227 年被彻底推翻。中国汉族的大宋王朝建立于五代时期 (907-960) 的废墟之上。在中国北部兵荒马乱的年代里, 当时许多世袭家族、书香门第和贵族消失了, 取而代之的是军阀割据势力, 他们的影响力几乎维持了整个 10 世纪。3 尽管战争爆发, 社会动荡不安, 但手工业如制瓷仍在持续生产。事实上, 耀州虽位于易受攻击的陕西黄土高原, 这里的作坊却造出了品质极佳的瓷器。如图 1-1 所示的瓷碗、图 1-3 中的小盖罐、图 1-4 中的执壶均体现了五代时期制瓷和上釉的最高水平。

图 1-1 耀州窑五出碗五代－北宋早期, 10 世纪直径: 13.2 cm 高度: 4.1 cm 类似瓷片出土于耀州瓷窑中心区之一的黄堡。此碗胎体灰中带白, 釉层薄而青中闪蓝。碗底上, 陶工的指甲痕依稀可见。唐代“花口碗”常为四出, 五代时为五出, 到了北宋则为六出。

Fig. 1-1

yaozhou ware five-lobed bowl Five Dynasties period-early Northern Song, 10th century D : 13.2 cm H : 4.1 cm Similar sherds have been excavated at Huangbao, one of Yaozhou’s main kiln centres. The body of this bowl is pale whitish-grey, its glaze thin and blue-green, and the marks of a potter’s fingernails are visible above the foot. ‘Folded bowls’ in this form with four lobes were common in the Tang dynasty, with five lobes in the Five Dynasties period, and with six lobes in the Northern Song.

手持“花口大碗”,衣着华丽的侍女, 出自于河北省曲阳县王处直墓 (同光二年, 924 年) 中之壁画。

A well-dressed servant holds a large ‘folded bowl’ in her hands in this detail from a mural in the tomb belonging to Wang Chuzhi at Quyang County in Hebei province dated to the 2nd year of Tong Guan (924).

图 1-2 漆制六出碟一对北宋直径: 10.6 cm 高度: 2.3 cm 北宋时期, 漆是另一种贵重材料。人们会用较便宜的物料如薄胎瓷器去简单地仿制类似图中的碟。

Fig. 1-2

Pair of six-lobed lacquer dishes Northern Song dynasty D : 10.6 cm H : 2.3 cm Lacquer was another valuable material during the Song dynasty. The form of these dishes could easily be copied in another less precious material such as thinly-potted ceramic.

Detail from a brick mural from the tomb of Dong Hai, Shanxi Province Dated 1196 On the table are three ‘folded bowls’, one with a ladle in it 砖雕局部出土自明昌 7 年 (1196 年) 山西省董海墓三只“花口碗”置于桌上, 其一盛有长柄勺

图 1-3 耀州小盖罐五代－北宋早期, 10 世纪连盖高度: 5.5 cm 口径: 3.7 cm 此罐胎质细腻发白, 釉面有开片, 其蓝釉流光溢彩, 其品质可与南方越窑媲美。

Fig. 1-3

yaozhou small jar with lid Five Dynasties period-early Northern Song, 10th century H with lid : 5.5 cm D of mouth : 3.7 cm This jar has a fine, pale body and a crackled glaze of exceptional blue tone, comparable in quality to southern Yue ware.

图 1-4 耀州执壶五代晚期, 10 世纪高度: 15.8 cm

Fig. 1-4

yaozhou ewer Late Five Dynasties Period, 10th century H : 15.8 cm

The Northern Song capital was established at Bianliang (modern Kaifeng), and it quickly developed into a city of great size, wealth and activity. With a population of more than one million people, it was the largest metropolis in the world at that time. It supported luxury industries such as silk mills and brocade workshops, and acted as an international commercial centre, with an incessant flow of merchants coming from Japan, Korea, India, Vietnam, Arabia and the South Sea islands. Shops and markets flourished, as did hotels, inns, restaurants, wine shops and theatres. A realistic representation of the city can be seen in the long scroll painting called Life along the Bian River at the Pure Brightness Festival by Zhang Zeduan, now in the Palace Museum in Beijing. Kaifeng’s proximity to Yaozhou (about 500 kilometres west) encouraged the manufacture of ceramics of high quality, in a wide variety of forms and with an inspired range of decorative designs. But although Kaifeng was the capital of the Northern Song state, the Chinese economy had gradually shifted southwards away from trouble during the 9th-10th centuries, bringing great prosperity to the Yangtze river valley.4 This benefited industries in the south such as the qingbai kilns at Jingdezhen, which started to turn out porcelain of superlative quality before the Song court moved south after 1126. The move of the capital to Lin’an (modern Hangzhou), and the extension of the Grand Canal there, led to it becoming a terminal for both domestic and foreign trade. Jingdezhen, a mere 200 kilometres to the south-east, reaped great benefits from its geographical location. Hangzhou was only gradually established as the capital during the course of the 12th century, and for many years the Southern Song emperors were half-hearted about its development. In spite of its beautiful location, burgeoning economy and eventually huge population, it was known as Xingzai 行在 (‘the temporary resting place’, which Marco Polo rendered as ‘Quinsai’).5 The fiction was maintained that one day the court would move back north to Kaifeng. The size of the city grew swiftly, however, rising from less than 200,000 people in 1126 to over a million by 1270. This huge population was contained within an area of 20 square kilometres, leading to dense eaves-to-eaves building of multi-storey houses, and a plethora of businesses, temples and places of entertainment. Sumptuous restaurants, teahouses, temples, monasteries and large ‘pleasure grounds’ where theatre, dancing and singing took place, all combined to provide a huge requirement for porcelain. Luxury items were in much demand, as was a day-to-day need for simple domestic crockery.

北宋建都于汴梁 (即现在的开封), 这里很快发展成为一座大城市, 贸易繁忙, 富贾云集。汴梁拥有百万人口, 是当时世界上最大的城市, 造丝厂和织锦作坊等奢侈品制造行业相当发达。各种商品从日本、朝鲜、印度、越南、阿拉伯和南海诸岛源源不断地流向汴梁这一国际商贸中心。随着商铺和市集的繁荣, 客栈、饭庄、酒肆和剧院也都兴旺起来。现珍藏于北京故宫博物院的张择端作品《清明上河图》长卷忠实地反映了汴梁在这一时期的风貌。耀州窑所在地距开封不远 (在开封以西约 500 公里), 其地理位置带动了优质瓷器的生产, 这里出产的瓷器形式变化多样, 装饰设计灵秀动人。尽管开封是北宋的首都, 但由于 9、10 世纪的战争, 中国经济逐渐向南转移, 为长江流域带来了繁荣。4 这一改变为南方的制瓷业带来了发展契机。在 1126 年宋廷南迁之前, 景德镇的青白瓷已开始生产品质上乘的瓷器。迁都临安 (现在的杭州) 之举, 再加上京杭大运河的延长, 使得临安成为国内外贸易的集散地。景德镇位于临安东南仅 200 公里, 因其地理位置而受益匪浅。杭州是在 12 世纪中逐渐成为首都的。多年来南宋的皇帝们并没有专心于这座城市的发展。尽管有醉人的美景、逐渐萌发的经济和日益增长的人口, 这里只是被称为“行在”(即暂时休息的地方, 马可·波罗则译为“Quinsai”)。5 朝廷梦想有朝一日能北上重回开封, 然而, 临安城的规模在迅速膨胀, 从 1126 年的不足 20 万人口激增至 1270 年的 100 多万。庞大的人口生活在 20 平方公里的区域内, 形成了鳞次栉比的密集建筑格局, 各种贸易、庙宇和娱乐场所遍布。豪华的饭庄、茶楼、庙宇、道观和歌舞升平的 “娱乐场所”, 结果是处处都需要大量瓷器。除富人们对高档器物的需求量相当大, 平民对普通家用器皿的需求也不遑多让。

Detail from Life along the Bian River at the Pure Brightness Festival 清明上河图局部

Jingdezhen 2006 景德镇，2006 年

Detail from Life along the Bian River at the Pure Brightness Festival A pharmacy is to the left 清明上河图局部, 药房一景

Hangzhou, a pharmacy 2007 杭州，2007 年

Detail from Life along the Bian River at the Pure Brightness Festival 清明上河图局部

Hangzhou 2007 杭州，2007 年

Detail from Life along the Bian River at the Pure Brightness Festival Selling steamed buns 清明上河图局部

Hangzhou 2007 杭州，2007 年

Contrasts

The Appearance and Aesthetic Appeal of Yaozhou and qingbai wares Yaozhou ceramics are among the most subtle in the whole Chinese repertoire. They do not immediately attract the casual viewer in a flashy, eye-catching manner. Indeed, their quiet charm can take a long time to make itself apparent, and for some people an affinity to the ware never develops. Appreciation of most fine ceramics benefits from the ability to touch and handle pieces, for in the majority of cases objects were once intended for everyday use. Handling Yaozhou is an especial pleasure, for the ware has a soft, silky texture and its deeply carved or moulded decoration can easily be traced under the fingertips. This same pronounced surface decoration also adds to an intriguing visual appeal, for as the viscous glaze flows away from raised areas in firing, it produces a strong contrast of light and dark. Deeper pools of dark glaze lie like shadows around the convex décor, and help to model an appearance of three-dimensional relief. The glazes themselves vary widely in tone, and as the items illustrated in this book show, no two glaze colours are exactly alike. Yaozhou is often associated with an olive-green tone, but one could also note the clear leaf-green on objects like the bowl fig. 2-4, the pale silver-green of the folded bowl in fig. 1-1, and the ‘moon white’ of the bowl in fig. 2-6. It was once thought that Yaozhou did not comprehend the blue-green hue of the best southern celadons like Yue ware. However, excavation of Five Dynasties kilns at Tongchuan revealed fine, white-bodied ceramic sherds whose glaze had a bluish celadon glaze of superlative quality, like that of the small jar and lid in fig. 1-3 and the bowls in fig. 2-1a and 2-1b. They were often finely carved in relief, like the magnificent ewer in fig. 2-2 that is decorated with a large peony blossom and scrolling leaves, its detailed design worked in multi-layered relief. This style of high relief carving under blue-toned celadon glaze continued in the early Northern Song, as the fine bowl in fig. 2-3 demonstrates. Yaozhou has a comparatively restricted range of size and forms. Dishes, bowls and cups were ubiquitous, and these shapes are most commonly seen in existing museum and private collections. Although shapes and patterns were replicated in this mass produced ware, small variations delight the observant, and attest to the quirky nature of Yaozhou. Closed forms such as vases and jars were also prevalent, whereas models of figures and animals were less usual. Figurines like that in fig. 3-71 were not made as ornaments, but for burial. Because of the nature of its clay, Yaozhou potters found it difficult to create large forms. For this reason, big dishes like that shown in fig. 2-5 are also relatively rare. Qingbai porcelain is delicate and translucent. Its fragile appearance and dainty forms render it instantly accessible, and an ability to transmit light through thinly-potted walls adds another dimension to its appeal. Qingbai 青白 means ‘bluish-white’, and this name was used around the time when the ware was made, making its appearance in the Southern Song dynasty (1127-1279). Another common term these days is yingqing 影青 which means ‘shadowy blue’, but this name was only adopted by Chinese connoisseurs in the early 20th century. Other homophones and near homophones for the ware include yingqing 映青 (‘shining blue’), yinqing 阴青 (‘shady blue’) and yinqing 印青 (‘stamped blue’).6 Chinese connoisseurs have often compared qingbai’s visual appearance to white jade (the most valued type in earlier times), for its colour and deliquescent surface sheen resemble that treasured stone as shown in fig. 2-7. In fact, qingbai has been described by connoisseurs as jia yu 假玉 (fake jade) and Rao yu 饶玉 (jade from Rao[zhou], one name for the Jingdezhen area

where qingbai originated). The ability to pot the clay material thinly made it possible to replicate another precious material, silver. Pale, shiny qingbai also looks like metal, and its shapes follow silver forms as is demonstrated by the cups in fig. 2-8. Often ceramic was used as a cheaper and more widely available substitute for precious and scarce materials such as jade, silver and gold, a process known as skeuomorphism. Many vessels in this book illustrate the principle, including the vase in fig. 2-9, the bowl in fig. 2-10 and the dishes in fig. 2-11, fig. 2-12, fig. 2-13 and fig. 2-14. Qingbai porcelain has a pure white body that acts as a foil for the transparent or translucent icy-blue glaze. Where the body clay is left unglazed, however, it often develops a rust-brown colour during firing, which is caused by re-oxidation (see page 440, fig. 3-6). The glaze also sometimes takes on a frosty or sugary appearance as it cools in the kiln. Its cold tone can offer an attractive contrast to the rust-brown colour of unglazed areas like footrings, an effect seen on the small dishes in fig. 2-14 (see page 436) and the bowl in fig. 2-24 (see page 437). Qingbai wares were made in a wide variety of forms that tended to get larger and more elaborate as time went on. Smaller, simpler shapes like bowls, dishes, cups and cupstands were ubiquitous, but complex, multi-component items like pillows fig. 2-15, fig. 2-16 and fig. 2-17 were made, as were intricate incense burners like fig. 2-18. Thus the range of qingbai wares was much wider than that of Yaozhou, as was its volume of production. This was partly due to ease of manufacture, and partly to breadth and penetration of markets, two aspects explored in this part of the book called â€˜Contrastsâ€™.

对比耀州窑与青白瓷的外观和美感

耀州窑在中国整个瓷系中以“蕴味深远”而著称。其外观朴实亲切, 第一眼看到并不觉惊艳。诚然, 耀州窑沉静内敛, 经久耐看, 但是, 对某些人来说却毫无吸引力。鉴于过去生产的器皿多用于日常生活, 大部分精美瓷器的欣赏价值都在于其把玩性。耀州窑会给人带来一种独特的愉悦感受, 胎质细腻, 富有质感, 其深刻的刻花或模印痕迹可轻易地用手指感觉到, 这种统一而又层次分明的装饰风格为耀州窑增添了一种独特的视觉美感, 瓷釉在烧制时会自上而下流动, 从而产生强烈的光影对比。深色的厚釉如同纹饰四周的阴影, 形成立体的浮雕效果。瓷釉本身也呈现各种丰富细腻的色调, 本书所示瓷器没有任何两种釉色是完全相同的。耀州窑通常采用橄榄绿, 但您也可以见到如图 2-4 的亮叶绿色瓷碗、图 1-1 的淡银绿色五出碗以及图 2-6 中的“月白”釉瓷碗。人们曾经认为耀州窑烧不出南方最佳青瓷 (如越瓷) 所拥有的那种青色釉, 但是, 从铜川五代窑址中出土的文物来看, 其不仅有精美的白色胎, 瓷器碎片上还上有质量上乘的青釉, 与图 1-3 中的小盖罐和图 2-1a、2-1b 中的五出碗相似。它们通常雕工细腻, 与图 2-2 中饰有牡丹花和缠枝叶的精美执壶相似, 刻有多层浮雕, 设计巧妙。这种蓝色青釉下的高浮雕风格承袭自北宋初期, 如图 2-3 中的精美瓷碗。耀州窑在尺寸和造型方面有所限制, 以杯碟碗盏等器形为主, 当今博物院和私人收藏的也多为此类。虽然在产量庞大的耀州窑中, 造型和纹饰会有雷同, 但明眼人还是可以惊喜地见到小巧而别致的器物, 这些证明了耀州窑瓷器并非是一成不变的。瓶罐等圆形器物在耀州窑中十分常见, 但人物及动物造型则较为少见。如图 3-71 中的小塑像, 并非用作装饰品, 而是用作随葬品。因为当地瓷土的特性, 耀州窑很难烧制出大型器物。因此, 相对来说, 图 2-5 所示耀州窑大盘也极为罕见。青白瓷精美雅致, 晶莹剔透。其外观显得脆弱易碎, 造型轻盈秀丽, 令人心动, 亟欲持之把玩。光线可以穿过其薄壁, 更添通透之美。“青白” 意即 “带蓝色的白”, 这个称谓在其烧制时使用, 并广泛流传于南宋 (1127-1279)。其另一个常见名称为“影青”, 意即“带影子的蓝色”, 但这个名称在 20 世纪初才开始被使用。它的同音及近音名称包括 “映青”、“阴青”和“印青”。6 由于“青白瓷”的色泽和釉层光度类似如图 2-7 中所示宝石, 中国收藏家们常常将它的外观比作白玉 (早期最为贵重的玉)。事实上, 青白瓷一直被收藏家们称之为“假玉”和“饶玉”(来自饶州的玉, “饶州”是青白瓷发源地景德镇的别名)。由于青白瓷壁面由极薄的瓷土烧制而成, 因此它的外观颇似珍贵的金属－银。银白光亮的青白瓷宛若金属, 其外形也犹如银器 (如图 2-8 中所示银杯)。

由于物美价廉, 瓷器被广泛用作金银玉器等贵重材料的替代品, 这种方式大概可以称为“以廉代奢”。本书中介绍的大量器皿均具有这一特征, 包括图 2-9 中的花瓶、图 2-10 中的瓷碗以及图 2-11、图 2-12、图 2-13 和图 2-14 中的瓷碟。青白瓷的釉层温润净白, 犹如一层透明或半透明的锡箔纸, 透射出冰蓝的色泽。未上釉的胎体在烧制时由于再氧化作用 (见第 440 页图 3-6) 呈褐色, 其釉层在窑内冷却后则呈现一种朦胧的柔美感。器物通体所呈冷色调常与未上釉的褐色部分, 如足圈形成鲜明对照, 可谓相映成趣, 其效果请参看图 2-14 中的小碟 (请参阅第 436 页) 和图 2-24 (请参阅第 437 页) 中的瓷碗。在历经岁月的洗礼中, 青白瓷的品种愈加丰富多样, 尺寸也变得更大, 制作日趋精美。诸如杯碗碟盏等尺寸较小、造型简单的器皿比比皆是, 但也有造型复杂的组合器物, 如图 2-15、图 2-16、图 2-17 中的瓷枕和图 2-18 中的香炉。因此, 青白瓷的种类比耀州窑的更加丰富, 其产量也远高于耀州窑。究其原因, 一是因为青白瓷的制造工艺简单, 二是因为青白瓷的市场广度和深度都更胜一筹。本节将着重探讨这两个方面。

图 2-1a 耀州窑五出碗五代－北宋早期 (10 世纪) 直径: 20.5 cm 高度: 8.7 cm 此碗胎体细腻发白, 釉色青灰。在 51 页上碗的底部刻“官”字, 这在耀州窑中实属罕见。刻有这一款识的瓷器通常作进贡之用。品质上乘的耀器窑, 尤其以 10 世纪的出品为代表, 工艺精湛, 完全符合宫廷贡品的水准。

Fig. 2-1a

Yaozhou bowl with five-lobed sides and rim Five Dynasties period-early Northern Song, 10th century D : 20.5 cm H : 8.7 cm The bowls on pages 51 and 53 have fine, pale bodies and greygreen glazes. On the base of the bowl on p.51 is a roughly incised character guan 官 ‘official’, a rare mark on Yaozhou wares. This mark was often used on ceramics selected from kilns by court officials for use in the imperial palaces. The best Yaozhou ware was of sufficient quality for imperial use, especially during the 10th century.

图 2-1b 耀州窑五出碗五代－北宋早期, 10 世纪直径: 21.2 cm 高度: 9.6 cm 在 53 页上碗的尺寸异乎寻常, 胎体灰白, 釉色偏蓝, 与越瓷极为相似。制陶匠将碗倒置上釉时留在碗底的指甲痕至今依稀可见。足圈上残留的三处支烧痕则可说明该碗经垫烧而成。

Fig. 2-1b

Yaozhou bowl with five-lobed sides and rim Five Dynasties period-early Northern Song, 10th century D : 21.2 cm H : 9.6 cm The size of the bowl on page 53 is exceptional. Its body material is pale and the glaze extremely blue in tone, so that it resembles Yue ware. The potter’s fingernails are visible above the foot, where he gripped the bowl to dunk it upside-down in glaze, and on the base are three spur marks to indicate how it was fired on supports.

图 2-2 耀州窑带盖执壶五代－北宋早期, 10 世纪高度: 20 cm 直径: 14.2 cm 1972 年在黄堡出土的类似带盖执壶现珍藏于耀州窑博物馆。

Fig. 2-2

Yaozhou ware ewer and cover Five Dynasties period-early Northern Song, 10th century H : 20 cm D : 14.2 cm A similar lidded ewer excavated at Huangbao in 1972 is now in the Yaozhou Museum.

图 2-3 耀州窑碗北宋 (10 世纪) 直径: 22.5 cm 高度: 6.6 cm 五代时期 (907-960) 烧造的高质耀州窑瓷器上有类似这碗的浮雕莲花纹。这件精美的碗则制于北宋初期。

Fig. 2-3

Yaozhou ware bowl Northern Song dynasty, 10th century D : 22.5 cm H : 6.6 cm Fine-quality Yaozhou ware made in the Five Dynasties period (907-960) has relief-carved lotus designs in this style. This refined bowl was made early in the succeeding Northern Song dynasty.

图 2-4 耀州窑碗北宋直径: 18.5 cm 高度: 7 cm 碗呈斗笠形, 深腹, 蓖刻有波浪纹饰并雕以花卉图案装饰其间。此碗的釉色呈现明澈的绿色。曾由 Cunliffe 收藏, 质地极其精美。

Fig. 2-4

Yaozhou ware bowl Northern Song dynasty D : 18.5 cm H : 7 cm Of deep conical form and with carved and combed floral scrolls among waves, this bowl has a clear green glaze tone. Formerly in the Cunliffe Collection, it is very refined in quality.

图 2-5 耀州窑莲花盘北宋 (11-12 世纪) 直径: 31 cm 高度: 7.6 cm 尺寸极大, 内有模印卷莲纹。

Fig. 2-5

Yaozhou ware dish Northern Song dynasty, 11th-12th century D : 31 cm H : 7.6 cm Of exceptionally large size, the bowl has a design of moulded lotus scrolls.

图 2-6 耀州窑碗金代 (12-13 世纪) 直径: 12.6 cm 高度: 8 cm 晶莹剔透的“月白”釉是金代黄堡镇的典型制品。

Fig. 2-6

Yaozhou bowl Jin dynasty, 12th-13th century D : 12.6 cm H : 8 cm The shiny ‘moon white’ glaze is typical of Jin dynasty wares from Huangbao.

图 2-7 青白瓷怪兽北宋长度: 4.7 cm 此件精巧, 形式与色泽均仿自玉器。

Fig. 2-7

Qingbai figurine of a mythical animal Northern Song dynasty L : 4.7 cm In form and colour this delicate figurine resembles jade.