Page 68 - Classical Chinese Ceramics Vol 2 June 2016

An Imperial Guan ware 南宋 官窯葵瓣洗
brush washer
蘇玫瑰
Rosemary Scott 亞洲藝術部資深學術顧問
International Academic Director Asian Art

This exceptional Guan ware brush washer is part of the remarkable 是次拍賣的官窯洗精美絕倫，充份體現了南宋御瓷的輝煌成
history of imperial ceramics in the Southern Song period. Fine 就。此外，這批特為南宋宮廷燒造的官窯佳瓷，亦承襲了北宋
Guan wares, which were made for the court of the Southern Song 宮廷的審美趣味。它們深受歷代藏家推崇，對後世的御瓷燒
emperors, also reflect the aesthetic traditions of the Northern Song 造影響深遠，時至清代仍方興未艾。
court. They belonging to a group of wares so highly esteemed by
successive generations of connoisseurs that they were to influence 在陶瓷史 上，只要論及北宋美學，影響力之大首推 宋徽 宗
the ceramics made for the Chinese imperial court well into the (1100-1126年在位)。誠然，徽宗最為人津津樂道的並非其為
Qing dynasty. 君之道，反而是他的收藏、藝術和美學造詣。他曾命人為其古
董珍藏刊印圖錄，更諭令製成各式宮室廟宇用器，凡此種種，
In ceramics, when referring to the aesthetics of the Northern 堪稱中國藝術史上的豐功偉績。若要探討官窯瓷器，徽宗與
Song court, it is the Emperor Huizong 徽宗 (r. 1100-1126), 南宋宮廷藝術之間的淵源亦不容勿視，因為徽宗朝中用器的
who had the most significant impact. Indeed, rather than being 典雅風格 (例如為其燒造的汝窯御瓷)，正是南宋官窯御瓷的
remembered as a particularly competent emperor, to a greater 主要參照對象。
extent he is known as a collector, artist and aesthete. His legacy
to the arts of China was an important one that ranges from the 由於金軍大舉進犯，徽宗於公元1126年1月遜位，其子趙桓登
publication of illustrated records of his collection of antiques, to 基為欽宗。欽宗於1127年1月向女真求和，同年3月被廢。1127
the contemporary art commissioned for his court and temples. 年5月，徽欽二宗被擄至東北金都。此時華北雖然失守，但宋
The artistic links between Huizong and the Southern Song court 代仍氣 數 未盡。11 2 6 年，徽 宗第九子 趙構曾出使華北 金營議
are particularly significant for the discussion of Guan wares, since 和，途中經 朝臣多 番勸 諫，終起 兵 抗 金。他 避 過 金軍的 重 重
it was the refined imperial tastes of the Emperor Huizong, as 追捕，亦逃脫了其父兄及數千宗室及官兵被押解至北方的命
exemplified by the Ru wares 汝窯 made for his court, which 運。欽 宗於11 2 7年3月被 廢，其 弟趙構 於 同年 6月在 河 南應天
largely provided the inspiration for the 官窯 Guan wares made 府 (今商丘) 稱帝，是為宋高宗。
for the court of the Southern Song emperors.
由於金國節節進逼，宋高宗退守浙江東南的臨安 (今杭州)，並
Under attack from the Jurchen invaders the Emperor Huizong 於1129年在當地設置「行宮」。是次南遷美其名曰「渡江」，
abdicated in January AD 1126. He was succeeded by his son, 趙 後世學者則視之為北宋與南宋的分水嶺。紹興八年 (1138年)，
桓 Zhao Huan, who ruled as Emperor Qinzong 欽宗 until March 宋高宗定都臨安，稱之為「行都」，可見宋室仍懷着有朝一日
1127, when he too abdicated, having surrendered to the Jurchen 光 復 華 北、重回開封舊都的願 望。臨安皇城 建 於鳳 凰山北麓
in January of the same year. In May 1127 both former emperors 山腳處。
were forcibly taken by the Jurchen invaders to the latter’s tribal
home in Manchuria. The loss of the north was not the end of the 宋 室 南 渡 之後 偏 安杭 州，此 時 北 方 窯口的製品不 再 唾 手可
Song dynasty, however. Huizong’s ninth son 趙構 Zhao Gou had 得，而他們 南 下時 亦 無 法攜 帶太 多器 物。此 外，金軍11 2 7年
been sent in December 1126 to the Jin headquarter in north China 北歸途中，亦掠走了不計其數的宮廷奇珍。早年為宋徽宗燒
to try and negotiate some kind of peace settlement, but instead 造的汝窯名瓷雖馳名海內，但在南宋宮廷定然供不應求。更
he was persuaded by his officials to lead a military resistance to 重要的是，陶瓷器物雖然不是北宋宮廷禮器的主流，但由於
the invaders. Having managed to evade capture by the Jin, he 青銅器不敷應用，這意味着南宋朝廷可能要用陶瓷禮器取而
avoided being taken north with his father, brother, and thousands 代之。為此，朝廷亟待物色新的窯口，燒造宮中祭祀和常用精
of other members of the court. Following his brother’s abdication 瓷。尤須一提的是，官窯遺址的出土文物中也有陶瓷禮器。這
in March, Zhao Gou declared himself emperor in June 1127, at 固然可歸功於徽宗好古博雅的遺風，以及他為青銅文物珍藏
what was then known as the Song’s southern capital at 應天府 (大多數被金軍在開封洗劫一空並帶回北方) 所出版的圖譜，
Yingtianfu (modern 商丘 Shangqiu) in Henan province. He 但部份精製瓷觚、瓷罍及瓷簋，很可能是南宋宮室為替代青
would become known as Emperor Gaozong 高宗. 銅祭器而燒造的代用品。

Under further threat from the Jin, Emperor Gaozong fled to 臨安
Lin’an (modern Hangzhou) in south-eastern Zhejiang province,
where he established his ‘travelling palace’ in 1129. It was this
move south, known euphemistically as ‘crossing the river’, that
caused later scholars to distinguish the Northern Song and the
Southern Song periods. In the eighth year of 紹興 the Shaoxing

66