Page 109 - Song Ceramics Lunyushanren Collection March 2018 NYC

This superb celadon vase exemplifes the fnest Longquan celadon wares, 此件龍泉魚耳瓶釉色粉青，形制碩大，模印清晰，誠為龍泉青瓷的上
which have been revered both in China and Japan for more than seven 乘之作。憑藉多次施釉的特殊工藝和先進的龍窯所營造的還原燒造氣
hundred years. At its fnest, as on the current vase, Longquan celadon glaze 氛，南宋龍泉青釉得以創造出層次豐富，厚如堆脂的粉青釉。這種理
is thick, translucent and has a rich texture reminiscent of jade. The glaze 想的龍泉青釉在日本被稱為「砧青瓷」。「砧青瓷」的名稱據信來自
on the current vase also displays the ideal soft bluish-green color, which 於龍泉青瓷紙槌瓶的器形，蓋因是種器形形似造紙打漿用的砧杵。另
was so diffcult for potters to achieve, but has always been greatly admired
一種說法將「砧青瓷」的命名與日本茶道大師千利休（1522-1591）
by connoisseurs. This particularly fne glaze type is often known by the
關聯，指出千利休曾將一件銘為「千聲」的業已開裂的龍泉青瓷花瓶
Japanese name kinuta, which in fact is the term for a mallet, but which
refers to mallet-shaped vases, such as the current example, which were 嵌以銅釘修補，由於砧杵的捣練聲與陶瓷器開裂聲相通，因此將同類
imported into Japan in the Southern Song (1127-1279) and Yuan (1279- 的青瓷命名為「砧青瓷」，見謝明良《陶瓷手記》，12頁。
1368) dynasties, and became associated with this, the most desired, glaze
color. 魚耳瓶即是在紙槌瓶造型的基礎上附加雙魚耳所成，此為龍泉窯的創
舉，除了飾魚耳外另有飾鳳耳者。此式瓶上的魚耳魚尾龍頭，當為傳
説中的魚龍。魚龍在先秦時期的著錄中就已出現，在與《山海經》相
Longquan vases with the type of handles seen on the current vessel are rare.
The handles are in the shape of yulong (dragon-fsh) with fsh-like bodies 關的傳説中多有述及。瓷器上的魚龍最早以剔刻或繪畫的形式出現，
and dragon-like heads. Dragon-fsh are mentioned in Chinese literature 如唐代長沙窯和越窯瓷器上的魚龍紋，然而立體的魚龍形象要遲至
as early as the Bronze Age, and appear in legends related in the Shanhaijing 宋/遼時期才出現。宋瓷魚龍的形象著重表現了魚化龍的動態，或出
(Classic of Mountains and Seas). They were included in painted and incised 自東漢傳説中鯉魚躍龍門的故事。在中國傳統中，鯉魚躍龍門被用來
decoration on ceramics of the Tang dynasty, from kilns such as Changsha 比喻舉子十年寒窗一朝入仕的歷程。
and Yue, but do not seem to occur in three-dimensional ceramic form
until the Song and Liao dynasties. By the Song dynasty, handles such as 龍泉魚耳瓶十分罕見，而如本品這樣高度達28.5公分的大魚耳瓶更
these depicted a carp in the process of turning into a dragon. This evokes a 是難能可貴。目前見諸出版的龍泉魚耳瓶尺寸多數較小，如浙江麗水
legend, which dates from at least as early as the Eastern Han dynasty (AD 8 松陽縣南宋墓出土的一件（高16公分），載於朱伯謙，《龍泉窯青
- 220), that tells of the carp swimming up river to the Dragon Gate. If it is
瓷》，臺北，1998年，149頁，編號116；Barlow舊藏一例，
successful in leaping over the gate it turns into a dragon. This legend soon
（高16.8公分），現存Victoria and Albert Museum，載於柯玫
came to represent the success of the Chinese scholars, who studied hard to
pass the civil service examinations, and if they achieved the highest grade 瑰，《Song Dynasty Ceramics》，倫敦，2004年，94頁，編號
would attain an offcial post. 95。Carl Kempe收藏中有兩例 龍泉魚耳瓶，一件高20公分，另一
件高26公分，載於Bo Gyllensvärd，《Chinese Ceramics in the
As mentioned above, vases with dragon-fsh handles are quite rare, and Carl Kempe Collection》， 1962年，51頁，編號98及99。另有兩
the current vase is even more rare for being unusually large, as well as 例與Carl Kempe所藏魚耳瓶尺寸相近者，其一為Njoo收藏（高26
having an unusually fne glaze. The majority of Longquan mallet vases are 公分），載於《Chinese Celadons and Other Related Wares in
signifcantly smaller. A Longquan mallet vase with dragon-fsh handles, Southeast Asia》，新加坡，1979年，圖73；另一件出於韓國新安
excavated in 1983 from a Southern Song tomb in Songyangxian, which 沉船（高25.7公分），見 《新安海底文物》，首爾，1977年，編號
is only 16 cm. high, is illustrated by Zhu Boqian (ed.), Celadons from
3。, no. 3. 見諸出版尺寸達到本件龍泉魚耳瓶者（高28.6公分）僅
Longquan Kilns, Taipei, 1998, p. 149, no. 116; while the fne example from 有兩例，一為Brodie Lodge舊藏（高28公分），著錄於東方古陶瓷
the Barlow Collection, now in the Victoria and Albert Museum, is only
協會，《The Arts of the Sung Dynasty》，倫敦，1960年，編號
16.8 cm. high, see Rose Kerr, Song Dynasty Ceramics, London, 2004, p. 94,
173，圖版64；以及傳茶道大家松平不昧舊藏之龍泉魚耳瓶者
no. 95. Further smaller vases of this type include two in the Carl Kempe
Collection illustrated by Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe （高28.8公分），2008年3月19日於紐約佳士得拍賣，拍品561號 。
Collection, Stockholm/Güteborg/Uppsala, 1962, p. 51, no. 98 (20 cm.
high) and no. 99 (26 cm. high); a third vase in the Njoo Collection (also
26 cm. high) is illustrated in the exhibition catalogue Chinese Celadons and
Other Related Wares in Southeast Asia, Singapore, 1979, pl. 73, left; and a
fourth example (25.7 cm. high) was recovered from the wreck of a vessel
which sank off the Sinan coast of Korea in about 1323 on its way to Japan,
and is illustrated in Xin’an haidi wenwu (Cultural Relics from the Sinan
Seabed), Seoul, 1977, no. 3.

There appear to be only two other published examples of a Longquan
mallet-shaped vase with dragon-fsh handles that comes close to the
imposing size (28.6 cm.) of the current vessel: one is the vase in the Brodie
Lodge Collection (28 cm. high) included in the Oriental Ceramic Society
exhibition, The Arts of the Sung Dynasty, London, 1960, no. 173, pl. 64,
right; the other is the Lord Matsudaira Fumai’s kinuta vase (28.8 cm. high)
which was sold at Christie’s New York, 19 March 2008, lot 561.

107 The Linyushanren Collection, Part III