Page 114 - Song Ceramics Lunyushanren Collection March 2018 NYC

The form and decoration of this Longquan hu vase were inspired by ritual 本件龍泉窯仿官釉貫耳壺出自商代青銅壺。青銅壺在商代為盛酒的禮器，
bronzes from the late Shang dynasty, circa 13th-11th century BC. On 多為直頸、鼓腹、圈足，頸兩側設貫耳的形制，其器身裝飾或為一道或為
bronze hu vessels, fanges often appear in the center of decorative registers, 多層滿工的饕餮紋，饕餮的中心以扉棱作分隔。（圖一）龍泉窯工在設計
bisecting the taotie masks, and the lug handles are decorated with animal 時去繁就簡，以橫向的凹綫代表青銅器上橫向排佈的紋飾帶，以縱向貼塑
masks. (Fig. 1) However, the surface of the present Longquan vase is left
的泥條模仿青銅器上的扉棱。這種做法在仿古的同時，最大限度的表達了
undecorated except for the horizontal grooves suggesting the divisions
宋人崇尚素雅的審美情趣，是古今融合的典範。
between registers and the vertical fanges. The Longquan potters’ subtle
approach to archaism captured the most important visual icons of archaic 兩宋之際博古之風盛行，文人雅士皆以收藏青銅器為好，並加以考訂、出
bronzes, while still retaining the quintessential quality of Song ceramics.
版。這一風尚在宋徽宗之時達到了頂峰，他不僅命王黼編纂《宣和博古
This would appeal to both the minimalist aesthetic and antiquarianism of
圖》，並且以《博古圖》為範式訂正《三禮圖》之謬誤重鑄青銅禮器，用
the Song ruling elites.
於各類國家祭祀大典。靖康之難，宋室南遷，宗廟祭器泰半為金人所掠，
Beginning in the Northern Song dynasty (960–1127) and continuing
途中又多有損之，及至紹興年間朝廷面臨祭典必不可省而祭器匱乏的窘
through the Southern Song (1127–1279), collecting bronzes became
境。於是用各類經濟材料替代青銅製作祭器被提上了日程。瓷器土質，象
a quintessential part of the literati life. This antiquarianism reached a
pinnacle during the reign of Emperor Huizong (1082-1135), who not 徵天地之性，因而成爲了製作祭器的不二選擇。南宋官窯置窯之初所在的
only collected bronzes but also had replicas of ancient bronzes made 修内司即隸屬於負責制作祭器的禮器局，見《文藝紹興，南宋藝術與文
to facilitate various state ceremonies. When the court fed south under 化.器物卷》，臺北，2010，13-14頁。國立故宮博物院藏有一件南宋官窯
the Jurchen invasion in 1127, these bronze ritual implements had been 貫耳壺，體量碩大，氣勢恢宏，載於前揭書，50-51頁，編號I-2。此類南
abandoned and replacement ritual vessels were made in more economic 宋瓷仿銅禮器，多以《博古圖》為準繩，能夠較好的體現三代禮器的精神
mediums such as ceramic. The revered Southern Song Guan ware (offcial 面貌。（圖二 ）
ware) was frst set up in Xiuneisi (Palace Maintenance Offce) soon after
the court was settled in Hangzhou. And the Xiuneisi was supervised by 南宋時期，龍泉窯因其距行在臨安較近，而又有充沛的自然資源可資大
the Liqiju (Bureau of Ritual Vessels), which was responsible for making 規模窯業生産，在需要時亦會為宮廷燒製高質量的瓷器，見Rose Kerr，
replacement ritual vessels, see Dynastic Renaissance: Art and Culture of the
《Song Dynasty Ceramics》，倫敦，2004年，89頁。不難想象，在
Southern Song Antiquities, Taipei, 2010, pp. 13-14. A majestic Guan ware
宮廷對禮器大量的需求下，龍泉窯所燒造的此類仿青銅禮器也是宮廷定燒
vase made in imitation of an archaic bronze hu, in the National Palace
Museum, is illustrated ibid, pp. 50-51, no. I-2. These replacement ritual 的。而此件龍泉貫耳壺的釉色、釉質，特別是層層叠叠的冰裂狀開片，亦
vessels were made in accordance with major antiquarian compilations 十分接近南宋官釉所追求的效果，見《文藝紹興，南宋藝術與文化.器物
of the Northern Song dynasty such as the Xuanhe bogu tu (Illustrated 卷》，臺北，2010，編號II-1及II-3-5，應該是對官釉的刻意效仿。舊金
Catalogue of Antique Objects in the Emperor Huizong Collection), 山亞洲藝術博物館藏有一件與本品形制相同的壺，施加梅子青釉，載於He
rather than actual archaic bronzes. (Fig. 2) Li， 《Chinese Ceramics: A New Comprehensive Survey from the
Asian Art Museum of San Francisco》，紐約，1996年，159頁，編號
Located not too far from the capital Hangzhou, the Longquan kilns
277。另一件近似的龍泉貫耳壺，施粉青釉，載於《Chinese Ceramics,
produced high-quality wares for the court when needed (see Rose Kerr,
Song Dynasty Ceramics, London, 2004, p. 89). It is therefore natural Song Yuan Dynasty》，臺北，1988年，423頁。除了貫耳壺的器形
to surmise that Longquan wares made in imitation of archaic bronzes, 外，龍泉窯亦燒造其他仿青銅禮器的器形，如大維德基金會所藏的一件
such as the present example, were also made as ritual vessels for the 龍泉青瓷簋，載於蘇玫瑰著，《Imperial Taste – Chinese Ceramics
Southern Song court. Moreover, the glaze of the present vase bears fne from the Percival David Foundation》，洛杉磯，1989年，45頁，編號
‘ice crackles’ in fake-like layers, which is reminiscent of some of the
20；以及四川遂寧金魚村窖藏出土的一件龍泉青瓷簋，載於朱伯謙，《龍
fnest Guan glazes (see Dynastic Renaissance: Art and Culture of the Southern
泉窯青瓷》，臺北，1998年，155頁，編號124。
Song Antiquities, Taipei, 2010, nos. II-1, and II-3-5). A Longquan hu
vase of very similar form and size, but covered in the more commonly
seen pale-green glaze, in the Asian Art Museum of San Francisco, is
illustrated by He Li, Chinese Ceramics: A New Comprehensive Survey from
the Asian Art Museum of San Francisco, New York, 1996, p. 159, no. 277.
Another similar Longquan hu vase with bluish-green glaze is illustrated
in Chinese Ceramics, Song Yuan Dynasty, Taipei, 1988, p. 423. Another
ancient bronze form employed at the Longquan kilns is the gui vessel, an
example of which is in the collection of the Percival David Foundation,
is illustrated by R. Scott, Imperial Taste – Chinese Ceramics from the Percival
David Foundation, Los Angeles, 1989, p. 45, no. 20. A further example
was discovered in 1991 in Suining, Sichuan province, amongst a cache of
ceramics dating from the late Southern Song period, and is illustrated by
Zhu Boqian (ed.), Celadons from Longquan Kilns, Taipei, 1998, p. 155,
no. 124.

Fig. 1 Late Shang dynasty, Bronze Ritual Wine Fig. 2 Line drawing of a Shang bronze hu
Jar, Hu, sold at Christie’s New York, The Sze in Xuanhe bogu tu (Illustrated Catalogue of
Yuan Tang Archaic Bronzes, 16 September Antique Objects in the Xuanhe Collection),
2010, lot 831. 1123, vol. 12, p. 20.
圖一 商晚期 安陽 青銅饕餮紋壺 圖二 《宣和博古圖》中著錄的一件商代青銅壺。
The Classic Age of Chinese Ceramics 古韻天成 — 臨宇山人珍藏（三） 112