Page 32 - Song Ceramics Lunyushanren Collection March 2018 NYC

Fig. 1 Ding black-glazed conical bowl, Northern Song dynasty, 11th-12th century, 18.5 cm. diam. Collection of the Sir Percival David Foundation of Chinese Art.
Photo: © The Trustees of the British Museum.
圖一 北宋11至12世紀 定窯黑釉斗笠盌（直徑18.5公分） 大維德基金會藏
period conical bowls in white Ding ware characteristically have delicately 增加了黑釉的不穩定性，窯燒時動輒流釉，當它隨爐內高溫熔
carved foral decoration, while those from a few decades later, and likely 融時，因引力而發生垂流。也許正是為此，定窯黑釉盌的圈足
from the Jin dynasty (1115–1234), generally display molded decoration; 5 一般比定窯白釉盌略高。誠然，北宋定窯黑釉盌的圈足外通常
by contrast, black-glaze Ding bowls, when embellished, typically feature 有小塊積釉。這一現象既見於哈佛珍藏二盌的外足，而臨宇山
‘partridge-feather’ mottles—that is, abstract, nonrepresentational decoration 人的藏品亦然。臨宇山人黑釉盌圈足外的釉料，部份來自窯燒
rather than the foral and other pictorial designs of white Ding ware. 時釉料熔融產生的垂流；至於圈足其他的釉塊，則是施釉時意
Like those of white Ding ware, the walls of dark-glazed Ding bowls are
外形成，而根據釉層邊緣微凹的壓痕看來，它們應是陶工手執
exceptionally thin, so that the vessels are very light in weight.
圈足將器物浸入釉漿時，手指阻隔了釉漿流動所致。及至金
Taller and thicker than that of a white Ding bowl, the footring of the 代，華北窯口的陶工不斷推陳出新，終調配出新的黑釉，窯燒
Linyushanren ‘partridge-feather’ bowl is similar in height and cut to those of 時流釉現象有所改善，所以年代略後的作品通常釉邊極平整，
the Harvard and David Foundation dark-glazed Ding conical bowls. White 且圈足素胎無釉。
Ding bowls were fred upside down, their footrings fully glazed but their
rims cleansed of glaze before fring. By contrast, dark-glazed Ding bowls 跟其他定窯斗笠黑釉盌一樣，臨宇山人珍藏黑釉盌的底足局部
were fred right side up, their rims fully glazed but their footrings wiped 施釉，器底釉料留有指印。 6 有人推論，此乃陶工持盌浸泡釉
free of glaze before fring, permitting the bowls to rest on their footrings 漿所致，陶工當時用拇指、中指和無名指緊扣圈足，食指則搭
during fring without fear that melting glaze might fuse the bowls to their 放於足底，遂於該處釉料留下了指紋。這一現象固然引人入
saggars. Inherently unstable because of the quantity of iron oxide added to
勝，但於定窯黑釉盌足底卻屢見不鮮，看來很可能只是當時
achieve the dark color, black glazes in fact tend to run during fring, gravity
有一批或個別陶工持盌浸釉時，其手法嚴謹規範、訓練有素而
pulling them downward as they melt in the heat of the kiln. That situation
likely necessitated that the footrings of dark-glazed Ding bowls be a little 已。
taller than those of white Ding vessels. Indeed, dark-glazed Ding bowls
此盌用高溫燒就，所以胎為瓷質，具玻璃光澤。在圈足和器底
from the Northern Song period often have localized areas of glaze on the
exterior of the footring. Each of the Harvard bowls has areas of dark glaze 無釉露胎處，光緻細膩、瑩白如雪的瓷胎，清晰可見。此外，
on the exterior of its footring, as does the Linyushanren bowl. Some of 盌口內沿内有一小塊透明釉，此乃窰燒時天然生成，其下溫潤
the glaze on the exterior of the Linyushanren bowl’s footring resulted from 的牙白胎色一目了然；雖有施釉，但這一小塊卻不像周圍的釉
teardrops of melting glaze descending during fring; other areas of glaze 料基質般深色，這是因為窯燒時的物理現象，將深色的呈色劑
on the footring were accidentally deposited there during glaze application, 抽離，僅剩下透明無色的釉料，釉下溫潤的牙白胎色一覽無
however, as indicated by the small indentations in the glaze edge, the 遺。胎土幾乎全是高嶺土，色調和整體外觀均與定窯白瓷一般
indentations occurring where the potter’s fngers interrupted the fow of
無二；事實上，根據哈佛大學的科學檢測，定窯白釉和黑釉器
the glaze slurry as he gripped the footring while dipping the bowl into the
的瓷胎相同。 7 此外，跟定窯白釉盌一樣，臨宇山人珍藏及相
slurry. In the succeeding Jin dynasty, potters at various kilns in northern
China would refne their glaze formulae, creating dark glazes less prone 關定窯黑釉盌之瓷胎俱為半透明。雖然其黑釉狀似失透，但在
to running during fring, so those slightly later pieces often exhibit very 釉層天然偏薄處，例如口沿之下，光線仍能穿透纖薄的盌壁。
straight glaze edges and footrings completely free of glaze.
燒造定窯器的是土墩形穹頂小窯，因形似饅頭，故有「饅頭
Like those of other dark-glazed, Ding conical bowls, the base of the 窯」之稱。在定窯崛起之初，即晚唐 (公元618至907年) 和五
Linyushanren bowl is partially glazed, and the glaze on the base boasts a 代 (公元907至960年) 時期，其窯口以燒柴為主，但在十世紀
fngerprint impression. 6 It is assumed that the fngerprint resulted from 逐漸改為燒煤。煤在窯燒時，通常會產生氧化焰， 所以定釉
the manner in which the potter held the bowl when dipping it into the 呈淺淡的蜜色，而非上品邢窯或江西景德鎮青白瓷似有若無的
glaze slurry, the potter likely grasping the bowl tightly by its footring with 淡藍釉。同樣是因為氧化焰之故，定器露胎處 (無論是白定的
his thumb and middle and ring fngers, but resting his index fnger on the
芒口或黑定的圈足) 不像一般還原焰燒造的素胎般表面微微泛
The Classic Age of Chinese Ceramics 古韻天成 — 臨宇山人珍藏（三） 30