Page 35 - Song Ceramics Lunyushanren Collection March 2018 NYC

Ding russet-splashed black-glazed conical bowl (restored), late Northern Song dynasty. 19.5
cm. diam. Excavated from Ding kiln site in Quyang county, Hebei province. Collection of the
Cultural Relics Institute Hebei Province. Photo: © Cultural Relics Institute, Hebei Province.
北宋晚期 定窯黑釉鷓鴣斑斗笠盌修復件（直徑19.5公分） 河北曲陽定窯址出土

and Harvard bowls. Such black glazes splashed with russet brown were 峪窯和其他磁州窯系，自然也仿而傚之，紛紛從中汲取靈感。定器在
produced by applying russet-brown slip to the surface of the glaze before 北宋備受推崇，以至於後代藏家皆奉為圭臬。事實上，早於公元1388
fring. As with the black glaze itself, an oxide of iron was added to the 年，明初鑑藏名家和文學家曹昭已在《格古要論》中指出：「紫定色
slip to impart the russet color. The Ding kilns were the frst northern 紫，有墨定色黑如漆，土俱白，其價高於白定。」 13 由此可見，深
kilns to embellish their black-glazed wares with ‘partridge-feather’
色定器的價格在1388年之前已超越白定，這足以證明十四世紀收藏家
mottles. Even so, Tao Gu’s mention in his tenth-century Qingyilu 陶穀清
對黑定是何等珍視，這一現象放諸今天依然如是。
異錄, or Records of Pure Marvels, of Jian tea bowls 建窯茶碗 with ‘partridge-
feather’ markings suggests that such glazes might have originated at the 此件定窯黑釉鷓鴣斑盌傳承有序，出自著名的波士頓白納德伉儷舊藏
Jian kilns in Fujian province 福建省建窯 and then spread to the north:
(Eugene and Elva P. Bernat)，后又經日本萬野美術館寶藏多年，
“[Among] the tea bowls made in Min 閩 [Fujian] are ones decorated
繼而遞藏至臨宇山人。定窯黑釉器寥若星辰，縱觀哈佛大學藝術博
with ‘partridge-feather’ mottles; connoisseurs of tea prize them.” 9 We
物館、大維德基金會及台北國立故宮博物院藏諸例，亦無出本品之右
cannot know exactly what Tao Gu meant by “partridge-feather mottles”;
however, if by that term he meant “black glazes dotted, fecked, or 者。本件定窯鷓鴣斑斗笠盌作爲私人收藏中的孤例，誠為至罕之珍寶
splashed with russet brown”, as the term traditionally has been used, then 也。
perhaps such glazes indeed originated at the Jian kilns and then spread to
the north, where they were employed by the Ding kilns beginning late
in the Northern Song period and subsequently, under the infuence of
the Ding kilns, were adopted by many other northern kilns producing
Cizhou-type 磁州窯系 wares during the Jin (1115–1234) and Yuan (1279–
1 關於大維德基金會館藏定窯盌的圖例，請見麥德理 (Margaret Medley) 所
1368) dynasties.
著《Illustrated Catalogue of Ting and Allied Wares》頁16編號31圖版V (
As evinced by the Linyushanren and Harvard bowls, the distinctive,
倫敦：倫敦大學亞非學院大維德中國藝術館，1980)；蘇玫瑰 (Rosemary
meticulously controlled, ‘partridge-feather’ glaze on Northern Song Ding
Scott) 所著《Imperial Taste: Chinese Ceramics from the Percival David
ware features short, attenuated, vertically oriented, russet streaks atop a
lustrous black glaze. Sparsely applied in a generally regular, recurring Foundation of Chinese Art》頁30編號8 (洛杉磯：洛杉磯市立美術館；倫敦：
pattern around the interior of the bowls, the streaks at the top of the 大維德中國藝術館，1989)；康蕊君 (Regina Krahl) 及霍吉淑 (Jessica-Hall)
interior typically are thicker and bolder, those near the foor thinner and 合著《Chinese Ceramics: Highlights of the Sir Percival David Collection》
more delicate. In fact, the streaks appear to radiate outward from the 頁12圖3 (倫敦：大英博物館出版社，2009)。
vessel foor. A similar pattern generally occurs on the bowl’s exterior,
albeit with fewer russet streaks. By contrast, the ‘partridge-feather’ glazes 2 兩件哈佛珍藏的圖例請見毛瑞所著《Hare’s Fur, Tortoiseshell, and
that appear on stoneware vessels produced at other northern kilns in the Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics, 400-
Jin and Yuan periods, typically at so-called Cizhou-type kilns, often 1400》(麻省劍橋：哈佛大學藝術博物館，1996) 頁115-116編號18 (館藏號
feature russet dots, fecks, splashes, or dapples applied in controlled but 1942.185.404) 及頁111-112編號16 (館藏號1942.185.404)。
somewhat random patterns, and their exteriors might be left undecorated,
splashed with russet, or wholly covered with russet glaze. 3 此盌圖見國立故宮博物院出版的《千禧年宋代文物大展》頁216編號IV-34 (台
北：國立故宮博物院，2000)，此外亦載於大島千秋所著《中國美術蒐集：千秋
The Chinese taste for dark-glazed wares developed alongside the taste for
庭創立十週年紀念展覽會》頁51編號7、8、9 (東京：千秋庭，2006)。
dark lacquer. Despite the predominance of cinnabar lacquer in the Ming
and Qing dynasties, black and black-coffee brown were the preferred
colors for lacquer in pre-Ming times. In the Tang and Song periods,
ceramics often took aesthetic inspiration from lacquer ware, adopting the
colors and forms of this expensive, luxury material. The increased demand
for dark-glazed ceramics in the Song also refects changes in tea-drinking
33 The Linyushanren Collection, Part III