Page 76 - Song Ceramics Lunyushanren Collection March 2018 NYC

The very diffcult technique used to produce the design on this vase was 磁州黑剔花裝飾工藝複雜，是磁州窯最精美的裝飾技法之一。以本件牡丹
developed at the Cizhou kilns in the Northern Song dynasty. It involved 紋瓶為例，窯工需先在素胎上施一層白化妝土，再加施一層黑化妝土。然
the application of a pale slip to the unfred stoneware vessel, followed by a 後刻劃花紋，將花紋以外部分的黑色化妝土剔去，露出白地襯托黑花，形
dark slip. The outline of the decoration was then incised through the dark 成強烈的黑白對比效果，最後施以透明釉。要剔除黑色面層而不傷及白色
top layer and the background area of the design was cut away to reveal
化妝土，工藝難度極高。
the pale slip beneath. Details, such as stamens and leaf veins, were also
incised through the dark upper layer either with a fne point or a comb-
磁州黑剔花梅瓶是磁州窯的經典類型之一，同類器物見諸世界各大博物館
like instrument. The thin colorless glaze could then be applied and the
的有紐約大都會博物館所藏一例，載於S. G. Valenstein著，
vessel fred.
《A Handbook of Chinese Ceramics》，紐約，1989年，93頁，
A Cizhou meiping with similar carved decoration vase in the collection 圖版88；大英博物館藏一例，為Walter Sedgwick伉儷舊藏，見
of The Metropolitan Museum of Art, New York, is illustrated by S. G. 《International Exhibition of Chinese Art》，倫敦，1936年，
Valenstein in A Handbook of Chinese Ceramics, New York, 1989, p. 93,
121頁，編號 1248；以及韓國國家博物館藏一例，著錄於長谷部樂爾，
pl. 88. Another, formerly in the collection of Mr. and Mrs. Walter 《世界陶磁全集》，卷12：宋 ，東京，1977 年，278頁，編號288。
Sedgwick, and now in the British Museum, was included in the
International Exhibition of Chinese Art, London, 1936, p. 121, no. 1248.
A further similar example in the National Museum of Korea, Seoul, is
illustrated by Gakuji Hasebe in Sekai toji zenshu, Tokyo, 1977, vol. 12,
Song dynasty, p. 278, no. 288.

The Classic Age of Chinese Ceramics 古韻天成 — 臨宇山人珍藏（三） 74