Page 80 - Song Ceramics Lunyushanren Collection March 2018 NYC

Cizhou wares, more commonly known for their carved or painted 磁州窯黑剔花品種多罩以透明釉，然而在少數情況下亦有如本品這
creamy-white and brown slip decoration, were occasionally also covered 樣加低溫綠釉者。此品種工藝難度較大數量稀少，因而此瓶曾位列
with a green lead glaze. Both these rare green-glazed wares, together with 日本重要美術品。透明釉黑剔花及綠釉黑剔花這兩個品種在觀台磁
the Cizhou wares of related forms with creamy-white and brown slip 州窯都曾有燒造，透明釉者見《觀台磁州窯址》彩色圖版IX-2所示
decoration only, appear to have been produced at the Guantai kilns, as 的觀台T5(5) 文物，以及黑白圖版XXIII-2收錄的T10(5)文物；綠釉
a number of fragmentary fnds attest. See, for example, Guantai Cizhou
者可證諸前揭書彩色圖版XXIX-5、XXX及XXXI所示殘片，但書中
Yaozhi (The Cizhou Kiln Site at Guantai), Beijing, 1997, col. pl. 9, fg. 2;
似乎僅收錄了兩塊白地黑剔花綠釉器的殘片，圖見前述《觀台磁州
pl. 13, fg. 3 center; pl. 23, fgs. 1 and 2; pl. 70, fg. 1; p. 123, fg. 52 (1 and
窯址》黑白圖版LXVIII-5。
4); p. 127, fg. 54 (2).
綠釉黑剔花器物主要見於如本品這樣的卷口瓶上，其紋飾多為牡丹
Green glaze was reserved primarily for use on the more prestigious vessels, 紋。同類器物可見大阪市立東洋陶瓷美術館藏一例，尺寸較大（高
in particular vases with trumpet-shaped mouth and high-shouldered body
35公分），載於大阪市立美術館，《白と黒の競演 : 中国磁州窯
tapering sharply to a fared foot, and the most frequently depicted motif
系陶器の世界》，大阪，2002年，113頁，編號107；以及奈良大
was the peony. A green-glazed vase closely related to the current example,
with a similar design of carved peony and scrolling leaves, but with a lipped 和文華館藏一件，其在折沿上另加唇口，載於長谷部樂爾，《陶器
mouth above the everted rim, is illustrated by Hasebe Gakuji, Toki Zenshu, 全集》，卷13：宋の磁州窯，東京，1958年，編號46。亦可比一
13, So no Jishuyo (Ceramics Anthology, 13, Song Cizhou ware), Tokyo, 件綠釉白剔花卷口瓶，2016年11月30日於香港佳士得拍賣，拍品
1958, no. 46. Another green-glazed vase of related form and carved with 3387號。
peony, but with the blossoms rendered in white slip, was sold at Christie’s
Hong Kong, 30 November 2016, lot 3387.

An incised meiping in the British Museum, of larger size and with a
more dense and regular design of white-slip fowers against a brown-slip
ground, is illustrated by Yutaka Mino, Freedom of Clay and Brush through
Seven Centuries in Northern China: Tz’u-chou Type Wares, 960-1600
A.D., Indianapolis Museum of Art, 1980, pp. 212-213, pl. 94. A similar
decorative scheme of white-slip fowers on a brown-slip ground can be seen
on a vase of more exaggerated baluster form, in the Idemitsu Art Gallery,
illustrated by Koyama Fujio, ed., Toki Koza (Lecture of Ceramics), vol. 6:
Chugoku II So (China II Song), Tokyo, 1971, no. 83.

Other green-glazed wares which have been painted with brown slip, and
then more cursorily incised with simple details, include one illustrated by
Hasebe Gakuji, op. cit., no. 5, and three vases illustrated by Yutaka Mino,
op. cit., pp. 214-215. pl. 95 (Fogg Art Museum, Harvard University), and
fgs. 277 and 278 (private Japanese collection and the Burrell Collection
at the Camphill Museum, Glasgow, respectively). Two further examples
include the vase illustrated by R. Krahl, Chinese Ceramics from the Meiyintang
Collection, vol. 3 (II), London, 2006, p. 544, no. 1541, and the example
illustrated in the Handbook of the Mr. and Mrs. John D. Rockefeller 3rd
Collection, The Asia Society, New York, p. 66 (left).

The Classic Age of Chinese Ceramics 古韻天成 — 臨宇山人珍藏（三） 78