Page 102 - Lunyushanren Col II

Qingbai porcelains have been discovered over a vast area from the Liao 青白瓷以其潔白細膩的胎体和瑩透青亮的釉色聞名于世，在宋代即廣受喜
territories in the far North to countries in Southeastern Asia. It was 愛，至今其不朽的美感仍舊打動著無數的藏家。與宋代大多數窯口的地方
arguably the most commercially successful Song ware. The fnest qingbai 性市場不同的是，產於南方的青白行銷大江南北，甚至出口遠至北境遼國
porcelains were produced in the kilns at Jingdezhen in Jiangxi province. 以及南洋各國，稱其為整個宋代商業上最為成功的瓷器亦不為過。青白瓷
In his treatise Tao ji (Ceramic Records), the distinguished Southern Song 產地衆多，而其中質量最高的產品則都來自江西景德鎮地區的窯場。南宋
(1127-1279) historian Jiang Qi described exquisite, pure white porcelain 蔣祈《陶記》有云：「景德陶，昔三百餘座。埏埴之器，潔白不疵，故鬻
and noted that it was popular over a wide region, and that, even outside 於他所，皆有饒玉之稱。其視真定紅磁、龍泉青秘相競奇矣。」《宋會要
the kiln area, it was known as Raoyu (jade of Rao). Raozhou was the 輯稿》卷一百四十六食貨五十二謂：「瓷器庫在建隆坊掌受明、越、饒
name of the region in which the Jingdezhen kilns were located. It seems 州、定州、青州白瓷及漆器以給用，以京朝官三班內侍監庫。」可知青白
probable that qingbai porcelains were also used by the Northern Song 瓷器亦為北宋宮廷所用。
court. A widely cited entry in Song huiyao jigao (Collected Statutes of
the Song Dynasty) states: “A porcelain warehouse was established at 本件青白釉刻花龍首壺造型飽滿，刻划流暢，更以龍首裝飾流、柄，為景
Jianlong Square for the storage of white porcelain and lacquer wares 德鎮所燒青白瓷中的精品。同類青白瓷執壺極為罕見，Jan Wirgin著1979
from Mingzhou and Yuezhou (both in Zhejiang), Raozhou, Dingzhou 年倫敦出版《Sung Ceramic Designs》一書中載有一件與本拍品器形相
(in Hebei) and Qingzhou (in Shandong).” This suggests that porcelains 似的執壺，飾浮雕萱草紋，惟流、柄皆素，見該書圖版23c。長谷部樂爾
from Raozhou, which would be qingbai porcelains from Jingdezhen, were 著1977年東京出版《世界陶磁全集》，卷12： 宋，圖159亦載有一件流、
among those being stored and guarded in the Imperial Warehouse at the 柄光素的青白釉刻荷花紋執壺，器形與本品十分相似。南宋青白瓷執壺上
Northern Song capital, Kaifeng. 貼塑龍紋的例子可參考Jan Wirgin著1979年倫敦出版《Sung Ceramic
Designs》圖版28 a-e。
The present carved ewer with dragon head-shaped spout and handle is a
fne example of qingbai porcelain produced at Jingdezhen. Although the
sculpted dragon-head details and carved foral design were popular motifs
on qingbai wares, the combination of both on a globular ewer appears to
be unique. A qingbai ewer of very similar form and decorative technique,
but with a plain spout and handle, is illustrated by J. Wirgin, Sung
Ceramic Designs, London, 1979, pl. 23c. Another qingbai ewer of similar
form, but lacking the sculpted dragon-head details, is illustrated by Gakuji
Hasebe, Sekai toji zenshu, vol. 12, Tokyo, 1977, pl. 159. Compare, also,
qingbai ewers with sculpted dragon decoration illustrated by J. Wirgin in
Sung Ceramic Designs, ibid., pl. 28 a-e.

The Classic Age of Chinese Ceramics 古韻天成 — 臨宇山人珍藏（二） 100