Page 54 - Lunyushanren Col II

LITERATURE CONTINUED 磁州窯並非單指一種瓷器或一個窯址，而是泛指生產多種瓷器，分佈於華
北廣大地區的一大窯系。磁州窯得名於該窯系位于河北省邯鄲市磁縣的典
Nihon Keizai Shinbunsha, Ataka korekushon: chugoku toji meihin ten 型窯址，觀台磁州窯。觀台磁州窯的產品豐富、製作精細，且富有創意，
(Masterpieces of Old Chinese Ceramics from Ataka Collection), Tokyo, 廣為其他磁州窯系窯場所效仿。本件魚藻紋缽即為觀台磁州窯的細路產
1975, no. 34. 品，原屬安宅收藏，曾經數十次出版、展覽，為世界陶瓷界知名的磁州窯
Mayuyama Junkichi, Ryusen shuho (Mayuyama Seventy Years), Tokyo, 1976, 名品。本件作品的出彩之處在於畫師對水中游魚、水藻動態的精確把握，
vol. I, no. 551. 筆畫雖簡而神韻儼然。游魚水藻的圖式最早出現於宋代繪畫，著名者如現
The Osaka Municipal Art Museum, So Gen no bijutsu (Art of the Song and 藏聖路易斯美術館的北宋劉窠《落花游魚圖》，紐約大都會博物館所藏傳
Yuan Dynasties), Osaka, 1978, no. 1-172. 宋趙克夐《藻魚圖》，以及宋末元初周東卿《魚樂圖》（圖一）。
Hasebe Gakuji, Sekai toji zenshu (Ceramic Art of the World), vol. 13: Liao, Jin, 《莊子.秋水》有載：「莊子與惠子遊於濠梁之上。莊子曰儵魚出遊從容，
Yuan, Tokyo, 1981, no. 16. 是魚樂也。惠子曰子非魚，安知魚之樂？」從《魚樂圖》上「非魚豈知
Christie’s, The Classic Age of Chinese Ceramic: An Exhibition of Song Treasures 樂」的題詩可以看出此類圖案蘊含的道家哲理。
from the Linyushanren Collection, Hong Kong, 2012, pp. 140-141, no. 58.
Rosemary Scott, ‘Chinese Classic Wares from a Japanese Collection: Song 此式深腹缽是北宋晚期至金前期磁州窯的代表作品。在河北觀台磁州窯址
Ceramics from the Linyushanren Collection’, Arts of Asia, March-April 的發掘中曾發現多件殘片，考古學家多定為觀台窯的二期後段，對應北宋
2014, pp. 97-108, fg. 25. 徽宗建中靖國元年至金熙宗皇統年間(1101-1149)。磁州窯深腹缽的裝飾
可分為三類: 第一類為素白釉，見北京大學考古學系，《觀台磁州窯址》
Cizhou wares are not specifc to one kiln site. The term Cizhou is one ，北京，1997年，彩版六，編號2; 第二類為白釉剔花，見前揭書，彩版
of convenience used for a large group of widely varied ceramic wares 六，編號1以及圖版一三，編號4; 第三類是此類深腹缽裝飾的大宗，白地
made over a large area of Northern China. This ‘fsh’ bowl, formerly in 黑花，可參照前揭書，彩版六，編號3，圖版一三，編號3，以及圖版十
the world-renowned Ataka Collection, is one of the most universally 四，編號1。有學者提出磁州窯白地黑花裝飾是為了模仿黑剔花裝飾而產
recognized Cizhou vessels, and has been included in a number of 生的。黑剔花裝飾需在素胎上施白、黑兩層化妝土，而後刻劃花紋並將花
important exhibitions and discussed extensively in literature. 紋外的黑化妝土剔去，耗時費力。如本件白地黑花深腹缽先用黑化妝土畫
花，而後在黑花上加刻細紋，不失為一種簡潔而有效的替代方式。而用畫
The decoration of fsh amongst aquatic plants was popular in Song 筆寫就的圖案所體現的筆意更是工整的黑剔花所欠缺的。東京出光美術館
paintings. Notable examples include a Northern Song handscroll, Luohua 藏有一件尺寸稍大而器形、紋飾與本品如出一轍的磁州窯魚藻紋缽，著錄
youyu tu, by Liu Ke, now in the Saint Louis Art Museum; a Southern 於1999年東京朝日新聞社出版的《宋磁 : 神品とよばれたやきもの》，
Song album leaf attributed to Zhao Kexiong, now in the Metropolitan 編號105。
Museum of art; and a Southern Song handscroll, Yule tu (the Pleasure of
Fishes) by Zhou Dongqin (fg. 1). This motif was inspired by a passage
from the Daoist classic Zhuangzi, in which Zhuangzi strolling along a
river, observes, “See how the small fsh come out and dart around where
they please! That’s what fsh really enjoy!” His companion Huizi remarks,
“You’re not a fsh-how do you know what fsh enjoy?” Zhuangzi replies,
“You are not I, so how do you know I don’t know what fsh enjoy?”
On the present vessel the Cizhou potters’ free and skillful painting style
brilliantly conveys the convincing impression of the fow of the water.

Bowls of similar shape to the current bowl have been excavated from the
Guantai kilns in Cixian, Hebei province. According to archaeologists,
deep bowls of the present shape belong to the late Phase II of the Guantai
kiln, dating from the Jianzhongjingguo reign of Song Huizong to the
Huangtong reign of Jin Xizong (1101-1149). The decoration on such
bowls can be divided into three styles. Some of these were left plain
white, such as the example illustrated in Archaeology Department of
Peking University, Guantai Cizhou yaozhi, Beijing, 1997, col. pl. VI,
no. 2. Some were decorated with linear sgraffato designs incised through
the slip to reveal the body beneath, ibid., col. pl. VI, no. 1, pl. XIII,
no. 4. The majority of the deep bowls, both excavated and preserved in
collections, however, are decorated with bold designs painted in black
or dark brown slip, ibid., col. pl. VI, no. 3, pl. XIII, no. 3, pl. XIV,
no. 1. A larger Cizhou ‘fsh’ bowl of similar shape and decoration is in
the Idemitsu Museum of Arts, Tokyo, and illustrated in Song Ceramics,
Tokyo, 1999, no. 105.

The Classic Age of Chinese Ceramics 古韻天成 — 臨宇山人珍藏（二） 52