南宋官窯 青釉八瓣葵口盤
"GUAN" LOBED BRUSH WASHER,
Southern Song Dynasty
(Arcadian Beauty – Exceptional Works from the Song Dynasty)
, SOTHEBY'S HONG KONG
LOT 3105
LOT SOLD: 81.351.000 HKD
口徑: 14公分
diameter: 14cm
成交價: 港幣 81.351.000 元
解說 Description :
1.八個花瓣是在南宋以後才出現
Eight lobed appeared only after the Southern Song Dynasty
2.這件的造型以及功能是碟子,並不是水洗
This is a dish the shape and function, not wash (washer)
3. 它的胎土是淺白色 , 並不是一般常見到的 灰色或灰黑色 (參考圖 B .D)
Its Mud Body is light white, General common to a gray or dark gray
( Figure B.D)
4. 支釘痕跡裡的灰黑色胎土,是折斷的支釘 的胎土 (參考圖 A)
The black trace of the bracket is left by the kiln furniture (Figure A)
5. 在南宋官窯的窯址發現有極少數的淺白胎土的官窯產品
At the kiln site of "GUAN" Kiln in Southern Song Dynasty,
Found a very small number of white Mud Body "GUAN" kiln
口徑: 14公分
diameter: 14cm
成交價: 港幣 81.351.000 元
解說 Description :
1.八個花瓣是在南宋以後才出現
Eight lobed appeared only after the Southern Song Dynasty
2.這件的造型以及功能是碟子,並不是水洗
This is a dish the shape and function, not wash (washer)
2.這件的造型以及功能是碟子,並不是水洗
This is a dish the shape and function, not wash (washer)
3. 它的胎土是淺白色 , 並不是一般常見到的 灰色或灰黑色 (參考圖 B .D)
Its Mud Body is light white, General common to a gray or dark gray
( Figure B.D)
( Figure B.D)
4. 支釘痕跡裡的灰黑色胎土,是折斷的支釘 的胎土 (參考圖 A)
The black trace of the bracket is left by the kiln furniture (Figure A)
At the kiln site of "GUAN" Kiln in Southern Song Dynasty,
Found a very small number of white Mud Body "GUAN" kiln
圖 A,支釘痕跡露出的深色胎土,事實上是屬於支釘架頂部折斷的痕跡 ,
圖 B, 露出的淺白色的胎土, Its Mud Body is light white
圖C, 從口邊緣及突出的釉比較薄地方, 可以看出胎土色澤很白
Its Mud Body is light white
|
圖 A,支釘痕跡露出的深色胎土,事實上是屬於支釘架頂部折斷的痕跡 ,
|
|
圖C, 從口邊緣及突出的釉比較薄地方, 可以看出胎土色澤很白
Its Mud Body is light white |
===============================================================================================================================================================================
揹著武器的"守墓者"
Back carrying a weapon"keepers of thecemetery"
一件白釉鎮墓獸, 河南,隋代安陽窯
Henan, Anyang kiln , Sui Dynasty (A.D 589-618)
具有強烈的藝術性作品與時代風格!!
A strong artistic work And era style !!
高: 39.5公分
height: 39.5cm
New York, March 22, 2018
Lot 922
final price: 52.500 USD
紐約,2018年3月22日
編號: 922
成交價: 52.500 美金
(這是拍賣的物件 Auction works)
 |
| (河南省博物館Henan Museum ) height: 50cm |
 |
| 古代武器__紅色圓圈的地方就是"鎮墓獸" 背後揹的兵器, 稱作"戟"(ji) |
集合勇敢,力量與智慧.....
Gather of courage, strength and wisdom...
一般在墓葬中都是一對, 一個是人面獸身,一個是獸面,, 鎮守墳墓,保護死者安寧,
獸面代表"勇猛", 人面代表"智慧", 背上的武器代表"力量"!!
Usually in the tomb is a pair ,Placed behind the tomb door Protect the dead
The animal face represents "brave" and the human face represents "wisdom", The weapon on the back represents "power"!!
....背後的武器稱作為"戟"(ji) The weapon behind it is called (戢 ji).
這件是典型的河南省 安陽地區"安陽窯" 的作品, 其實這一件嚴格來說應該是屬於"青瓷"的範圍,,釉的色澤一般是帶有黃色調的淺綠色 (這是因為早期北方開始的瓷器燒造時的還原技術掌控並不是很好, 大多數所燒出的青瓷 都帶有黃色 ), 一般釉面都有細碎的冰裂紋, 透明感與玻璃質感很強 ,, 胎色灰白帶黃, 有些有施加一層白色"化妝土";
目前為止,只發現在隋代的墓葬中出現,具有明顯的時代代表性; 並且墓主人的身份通常是社會上中.上層人士 ;
目前為止,只發現在隋代的墓葬中出現,具有明顯的時代代表性; 並且墓主人的身份通常是社會上中.上層人士 ;
附圖 中國河南博物館收藏有一對可以參考, 一個是獸面, 一個是人臉獸身,高度是50公分; 河南博物館收藏出土的這一對,分別在它的 臉部鼻子和眉毛以及眼睛,和膝蓋和腳趾的 區域點綴了黑色 ,這樣視覺上有加強的效果,變得更有精神了!!
這也是 隋代 "安陽窯"所燒的作品, "安陽窯"是隋代 北方的一個非常重要窯口;
這也是 隋代 "安陽窯"所燒的作品, "安陽窯"是隋代 北方的一個非常重要窯口;
今天人們所看到有一些重要的隋代 所遺留下來的重要瓷器作品,
許多是來自於"安陽窯",
 | ||
| 埃及 的(守墓者)獅身人面像 Egypt (keep the tomb) Sphinx |
=============================================================================================================================================================================
“秘色瓷”到底是對顏色的形容詞，
或是一個專用名詞?!
從實務上解讀“秘色瓷”的幾個問題.....
是秘密的顏色? 或者是碧(綠)的顏色 ?
Is the secret color or "green"? (Ancient Chinese is homophonic)
"秘密"（Bi-Mi) 的"秘"在中國古代發音同為 碧色 的"碧(Bi)"
解一,,在現今的“朝鮮”與“日本”的某些地方，仍然把美麗的綠色瓷器稱為“秘色磁”
大約兩年前某家日本知名品牌家電在台灣的LED電視廣告，在對畫面裡的漂亮瓷器
稱為“秘色瓷”，
在這些地區歷史上都曾經大量接受過“唐代”及“宋代”文化影響，所以現今繼續延用從前的
稱呼這是理所當然的！
“ 秘 “字，現今發音為ㄇ一”不過這個字在閩南語（台語）裡的發音卻是ㄅ一“的音，
（秘密）閩南語發音為ㄅ一'，ㄇ一“
現在我們說的閩南語話，其實在唐代時卻是中原地區主要的方言，所以用現在的說法詮釋
古時候的用語文化是一種誤解！
並且古代用字時常用借字，“ 碧 “音借” 秘 “字用是很自然的，這點歷史語言學者都很清楚！
解二,, 1987年法門寺地宮中出土的這一批器物的“物賬”中，紀錄的是“ 瓷秘色 “，許多人
並未注意到這一點，“ 秘色瓷 “與” 瓷秘色 “指的是不同意義！
“ 瓷秘色 “是對顏色的形容詞，而” 秘色瓷 “則是一種專用名詞，” 瓷秘色 “是最原始的說法，
“ 秘色瓷 “則是後來人們習慣性的說法，
“ 瓷秘色 “就是等同於”瓷黃色“或”瓷艾色“抑或”瓷柿色“,,,等等的稱呼！
不過或許有人會質疑，出土的這批瓷器當中，也有的顏色泛黃，並非每件都呈現碧綠色？
但它們都還是質地尚佳的瓷器，.....
如果您去了解整個唐代 的越窯燒造的歷史,以及它的品質就不難發現當時的燒成品,
大多數呈現的是黃褐色，黃色或綠中帶黃，而且大部份的質地稍粗，廢品偏高，
雖然供品中有帶黃者,然成品燒成不易而仍然珍視之.....這裡舉 南宋官窯的例子來說,,
現今傳世的南宋官窯器當中，有一部份不也是色澤偏黃嗎？
解三 ,,有人用科學分析“秘色瓷”的胎釉成份， 因為它的胎。釉有別於同類粗瓷，
也有人認為釉料成份是個秘密， 所以以此將之稱作“秘色瓷”！？
如果去了解古陶瓷製作燒造過程的話，一般同一窯址裡比較細緻的產品，尤其是“供瓷”這種
高級的產品，它的胎。釉必定是特別經過精撿，製備過程較仔細，乃至於在窯燒過程也受到
特別照顧,,
在任何一個窯口產品裡，細瓷與粗瓷它的細部成份本來就會不一樣，決不能以此定義
“秘色瓷”，這種情形不是只發生於“越窯”！
解四,,“秘色瓷”是因為所燒製瓷器專為供君王所用，一般臣民不得見，故曰“秘色”！
五代人徐夤的詩[供餘秘色茶盞]云,,“陶成先得供吾君”
事實上在唐末，五代時期，近供瓷器給朝廷的窯口也不只有“越窯”，而其它的窯口供瓷也都沒有人叫“秘色”！況且實際上真的是一般臣民不得見嗎？
我們知道在唐，五代時期“越窯”仍然是屬於官搭民燒的性質，朝廷雖是[設官督陶]，但實際
上一切的窯務,備胎料,調釉漿,燒造...等等,這些都是一般的老百姓,工人在操做,...這些工人們
大可自行仿造，要說一般臣民不得見，就也未必！
不過當時這種秘色瓷的製作成本實在太高了，非一般平民負擔得起！（可參閱窯址報告）
少數五代時期的墓葬出土過品質接近"祕色瓷"的瓷器,只能說越高級的東西用過的人越少! 解五,,為甚麼碧綠色的瓷器,要那麼受到重視?
首先要了解唐代時期“越窯”的燒造品質，和過程，各位可以參閱相關的“越窯”窯址報告，
以及存世的唐代越窯產品就可以知道,因為燒造技術較不成熟,釉中雜質較多,以及窯燒的
還原氣氛的無法掌握等等因素，使大部份的產品色澤偏黃，偏灰，或綠中帶黃,,
一直等到唐代晚期開始使用“匣缽”裝燒以後，以及產品質地的改良，
例如,,唐末開始尤其五代,有些燒制供品使用的匣缽,在入窯前還特地將隙縫以漿釉密封,
經驗跟觀念的提升，才大大的改善“越窯”的成品色澤,,
但也不是所有產品都能成功,但"越窯"終於在唐代累積了百年經驗後,終於燒出了真正的
所謂翠綠色產品出來，這是多麼值得雀躍呢！
**除了燒製技術提升，還有時機的掌握也很重要！
唐代陸龜蒙(---881年)的一首詩中說: {九秋風露"越窯"開,奪得千峰翠色來}的詩句,大家
耳熟能詳___因為在九月秋華時節,空氣中的水分較為乾燥,有利於窯燒時候的還原氣氛
的掌握,,另外它的窯門都向著北邊開，這裡秋天時開始轉北風，更有利於柴火的暢旺！
稱為“秘色瓷”，
在這些地區歷史上都曾經大量接受過“唐代”及“宋代”文化影響，所以現今繼續延用從前的
稱呼這是理所當然的！
“ 秘 “字，現今發音為ㄇ一”不過這個字在閩南語（台語）裡的發音卻是ㄅ一“的音，
（秘密）閩南語發音為ㄅ一'，ㄇ一“
現在我們說的閩南語話，其實在唐代時卻是中原地區主要的方言，所以用現在的說法詮釋
古時候的用語文化是一種誤解！
並且古代用字時常用借字，“ 碧 “音借” 秘 “字用是很自然的，這點歷史語言學者都很清楚！
解二,, 1987年法門寺地宮中出土的這一批器物的“物賬”中，紀錄的是“ 瓷秘色 “，許多人
並未注意到這一點，“ 秘色瓷 “與” 瓷秘色 “指的是不同意義！
“ 瓷秘色 “是對顏色的形容詞，而” 秘色瓷 “則是一種專用名詞，” 瓷秘色 “是最原始的說法，
“ 秘色瓷 “則是後來人們習慣性的說法，
“ 瓷秘色 “就是等同於”瓷黃色“或”瓷艾色“抑或”瓷柿色“,,,等等的稱呼！
不過或許有人會質疑，出土的這批瓷器當中，也有的顏色泛黃，並非每件都呈現碧綠色？
但它們都還是質地尚佳的瓷器，.....
如果您去了解整個唐代 的越窯燒造的歷史,以及它的品質就不難發現當時的燒成品,
大多數呈現的是黃褐色，黃色或綠中帶黃，而且大部份的質地稍粗，廢品偏高，
雖然供品中有帶黃者,然成品燒成不易而仍然珍視之.....這裡舉 南宋官窯的例子來說,,
現今傳世的南宋官窯器當中，有一部份不也是色澤偏黃嗎？
解三 ,,有人用科學分析“秘色瓷”的胎釉成份， 因為它的胎。釉有別於同類粗瓷，
也有人認為釉料成份是個秘密， 所以以此將之稱作“秘色瓷”！？
如果去了解古陶瓷製作燒造過程的話，一般同一窯址裡比較細緻的產品，尤其是“供瓷”這種
高級的產品，它的胎。釉必定是特別經過精撿，製備過程較仔細，乃至於在窯燒過程也受到
特別照顧,,
在任何一個窯口產品裡，細瓷與粗瓷它的細部成份本來就會不一樣，決不能以此定義
“秘色瓷”，這種情形不是只發生於“越窯”！
解四,,“秘色瓷”是因為所燒製瓷器專為供君王所用，一般臣民不得見，故曰“秘色”！
五代人徐夤的詩[供餘秘色茶盞]云,,“陶成先得供吾君”
事實上在唐末，五代時期，近供瓷器給朝廷的窯口也不只有“越窯”，而其它的窯口供瓷也都沒有人叫“秘色”！況且實際上真的是一般臣民不得見嗎？
我們知道在唐，五代時期“越窯”仍然是屬於官搭民燒的性質，朝廷雖是[設官督陶]，但實際
上一切的窯務,備胎料,調釉漿,燒造...等等,這些都是一般的老百姓,工人在操做,...這些工人們
大可自行仿造，要說一般臣民不得見，就也未必！
不過當時這種秘色瓷的製作成本實在太高了，非一般平民負擔得起！（可參閱窯址報告）
少數五代時期的墓葬出土過品質接近"祕色瓷"的瓷器,只能說越高級的東西用過的人越少! 解五,,為甚麼碧綠色的瓷器,要那麼受到重視?
首先要了解唐代時期“越窯”的燒造品質，和過程，各位可以參閱相關的“越窯”窯址報告，
以及存世的唐代越窯產品就可以知道,因為燒造技術較不成熟,釉中雜質較多,以及窯燒的
還原氣氛的無法掌握等等因素，使大部份的產品色澤偏黃，偏灰，或綠中帶黃,,
一直等到唐代晚期開始使用“匣缽”裝燒以後，以及產品質地的改良，
例如,,唐末開始尤其五代,有些燒制供品使用的匣缽,在入窯前還特地將隙縫以漿釉密封,
經驗跟觀念的提升，才大大的改善“越窯”的成品色澤,,
但也不是所有產品都能成功,但"越窯"終於在唐代累積了百年經驗後,終於燒出了真正的
所謂翠綠色產品出來，這是多麼值得雀躍呢！
**除了燒製技術提升，還有時機的掌握也很重要！
唐代陸龜蒙(---881年)的一首詩中說: {九秋風露"越窯"開,奪得千峰翠色來}的詩句,大家
耳熟能詳___因為在九月秋華時節,空氣中的水分較為乾燥,有利於窯燒時候的還原氣氛
的掌握,,另外它的窯門都向著北邊開，這裡秋天時開始轉北風，更有利於柴火的暢旺！
Is “Secret color” an adjective for the porcelains or just a proper noun?
A few misunderstandings for “porcelain with secret color”- to practically elaborate a few questions about “porcelain with secret color”.
Explanation 1
In some areas in current “Korea” and “Japan”, the beautiful green porcelains are still called “porcelain with secret color”.
About two years ago, a famous Japanese household electric appliances company called the beautiful porcelains as “porcelain with secret color” in the LED TV advertisement in Taiwan. These areas were under a large amount of cultural influences from “Tang Dynasty” and “Song Dynasty” in the past, so the names that passed on from the past is reasonable. The word “secret” is pronounced as “mi” in Mandarin Chinese, while it is pronounced as “bi” in Taiwanese. The term “secret’ is pronounced as “bi mi” in Taiwanese. In fact, the Taiwanese we used now was the official language in the central area in China. Tang Dynasty, using the current explanation to elaborate the cultural usage from the past is a misunderstanding. What’s more, “borrowing words” was a common phenomenon that used in the past, the sound mi ”“was naturally replaced by “bi”. That’s clearly identified by historical linguistics.
Explanation 2
The record showed the utensils that were unearthed from the cite if “Fame Temple” in 1989 as “secret color of the porcelain”. Many people did not notice the difference between “porcelain with secret color” and “secret color of the porcelain”. “secret color of the porcelain” is an adjective to describe the unique color of the porcelains; while, “porcelain with secret color” is a proper noun. “Secret color of the porcelain” was the most primary name to call the utensil, but people got used to call them “porcelain with secret color” afterward. “Secret color of porcelain” was equal to the “yellow-tone of porcelain”, “the green-tone of porcelain”, or “the orange-tone porcelain”…etc. However, many people still held doubts about these unearthed utensils, arguing that many pieces were tarnished but not every piece was in jade-green. But they were nice porcelains in texture. If you get to realize the history and the quality of kiln firing in Tang Dynasty. It is not difficult to find that the productions of that time showed brown-yellow, yellow or green with a little yellow, and most of the texture was rough and usually become scraps. Some of the offerings were yellow, but clue to the hard-working of firing. They were still considered as precious items. Take “Guan-yao” in South Song Dynasty as an example, are parts of the utensils, which were passed down from the South Song Dynasty, yellow in color.
Explanation 3
Some people analyzed the ingredients of the glaze of porcelain with secret color scientifically, because the tire glaze was different from the tough porcelain of the same kind; while, some people believed that the ingredients were kept as a secret, so they were called “porcelain with secret color”.If you get to know the firing process of producing ancient ceramics, the exquisite productions from the same kiln, especially the supreme production like “Kon porcelain”, you will find the tire glaze must under careful preparation and selection. Therefore, the productions were under special care.
The components in the details of any “Yaoko” production, exquisite porcelain and tough porcelain were different in basic, so we could not define “porcelain with secret color” based on the components. The situation was not only occurred in “Yue-yao”.
Explanation 4
“Porcelain with secret color” was specifically produced for the King and was impossibly be seen by the common population so it was called “secret”.
五代人 "徐夤"的詩___[供餘秘色茶盞]云:"陶成先得供吾君" 五代人 "徐夤"的詩__[進貢 余姚縣"余姚窯"的秘色茶具] 當中說: 瓷器燒成後先提供給國王挑選..... Hsu –yin, a poet from the Five Dynasties, wrote in one of his poems titled “the porcelain with secret color from Yu-yao-kiln as the offering” that after the accomplishment of the porcelain firing, they would be served for the King for selection. .......
the cite of porcelain that offered for the royalties was not only “Yue-yao” in Tang Dynasty and the Five Dynasties. And the porcelains were not called “secret color of the porcelain” in other cities that offered porcelains. Did the common citizens have no chance of seeing it in real life? We knew that Yue-yao in Tang Dynasty and the Five Dynasties was basically built by the government but was performed by the public. The royalties built the kiln and supervised it but in real situation, all the tasks required such as the preparation of ingredients, the adjustment of glaze serum, and firing…etc. These tasks were performed by the public and the laborers. These laborers could produce the fake productions by themselves so it was hard to say that the productions were hardly seen by the public. However, the costs of producing the porcelain with secret color of that time were too much for the public to afford! (You can learn more from the report of kiln cite.) Few of the porcelains that were unearthed from the tombs in the Five Dynasties reached the quality if the porcelains with secret color. We can just conclude that the more high-end the quality is, the fewer of the people can make use of them.
Explanation 5
Why the green porcelains were highly valued?
First of all, we need to realize the quality during the process of firing of “Yue-yao” in Tang Dynasty. You can refer the related information in the kiln cite report of “Yue-yao” and the existent “Yue-yao” production from Tang Dynasty. After reading the reference, you can realize that due to the immaturity of the firing skills, the large amount of impurities in the glaze, and the failure of controlling reduction while firing, most of the productions were too yellow, too gray or green with a little yellow-tone in color. Until the late Tang Dynasty, the use of the earthen bowl while firing made an improvement in the quality of the texture of the productions, For example, at the beginning of Tang Dynasty, especially in the Five Dynasties, some of the “jia” used while firing the offerings were sealed with glaze serum to fill up the cracks before firing. This concept and experience highly rich the color of the production of “Yue-yao”. Not all the productions were successful, but after hundreds of years of experience accumulation in Tang Dynasty. The real emerald green was finally successfully completed. How exciting is that!
Not only the skills of firing but also the time control was also important!
唐代詩人"陸龜蒙"(...881年),在他的詩中寫道: [九秋風露越窯開,奪得千峰翠色來] 的詩句,
Explanation 5
Why the green porcelains were highly valued?
First of all, we need to realize the quality during the process of firing of “Yue-yao” in Tang Dynasty. You can refer the related information in the kiln cite report of “Yue-yao” and the existent “Yue-yao” production from Tang Dynasty. After reading the reference, you can realize that due to the immaturity of the firing skills, the large amount of impurities in the glaze, and the failure of controlling reduction while firing, most of the productions were too yellow, too gray or green with a little yellow-tone in color. Until the late Tang Dynasty, the use of the earthen bowl while firing made an improvement in the quality of the texture of the productions, For example, at the beginning of Tang Dynasty, especially in the Five Dynasties, some of the “jia” used while firing the offerings were sealed with glaze serum to fill up the cracks before firing. This concept and experience highly rich the color of the production of “Yue-yao”. Not all the productions were successful, but after hundreds of years of experience accumulation in Tang Dynasty. The real emerald green was finally successfully completed. How exciting is that!
Not only the skills of firing but also the time control was also important!
唐代詩人"陸龜蒙"(...881年),在他的詩中寫道: [九秋風露越窯開,奪得千峰翠色來] 的詩句,
.......[大約在秋天九月的時候所燒製的"越窯",這時候燒出來的釉色是最碧綠的]a poet Tang Dynasty "Lu Guimeng" "陸龜蒙" (....881 AD) wrote In one of his poems:
“The Yue-yao that was produced around the mid-September in Fall would be with the purest jade-green in color”.
he sentence in the poem was quite famous because the moisture in the air was lower in September in the mid-autumn. The whole situation was perfectly suitable for the control of reduction during firing. What is more, the doors of the kiln were all facing North, which was in favor of the firewood due to the wind would shift to blow from North in the autumn.
he sentence in the poem was quite famous because the moisture in the air was lower in September in the mid-autumn. The whole situation was perfectly suitable for the control of reduction during firing. What is more, the doors of the kiln were all facing North, which was in favor of the firewood due to the wind would shift to blow from North in the autumn.
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| (以上三件為"法門寺"塔基窖藏出土) |
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| (越窯秘色瓷片) |
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一個"波斯(薩珊)"行旅者與一把執壺
AD 224--651 yearsA "Persian(Sassanid)" traveling salesman and his water bottle.(Tang Dynasty and exchange between Central Asian region)
一般來說,古時代繪畫的功能較屬於紀錄的形式,當時人們將週遭親眼所見的事物描繪下來, 比如各地的遠古洞穴壁畫，及古代墓葬壁畫，之後接著再又出現神話式題材;
而陶瓷的產生可以說是基於人們生活的需求,產生不同功能的器皿越來越多;再隨著人們文化
經濟活動發展進步,又產生了陳設器,這使得陶瓷器的功能進入了不同層面變化;
這麼說來,以紀錄寫實為目的的題材是非常少見的,..它比較出現於墓葬隨葬品裏,往生者生前所見所聞，及生活情形器皿，都會在這裡出現！
除一般的器皿外，寫實的人俑如著名漢代出土的雜耍說唱俑，以及將介紹的本件唐代 “波斯式行旅者人俑”.....
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| 附圖一 . 波斯(薩珊 Persian Sassanid 旅行者 唐代早期Early Tang Dynasty (圖取自網站)
它生動紀錄了當時唐帝國與中西亞之間頻繁貿易經濟往來的一景，並且也影響著當時人們的生活，在死後也必須將之紀錄下來！
這件唐代白釉陶俑，性質屬於屬於“鉛釉類”，性質同三彩器，它應屬於一整組隨葬物品裡的一件， 可能紀錄著一隊從中西亞地區，來到中原從事貿易的商旅情形比如另一件“三彩駱駝胡人俑”（附圖B）,,亦屬於於此種！ 頭戴寬沿的高尖帽（便於散熱保持涼爽），高挺的鼻樑，滿腮的鬍鬚，左襟衣袍 ，背上背著鋪蓋行囊，實足生動寫實模樣！ 請注意他拿在手上的一只執壺 ,這種形式的執壺流行於古代羅馬時期,中西亞,乃至於歐洲地區, 17世紀中國外銷到歐洲的青花瓷,當中就有這種形式的執壺"花澆"(見附圖),這位行旅者拿在手上，當然是為了旅途中隨時方便取用，且看它的設計，壺身長大約二十幾公分，大手把，及開闊的 大瓶口，瓶口前緣有凸出的引流,,說明了這是一件盥洗器，它的設計主要用來方便取水，與方便倒水,,當時的中國有些窯口受到了影響也生產這種產品(見附圖如花釉與三彩貼花壺及裝飾著 猴頭的“邢窯”白釉壺） 造型單純的壺身點綴著潑灑流淌的釉斑,或只是把手上裝飾猴頭,簡單的壺身變得生意盎然,藝術性也豐富了不少， 且看這件陶俑,屈身側著臉,彷彿身邊有甚麼事情引起了他的注意,同時又安靜的走著,...... 這件生動的胡人行旅者俑,紀錄著一個時空背景,有如一顆時空膠囊般,它具有的文化及歷史義意，並不是一點拍賣金錢可以衡量的！ A Persian Traveler and His BottleGenerally speaking, the ancient painting was more used as a form of recording. People at that time tended to depict everything they saw around them by painting. For example, the ancient wall painting in all ancient areas, ancient wall painting in the tomb, and the materials of mythology came after. The birth of the ceramics was based on the necessity of the public. Therefore, the containers were created with a variety of functions. With the advent of human cultural and economic development, and with the birth if displaying, the functions led the porcelains into different levels of variation. That is to say, the theme that was related to the recording of real lives was extremely rare. It showed up more often in the offerings in the tomb, including the experiences of the dead, and the containers used in his daily life. Except for the common containers, the realistic figures of men such as the figures performing variety shows that were unearthed in Han Dynasty, and the piece that was about introducing you "Figure of Persian Traveler", from Tang Dynasty. It vividly recorded the high frequency of economic trade between the Empire of Tang and the Middle-East Asia, and influenced the life of the public, making people made records even after death. This white-glaze pottery figure was of "lead-glaze" property, which belongs to three-color container. This piece belongs to one of the pieces in the mortuary pieces, probably making the records of a trade that a troop of businessmen from Middle-West Asia to China. Another example of. Piece of art "Figure of a Man from Hu with a Three-color Camel", (illustrated in picture B), was also categorized in this type. The figure was with a wide-edge witch-like hat on head (easier to emit the heat and keep cool), a high nose, a thick beard, a robe on his left and a gown on his right and a package carried on his back to show the vividness if the life at that time. Please pay attention to the carrying pot he held in hand, this type of carrying pot was trendy in Ancient Rome, Middle-East Asia, and in Europe. The "Blue and White Porcelains" that were sold from China to Europe in the 17th century had the shape of watering flowers with the carrying pot (as in the attached picture). The reason why the traveler held the pot in his hand was for the convenience of drinking on his journey. And as for its design, the was about 20 centimeters long, with a big handle and a wide bottle mouth, and the protruding edge in the bottle mouth, explains itself as a washing machine. The design as the machine was for the ease of accessing water and pouring it. Some of the kilns in China were influenced by that trend and produce the productions as in the attached picture: flower-glaze and three-color flower pot and the white-glaze pot decorated with a monkey head in Shin-Yao. The fact that the simple-shape pit decorated with splendid glaze specks, or with a monkey head in its handle as an ornament simply make the pot vivid and enriched its artistic level. And look at this pottery figure, the figure showed its profile and seemed to be distracted by something happened around him but he kept his pace forward silently and slowly. This vivid figure recorded the life of that era and a time capsule. It carried the cultural and historical meaning and was invaluable.
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| 17世紀外銷歐洲的青花水壺 17th century blue and white export Europe kettle. |
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Ceramics and glass art _____
以玻璃藝術入陶瓷____紀波斯“薩珊”式風格陶瓷將玻璃藝術的加入陶瓷___
3-7世紀“薩珊波斯王朝"風格的陶瓷
中國自漢代以來打開與中西亞門戶積極往來,到了北朝時期貿易往來從未間斷,許多來自
該地的精緻工藝藝術品也被當時的統治階層上層人士所喜愛，
北朝時期北周天和四年（569）大將軍李賢墓，及承襲自北周的隋代大業四年（608），貴族
李靜訊公主墓，都出土了不少的精美工藝品，“李賢”墓出土了一件屬於波斯“薩珊”式（薩珊波斯王朝）浮雕圓形花紋的
白色透明玻璃杯（見附圖一），
建立於3-7世紀中旬（226-651）的玻斯“薩珊”王朝，其玻璃工藝技術層承襲自中東地區，在玻璃器皿上以貼或雕刻凸起的紋飾,,當時這些地區的玻璃工藝技術比中國步,
以貿易輸入中國的中西亞玻璃製品，別緻昂貴又稀有，立刻為貴族統治階層喜愛,更成為工匠們模仿的對象，有名匠“”何稠（活動於北周到初唐時期”隋書，何稠傳“.....時中國人久絕玻璃之作，匠人無取措意，稠以綠瓷為之，與真無異“
有人認為這"綠瓷"指的是綠色玻璃,但筆者認為這裡講的是以綠色瓷器仿製玻璃的效果,否則就不需要說以[以綠瓷為之，與真無異]這樣的話了！ 翻開現有出土資料看,色澤大底以綠色及透明白色為主，且史載當時對玻璃的稱呼中並無“'綠瓷”這一名詞，
更無獨有偶的是,現有出土帶有濃厚中西亞"薩珊"式風格的陶瓷杯子,罐子又都集中在北齊 ,北周這一時期！？而且色澤大都是白，綠兩種顏色，這與上述“何稠”傳內容說的基本吻合！
這些出土帶有濃厚異地裝飾風格的器皿，與中，西亞地區“薩珊”式玻璃裝飾風格特徵相似，應為仿“薩珊”風格無疑！（見附圖），
附圖其中一件為紐約古董商（JJLally）氏所藏，這件蓋罐上面裝飾著八種胡人吹奏樂器的圖樣，其釉質（為鉛釉類低溫釉）與色澤及裝飾特徵，與其它出土物件相同！
該地的精緻工藝藝術品也被當時的統治階層上層人士所喜愛，
北朝時期北周天和四年（569）大將軍李賢墓，及承襲自北周的隋代大業四年（608），貴族
李靜訊公主墓，都出土了不少的精美工藝品，“李賢”墓出土了一件屬於波斯“薩珊”式（薩珊波斯王朝）浮雕圓形花紋的
白色透明玻璃杯（見附圖一），
建立於3-7世紀中旬（226-651）的玻斯“薩珊”王朝，其玻璃工藝技術層承襲自中東地區，在玻璃器皿上以貼或雕刻凸起的紋飾,,當時這些地區的玻璃工藝技術比中國步,
以貿易輸入中國的中西亞玻璃製品，別緻昂貴又稀有，立刻為貴族統治階層喜愛,更成為工匠們模仿的對象，有名匠“”何稠（活動於北周到初唐時期”隋書，何稠傳“.....時中國人久絕玻璃之作，匠人無取措意，稠以綠瓷為之，與真無異“
有人認為這"綠瓷"指的是綠色玻璃,但筆者認為這裡講的是以綠色瓷器仿製玻璃的效果,否則就不需要說以[以綠瓷為之，與真無異]這樣的話了！ 翻開現有出土資料看,色澤大底以綠色及透明白色為主，且史載當時對玻璃的稱呼中並無“'綠瓷”這一名詞，
更無獨有偶的是,現有出土帶有濃厚中西亞"薩珊"式風格的陶瓷杯子,罐子又都集中在北齊 ,北周這一時期！？而且色澤大都是白，綠兩種顏色，這與上述“何稠”傳內容說的基本吻合！
這些出土帶有濃厚異地裝飾風格的器皿，與中，西亞地區“薩珊”式玻璃裝飾風格特徵相似，應為仿“薩珊”風格無疑！（見附圖），
附圖其中一件為紐約古董商（JJLally）氏所藏，這件蓋罐上面裝飾著八種胡人吹奏樂器的圖樣，其釉質（為鉛釉類低溫釉）與色澤及裝飾特徵，與其它出土物件相同！
productions were more from North-Chi and North Chou.
Using glass art added to the ceramics - "Persian Sassanid" style ceramics.
Since the first trade began from Han Dynasty with Middle-West Asia, the trade had been
ceaselessly coming and going.
At North Dynasty the trade had never been interrupted and is some of the delicate arts were appreciated by the ruling. People in a higher social status.
At North Dynasty, A.D. 569, in the tomb of the general Lee, Shen and in the tomb of the royal princess Lee, Chin-Shiun, they unearthed quite amount of delicate handiworks. The white transparent glasses with circle emboss net pattern (see attached picture A) unearthed in the tomb
of Lee-Shen was categorized as Persian Sassanid. Established in A.D. 226-651, the craftsmanshipof the Persian Sassanid was passed in from the Middle East.
The curved pattern on the glasses container in the Middle-East was more advanced in the craftsmanship of glasses than that of in China.
The glasses productions from that through the trade from China to Middle-West Asia were exquisite, expensive and rare, so were favored by the ruling royalties and became the targets of the fake productions among craftsmen.
A well-known craftsman "He-Chou" (from North Chou to the early Tang Dynasty), " The Book of Shei: the autobiography of He-Chou". And most of the color tone on the objects were mainly white and green. This basically fitted the content of the legend
"He-Chou". The containers that carried a strong sense if Persian Sassanid decorating style had similar characteristics with the glasses decorating style from Middle-West Persian Sassanid,
it was thought to be the fake of Persian Sassanid style (See the attached picture). One piece of the New York unearthed objects was collected by the antiquary J.J. Lally. It was decorated by the pattern of eight musical instruments.
The glaze (was the low-temperature glaze and categorized as lead glaze) had the same color tone and ornamented characteristics as the other unearthed objects.
"The Chinese have created lots of productions with glasses, the craftsmen thought the public could not tell the difference between the fake and the real ones, so they made use of the green porcelains to recant be same effect that the glasses productions showed.
" Some people believed that the "green porcelain" was referred it green glasses, but the author suggested that the "green porcelains" was used to pretend the effect if glasses by using the green porcelains, otherwise, the sentence,
"using the green porcelain because they have the same effect as the real ones" would be redundant. When we look for the information about the unearthed objects, the color tone was basically close to green and white , and the term "green porcelain" had not shown in the historical records, what's unique was the fact that the ceramics cups that currently unearthed carried a strong sense of Persian Sassanid from Middle-West Asia, and the unearthed
ceaselessly coming and going.
At North Dynasty the trade had never been interrupted and is some of the delicate arts were appreciated by the ruling. People in a higher social status.
At North Dynasty, A.D. 569, in the tomb of the general Lee, Shen and in the tomb of the royal princess Lee, Chin-Shiun, they unearthed quite amount of delicate handiworks. The white transparent glasses with circle emboss net pattern (see attached picture A) unearthed in the tomb
of Lee-Shen was categorized as Persian Sassanid. Established in A.D. 226-651, the craftsmanshipof the Persian Sassanid was passed in from the Middle East.
The curved pattern on the glasses container in the Middle-East was more advanced in the craftsmanship of glasses than that of in China.
The glasses productions from that through the trade from China to Middle-West Asia were exquisite, expensive and rare, so were favored by the ruling royalties and became the targets of the fake productions among craftsmen.
A well-known craftsman "He-Chou" (from North Chou to the early Tang Dynasty), " The Book of Shei: the autobiography of He-Chou". And most of the color tone on the objects were mainly white and green. This basically fitted the content of the legend
"He-Chou". The containers that carried a strong sense if Persian Sassanid decorating style had similar characteristics with the glasses decorating style from Middle-West Persian Sassanid,
it was thought to be the fake of Persian Sassanid style (See the attached picture). One piece of the New York unearthed objects was collected by the antiquary J.J. Lally. It was decorated by the pattern of eight musical instruments.
The glaze (was the low-temperature glaze and categorized as lead glaze) had the same color tone and ornamented characteristics as the other unearthed objects.
"The Chinese have created lots of productions with glasses, the craftsmen thought the public could not tell the difference between the fake and the real ones, so they made use of the green porcelains to recant be same effect that the glasses productions showed.
" Some people believed that the "green porcelain" was referred it green glasses, but the author suggested that the "green porcelains" was used to pretend the effect if glasses by using the green porcelains, otherwise, the sentence,
"using the green porcelain because they have the same effect as the real ones" would be redundant. When we look for the information about the unearthed objects, the color tone was basically close to green and white , and the term "green porcelain" had not shown in the historical records, what's unique was the fact that the ceramics cups that currently unearthed carried a strong sense of Persian Sassanid from Middle-West Asia, and the unearthed
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| 圖A. 出土自北周天和四年（569）大將軍李賢墓 薩珊式玻璃杯（截自大陸網站） 6世紀 - 北周 (AD 569 years unearthed in northern China ) |
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| 上海玻璃博物館藏品，薩珊風格玻璃器 (Shanghai Museum) |
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| 至今出土最早，西晉墓出土玻璃杯 （截自大陸網站） Early 5th century, the Western Jin Dynasty tombs unearthed in China, |
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| 標示年代為北齊 Northern Qi Dynasty 紐約古董商 J.J.Lally刊登廣告之物件__ （上有八種胡人吹奏樂器圖形） |
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| 日本藏家收藏之“薩珊式”風格綠釉陶杯，一樣是屬於鉛釉類， 北齊(Glazed pottery, 6th Century Late, China ,Japanese Collection ) （圖取自“典藏古美術雜誌） |
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| Glazed pottery, 6th Century Late,China. Northern Qi Dynasty （本店所售出之北齊,薩珊風格式杯）H9cm. (My gallery shop sold ) |
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| 本店售出隋.唐代 中亞風格,黑釉高腳杯 7 century Initial stage ,Northern China,Central Asian Style (My gallery shop sold ) |
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紀一組東晉青瓷罐中的“楊梅”核___及其青瓷窯口
Fruits nuclear canopic jars - in the Eastern ,
Jin Dynasty (AD 217--420 years)
在'文物'月刊第537上（大陸文物局出版），一篇關於江西省南昌市（1997年）出土“東晉”時期
墓葬報告,出土隨葬品數量豐富,種類也多,且大都為生活用品,墓主身份為當時供職命官,
從這些出土物件可以約看出當時這個階層的生活情形,,,,,
有趣的是在這同一批出土的青瓷器中,其中三只小蓋罐裏還盛著吃過的''楊梅"核,罐子口徑各約11~接近13公分不等,值得玩味的是以隨葬品的角度看，這卻遺留著墓主生前最後生活的紀錄！
以及大約的死亡時間！（長江流域下游“楊梅”產期約在六月中上旬，台灣則在五到六月上旬），
裝著"楊梅"核的這類型蓋罐其用途也可以藉此得到佐證 ,像這一類型的小蓋罐(附圖),今也常用
來做為盛置蜜餞之類用途，
這幾件青瓷蓋罐,與其它同時出土青瓷器皿,依其胎土描述,及其釉質,部份器形特徵看
應為“甌窯”
,"瓯窯"產品與"越窯"地理位置接近,互相影響,同質性又高,它的技術成熟發色青翠, 現今有許多被認為是"越窯"的產品,其實就是"瓯窯"!!其生產的產品一樣有很高的競爭力,遍銷鄰近區域;
在燒造技術上，它的胎釉結合度有些比越窯松，高級品不輸給越窯，有的產品上還裝飾著褐色
的“鐵鏽斑”點;
以墓主的身份地位,其隨葬品中有相當數量的"瓯窯"產品,可以證明該窯當時的地位及流行!!
"楊梅"又叫"樹梅"常綠闊葉喬木,這種水果台灣不多見,也難買到,高速公路楊梅交流道兩旁
種滿這樹種;而與台灣緯度接近的長江下游浙江地區也是主要產地，
在1600多年前的江西南昌的墓葬裡有這種果核，證明當時江西地區亦種植生產，也證明這種
水果為當時的中上層階層人士所喜愛，
筆者是在近期偶然的機會裡見到，而嘗試品嚐，老實說對它的滋味還頗為驚奇！約當梅子大小
果核相似,成熟後呈紫紅色,滋味酸中帶甜,皮薄而多汁,但肉不比梅子多,也不像梅子那麼酸,
它的表皮則佈滿類似“栛枝”外皮般的凸出狀，營養價值頗高，（有興趣可上網查）
The Green Porcelain and the Fruit Nuclear in it from the Eastern Jin Dynasty
According to the monthly journal “Wen-Wu” (a publication from the Bureau of Culture in China), there was a report about the objects unearthed from Eastern Jin Dynasty (in 1997) in Nan-Chang City, Chaing-Xi Province. There were a large amount of offerings and with miscellaneous types,
and mostly were daily necessities. The owner of the objects showed the identity of the dead was the local ruling officials and also showed the social hierarchy at that time.
Also interesting to note was the fact that among the unearthed objects, there were three small jars
that were full of eaten plum nuclear in them, and the calibers of the mouth of the bottle were roughly 11 to 13 centimeters respectively. From the viewpoints of the offerings, it was quite interesting that the owner of the tomb still kept the daily records before his passing away. This type of jars with
plum nuclear could be the evidence of estimating the approximate time of his death. (Generally speaking, the harvest period of the plums is around the early June in the basin of the Long River
and around late May to the early June in Taiwan.) This type of small the containers of the preserved fruits nowadays. These unearthed green porcelain jars and the green porcelain containers could be categorized as “Ou-yao” from the tire dust, the texture of the glaze and the characteristics of parts
of the objects. The productions from “Ou-yao” were mistaken as the ones from “Yue-yao” because the two cities were geographically close and mutually influenced, and high in homogeneity,
and with the high-standard skills of producing them as pure green. The fact was that they were actually from “Ou-yao” and the productions were still highly competitive and were sold around
the nearby areas. We could clarify the fact that the productions from “Ou-yao” were in trend and of high social status by the number of the unearthed objects.
“Yang-Plum” is also called as “Shu-Plum”. This kind of fruits was rarely seen in Taiwan, and was also difficult to buy. Along the both sides of the Yang-Mei highway were planted with this kind of plant. The latitude of Taiwan is close to the latitude of the lower reaches of the Long River.
Zhejiang province is also the main place of origin. Around 1600 years ago, the fruit nuclear in the tomb in Nan-Chang, Jiang-Xi province could prove that Jiang-Xi area was the source of the plants
at that time, and the grand figure was also loved by the people with high social status. In recent
days, author occasionally saw and tasted the fruits and was also amazed by the taste of the fruit.
The nuclear of the fruit is similar to the plum in size, purple and red in color when it is ripe,
and it is juicy and not as sour as the plums. The peel of the fruits was rough as lychee and high in nutrition. (You can look up more information on the Internet, if you are interested.)
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