A Cizhou black-glazed ribbed jar, Jin dynasty | 金　磁州窰黑釉堆線紋雙繫罐

Watanabe & Co., Ltd, Tokyo.

Porcelaine. Chefs-d'œuvre de la Collection Ise, Musée Guimet, Paris, 2017, cat. no. 17.

Ise Korekushon Sekai wo Miryoshita Chugokutoji / The Enchanting Chinese Ceramics from the Ise Collection, Museum of Oriental Ceramics, Osaka, 2017, cat. no. 23.

The attractive ribs adorning this jar were carefully applied in slip onto the surface of the vessel before the application of glaze. During firing, the glaze pulled away from the ribs, resulting in a striking contrast of delicate white lines emerging from a glossy black ground. A slightly larger example, from the collection of Mr. and Mrs. Janos Szekeres, was included in the exhibition Hare’s Fur, Tortoiseshell and Partridge Feathers, Arthur M. Sackler Museum, Harvard University Art Museums, Cambridge, Mass., 1995, cat. no. 61, where it is noted that these ribs were first used on ceramics during the Tang dynasty in imitation of Tang lacquer and silver, and emerged as a decorative category by the 12th century. Another example was included in the exhibition Heaven and Earth Seen Within, New Orleans Museum of Art, New Orleans, 2000, cat. no. 30; another, from the collection of Frederick Mayer, was sold at Christie’s London, 24th June 1974, lot 51. See also an example in the Idemitsu Museum of Arts, Tokyo, included in the Museum’s exhibition Cizhou Ware of China – Its Charm and Taste, Tokyo, 2005, cat. no. 30; and another, from the collection of Capt. Dugald Malcolm and now in the British Museum, London, illustrated in Jan Wirgin, Sung Ceramic Designs, Stockholm, 1970, pl. 53k. Similar shards have been excavated at a number of kiln sites in Shandong, Hebei and Henan provinces, for example, see one from the Museum of History, published in The Ancient Kilns of Henan Province, Taipei, 2002, pl. 255.

來源

渡邊三方堂，東京

展覽

《Porcelaine. Chefs-d'œuvre de la collection Ise》，吉美博物館，巴黎，2017年，編號17

《イセコレクション 世界を魅了した中国陶磁》，大阪市立東洋陶瓷美術館，大阪，2017年，編號23

此件黑釉罐所飾棱線紋飾，乃施釉前以泥漿精心堆繪於胎體之上，經窰燒後，釉料自凸起棱線處自然流散，形成瑩亮黑地襯托素白線條的鮮明對比效果。稍大一例見於雅諾什·塞凱賴什伉儷舊藏，曾展出於哈佛大學賽克勒博物館「Hare’s Fur, Tortoiseshell and Partridge Feathers」（兔毫、玳瑁與鷓鴣斑）特展，見展覽圖錄，華盛頓，1995年，編號61，展錄中特別指出此類棱線裝飾始見於唐代陶瓷，仿自同期漆器與銀器工藝，至十二世紀發展成獨立裝飾門類。另有可比實例：新奧爾良藝術博物館「Heaven and Earth Seen Within」（天地有形）展覽，新奧爾良，2000年，編號30；弗雷德里克·邁耶舊藏一例，1974年6月24日經倫敦佳士得拍出，拍品51號；東京出光美術館藏器，見《中國磁州窰：其魅力與品味》，東京，2005年，編號30；以及杜格爾德·馬爾科姆上尉舊藏，現為大英博物館藏品，見Jan Wirgin，《Sung Ceramic Designs》（宋瓷紋樣），斯德哥爾摩，1970年，圖版53k。類似瓷片於山東、河北、河南多處窰址均有出土，可參考河南省文物考古研究院藏一例載於《河南古代瓷窰》，台北，2002年，圖版255。

此罐尤可貴者，在於其棱線保存之完整清晰一釉面垂流恰到好處，既保持黑釉的潤澤光感，又使白色泥漿線條如銀絲浮凸。此種「白線黑地」效果，需精準掌控泥漿稠度、釉料流動性及窰溫，實為陶工技藝與窰火天成的完美結合。傳世同類器中，多數或釉面流淌過度掩沒紋樣，或燒成後白線氧化泛黃，如本件般黑白對比鮮明者實屬鳳毛麟角。