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展覽筆記 vol.17 南北朝青釉高足盤 - A Large Green Glaze Dish With Elevated Base Southern Dynasty, Lam's Gallery.



南北朝 青釉高足盤

來源:奉文堂,香港


這類作品是北齊時代的典型之作,多為盛放北齊時代的青釉盃的容器。北齊是一個佛教盛行的時代,蓮花母題被運用到各種材質的器物中,包括陶瓷器。自古以來,大尺寸的器物,多為廟堂之物,這類作品可能是佛前供器之一。


常盤山文庫出版過的《北齊的陶瓷》中,浦上蒼穹堂在2007年的北齊展中有類似的作品(8z,尺寸37.9cm)。




閱讀寶榜發布的《松心蒼翠》文章:https://mp.weixin.qq.com/s/Y9LeomHo5p9MYKksUtEqbw


閱讀SACA學會發佈的《 北齊之光》常盤山文庫文章:



Download the Exhibition Catalogue:


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A LARGE GREEN GLAZE DISH WITH ELEVATED BASE

SOUTHERN DYNASTY


Provenance

Fengwentang, Hong Kong


This type of work is typical of the Northern Qi period, and most of them are vessels for green-glazed cups from the Northern Qi period. The Northern Qi period was a time when Buddhism was prevalent, and the lotus motif was utilized in wares of various materials, including ceramics. Since ancient times, large-sized wares are often connected with temples. This work may have been one of the pre-Buddhist offerings.


In "Ceramics of the Northern Qi" published by Tokiwayama Bunko, Uragami Sokudo exhibited a similar piece (8z, size 37.9cm) in the 2007 Northern Qi exhibition.




松心蒼翠


松心閣很高興推出第二期主題線上展覧「松心蒼翠」。南北朝时期(439-589 年)形勢混亂動盪、災難連綿,不但考驗了人性的堅韌,也催生了頂級藝術的誕生。


南北朝的美是不同文化交融、碰撞、綻放的美。當中佛教的興起令與其相關的圖案在中國流行起来,象徵佛教的蓮花常被用作器皿的形状和图案;而南方的青瓷也廣被北方接受。在中国陶瓷史上,青瓷釉料的生产越来越广泛,這是一個中國藝術史上十分關鍵,承上啟下的時代。


這時代的中國,不同材質的藝術品如一場絢爛的煙花,其深度、廣度奠定了南北朝在中國藝術史中的不可撼動的地位。匠人們在一次次的不確定性中以發自內心的真切之美作為抵抗,而這種默默無言,源自人性堅韌的精神力量,浩瀚磅礴,穿透時間,撼動心靈。


這無疑是一個值得被研究學習的時代,松心閣希望透過是次「松心蒼翠南北朝特別展覽」與大家一起分享這時代的不同文物,我們誠邀您通過以下網址與我們一起踏上南北朝之旅:https://lams-gallery.com/ (复制黏贴至浏览器,或者点击文章底部左下角“阅读原文”。


— 松心閣



Eternal Dynasties

a Special Exhibition of Northern & Southern Dynasties


The North and South Dynasties (439-589) were a period of chaos and disaster, which not only tested the resilience of human nature, but also gave rise to the birth of top-notch art.


The beauty of the Northern and Southern Dynasties is the beauty of different cultures that blossomed through the fusion and collision of several cultures. The rise of Buddhism led to the popularization of motifs related to Buddhism in China, with the lotus flower, a symbol of Buddhism, often used as the shape and motif of vessels of that period; during which time celadon from the south was also widely accepted in the north. The production of celadon glazes became increasingly widespread in Chinese ceramics, and this was a pivotal era in the history of Chinese art, a time of transition from the past to the present.


The depth and breadth of the fireworks display of different materials in China during this era established the North and South Dynasties as an unassailable part of Chinese art history. Craftsmen resisted the uncertainty time and again with the true beauty of their hearts, and this silent, spiritual power, originating from the resilience of human nature, is so vast and majestic that it penetrates time and shakes the minds of their contempory audiences.


This is undoubtedly an era that deserves to be studied. Through this "Northern and Southern Dynasties Special Exhibition", Lam's Gallery hopes to share with you the different artifacts of this era. We sincerely invite you to embark on a journey of the time and beauty with us through the following website: https://lams-gallery.com/


- Midco Lam, Lam's Gallery


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