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展覽筆記 vol.15 南朝青瓷蓮心紋大砵 - A Large And Rare Hongzhou Celadon ‘Lotus Bud’ Alms Bowl.




青瓷蓮心大紋砵 南朝

A RARE HONGZHOU CELADON ‘LOTUS BUD’ ALMS BOWL

SOUTHERN DYNASTIES (420 - 589)

21cm.


來源:繼遠美術

展覽筆記 vol.15 / 北朝筆記 vol.3 南朝青瓷蓮心紋大砵 - A Large And Rare Hongzhou Celadon ‘Lotus Bud’ Alms Bowl.


造型典雅,器身堅實,口沿處設計弦紋,內壁中央有刻划精美的蓮花心的圖案,與優雅的器型結合,如一朵含苞待放的蓮花,通體施細碎光澤的黃橘色釉,外壁流釉自然,層次鮮明靈動,底足特設凹陷弦紋設計,常見於器物內壁或碗底的北朝紋樣設計,被巧妙運用於底部,其巧思令人讚嘆。


參考一件南朝洪州窯蓮心紋杯,其紋飾與本器類比,見權奎山,《說陶論瓷:權奎山陶瓷考古論文集》,北京,2014年,頁169,圖2。




Thickly potted with a narrow groove below the rim, the interior with a central medallion incised with a Lotus Bud, covered overall with a finely crackled lustrous yellowish-olive glaze stopping above the base, fitted box.


Compare a Southern dynasties Hongzhou celadon-glazed ‘Lotus Bud’ bowl, where the style of the incised decoration on the exterior is similar to the present lot, see Quan Kuishan, Shuo Tao Lun Ci: Quan Kuishan Taoci Kaogu Lunwen ji, Beijing, 2014, p.169, fig.2.



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


Download the Exhibition Catalogue:


LamsgalleryExhibiiton02
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Download PDF • 85.74MB

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


AN AMBER & GREEN GLAZED JAR

NORTHERN QI DYNASTY (550-577)

14.5cm


Provenance:

Uragami Sokudo, Tokyo


White body clay wares covered with lead glaze became popular in Shanxi and Henan provinces from the 560’s to the 570’s in the Northern Qi dynasty. They were unfinished “white wares” with an unstable, pale yellow-greenish tone created by impurities in the lead glaze, a technique that more often than not resulted in white wares with pure transparent lead glaze. The combination of such lead glazed white wares and high temperature firing techniques that spread from the ash-glazed firing technique in South China led to the birth of white porcelain. This combination was made possible by the development of unglazed firing and white slip techniques. In other words, after a relatively high temperature unglazed firing of wares coated in white slip, some of the works were coated with a lead glaze and refired at a low temperature. The other works were coated with an ash glaze and refired at a high temperature. The use of white body clay also encouraged new, strongly contrasting color concepts in vessel decoration, which resulted in the decorative use of green lead glaze and Sancai polychrome glazes. This was the starting point of what would become Tang dynasty Sancai wares.


A dish-mouthed bottle with an open mouth, a neck, and a maximum diameter of the belly near the base. It dates from the Northern and Southern Dynasties in China, with relatively few records of burials, and declined in popularity during the Sui and Tang dynasties. Reference is made to the same model (8l), slightly smaller in size than the present one, recorded in Tokiwayama Bunko's Ceramics of the Northern Qi dynasty, in the joint exhibition of the Uragami Sokudo in 2007.


A similar, but deteriorated, piece was excavated at Xiaotun, Anyang (tomb 7:M15, Anyang, Henan province).



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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