一、北魏 彩繪陶文官俑 （Spink & Sons）
A GREY POTTERY FIGURE OF AN OFFICIAL
NORTHERN WEI DYNASTY (AD 386-534)
123⁄8 in. (32 cm.) high, lacquered softwood stand
Provenance
Spink & Son Ltd., London, 1981.
The tall, slender figure is shown with his head turned to the right and his right hand raised in front of his chest.
二、北魏 彩繪陶文官俑 （壺中居）
來源
壺中居，東京, 2005年6月。
出版
大阪市立美術館, 《六朝の美術》, 大阪, 1976年, 圖版 114。
《懷古堂》, 紐約, 2000年秋季刊, 58號。
展覽
紐約, 懷古堂, 2000年。
A PAINTED POTTERY FIGURE OF A MILITARY OFFICIAL
NORTHERN WEI DYNASTY, LATE 5TH-EARLY 6TH CENTURY
11 in. (27.9 cm.) high, wood stand, Japanese fitted wood box
Provenance
Kochukyo, Tokyo, June 2005.
Literature
Osaka Municipal Museum of Art, Rokucho bijutsu (Art of the Six Dynasties), 1976, pl. 114 .
Kaikodo Journal, New York, Autumn 2000, no. 58.
Exhibited
New York, Kaikodo, 2000.
The well-modeled standing figure is shown with body leaning slightly forward with his hands clasped wearing a belted red tunic above layered robes. His face is modeled with a gentle, smiling expression, and he wears a black court cap.
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:
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