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展覽筆記 vol.14 北齊青黃釉盤口壺 浦上蒼穹堂 - the Northern Qi Jar Lam's Gallery.


展覽筆記 vol.14 北齊青黃釉盤口壺 浦上蒼穹堂






Download the Exhibition Catalogue:

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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。



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: (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





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:

- Midco Lam, Lam's Gallery


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