常盤山文庫有三件米色青磁收藏，分別是：米色青磁杯、米色青磁瓶和米色青磁洗。根據米內山庸夫早期在杭州收集的南宋官窯磁片，結合常盤山文庫的研究成果，這三件米色青磁被定為「南宋官窯」並發表在常盤山文庫影響力極深的學術報告《米色青磁》一書。
米色的審美似乎是東瀛人揮之不去的情結。從村田珠光選中了黃色的「珠光青磁」茶碗開始，日本茶人就有崇尚米色的傳統。黃瀨戶，是瀨戶中一種十分難以燒製的釉色，與傳統中國人認為黃色是燒製青磁失敗的顏色相反，品質高的黃色是十分難以燒製成功的顏色：需要恰當的溫度和較高的技藝。
日本現在黃瀨戶六角盃便是一個十分典型的例子，這類器物在日本的售價也高達數十萬。六角難以燒製，加上釉色難以達成，茶人審美的肯定，造就了黃瀨戶的高價。
黃瀨戶六角盃
米色，呈現出淡淡的黃色調，是一種窯爐中氧化氣氛下形成的顏色，龍泉窯、福建的同安窯便有這類的黃色作品。南宋官窯的窯址，特別是老虎洞窯址，也發現了類似的黃色磁片。如何區分龍泉地區、福建地區的青磁中的特別品種「黃釉」與南宋官窯皇家血統的「黃釉」，則是一個非常有意義的話題，既有美學重要性，也有技術上的啟發性。
這個課題，也是常盤山文庫《米色青磁》一書的主旨。
The Tokiwayama Bunko houses three Beishoku celadon pieces: a Beishoku celadon cup, a Beishoku celadon vase, and a Beishoku celadon washer. Based on early Southern Song Guan ware ceramic shards collected by Yonaiyama Tsuneo in Hangzhou and Tokiwayama Bunko's research findings, these three Beishoku celadon pieces have been attributed to Southern Song Guan Ware and published in the highly influential Tokiwayama Bunko academic report Beishoku Celadon.
The aesthetic appeal of beige seems to be an enduring sentiment for the Japanese. From the time Murata Jukō selected a yellowish "Jukō Celadon" tea bowl, Japanese tea masters have maintained a tradition of revering beige tones. Yellow Seto ware (Ki-Seto), a particularly challenging glaze to produce in Seto ceramics, exemplifies this. Contrary to the traditional Chinese view that yellow hues in celadon indicate firing failure, high-quality yellow glazes are exceedingly difficult to achieve, requiring precise temperature control and advanced craftsmanship.
A typical example today is the Ki-Seto hexagonal cup in Japan, which fetches a remarkably high price—up to several million yen. Its hexagonal shape is challenging to produce, and the glaze itself is difficult to perfect, further amplified by its aesthetic recognition among tea connoisseurs, which drives its market value.
Beishoku, with its faint yellow undertones, is a color achieved under oxidizing kiln conditions. Longquan kilns and Tong'an kilns in Fujian are known to have produced such yellow-toned works. At the Southern Song Guan kiln sites, particularly the Laohudong site, similar yellow shards have been unearthed. Distinguishing between the "yellow glaze" of special varieties from the Longquan and Fujian regions and the "yellow glaze" of Southern Song Guan ware with its imperial pedigree is a meaningful topic, offering both aesthetic and technical insights.
This subject also serves as the central theme of the Tokiwayama Bunko publication Beishoku Celadon.
一、米色青磁杯
べいしょくせいじはい
官窯 高 4.9cm 口径9.3cm 底径2.7cm
南宋時代 12-13世紀
No.21010
中国南宋時代（1127-1279）、浙江省杭州には宮廷用の陶磁器を焼くための窯、官窯が置かれた。そこで焼かれた青磁のうち、酸化炎焼成によって黄褐色に焼きあがったものを、稲穂の色にたとえて米色青磁とよぶ。現在米色青磁とされている青磁は世界に4点、すべて日本にあり、うち3点が常盤山文庫の所蔵であり本作はそのひとつである。胴を鎬蓮弁状に作り、高台を薄く丁寧に仕上げた杯で、明るく柔らかな褐色の釉を細かな二重貫入が覆っている。
掲載図書『神品とよばれたやきもの 宋磁展図録』朝日新聞社、1999年（解説 今井敦）常盤山文庫中国陶磁研究会会報1『米色青磁』財団法人常盤山文庫、2008年（解説 佐藤サアラ）『常盤山文庫と町田市立博物館が語る 中国陶磁うつくし』町田市立博物館、2016年（解説 佐藤サアラ）
高4.9cm，口徑9.3cm，底徑2.7cm南宋時期 12-13世紀
編號：No.21010
在中國南宋時期（1127-1279），浙江省杭州設有專為宮廷燒製陶瓷器的官窯。在這些官窯中燒製的青瓷中，通過氧化焰燒成呈現出黃褐色的作品，被比作稻穗的顏色，稱為「米色青磁」。目前被認為屬於「米色青磁」的青瓷全世界僅存4件，且全部藏於日本，其中3件為常盤山文庫收藏，本作便是其中之一。此杯通體刻有棱狀的蓮瓣紋飾，高足薄削且修整得極為精細，釉面呈明亮柔和的黃褐色，並覆蓋著細密的雙層開片。
收錄書籍
《被譽為神品的陶瓷：宋瓷展圖錄》，朝日新聞社，1999年（今井敦解說）
《常盤山文庫中國陶瓷研究會會報1：米色青磁》，常盤山文庫財團法人，2008年（佐藤莎拉解說）
《常盤山文庫與町田市立博物館的中國陶瓷之美》，町田市立博物館，2016年（佐藤莎拉解說）
Cup, ‘Beishoku’ Celadon
Guanyao, H 4.9cm D 9.3cm
Southern Song dynasty, 12-13th century
No.21010
Publications*Song Ceramics, Asahi Shimbun,1999 (see commentary by Atsushi Imai)*The Bulletin of the Chinese Ceramic Study Association of Tokiwayama Bunko Foundation vo.1 Beishoku Celadon, Tokiwayama Bunko Foundadion, 2008 (see commentary by Sarah Sato)*Fascinating Chinese Ceramics: The Machida City Museum and Tokiwayama Bunko Foundation Collections, Machida City Museum, 2016 (see commentary by Sarah Sato)
二、米色青磁洗
べいしょくせいじせん
官窯 高 5.4cm 口径19.7cm 底径11.4cm
南宋時代 12-13世紀
No.21025
中国南宋時代（1127-1279）、浙江省杭州には宮廷用の陶磁器を焼くための窯、官窯が置かれた。そこで焼かれた青磁のうち、酸化炎焼成によって黄褐色に焼きあがったものを、稲穂の色にたとえて米色青磁とよぶ。現在米色青磁とされている青磁は世界に4点、すべて日本にあり、うち3点が常盤山文庫の所蔵であり本作はそのひとつである。「米色青磁」というくくりの中にあっても、3点の釉色がそれぞれ異なる趣を呈すように、酸化・還元の度合いによって生じる焼き上がりの色はさまざまで、その幅は広い。本作は高台裏に、奥深く幾重にも畳重なるような二重貫入があり、官窯の特徴を示している。
掲載図書常盤山文庫中国陶磁研究会会報1『米色青磁』財団法人常盤山文庫、2008年（解説 佐藤サアラ）『常盤山文庫と町田市立博物館が語る 中国陶磁うつくし』町田市立博物館、2016年（解説 佐藤サアラ）
在中國南宋時代（1127-1279），浙江省杭州設立了專為宮廷燒製陶瓷器的官窯。在這些官窯中燒製的青瓷作品中，經氧化焰燒成而呈現出黃褐色的器物，被比作稻穗的顏色，稱為「米色青磁」。目前被認為屬於「米色青磁」的青瓷，全世界僅存四件，且全部收藏於日本，其中三件由常盤山文庫收藏，本作便是其中之一。
即便同屬於「米色青磁」範疇，三件藏品的釉色仍各具特色。這種燒成顏色的差異，取決於燒製過程中的氧化或還原程度，變化幅度極為廣泛。本作在高足內側可見層層疊疊的雙重開片，深邃且多層，展現了官窯的典型特徵。
收錄書籍
《常盤山文庫中國陶瓷研究會會報1：米色青磁》，常盤山文庫財團法人，2008年（佐藤莎拉解說）
《常盤山文庫與町田市立博物館的中國陶瓷之美》，町田市立博物館，2016年（佐藤莎拉解說）
Basin, ‘Beishoku’ Celadon
Guanyao, H 5.4cm MD 19.7cm BD 11.4cm
Southern Song dynasty, 12-13th century
No.21025
During the Southern Song Dynasty in China (1127–1279), a dedicated imperial kiln was established in Hangzhou, Zhejiang Province, to produce ceramics for the court. Among the celadon wares produced there, those that were fired in an oxidizing atmosphere and turned a yellowish-brown color were likened to the color of rice ears and are referred to as Beishoku Celadon. Currently, there are only four known pieces of Beishoku Celadon in the world, all of which are housed in Japan. Of these, three pieces belong to the Tokiwayama Bunko collection, with this piece being one of them.
Even within the category of Beishoku Celadon, the three pieces exhibit distinct glaze characteristics. The firing results vary greatly depending on the degree of oxidation or reduction during the firing process, leading to a wide range of color variations. This particular piece features a deeply layered double craquelure on the interior of the foot ring, a hallmark characteristic of wares produced at the imperial kilns.
Publications*The Bulletin of the Chinese Ceramic Study Association of Tokiwayama Bunko Foundation vo.1 Beishoku Celadon, Tokiwayama Bunko Foundadion, 2008 (see commentary by Sarah Sato)*Fascinating Chinese Ceramics: The Machida City Museum and Tokiwayama Bunko Foundation Collections, Machida City Museum, 2016 (see commentary by Sarah Sato)
三、米色青磁瓶
べいしょくせいじへい
官窯 高21.6cm 底径10.1cm
南宋時代
No.21016
中国南宋時代（12-13世紀）、浙江省杭州には宮廷用の陶磁器を焼くための窯、官窯が置かれた。そこで焼かれた青磁のうち、酸化炎焼成によって黄褐色に焼きあがったものを、稲穂の色にたとえて米色青磁とよぶ。現在米色青磁とされている青磁は世界に4点、すべて日本にあり、本作はそのひとつである。日本で下蕪（しもかぶら）形とよばれるこの形は、もとは中国古代の金属器に倣ったもので、宋代の墓から青銅器や銀器の出土が知られ、宋時代にこの形の流行があったことがうかがわれる。この瓶は形にゆがみがあり、頸が一方に傾いている。また全体を覆う淡黄褐色の釉は胴裾部の一部でぽっと青く窯変しており、窯内の焼成状態が還元と酸化の間で変化したことがわかる。形も釉色も不完全な瓶でありながら、それでもなお今まで伝世してきたところに、この作品に美を見いだした何らかの存在を感じる。現代の眼でみたとき、その魅力はなんといっても淡黄褐色の釉一面にうかぶ二重貫入の妙であろう。垂直に入った褐色の貫入の間に、氷に生じる亀裂のような透明の貫入がさらに畳重なるように入る様子は非常に美しい。還元炎による青の青磁と酸化炎による米色とでは、米色のほうが二重貫入が出やすい傾向にあるが、この瓶は米色のなかでも殊に二重貫入がわかりやすい。
掲載図書『常盤山文庫名品選 墨の彩り』常盤山文庫、2003年（解説 西田宏子）常盤山文庫中国陶磁研究会会報1『米色青磁』財団法人常盤山文庫、2008年（解説 佐藤サアラ）『南宋の青磁―宙をうつすうつわ』根津美術館、2010年（解説 佐藤サアラ）『常盤山文庫と町田市立博物館が語る 中国陶磁うつくし』町田市立博物館、2016年（解説 佐藤サアラ）『常盤山文庫創立80周年記念名品選 蒐集のまなざし』公益財団法人常盤山文庫、20123年（解説 三笠景子）佐藤サアラ「日本における青磁賞翫史 常盤山文庫所蔵南宋青磁を通して」『國華第1534号 特輯 常盤山文庫の宋元美術』國華社、2023年
在中國南宋時期（12至13世紀），浙江省杭州市設有為宮廷燒製陶瓷器的窯場——官窯。在官窯燒製的青瓷中，通過氧化焰燒成而呈現黃褐色的作品，被比作稻穗的顏色，稱為「米色青瓷」。現存的「米色青瓷」全球僅有四件，且均藏於日本，此瓶即為其中之一。
日本稱這種瓶形為「下蕪形」，其原型源自中國古代金屬器。據考古發現，宋代墓葬中曾出土過青銅器和銀器，反映了這種造型在宋代的流行。該瓶器型略有歪斜，瓶頸傾斜一側，整體覆以淡黃褐色釉面。而瓶體下部釉面局部呈現青色窯變，表明燒製過程中窯內氣氛在還原焰和氧化焰之間發生了變化。儘管該瓶在造型與釉色上存在不完美之處，但它能夠流傳至今，似乎體現出某種審美的發現與認同。
從現代的視角來看，這件作品的魅力主要體現在釉面展現的「雙重開片」之美。黃褐色開片縱向分布，其間交織著透明開片，形如冰裂。透明開片層疊於褐色開片之間，呈現出極為精妙的視覺效果。相較於還原焰燒成的青瓷，氧化焰燒成的米色青瓷更容易形成「雙重開片」，而此瓶的「雙重開片」尤為清晰且具有代表性。
參考文獻
《常盤山文庫名品選 墨の彩り》，常盤山文庫，2003年（西田宏子解說）
常盤山文庫中國陶瓷研究會會報1《米色青磁》，常盤山文庫，2008年（佐藤サア拉解說）
《南宋的青瓷—映照天空的器物》，根津美術館，2010年（佐藤サア拉解說）
《常盤山文庫與町田市立博物館所述 中國陶瓷之美》，町田市立博物館，2016年（佐藤サア拉解說）
《常盤山文庫創立80週年紀念名品選 收藏的視線》，常盤山文庫，2023年（三笠景子解說）
佐藤サア拉〈日本青瓷賞鑑史——以常盤山文庫所藏南宋青瓷為例〉，《國華》第1534號 特輯《常盤山文庫的宋元美術》，國華社，2023年
During the Southern Song dynasty in China (12th–13th century), a kiln dedicated to producing ceramics for the imperial court, known as the "Guan kiln," was established in Hangzhou, Zhejiang Province. Among the celadon pieces produced there, those fired with an oxidizing flame to achieve a yellowish-brown hue were likened to the color of rice ears and are called rice-colored celadon. Currently, only four examples of rice-colored celadon are recognized worldwide, all of which are preserved in Japan, and this vase is one of them.
The shape of this vase, referred to in Japan as the shimokabura (literally "lower turnip"), was originally inspired by ancient Chinese metal vessels. Excavations of Song dynasty tombs have unearthed bronze and silver vessels of similar forms, suggesting the popularity of this shape during that period. This vase exhibits slight asymmetry, with its neck tilting to one side. The entire surface is covered with a light yellowish-brown glaze, with a small section near the lower body displaying a blueish kiln transformation. This indicates that the kiln atmosphere fluctuated between reduction and oxidation during firing. Despite its imperfections in both form and glaze, the fact that this vase has been preserved through the ages suggests that it held an intrinsic beauty recognized by past admirers.
From a modern perspective, the vase’s appeal lies in the exquisite phenomenon of its double crackle glaze. Vertical brown crackles are interwoven with transparent ones, resembling ice fractures, layered in a captivating manner. Compared to celadon with a blue hue achieved through reduction firing, rice-colored celadon produced with oxidation tends to exhibit double crackling more readily. Even among rice-colored celadon, this vase is particularly notable for its distinct and pronounced double crackle pattern.
Beishoku Celadon FAQ
1. What is Beishoku Celadon?
Beishoku Celadon is a specific type of Southern Song Dynasty (1127-1279) Guan Ware characterized by its unique yellowish-brown glaze, reminiscent of the color of rice ears. This hue is achieved through an oxidizing firing atmosphere in the kiln, a stark contrast to the typical blue-green celadons produced through reduction firing.
2. How rare is Beishoku Celadon?
Beishoku Celadon is incredibly rare. Currently, only four recognized examples exist worldwide, all of which are located in Japan. Three of these are housed within the Tokiwayama Bunko collection.
3. What are the unique characteristics of the Beishoku Celadon pieces in the Tokiwayama Bunko?
Each Beishoku Celadon piece in the Tokiwayama Bunko – a cup, a basin, and a vase – exhibits distinct glaze characteristics, demonstrating the varied outcomes of firing conditions. The vase notably features a pronounced double crackle glaze, where brown and transparent crackles interweave, creating a visually captivating effect.
4. Why is the yellow color of Beishoku Celadon significant?
The yellow color of Beishoku Celadon holds significant cultural meaning. In traditional Chinese ceramics, yellow was often seen as a sign of a firing failure in celadon production. However, in Japan, yellowish hues in ceramics like Ki-Seto ware are highly prized and require exceptional skill and precise temperature control to achieve. The appreciation of this color speaks to the differing aesthetic sensibilities between the two cultures.
5. What is the significance of the “double crackle” in Beishoku Celadon?
The "double crackle" in Beishoku Celadon is a highly prized aesthetic feature. This occurs when two layers of crackling form in the glaze – brown crackles interlaced with transparent ones. It’s a characteristic more commonly found in celadon fired in an oxidizing atmosphere, such as Beishoku Celadon, adding to its visual appeal and rarity.
6. Why is the shape of the Beishoku Celadon vase noteworthy?
The Beishoku Celadon vase has a distinct shape called “shimokabura” (literally "lower turnip") in Japan. This form originates from ancient Chinese metal vessels and signifies the popularity of this design in the Song dynasty. The fact that the vase's neck is slightly tilted demonstrates that imperfections were not necessarily seen as flaws but as unique characteristics adding to the piece's artistic value.
7. What does the existence of Beishoku Celadon tell us about historical trade?
The presence of all four known Beishoku Celadon pieces in Japan highlights the active historical trade and cultural exchange between China and Japan. It reflects the appreciation for Chinese ceramics in Japan, particularly among tea masters who valued the unique aesthetics and craftsmanship of pieces like Beishoku Celadon.
8. What is the main theme of the Tokiwayama Bunko publication “Beishoku Celadon”?
The publication "Beishoku Celadon" by the Tokiwayama Bunko explores the aesthetic and technical aspects of this rare type of Southern Song Guan Ware. It delves into the significance of the yellow glaze, the techniques used in its production, and the distinguishing features that set it apart from other celadons from Longquan and Fujian regions. The book ultimately aims to deepen our understanding of Beishoku Celadon and its place within the broader context of Chinese ceramic history.
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