中國龍泉窯所製作的明亮青綠色青瓷，即所謂的「砧青瓷」，其整體覆蓋著細密的開片紋。所謂的下蕪形，是指器物由較粗的長頸部與下部飽滿而外張的腹部組成的形制。在中國，這種器形廣泛用於金屬器和青瓷的製作。
此器在江戶時代的尾張德川家中有作為杓立使用的記錄。茶道具中的杓立，是用來放置茶杓（即取茶粉或熱水用的小勺）的器具。其主要用途是在茶道過程中，提供一個專門的地方暫時擱置茶杓，保持整個茶道程序的整潔與優雅。
杓立的材質和造型多種多樣，常見的有陶瓷、竹製、木製等。造型上，既可以是單純實用的筒狀，也可以具備裝飾性，以適應茶室的風格或茶席的主題。在某些場合，杓立還可能是收藏家喜愛的藝術品，具有很高的工藝價值。
砧青瓷
对白居易的崇拜
在日本，人们偏偏对白乐天情有独钟，上至天皇高官，下至普通百姓，都对白诗津津乐道，白居易在日本的影响力远远超越了李白与杜甫。
早在平安时代前期，嵯峨天皇就是白居易诗作忠实的爱好者，在他在位期间，汉诗文在日本迎来了全盛期。
千利休、伊達政宗傳來 砧青磁鯱耳花生 靜嘉堂文庫美術館藏
砧（zhēn），きぬた（kinuta），因此也是一个来自中国的名词，现在用来形容质量审美非常高的青瓷。砧，出自白居易的《闻夜砧》：
谁家思妇秋捣帛，月苦风凄砧杵悲。
八月九月正长夜，千声万声无了时。
应到天明头尽白，一声添得一茎丝。
砧，看来是一种声音。
日本的解释是「は砧で布を打つ止むことなく響く音をあらわしているとのこと。」用砧子敲布不停地响起的声音。
诗歌的大概意思是：在某处的家中，一个怀念远征中的丈夫的妻子在秋天里打砧。月黑风高，砧的声音悲哀地回荡着。在八月九月的秋夜里，砧的声音千声万声，不知何时停止。天亮之前头发恐怕要全白。因为打一次砧，白发就会增加一根。
视觉上的美，与凄美的意境，相结合。
中国・龍泉窯で作られた明るい青緑色の青磁、いわゆる「砧青磁」で、全体が細かな貫入に覆われている。下蕪形とは、太めの長い頸と、下部のふっくらと張った胴によって構成された器を指し、中国では金属製品・青磁製品として盛んに製作された。
本品は江戸時代の尾張徳川家では杓立として使用されていた記録がある。
This is a bright bluish-green celadon, commonly known as "Zhèn celadon," produced by the Longquan kilns in China. The entire surface is covered with fine crackle patterns. The "lower bulging form" refers to a vessel shape characterized by a relatively thick and long neck paired with a plump, outwardly expanding lower body. In China, this shape was widely used in the production of metalware and celadon ceramics.
Records indicate that this piece was used as a ladle stand (杓立) by the Owari Tokugawa family during the Edo period.
Zhen Celadon
Reverence for Bai Juyi
In Japan, there is a unique and profound admiration for Bai Juyi (白居易), known as Rakuten (楽天) in Japanese. From emperors and high-ranking officials to ordinary citizens, Bai Juyi's poetry has captivated people across all social classes. His influence in Japan far surpasses that of other great Chinese poets like Li Bai (李白) and Du Fu (杜甫).
As early as the early Heian period, Emperor Saga (嵯峨天皇) was an avid admirer of Bai Juyi's works. During his reign, Chinese-style poetry (kanshi, 漢詩) reached its zenith in Japan.
Kinuta Celadon Vase with Shachihoko Ears
A Kinuta celadon vase with shachihoko-shaped ears, once associated with Sen no Rikyū (千利休) and Date Masamune (伊達政宗), is currently housed in the Seikado Bunko Art Museum (静嘉堂文庫美術館).
The term zhèn (砧), pronounced kinuta in Japanese, originates from China and is now used to describe celadon of exceptional quality and aesthetic appeal. The word zhèn appears in Bai Juyi’s poem "Hearing the Night Pestle" (闻夜砧):
谁家思妇秋捣帛，月苦风凄砧杵悲。八月九月正长夜，千声万声无了时。应到天明头尽白，一声添得一茎丝。
The term zhèn refers to a sound — specifically, the continuous echoing produced by striking cloth with a pestle.
In Japanese interpretation, it is described as:
"The unceasing sound of beating cloth with a pestle (砧) resonates endlessly."
The poem portrays a melancholic scene: in some household, a wife, longing for her husband who is away on military service, pounds cloth on an autumn night. Under the dark moon and in the bitter wind, the mournful sound of the pestle echoes. Throughout the long nights of August and September, the sound seems endless. Before dawn, the wife’s hair may turn entirely white, as each strike of the pestle adds a strand of gray.
The Fusion of Visual and Poetic Beauty
The ethereal beauty of Kinuta celadon aligns seamlessly with the poignant imagery of Bai Juyi’s poetry. The celadon’s tranquil hues and refined craftsmanship evoke a serene yet wistful aesthetic, mirroring the hauntingly beautiful scene depicted in "Hearing the Night Pestle." The fusion of visual elegance and poetic melancholy has contributed to the lasting reverence for both Kinuta celadonand Bai Juyi in Japanese culture.
Kinuta Celadon FAQ
What is Kinuta Celadon?
Kinuta celadon is a type of bright bluish-green celadon produced in the Longquan kilns of China. It is characterized by fine crackle patterns covering its surface. The term "Kinuta" is the Japanese pronunciation of the Chinese word "Zhèn," which refers to the sound of a pestle striking cloth, and comes from a poem by Bai Juyi titled "Hearing the Night Pestle."
What is the "lower bulging form" in Kinuta Celadon?
"Lower bulging form" refers to a specific vessel shape common in Kinuta Celadon. It features a relatively thick and long neck combined with a plump, outwardly expanding lower body. This shape was widely used in China for both metalware and celadon ceramics.
How was Kinuta Celadon used in Japan?
During the Edo period, the Owari Tokugawa family used Kinuta Celadon pieces as ladle stands (杓立). In the Japanese tea ceremony, a ladle stand holds the tea scoop (茶杓) used to handle powdered tea or hot water. It helps maintain cleanliness and elegance during the ceremony.
Why is the term "Kinuta" associated with this type of celadon?
The term "Kinuta" comes from the title of Bai Juyi’s poem, "Hearing the Night Pestle," which describes the sound of a pestle striking cloth. The poem evokes a melancholic mood of longing and the passage of time. This sense of wistful beauty aligns with the aesthetic qualities of Kinuta Celadon, which has led to the adoption of the term to describe these ceramics.
Who was Bai Juyi and why is he important in understanding Kinuta Celadon?
Bai Juyi (known as Rakuten in Japan) was a renowned Tang Dynasty Chinese poet deeply admired in Japan. His influence extended from emperors to commoners, surpassing even famous poets like Li Bai and Du Fu. His poem "Hearing the Night Pestle" and its imagery of the sound of the "zhèn" (kinuta) inspired the naming of this specific type of celadon.
What is the significance of the poem "Hearing the Night Pestle"?
"Hearing the Night Pestle" describes a woman pounding cloth with a pestle on an autumn night, longing for her absent husband. The continuous sound of the "zhèn" (kinuta) evokes a feeling of passing time, melancholy, and beauty. This melancholic beauty resonates with the aesthetic qualities of Kinuta Celadon, contributing to its significance in Japanese culture.
How does Bai Juyi's popularity in Japan connect to Kinuta Celadon?
Bai Juyi's immense popularity in Japan, particularly during the Heian period, solidified his cultural influence. The poignant imagery and sound described in his poem, "Hearing the Night Pestle," resonated with Japanese aesthetics. This cultural connection contributed to the term "Kinuta" being used to describe the specific type of celadon, which embodies a similar sense of serene and wistful beauty.
What does the combination of visual and poetic beauty represent in Kinuta Celadon?
Kinuta Celadon embodies a fusion of visual and poetic beauty. The celadon’s serene hues and refined craftsmanship evoke tranquility, while its association with Bai Juyi’s melancholic poem adds a layer of wistfulness. This combination has contributed to the enduring reverence for both Kinuta celadon and Bai Juyi in Japanese culture.
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