宋代筆記 vol.155 洛克菲勒收藏：龍泉窯黑胎花口杯，亞洲協會 - John D. Rockefeller III, Longquan ‘Guan’ Type Leaf-Shaped Cup, Asia Society, Acquired from Heeramaneck Galleries

SACA
Dec 29, 2025
3 min read

此件造型罕見的花口杯，以其內斂而安靜的器形、溫潤而高雅的釉色，以及不尋常的開片現象，清楚揭示了浙江地區部分龍泉窯場，與南宋宮廷所用「官窯」體系之間，可能存在的密切技術與審美聯繫。

器身為典型龍泉系統所見之灰色石質胎，然其釉色呈現偏灰的青綠調，與龍泉青瓷中更為常見的橄欖綠釉色有所差異。尤為值得注意的是，器表可見開片紋理——此一現象在以釉層肥厚、質地瑩潤、近乎玻璃質感而著稱的龍泉窯作品中，實屬少見，反而更接近南宋官窯審美語彙。

本器花口輪廓獨特，其實際用途至今難以確定。亞洲協會的說明認為值得比較的是，元代（1278–1367）金銀器中，曾出現若干造型相近的銀質容器，亦因此有學者主張將本件作品下限延至元代。然而，若從其所體現的整體審美趣味與器形氣質觀之，仍與南宋宮廷文化影響下的陶瓷風格更為契合，故多數研究傾向將其年代定位於十三世紀前半，即南宋晚期。

但此類南宋龍泉窯黑胎的主流看法是南宋早期，在南宋官窯設置窯場的時候由南宋宮廷發出的訂單，後設置南宋官窯老虎洞、郊壇下窯之後，並無此類需求，因為不可能是元代製品。

宋代筆記 vol.155 洛克菲勒收藏：龍泉窯黑胎花口杯，亞洲協會 - John D. Rockefeller III, Longquan ‘Guan’ Type Leaf-Shaped Cup, Asia Society, Acquired from Heeramaneck Galleries

The quiet shape, elegant glaze, and crazing of this unusual leaf-shaped cup illustrate the existence of close ties between some of the Longquan kilns, located in Zhejiang Province, and the Guan wares produced for the Southern Song court. The gray stoneware body of the piece is typical of Longquan wares, while the grayish green of its glaze differs from the more olive tone common in these ceramics. Moreover, crazing is unusual on Longquan wares, which are noted for their rich, glasslike glazes. The shape of the cup is distinctive and its function is difficult to determine. Similarly shaped silver vessels were made during the Yuan dynasty (1278 - 1367), and this cup has also been dated to that period. On the other hand, similarities between the taste manifested in this ceramic and that of the Southern Song period under the influence of the court suggest a date in the first half of the 13th century.

However, the prevailing scholarly view regarding Longquan wares with dark stoneware bodies produced during the Southern Song period places this group firmly in the early Southern Song, rather than in the Yuan dynasty. These wares are generally understood to have been produced in response to direct court commissions issued at a time when the Southern Song court had not yet established its own official kiln complexes.

Once the official Southern Song kilns—most notably the Laohudong and Jiaotanxia kiln sites—were formally established and brought under centralized court control, there would have been no practical or institutional demand for the continued production of such black-bodied Longquan wares as substitutes or alternatives. Their existence is therefore best explained as belonging to a transitional phase, when court taste and technical requirements were still being met through select regional kilns rather than through fully institutionalized official production.

On this basis, it is highly unlikely that such vessels should be dated to the Yuan period. The technical choices, aesthetic orientation, and historical context of production all argue against a Yuan attribution and instead support an origin in the early Southern Song, prior to the maturation of the official Guan ware system.