宋代筆記 vol.159 白鶴美術館：鉅鹿白地黒搔落龍文梅瓶，存世孤品、重要文化財 - Hakutsuru Museum, Cizhou Dragon Meiping Vase, Important Cultural Object

本品為存世孤品。

重要文化財　

白地黑搔落龍文梅瓶

中國　北宋時代

高 40.5 公分　口徑 6.2 公分　腹徑 21.6 公分

磁州窯（河北）

磁州窯原本是指位於河北省邯鄲市近郊磁縣一帶、始燒於十世紀中期（五代末至北宋初）的窯場，且至今仍持續燒造。然而，由於中國北方地區——包括河南、山西、陝西、山東、遼寧、寧夏及內蒙古等地——亦燒製出風格與技術相近的陶瓷器物，今日「磁州窯」一詞已被作為涵蓋上述諸窯系的總稱使用。

本件龍文梅瓶，學界一般認為出自磁州窯系中最具代表性的觀台窯，其生產約於元末、明初之際中止。於北宋至金代盛行的白地黑搔落作品之中，本器被公認為現存傑作之一。

所謂「白地黑搔落」，係先於胎體全面施以白色化妝土，再覆以含鐵黑泥；其後以細密線刻描繪龍紋，以及肩部與近足部呈捻花風格的花瓣紋樣，再將紋樣以外的黑泥悉心掻除，最後施以透明釉高溫燒成。本器推測使用以煤為燃料的饅頭形窯燒造，釉色因而略帶黃色調並呈輕微失透狀態。通體細密貫入，使白與黑的對比不顯生硬，而呈現柔和而深沉的視覺效果。

器腹環繞之龍紋為張口三爪龍，雙目圓睜，鬣毛豐厚而輪廓分明，背鰭起伏有勢，尾部翻捲如魚尾，形象極具異相特徵。尤為特殊者在於其前肢僅具兩足，且高舉之右前足掌部刻有三枚圓形紋樣，推測為有意表現肉球之細節，在同類作品中極為罕見。

所謂「梅瓶」，為中國對此類口小、肩豐、腹部中段急收之瓶式的通稱。由於部分器物上可見「清沽美酒」之銘文，學界多認為其原本用途為酒壺。此外，在小說插圖中，亦可見於婚姻求聘情節中以梅瓶盛酒的描繪。其名稱由來雖未有定論，然後世將此類酒器作為花器，插置梅枝以供觀賞，或為「梅瓶」一名之來源。

White-Slip Black-Sgraffito ‘Dragon’ Meiping Vase

Important Cultural Object

China, Northern Song dynasty

Height 40.5 cm; mouth diameter 6.2 cm; body diameter 21.6 cm

Cizhou ware (Hebei province)

The term Cizhou ware originally referred to kiln sites located in Ci County near modern Handan, Hebei province, which began production in the mid-tenth century (late Five Dynasties to early Northern Song) and continue operating to the present day. However, because ceramics of closely related technique and style were also produced at numerous kiln complexes across northern China—including Henan, Shanxi, Shaanxi, Shandong, Liaoning, Ningxia, and Inner Mongolia—the designation Cizhou ware is now employed as a collective term encompassing this broader group of northern kilns.

This dragon-decorated meiping is generally attributed to the Guantai kiln, regarded as the most representative kiln within the Cizhou tradition, which ceased production around the late Yuan to early Ming period. Among surviving examples of white-slip black-sgraffito wares that flourished from the Northern Song through the Jin dynasty, this vessel is widely acknowledged as one of the finest extant masterpieces.

The white-slip black-sgraffito technique involves first coating the entire body with a layer of white slip, followed by the application of a black iron-rich slip. The decorative motifs—in this case, the dragon on the body and twisted petal-like floral designs on the shoulder and lower section—are then meticulously incised with fine lines, after which the surrounding black slip is carefully scraped away. A transparent glaze is subsequently applied, and the vessel is fired at high temperature. The slightly yellowish, faintly opaque glaze is likely the result of firing in a mantou-shaped kiln fueled by coal. The surface is further characterized by dense crackle, softening the contrast between black and white and lending the vessel a subdued, harmonious visual quality.

Encircling the body is a three-clawed dragon depicted with an open mouth, wide, alert eyes, richly articulated mane, undulating dorsal fin, and a curling fish-like tail, forming a highly distinctive and unconventional image. Notably, the dragon is rendered with only two forelegs. On the raised right forepaw, three small circular motifs are incised, plausibly intended to represent paw pads—an exceptionally rare detail among related works.

The term meiping refers in Chinese usage to vessels of this form, characterized by a small mouth, broad shoulders, and a sharply tapering lower body. Inscriptions such as qing gu mei jiu (“fine, clear wine”) found on some examples suggest their original function as wine containers. Literary illustrations further depict meiping vessels in scenes of marriage proposals, where wine is prepared and presented. Although the precise origin of the name remains uncertain, it has been proposed that vessels originally intended for wine were later appreciated as flower vases, particularly for displaying a single branch of plum blossom, from which the term meiping (“plum vase”) may have derived.

中英文 FAQ

白地黑搔落龍文梅瓶（北宋，磁州窯）藏於 白鶴美術館（重要文化財）

Q1｜這件器物的年代與窯口為何？

中文：本器為中國北宋時期作品，屬磁州窯系，學界普遍認為出自其中最具代表性的觀台窯。

English:This vessel dates to the Northern Song dynasty and belongs to the Cizhou ware tradition. It is generally attributed to the Guantai kiln, regarded as the most representative kiln within the Cizhou system.

Q2｜何謂「白地黑搔落」技法？

中文：白地黑搔落是先施白色化妝土，再全面覆以黑泥，之後以線刻方式描繪紋樣，將紋樣以外的黑泥細心掻除，最後施透明釉燒成的裝飾技法。

English:White-slip black sgraffito involves applying a white slip over the body, covering it with a black iron-rich slip, incising the design, scraping away the surrounding black slip, and finally applying a transparent glaze before firing.

Q3｜此件龍紋有何藝術與圖像特徵？

中文：器身所飾為三爪龍，張口怒視，鬣毛豐厚，背鰭起伏，尾部呈魚尾狀。尤為罕見的是龍僅具兩前足，且右前足掌部刻有三枚圓紋，推測為肉球表現，為同類作品中極少見的細節。

English:The dragon is depicted with three claws, an open mouth, wide eyes, a pronounced mane, an undulating dorsal fin, and a curling fish-like tail. Exceptionally, it has only two forelegs, and three small circular motifs appear on the raised right forepaw, likely intended to represent paw pads—an extremely rare feature.

Q4｜為何認為此器為磁州窯中的傑作？

中文：其構圖完整、線刻精細，掻落控制精準，釉色與貫入效果柔化黑白對比，整體達到技法、造型與視覺表現的高度平衡，在北宋至金代白地黑搔落作品中備受推崇。

English:The vessel demonstrates exceptional compositional control, refined incision, and precise sgraffito execution. The glaze tone and dense crackle soften the black-and-white contrast, achieving a rare balance of technique, form, and visual depth among surviving works of this type.

Q5｜釉色略帶黃色並呈失透，是否屬缺陷？

中文：並非缺陷。此現象被認為與使用煤炭燃料的饅頭形窯燒成有關，是北方磁州系陶瓷的典型燒成特徵之一。

English:No. The slightly yellowish and faintly opaque glaze is likely the result of firing in coal-fueled mantou-shaped kilns and is considered a characteristic feature of northern Cizhou wares.

Q6｜什麼是「梅瓶」？其原始用途為何？

中文：梅瓶指口小、肩豐、腹部中段急收的瓶式。部分器物帶有「清沽美酒」銘文，顯示其原本可能作為酒壺使用。

English:Meiping refers to a vessel with a small mouth, broad shoulders, and a sharply tapering lower body. Inscriptions such as “qing gu mei jiu” suggest that such vessels were originally used as wine containers.

Q7｜「梅瓶」名稱是否與插花有關？

中文：名稱來源尚無定論，但後世將此類酒器作為花器，插置單枝梅花以供觀賞，被認為可能是「梅瓶」一名的由來。

English:While the exact origin of the term remains uncertain, it has been proposed that these vessels were later appreciated as flower vases for displaying a single plum branch, giving rise to the name meiping (“plum vase”).

Q8｜此器在中國陶瓷史上的地位為何？

中文：本器代表北宋磁州窯系在裝飾技法與圖像創造上的高峰，是理解北方民窯審美、工藝成熟度與龍紋圖像演變的重要標準器。

English:This vessel represents a pinnacle of decorative and pictorial achievement within the Northern Song Cizhou tradition and serves as a key reference for understanding northern folk kilns, technical sophistication, and the evolution of dragon imagery.

重要文化財

白地黒搔落龍文梅瓶

（しろじくろかきおとしりゅうもんめいぴん）

中国　北宋時代　高40.5㎝　口径6.2㎝　胴径21.6㎝　磁州窯

磁州窯はもと、１０世紀中頃（五代末～北宋時代初期）に始まり、現代でも操業を続けている河北省邯鄲市近郊の磁県に位置する窯場をさす呼び名でした。ところが、中国北部（河南、山西、陝西、山東、遼寧、寧夏、内蒙古など）の諸窯でよく似た陶器が焼かれていたため、現在ではそれらを含む総称として用いられています。この龍文梅瓶は本来の磁州窯の代表的窯場‧観台窯（元末‧明初頃生産中止）で焼造されたと看做されています。北宋～金時代に盛行した白地黒掻落の現存作品中、傑作の誉れの高いものです。　白地黒掻落とは、素地全体に白土を化粧掛けし、更に全面に黒泥（鉄絵具）をかけ、この瓶の場合、龍文と肩、裾の捻じ花風の花弁文を細かく線刻した後、文様以外の黒泥を丹念に掻き落し透明釉を施して焼き上げる技法です。石炭を燃料とする饅頭形の窯で焼かれた故か、釉が僅かに黄色味を帯びて失透しています。また全面に細かい貫入が入ることにより、白黒の対比が和らいでいる感じがします。　瓶の胴部を廻（めぐ）る口を大きく開けた三爪の龍は、ぐっと見張った眼、力強く縁取られた豊かな鬣（たてがみ）、大きく波打つ背鰭（せびれ）、巻き返った魚尾をもつ異形のもので、しかも前脚が２本しかなく、特に振りかざした右前足の掌に当たるところには、肉球表現を意図したと思われる三つの円文が刻まれています。　ところで梅瓶とは口が小さく、肩が大きく張り、胴の途中から急にすぼまるこの手の瓶の中国における呼称で、器面に「清沽美酒（せいこびしゅ）」と書かれた例のあることから酒壺として使用されたと考えられています。また、小説の挿し絵で、結婚の申し込みに酒を用意した場面に、梅瓶が描かれたりしています。その名の由来についてははっきりしませんが、本来、酒瓶であったものを、花生として梅一枝を挿して鑑賞したところから、梅瓶と呼ばれるようになったとも言われています。