唐代筆記 vol.53 瑞士瑞特堡博物館：玫茵堂，唐代黑釉白斑文有蓋壺，或為郟縣窯 - Rietberg Museum, Black Glazed Jar with White Spots and Lid, Meiyintang Collection

唐代花瓷（又稱唐花瓷或唐鈞）的系統整理與研究，主要完成於20世紀60至70年代。以陳萬里、馮先銘為代表的古陶瓷學者，通過多次實地調查，先後在河南省魯山、郏縣、內鄉、禹縣以及山西交城等地發現並確認了唐代燒造花瓷的窯址。其中，以魯山段店窯和郏縣黃道窯最為重要，兩者共同構成了唐代花瓷生產的核心區域。

後世研究中，常將唐代花瓷統稱為「魯山花瓷」或「魯山窯系花瓷」。若細分兩大窯口風格，則可見明顯差異：

• 魯山段店窯的作品，釉層通常更厚重滋潤，釉面呈現較為飽滿的乳濁感，斑紋以月白或灰白斑為主，胎體相對厚實，風格渾厚樸茂；

• 郏縣黃道窯的作品，胎體整體處理得更為輕薄，掛釉更均勻透潤，釉色以天藍或藍白相間的大塊斑為特色，斑紋流動自然，視覺效果更為清新靈動。

黃道窯產品的存世完整器數量明顯少於段店窯，因此更顯珍稀。魯山段店窯與郏縣黃道窯地理位置相近，兩窯之間僅隔寶豐縣，而寶豐縣清涼寺正是宋代著名汝官窯的窯址所在。如今，這些區域均隸屬河南省平頂山市，形成了從唐代花瓷到宋代汝瓷連續發展的陶瓷文化走廊，見證了中原地區古代窯業技術的演進與傳承。

The systematic study and classification of Tang dynasty flower-glazed ware (known as Tang huaci or Tang Jun) was largely accomplished in the 1960s and 1970s. Pioneering ceramic scholars such as Chen Wanli and Feng Xianming conducted extensive field investigations and identified Tang kiln sites producing flower-glazed wares in Lushan, Jiaxian, Neixiang, and Yuxian in Henan Province, as well as Jiaocheng in Shanxi Province. Among these, the Lushan Duandian kiln and the Jiaxian Huangdao kiln stand out as the two most significant production centers.

In later scholarship, Tang flower-glazed wares are often collectively referred to as “Lushan flower-glazed ware” or “Lushan kiln system.” However, a closer distinction between the two major kilns reveals clear stylistic differences:

• Products from the Lushan Duandian kiln generally feature thicker, richer, and more opulent glazes with a milky, saturated quality. The splashes are predominantly moon-white or greyish-white, and the body is relatively thick and sturdy, conveying a robust and vigorous character.

• In contrast, wares from the Jiaxian Huangdao kiln tend to have thinner, more refined bodies. The glaze application is more even and translucent, often displaying large, vibrant sky-blue or bluish-white splashes that flow naturally across the surface, resulting in a fresher and more dynamic visual effect.

Surviving complete examples from the Huangdao kiln are noticeably rarer than those from Duandian, making them particularly prized.

Geographically, the Lushan Duandian kiln and Jiaxian Huangdao kiln lie in close proximity, separated only by Baofeng County. Baofeng is also home to the Qingliangsi kiln site, the renowned official Ru kiln of the Song dynasty. Today, all these areas fall under the administration of Pingdingshan City in Henan Province, forming a continuous ceramic cultural corridor from Tang flower-glazed ware to Song Ru ware. This region vividly illustrates the evolution and inheritance of kiln technology in the Central Plains of ancient China.

唐代 藍斑蓋罐

器名：藍斑蓋罐

年代：唐代，8世紀至9世紀

窯口：河南郏縣黃道窯

類型：花釉瓷（唐花瓷 / 唐鈞）

尺寸：高 29 cm

材質：石胎陶器，灰黃或灰褐色胎，施褐色至黑褐色底釉，上飾天藍或藍白色斑塊

收藏：梅茵堂基金會（Meiyintang Foundation）長期借展予瑞士蘇黎世里特貝格博物館（Museum Rietberg），庫存編號 MYT 211

此蓋罐造型渾圓飽滿，氣度端莊雄渾，蓋與罐身扣合緊密，充分展現唐代北方陶瓷厚重有力的典型風範。胎體堅實厚重，通體施深褐至黑褐色底釉，釉面光潔瑩潤，施釉多不及底，露出自然胎色。肩部與腹部以自然點灑或塗刷手法，施以富含銅、錳、鈦等金屬氧化物的彩釉，經高溫燒成後，兩種釉料相互浸潤、流淌融合，形成大片天藍、藍白相間的斑塊。斑紋或潑墨般恣意，或流雲般飄逸，或葉脈般舒展，變化萬千；黑中透藍，藍中隱白，色彩對比強烈而層次豐富，散發出極具生命力的窯變之美。

藝術與歷史意義：

唐代花釉瓷是中國陶瓷史上最早成功的高溫窯變釉品種之一，被後世譽為「唐花瓷」或「唐鈞」，與唐三彩共同構成唐代彩瓷藝術的雙峰。它突破了單色釉的局限，在深色鐵質底釉之上，創造性地施加異質彩釉，經高溫熔融自然形成斑斕紋飾，充分體現了唐人豪邁浪漫的審美情懷與創新精神。

唐代花釉瓷主要生產於河南地區。20世紀60至70年代，陳萬里、馮先銘等著名學者相繼在河南魯山、郏縣、內鄉、禹縣及山西交城等地發現唐代花瓷窯址。根據考古資料，其製品大致可分為兩大類：

• 一類以黑色或黑褐色底釉飾月白、灰白斑為主，常見腰鼓、罐、壺等器型，主要產於魯山段店窯、禹縣下白峪窯及山西交城窯；

• 另一類以黑色、褐色或鈞藍底釉飾天藍色彩斑為主，器型以壺、罐為主，不見腰鼓，主要出產於郏縣黃道窯與內鄉大窑店窯。

本件藍斑蓋罐以大塊天藍色斑為主要特徵，藍白交融、流動自然，斑塊形狀豐富多變，完全符合郏縣黃道窯的典型風格。黃道窯花釉常見在黑褐釉上潑灑藍斑或藍白斑，其窯變效果生動奔放，被視為「唐鈞之源」。這一高溫窯變工藝對後世宋代鈞窯紅紫斑斕的窯變藝術產生了深遠的啟示與影響。

稀有性：

帶蓋的完整唐代花釉蓋罐極為罕見。在全球範圍內，此類具有明確出版著錄的藍斑蓋罐，包含梅茵堂此件在內，僅知兩件。另一件曾為日本繭山龍泉堂舊藏，收錄於《龍泉集芳》，並載入《世界陶瓷全集》，傳承有序，學術價值極高。此類器物不僅是唐代陶瓷工藝的傑出代表，更是研究唐代北方窯業技術發展與審美風尚的重要實物資料。

繭山龍泉堂，同款作品

黃道窯資料參考：《新展 ▏窑火斑斓——黄道窑陶瓷文物展》

北京故宮博物院黃道窯器物：《郏县窑（黃道窯）黑釉月白斑双系罐》

唐代 黑釉月白斑双系罐，故宮博物院藏

Tang Dynasty Blue-Splashed Lidded Jar (Huangdao Kiln)

Object Name：Blue-Splashed Lidded Jar

Period：Tang Dynasty, 8th–9th century

Kiln：Huangdao Kiln, Jia County, Henan Province

Type：Flower-glazed ware (Tang Huaci / Tang Jun)

Dimensions：Height 29 cm

Material：Stoneware with greyish-yellow or greyish-brown body, covered with a brown to dark brown ground glaze and decorated with sky-blue or bluish-white splashes

Collection：Long-term loan from the Meiyintang Foundation to the Museum Rietberg, Zurich, Switzerland. Inventory number: MYT 211

This lidded jar displays a robust and well-proportioned form, conveying the characteristic powerful and majestic spirit of northern Chinese ceramics of the Tang dynasty. The lid fits securely onto the body, while the thick and sturdy stoneware body is coated with a glossy dark brown to black-brown glaze that stops short of the foot, revealing the natural body tone. On the shoulder and belly, splashes or brushed applications of glaze rich in copper, manganese, and titanium oxides were applied. Fired at high temperature, the two glazes intermingled and flowed into one another, producing large, vibrant patches of sky-blue and bluish-white. The resulting patterns—sometimes bold like splashed ink, sometimes ethereal like drifting clouds, or delicate like unfolding leaves—create an endlessly varied effect. The strong contrast between the deep dark ground and the luminous blue-white splashes generates rich layers and a dynamic, lively beauty born of kiln transformation.

Artistic and Historical Significance：

Tang flower-glazed ware represents one of the earliest successful high-temperature kiln-transmutation glazes in the history of Chinese ceramics. Known as “Tang Huaci” or “Tang Jun,” it stands alongside Tang sancai as one of the two great achievements in Tang dynasty polychrome ceramics. By breaking the monotony of monochrome glazes, Tang potters ingeniously applied contrasting coloured glazes over a dark iron-rich base glaze. Through high-temperature fusion, these glazes naturally produced splendid mottled patterns, embodying the bold, romantic, and innovative aesthetic spirit of the Tang people.

Tang flower-glazed wares were primarily produced in Henan Province. In the 1960s and 1970s, pioneering scholars such as Chen Wanli and Feng Xianming identified Tang kiln sites at Lushan, Jiaxian, Neixiang, Yuxian in Henan, and Jiaocheng in Shanxi. Archaeological evidence divides the products into two main types:

• The first type features black or black-brown glazes decorated with moon-white or greyish-white spots, commonly seen on drum-shaped vessels, jars, and bottles, and is mainly associated with the Lushan Duandian kiln, Yuxian Xia Baiyu kiln, and Jiaocheng kilns in Shanxi.

• The second type features black, brown, or Jun-blue glazes decorated with sky-blue splashes, primarily in the form of jars and bottles (without drum-shaped vessels), and is characteristic of the Huangdao kiln in Jia County and the Dayao dian kiln in Neixiang.

This blue-splashed lidded jar is distinguished by its large sky-blue patches that blend naturally with bluish-white tones and flow organically across the surface—hallmarks of the Huangdao kiln’s typical style. Huangdao wares frequently display splashed blue or blue-white motifs on a black-brown ground, with highly varied and dynamic patterns. Regarded as a primary source of “Tang Jun,” its kiln-transmutation technique profoundly influenced the development of the flamboyant red and purple splashes of Song dynasty Jun ware.

Rarity：

Complete Tang flower-glazed lidded jars are exceedingly rare. Worldwide, only two examples of blue-splashed lidded jars with strong documented publication history are known, one of which is this piece from the Meiyintang collection. The other formerly belonged to the Koyama Longquan Hall (Mayuyama) in Japan and was published in Ryūsen Shūhō (龍泉集芳) as well as in the World Ceramics Collection. Both pieces possess impeccable provenance and hold exceptional academic value. These objects are not only outstanding representatives of Tang ceramic craftsmanship but also crucial physical evidence for the study of northern kiln technology and aesthetic trends during the Tang dynasty.