The Aesthetic Appreciation of Porcelain in the Song Dynasty and a Discussion of the Spread of Jian Ware
|關鍵字:||兔毫，油滴，鷓鴣斑，聯珠紋，建窯茶盞，“hare’s fur” glaze，“oil spot” glaze，“partridge feather” glaze， beaded linear design， Jian tea bowls||公開日期:||九月-2010||期刊:||美術史研究集刊||頁數:||067-112||摘要:||本文將宋代茶盞所謂兔毫、油滴和鷓鴣斑等色釉，納入宋人以人工手法再現自然界的「造作的自然」之脈絡中進行觀察，認為兔毫或鷓鴣斑等其實是宋代的時尚裝飾，是許多瓷窯共同追求倣製的色釉效果，著名的建盞不過是其中傑出的案例之一。另外，本文還討論了流傳於日本的一群品相高妙的建盞，推測其輸入途徑多樣，當中可能包括明代皇帝的賞賜品。
This article focuses on Jian ware tea bowls, the glaze of which is typically streaked or mottled. The main three types are called “hare’s fur,” “oil spot” and “partridge feather.” The author places Jian ware within the context of the Song dynasty aesthetic approach to “recreating nature,” and after thorough examination concludes that the “hare’s fur” and “partridge feather” patterns, in fact, were very fashionable types of decoration during the Song dynasty. Of course Jian tea bowls are the finest examples of the “hare’s fur” and “partridge feather” glazes, but similar techniques can be seen in other wares during that period as well. The article also analyzes a group of exquisite Jian tea bowls which were imported to Japan, and discusses various ways that these pieces were brought into Japan, including the possibility of being presented as official gifts from the Ming dynasty court.
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