北宋米色雙魚洗

宋代 公元. 960 – 1279

d. 12.5 厘米

出處
美國博物館收藏
香港松心閣

類似例子
台北故宮博物院

米色是日語中描述黃釉的術語,形容顏色如秋天的稻穗一般典雅深邃。對這種低調的米黃色的鑑賞起源於宋代,隨後唐物的鑑賞在東瀛隨著千利休的茶道繼續發揚光大。

杭州」老虎洞」窯出土的米色釉南宋官窯器數量非常有限,在日本常盤山文庫現藏有三件此類作品。完整器物的出現充分說明宋代對青瓷的理解是具有包容性的,黃釉器物並不被當為廢品處理,而是繼續保存下來,甚至可能在宮中都受到歡迎。

以茶人”村田珠光 “命名的黃色茶碗也體現了日本人對米色的喜愛。這種雙魚在日本茶道裏千家的茶會中也曾被用作懷石的食器。

雙魚圖案可追溯到漢代,在南宋末年再次流行起來,象徵著當時人們對和平與和諧的希望。此雙魚洗來自美國博物館收藏,底座上貼有綠色博物館編號標籤。

A Beishoku Glaze Twin Fish Washer

Song Dynasty AD. 960 – 1279
d. 12.5 cm

Provenance
American Museum collection
Lam’s Gallery, Hong Kong

Similar Example
Palace Museum Taipei

Beishoku is the Japanese term for describing the rice color glaze. The appreciation of the modest and understated rice yellow color originated in Song Dynasty and further developed in Japan through Tea Ceremony in the school of Sen no Rikyu as Karamono.

A very limited quantity of ‘Beishoku’ glaze southern song guan wares were excavated in Hangzhou ‘Laohudong’ Kiln, three surviving examples could be found in Tokiwayama Bunko in Japan. This is significant evident that such glaze were appreciated among the Song Court and not to be considered as kiln waster.

The fond of the yellow color is also evident in the yellow tea bowl named after the tea master ‘Murata Juko’. Twin fish of such type are also used in Kaiseiki as food vessel in Urasenke School of Tea Ceremony.

The motif of the twin fish goes back to Han Dynasty, it becomes popular again during the end of Southern Song Dynasty as a sign of hope for peace and harmony. The present dish was in an American museum collection with a green label attached to the base.

$1.00