北齊 青磁盤口壺 / Amber Glaze Jar

青磁盤口壺 北齊

A WHITE GLAZED JAR

NORTHERN QI DYNASTY (550-577)

14.5cm

Provenance:

Uragami Sokudo, Tokyo

White body clay wares covered with lead glaze became popular in Shanxi and Henan provinces from the 560’s to the 570’s in the Northern Qi dynasty. They were unfinished “white wares” with an unstable, pale yellow-greenish tone created by impurities in the lead glaze, a technique that more often than not resulted in white wares with pure transparent lead glaze. The combination of such lead glazed white wares and high temperature firing techniques that spread from the ash-glazed firing technique in South China led to the birth of white porcelain. This combination was made possible by the development of unglazed firing and white slip techniques. In other words, after a relatively high temperature unglazed firing of wares coated in white slip, some of the works were coated with a lead glaze and refired at a low temperature. The other works were coated with an ash glaze and refired at a high temperature. The use of white body clay also encouraged new, strongly contrasting color concepts in vessel decoration, which resulted in the decorative use of green lead glaze and Sancai polychrome glazes. This was the starting point of what would become Tang dynasty Sancai wares.

A dish-mouthed bottle with an open mouth, a neck, and a maximum diameter of the belly near the base. It dates from the Northern and Southern Dynasties in China, with relatively few records of burials, and declined in popularity during the Sui and Tang dynasties. Reference is made to the same model (8l), slightly smaller in size than the present one, recorded in Tokiwayama Bunko’s Ceramics of the Northern Qi dynasty, in the joint exhibition of the Uragami Sokudo in 2007.

A similar, but deteriorated, piece was excavated at Xiaotun, Anyang (tomb 7:M15, Anyang, Henan province).

來源:浦上蒼穹堂,東京

盤口壺,敞口、束頸、最大腹徑接近底部。是中國南北朝時期的作品,墓葬出土的記錄較少,至隋唐時期漸式微。參考常盤山文庫《北齊的陶瓷》中記載,2007年浦上蒼穹堂聯合展覽的同款(8l),尺寸比本品略小。

安陽小屯出土有一件類似,但已經殘損的作品(河南省安陽市小屯7:M15號墓出土)。

北齊560年至570年,鉛釉的白胎器物在山西和河南兩省流行。它們是未完成的「白色陶瓷」,由於鉛釉中的雜質呈不穩定的淡黃綠色調,這種技術通常無法燒制出白色陶瓷的純透明鉛釉。這類鉛釉白色器物與從中國南方的灰釉燒制技術傳播而來的高溫燒制技術相結合,促成了白瓷的誕生。這樣的結合是通過素胎燒制和白色化妝土技術的發展而實現的。換句話說,塗有化妝土的素胎經過相對高溫燒制後,其中一些被塗上鉛釉並在低溫下再次燒制。其他作品則被塗上灰釉,在高溫下再次燒制。白色胎土的使用也促進了在器物裝飾上採用全新的、強烈對比的色彩概念,並形成了綠色鉛釉和三彩多色釉的裝飾性使用。這就是唐三彩器物的起點。

$1.00