易紫仙

2012年之秋，杭州南宋官窯博物館迎來了“弱冠之禮”—一場名為“宋金瓷話”的五館瓷器精品展。二十曰弱冠，弱冠及笄，翩翩之歲。來自大江南北的窯址博物館前來賀喜，拿出了各自的鎮(zhèn)館之寶：越窯瓷碗的千峰翠色，龍泉瓷瓶的委婉風姿，耀州瓷尊的重巒疊嶂，磁州瓷枕的翰墨黑白，至于那南宋御用之各色瓷器，道盡朱墻春色、宮苑雪月……

秋雨綿綿，撩人尋思，撩人閱讀：筆者去赴這場穿越900年的藝術(shù)小宴。

這次“宋金瓷話”展，突出“生活”二字。因在彼時，制瓷業(yè)引來社會繁勝，瓷器已不再是王孫貴胄的專享，也非只是陽春白雪，它們已慢慢融入百姓的生活常態(tài)中。因此，這段青白流韻的歷史不僅在宮廷與華堂間，也在坊巷與陋室間展開。

歷史常常在某一個節(jié)點上十分相似。遙想宋金瓷器的發(fā)展，再對比其后在歐洲的銷售與變異，我們會發(fā)現(xiàn)，不論是在中國還是西方，瓷器的盛行總是始于精英階層，興于下里巴人，終為所有階層的人所使用和欣賞。

漢唐尚武功，兩宋重文治。宋代歷朝皇帝對文化皆極為重視，在社會上形成了一個龐大的文化階層，這對藝術(shù)的發(fā)展大為有利。政和年間，徽宗因不滿當時進貢御用瓷器的瑕疵，遂引入汝瓷及開封東窯等窯口窯系的制造精髓，在東京汴梁照自己的設計、親自指揮燒制巔峰之瓷。自此之后，官窯得以發(fā)展壯大。南宋雖偏安一隅，但在江南繁華之地，百業(yè)興旺，歌舞升平。官博展出了一系列南宋官窯青瓷花瓶與焚香爐?？梢韵胂螅斈昵镲L瑟瑟，高宗拾級明月樓，一彎冷月，讓青瓷尊式熏爐的沉香勾起心底沉思；抑或白雪漫天，插一枝紅梅于青瓷玉壺瓶，對花清供。瓷器，仍是王孫追求藝術(shù)不可或缺之物。

瓷器剛傳至歐洲時，因其稀有和渾然天成，被視作超然的圣物。15世紀后半期，意大利畫家安德雷亞·曼泰尼亞所繪的《東方三賢朝圣》中，最年長的賢者將一盞盛滿黃金的中國青花有蓋茶盅獻予圣嬰耶穌和圣母，這里的青花瓷的神圣寓意不言自明。1514年，文藝復興威尼斯畫派畫家貝里尼的《眾神聚宴》，描繪了古羅馬眾神于林泉間聚宴暢飲之景，其中有三只裝盛物的瓷缽描繪于突出位置。據(jù)專家考證，“這三只瓷缽的形體與風格、花紋都表明，確為明朝宣德成化年間之物”。畫中的瓷器是供諸神享用的圣器，而非凡物。

由此可見，瓷的虛靜沉穩(wěn)、透明純凈，不僅成就了中國宮闈中的分外雅致，還契合了西方文化中至純至善而圣的寓意。但若將瓷僅限于這個物外超然，那就狹隘了。畢竟，它由土而成，是普遍的存在。

宋金時期瓷器制造業(yè)的興盛與普及，源于當時商品經(jīng)濟的蓬勃發(fā)展?！稏|京夢華錄》《都城紀勝》等描寫汴梁和臨安都市經(jīng)濟的著作中，皆有描述兩宋全國工商業(yè)活動的各種細節(jié)。城鎮(zhèn)解放，商賈云集，“人口浩穰……所謂花陣酒池，香山藥海，別有幽坊小巷，燕館歌樓，舉以萬數(shù)”。宋人愛飲茶、斗茶，金人好飲酒。酒肆茶坊多如牛毛。“誰憐九里松間路，猶有人間市井喧?！痹谀纤闻R安，就連幽靜的九里松，都有茶酒喧囂。而或高雅或粗獷的瓷器給茶酒之風增加許多情趣。這次展出中，北宋耀州窯的青釉刻花花口尊，為酒器，如雨后荷葉羞展，青蔥嫩綠，工藝和技法十分精湛。而坊間的茶具酒器，雖簡單粗制了些，卻多了一分恣意隨性。同是耀州窯，用金代的青釉素面小碗喝酒，或用黑白釉茶盞吃茶，不乏率真。金秋攜友賞月，月白釉的執(zhí)壺配上青釉印花菊紋碗，實乃賞心樂事。

在這次展覽上，筆者覺得瓷瓶為最多，尤是梅瓶，比如白底黑花的磁州窯梔子花紋梅瓶、青釉纏枝的耀州窯刻花牡丹花紋梅瓶、青瓷的折肩瓶。這當然是因為宋代人愛瓶花，不僅士人愛，平民也愛。《西湖老人繁勝錄》有記：“（端午）初一日，城內(nèi)外家家供養(yǎng)……雖小家無花瓶者，用小壇也插一瓶花供養(yǎng)，蓋鄉(xiāng)土風俗如此?！币颉板X塘有百萬人家，一家買一百錢花”，賣花者一早獲一萬錢也非稀奇事。瓷瓶有貴重的，也有在當時不那么貴重的，像宋代耀州窯黑釉花瓶，無瓶者用瓷壇也可以代之。不管這瓷質(zhì)容器如何，都不能阻擋平民插花的樂趣，這瓶花之樂，可是真正的眾樂樂。

而在西方，隨著遠東航路的開通，中國瓷器的大量外銷，16世紀后期，大西洋沿岸國家的人民已不再將瓷器當做圣物。據(jù)傳，1562年，參加特倫托會議的布拉加主教兼葡萄牙大使巴托馬蒂雷斯接受教皇庇護四世宴請。巴托馬蒂雷斯從教皇使用的大量銀制器皿聯(lián)想到教會周遭無數(shù)的饑貧信徒，于心不安，遂向教皇進言：中國瓷器雅于銀器，雖易碎，但價格較低，望其將銀器換為瓷器。除了外觀與價格優(yōu)勢外，瓷器對歐洲人而言還有一個妙處。17世紀以前，歐洲常暴發(fā)瘟疫，其中一個原因便是劣質(zhì)的儲存容器和餐具：因天氣多變，食物混雜串味，容易霉變。而瓷器氣孔少、防水密封，有利于食物的儲存并保證其衛(wèi)生，瓷器在歐洲大量普及后，從一定程度上有助于歐洲人的健康。這說明，瓷器已不再是高置于神龕上的圣物，而成為世俗生活的一部分。

瓷器在中外，最終接了地氣，但卻不會淪為俗類。它普及民間，可以是一個放菜的罐子、盛滿葷酒的碗、隨意插花的瓶子，使用價值得到最大限度發(fā)揮，但藝術(shù)價值不會因其沖破精英主義的藩籬而消解。它仍然是文人騷客表現(xiàn)情懷的載體，是尊貴氣節(jié)，也是一盞青燈、一杯淡茶、一方青硯、一瓶寒梅、一卷好書的寧靜悠遠。法國文學家雨果曾在一首詩中描述中國瓷器：“在釉彩鮮艷的陶瓷中，繪著天真的象征?！奔词勾梢呀?jīng)不再是稀奇物件，但它仍是歐洲人眼中渾然天成、返璞歸真的象征。

宋金瓷話，道的是廟堂的高遠，卻也述了市井的繁華。有華有實，也許正是瓷器的魅力所在。

（本文攝影：李?忠）

Anniversary Exhibition Tells China Story in Ancient Dynasties

By Yi Zixian

The Southern Song Imperial Kiln Museum is celebrating its 20th anniversary in the autumn， 2012 by holding an exhibition of chinaware of the Song Dynasty and Jin Dynasty in conjuncture with four other museums. The other four museums are closely associated with sites of ancient kilns： Yue Kiln， Longquan Kiln， Yaozhou Kiln and Cizhou Kiln. The exhibits combine to feature the everyday-life chinaware of the Song Dynasty （960-1279） and the Jin Dynasty （1115-1234）. The exhibition started on October 27 and will go through January 20， 2013.

Ninety percent of the 200 exhibits are archaeological finds and 20 of them are first-grade national cultural relics.

The exhibition aims to feature how chinaware played a part in life， for during the historical period the porcelain utensils were no longer exclusively used by royal houses. They had trickled down to the lower social strata. Porcelain utensils were widely used in everyday life by ordinary people.

Historical periods often resemble each other in terms of chinaware development. Chinaware became popular with ordinary people during the Song and the Jin dynasties. In Europe， royal houses and nobles were the first users and then chinaware began to play a part in the life of ordinary people. In both China and Europe， chinaware experienced this transition in its use.

The highly cultured emperors of the Song Dynasty promoted culture. Dissatisfied with the blemishes of the chinaware tributes， Emperor Huizong designed and oversaw chinaware production in the capital of the Northern Song Dynasty. The Imperial Kiln came into being and made its finest reputation. Contented with the peace in the south， the Southern Song Dynasty saw the booming of chinaware production. A series of celadon vases and incense burners on display at the exhibition indicate that the chinaware was still an art pursuit of the royal house during the Southern Song Dynasty.

In Europe， chinaware was first regarded as something noble and sacred. In “The Adoration of the Konige” by Andrea Mantegna （ca.1431-1506）， we see a blue-white porcelain cup filled with gold. In “The Feast of Gods” by Giovanni Bellini in 1514， we see three large porcelain bowls in conspicuous places. Some experts point out that the shape， style and pattern of the three bowls are surely chinaware produced in China in the years of Emperor Xuande of the Ming Dynasty （1368-1644）. Scholars may argue about the origin of these chinaware pieces， but it is evident that these chinaware objects in the two paintings are sacred utensils， not something used in the everyday life of ordinary people.

The widespread use of chinaware during the Song and the Jin dynasties is attributed to the booming economy. The utensils for wine drinking and tea sipping on the display at the exhibition tell the story of the prevalent teahouses and wine shops.

The flower vases on the display indicate that it was a fashion of the Song Dynasty to have flowers at home. It is said that scholars and ordinary people of the Southern Song Dynasty loved to have flowers arranged in vases at home. Flowers and vases were a precious part of their daily lives and they spent money on both flowers and vases.

As ocean-shipping routes between Europe and the Far East opened up， large numbers of porcelain utensils manufactured in China were able to make their way to Europe. In the late 1700s， chinaware was no longer regarded as sacred in European countries along the coast of the Atlantic Ocean. The widespread use of chinaware in Europe is said to have helped reduce plagues there. Comparatively， porcelain utensils are better food containers， in which food is less likely to go bad.

As exhibits indicate， porcelain has never lost its noble touch even though a specific utensil may be used as a jar for pickled vegetable， a bowl for coarse wine， a vase for flowers. The story these exhibits combine to tell is about the noble and the common， the artistic and the pragmatic.