A superb black-glazed russet-painted 'vortex' 'temmoku' jar, Northern Song dynasty | 北宋 黑釉鐵鏽花渦紋罐

Collection of Mosaku Sorimachi (1888-1962).

Collection of Sakamoto Gorō (1923-2016).

反町茂作氏（1888-1962年）收藏

坂本五郎（1923-2016年）收藏

Shadanhojin Nihon Toji Kyokai Ju-shunen Sō ji meihin ten / Exhibition of Sung Ceramics: Celebrating of the Tenth Anniversary of The Japan Ceramic Society, Takashimaya Nihonbashi, Tokyo, 1955, cat. no. 60.

Sou, Korai Momoyama-ki: Touji Hyaku sen-ten / 100 Master Ceramics in Song. Koryo and Momoyama Periods, Tokyo, 1960, cat. no. 18.

Chugoku Sou Gen Bijutsu-ten / Chinese Arts of the Sung and Yuan Dynasties, Tokyo National Museum, Tokyo, 1961, cat. no. 264.

Shinkan kansei kinen tokubetsu-ten / The Special Exhibition in Memory of the New Building, Kyoto National Museum, Kyoto, 1966, cat. no. 274.

《社団法人日本陶磁協会十周年記念：宋磁名品展》，日本橋髙島屋，東京，1955年，編號60

《宋・高麗・桃山期：陶磁百選展》，東京，1960年，編號18

《中國宋元美術展》，東京國立博物館，東京，1961年，編號264

《新館完成記念特別展覧会図版目録》，京都国立博物館，京都，1966年，編號274

Toki Zuroku Shina-hen [A Pictorial Catalogue of Pottery, China], vol. 7, part 1, Tokyo, 1938, p. 98, pl. 129.

Fujio Kayoma, et al., Sekai Toji Zenshu / Collection of World's Ceramics, vol. 10: Song and Liao, Tokyo, 1954, pl 67.

Fujio Koyama, et al., Toki Zenshu / Complete Works of Ceramic, vol. 13: Cizhou wares in Song, Tokyo, 1958, pl. 64.

Fujio Koyama, Tsubo / Vase, Kyoto, 1965, pl. 65.

Gakuji Hasebe, Seizo Hayashiya, Chugoku kotoji jyou / Ancient Chinese Ceramics, vol. 1, Tokyo, 1971, pl. 164.

Gakuji Hasebe, et al., Sekai Toji Zenshu / Ceramic Art of the World, vol. 12: Song, Tokyo, 1977, pl. 248.

《陶器図録》，卷七（上），東京，1938年，圖版129

小山富士夫編，《世界陶磁全集》，卷十：宋遼篇，東京，1954年，圖版67

小山富士夫編，《陶器全集》，卷十三：宋の磁州窯，東京，1958年，圖版64

小山富士夫，《壺》，京都，1965年，圖版65

長谷部樂爾、林屋晴三，《中國古陶磁》，上冊，1971年，圖版164

長谷部樂爾，《世界陶磁全集》，卷十二：宋，東京，1977年，圖版248

Compared to the other famous wares of the Song dynasty, black-glazed ware represents a more adventurous and varied early ceramic production. The ceramic historian Nigel Wood describes the iron-rich glazes of black wares as seeming 'to evoke the very earths of China' as their main raw materials were often sourced from the clays, river muds and silts of both north and south China (Chinese Glazes, London, 1999, p. 137). From the Tang dynasty black-glazed stonewares began to make significant contributions to Chinese ceramics, with the best Tang wares being produced at the kilns in the Yellow River area of northern China. Minimalist forms that were often inspired by nature, covered with monochrome glazes, soon led to painted and splashed designs which were achieved by exploiting lighter overglazes on the dark ground or firing temperatures. Black wares were revived in the Song dynasty, sometimes decorated with contrasting patterns, for example with raised ribs of white slip or clay, or with russet-brown sparsely painted motifs of birds or flower sprays. The potters skilfully manipulated their materials to capture a likeness of other materials, such as oil-spot, 'hare's-fur', and partridge-feather markings.

The type of ovoid wide-mouthed jar is one of the long-lasting forms, going back to the Neolithic culture of China in the 4th - 3rd millennium BC, and continued through the Bronze Age, the Han and Tang dynasties, whose pottery employs both naturalistic and geometric decoration. The present jar, with its well-rounded ovoid body covered in an even black glaze and four russet-painted swirls, is a superb example of the spontaneity characteristic of black wares. While the majority of Song black wares choose naturalistic motifs such as birds and plants, this example takes a bold and highly abstract 'vortex' motif, drawing on past traditions and contemporary aesthetics resulting in a highly vibrant piece. This iconic piece has appeared in numerous exhibitions and publications including the 1961 Tokyo National Museum Exhibition, Chinese Arts of the Sung and Yuan Dynasties, cat. no. 264; and the seminal publication Ceramic Art of the World, vol. 12: Song, Tokyo, 1977, pl. 248. There is a very similar example and another related example illustrated in Mayuyama Seventy Years, vol. 1, Tokyo, 1976, cat nos 582 and 585.

Black-glazed wares were produced in different places in northern China, including Hebei, Henan, Shanxi and Shandong, though this present example was likely manufactured in Henan. In Japan, it is sometimes called 'Henan temmoku'. The term temmoku (Chinese tianmu, 'Heaven's Eye') is derived from the belief that Japanese monks first brought Chinese black-glazed tea wares to Japan from Buddhist monasteries on Tianmu Mountain, Zhejiang province. Although this black-glazed Vortex Jar is a product of Northern China, the term 'Heaven's Eye' seems particularly suitable to its design and its wondrous beauty and mysterious quality make an association with a sacred mountain of southern China most fitting.

綜觀早期瓷作，黑釉瓷器較其他宋代名瓷更具實驗精神，大膽多變。據陶瓷史學者伍德述，富含鐵質的黑釉似能「勾起對中國大地之聯想」，因其主要材料為黏土與河床泥土，而取自中國各地，無論南北（見《Chinese Glazes》，倫敦，1999年，頁137）。自唐代以降，黑釉器漸成中國瓷器工藝之重要品類，唐朝黑瓷以北部黃河流域為至臻上品，器形簡約，取材自然，罩施單色釉料。後風格演變，於深地上加施淺色釉料，並操控窰燒火候，創製各款裝飾。宋朝復興黑瓷製作，紋飾更見豐富多姿，或飾凸棱營造分明對比，或以棕褐色淡筆描繪花鳥主題。瓷匠巧運創思絕藝，妙仿各式物料，製成兔毫紋、油滴釉及鷓鴣斑等多款黑釉雅器。

本罐器型經典，其源遠溯中國新石器時代（西元前三千年至四千年），經歷青銅器時代，時至漢唐，紋飾以自然主題或幾何圖案為主。此黑釉罐造型豐美，釉料均淨，環體手繪鐵鏽斑，渦紋四組，紋飾獨特，展現黑釉瓷器變化紛呈之生動風格。宋代黑釉瓷器多以花鳥或草木主題紋飾為主，然本品則大膽採用抽象圖案，展露時代風采，兼而承傳經典美學，靈動神韻渾然煥發。此經典佳器曾多次展出，文獻載錄甚詳，包括1961年東京國立博物館《中國宋元美術展》，編號264；又載於重要文獻《世界陶磁全集》，卷十二：宋，東京，1977年，圖版248。另可參照一類近罐例，以及一相關作例，載於《龍泉集芳：創業七十周年記念》，卷一，東京，1976 年，編號582及585。

黑釉瓷主要燒製於中國北部河北、河南、山西及山東等地，本品則應為河南出品，在日本有「天目」之稱。據說日本僧侶從中國浙江天目山佛寺將黑瓷茶具帶回日本，「天目」之名由此衍生。天目山東兩峰有雙池清徐，如天眼圓睜，凝視世間。本品深邃古樸，神秘瑰麗，渦紋如同天眼，雖製於中國北部，然而如此設計與中國南方聖山一脈相襲，相得益彰。