2022年8月11日，人們在美國密蘇里州堪薩斯城的納爾遜-阿特金斯藝術博物館參觀中國古代重要藏品展廳。
納爾遜博物館收藏了超過 7500 件高質量的中國作品，從陶瓷到傢具，從繪畫到雕塑，應有盡有。
"博物館館長兼中國藝術專家Ling-en Lu說："我們的中國藝術藏品也許不是最多的，但卻是世界上最好的之一。自 1933 年成立以來，該博物館一直積極收集、保存、研究和展示中國藝術作品。其中國藝術藏品包含了不同歷史階段的傑作。
最受人矚目的南海觀音，高 2.4 米、寬 1.68 米、厚 1.1 米，出自中國遼（907-1125 年）或金（1115-1234 年）時期，由一棵楊樹的樹幹雕刻而成。這尊栩栩如生的雕塑為大廳營造出一種寧靜和溫暖的感覺。
在北宋（960-1127 年）磁州窯鉅鹿縣 "龍紋花瓶 "前，Ling-en Lu說這是世界上為數不多的保存完好的同類花瓶之一。
實際上，這是存世唯一一件的孤品。這件作品尺寸巨大，達到了驚人的56.82cm x 25.4cm，這件作品有著將近100年十分詳細的展覽和出版紀錄。隨著磁州窯鉅鹿縣類型認知的提升，國際藏家開始收集這一類型的器物，日本、歐美都在上世紀30年代開始；中國藏家對鉅鹿縣的認知和收藏，如今剛剛開始。
唯一一件類似的梅瓶，同樣為鉅鹿縣出土，現藏日本白鶴美術館。這兩件器物經過一個世紀的考驗，其藝術造就震驚整個西方世界，並形成極高的共識。
磁州窯龍瓶為什麼重要？
一、鉅鹿縣不可複製，承載著歷史事件，封存了宋徽宗宣和年間漳河氾濫事件，封存的藝術瑰寶被稱為中國的龐貝。
二、龍紋的裝飾出在一件民窯的作品上，是對「宋代五大名窯」概念的一個疑問。
三、藏家和學者都可以從這件作品上，感受到宋代社會的自由和包容。其存在讓美的邊界和可能性被拓寬，讓今人對宋代的對美的理解有了新的認識。
何謂美，何謂宋人之美？
宋磁彷如一本教科書，明代人提出的「五大名窯」的概念，在如今已逐漸被龐大的宋代磁器體系逐漸擊潰，多樣性、可能性的宋代主題，吸引著無數的藏家打開自己的雙眼，拓寬對美的認知邊界，通過對文化的理解和深入，連結真正的宋代精神世界。
Description
Baluster-shaped vase with long neck and flaring foot decorated with a single dragon and petal-like forms; the decoration was produced using the sgraffito technique. On one of the rising petals at the base, the signature of the potter reads, "flower vase made by the Liu family" (translation).
Exhibition History
Masterpieces of Asian Art, Asia Society, New York, 1960.
Chinese Ceramic Art, Nihon Keizai Shimbun, Mayuyama Co., Takashimaya Department Store, Tokyo, Japan, April 5-19, 1960.
Freedom of Clay and Brush through Seven Centuries in Northern China: Tz'u-Chou Type Wares, 960-1600 A.D., Indianapolis Museum of Art, November 17, 1980 - January 18, 1981.
Cleveland Museum, August 4 – September 6, 1981; China House Gallery, New York, March 20 – May 24, 1981.
Provenance
Purchased through Laurence Sickman by The Nelson-Atkins Museum of Art, Kansas City, MO, 1935.
Publication
International Exhibition of Chinese Art (London: Burlington House, 1935), no. 1246, ills (repro.).
American Magazine of Art (October 1936), 29:663-6, ills (repro.).
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 119, fig. 21 (repro.).
R.L. Schollman, C.E. Slatkin, The Enjoyment of Art in America (Philadelphia; New York: Lippincott, 1942), pl. 179 (repro.).
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 3rd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1949), 138 (repro.).
The Nihon Keizai Shimbun (Tokyo, Japan: April 27, 1955) (repro.).
Tosetsu, Japan Ceramic Society (Tokyo: J. Mayuyama, April 1956), 92 (repro.).
H.W. Janson, Key Monuments of the History of Art (1959), pl. 346 (repro.).
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 210 (repro.).
Masterpieces of Asian Art in American Collections, exh. cat. 10 (1960), 18, ills (repro.).
Chinese ceramics (Tokyo: Takashimaya Department Store, April 5-17, 1960), 8, no. 30 (repro.).
Fujio koyama, ed., Chinese Ceramics, One Hundred Selected Masterpieces from Collection in Japan, England, France, and America (Tokyo: Nihon Keizai Shimbun, 1960), pl. 54 (repro.).
Sung-tai Min-Chien T’ao-lu (Shanghai, 1962), pls. 140-143 (repro.).
Jan Wirgin, “Sung Ceramic Designs,” Bulletin of the Museum of Far Eastern Antiquities, no. 42 (Stockholm, 1970), pl. 49h (repro.).
Chinese Art in Western Collections: Ceramics, vol. 5 (Tokyo: Kodansha, 1972), pl. 25 (repro.).
Ross E. Taggart, George L. McKenna, and Marc F. Wilson, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. II, Art of the Orient. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 84 (repro.).
Sherman E. Lee, “The Changing Taste for Chinese Cermaics” Apollo, special issue for the Asian art collection in the Nelson-Atkins Museum of Art, Vol. XCVII, no. 133 (March 1973), 47, pl. 11 (repro.).
R. Fujioka, G. Hasebe et al., Ceramic Art of The World, vol. 14 (Tokyo: Shogakukan, 1976), 177, pl. 181 (repro.).
Yutaka Mino, Freedom of Clay and Brush Through Seven Centuries in Northern China: Tz’u-chou type Wares, 960-1600 A.D. (Indianapolis: Indianapolis Museum of Art ; Bloomington : Indiana University Press, 1980), 108 pl. 19, pl. 42 (repro.).
Antiques World, vol. III, no. 6 (April 1981), 76-79, ills (repro.).
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 295 (repro.).
Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 338, pl. 169 (repro.).
Colin Mackenzie, with contributions by Ling-En Lu, Masterworks of Chinese art: the Nelson-Atkins Museum of Art (Kansas City, Mo.: Nelson-Atkins Museum of Art, 2011), 64-65, no. 18 (repro.).
Nelson-Atkins Museum of Art, Ceramics: highlights from the collection of the Nelson-Atkins Museum of Art (The Nelson-Atkins Museum of Art Museum, 2016), 16-17 (repro.).
this article referenced the article published by Xinhua news: https://english.news.cn/20220901/d8d958cf905e4a5ba22b5b58b724ea73/c.html
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