北齊飄彩弦文瓶，胎土白皙，施透明釉加飄彩裝飾，器型屬於淨瓶，造型致敬北朝時代響銅製品。飄彩弦文瓶的存世數量極少，目前海內外公開有明確來源著錄的僅有兩例。
常盤山文庫出版的《北齊的陶瓷》一書中，紀年墓出土匯編中沒有發現同類器物。對比常盤山文庫另外兩例有明確紀年的器物，推測本品是北齊時代的製品。唐三彩盛行使用多種不同顏色的鉛釉，但早在北齊時期，山西太原婁叡墓就出土了透明、綠色、褐色三種鉛釉的三彩，這類作品可謂是唐三彩的原點，藝術、學術、歷史意義重大。
左、常盤山文庫收藏 ； 右、John Berwald，倫敦
三彩弦文瓶
鉛釉瓷，17.1公分，口徑5.7公分，底徑7.0公分
北齊，7世紀
常盤山文庫中国陶磁研究会会報3『北斉の陶磁』公益財団法人常盤山文庫、2010年（解説 佐藤サアラ）『常盤山文庫と町田市立博物館が語る 中国陶磁うつくし』町田市立博物館、2016年（解説 佐藤サアラ）
婁叡墓（570年）出土品一覽
This bottle has a pear-shaped body, with its larger base giving the body a greater sense of stability. The lead glaze covering the white body is a pale yellow-greenish in tone. Vertical stripes, alternating between green and brown lead glaze, flow down from the mouth along the sides of the grooved body, creating an attractive juxtaposition of color glaze and white ground. The base is flat and marked with the circular string-cut shaved base mark. The body clay is very white.
此瓶的瓶身呈梨形，其较大的底座使瓶身更具稳定性。覆盖白色瓶身的铅釉是淡黄绿色的色调。绿色和棕色铅釉交替的竖纹，从口沿顺着弦纹瓶身流淌而下，形成了有吸引力的色釉与白地的并置。瓶底部是平的，并有割泥线刨削的环形标记。瓶身胎土非常白。
There are no comparable excavated examples of grooved-side, pear-shaped stable body works with green and brown stripe decoration found in the Compilation (p.128). There are, however, several examples of “bottle with pear-shaped body and dished mouth” works in the Compilation. The first example is from the tomb of Feng Zihui 封子绘, dated 565 (C.51i) in the Northern Qi dynasty and several other examples from Sui dynasty tombs. While the example from the Sui dynasty tomb of Chang Sheng 张盛 dated in 595 in Henan province (C.86i) has a large base and swelling body that are rather similar to this bottle, other Sui examples are characterized by longer, narrower body forms. This typical Sui era bottle with long, narrow body was also found from at the Xing-yao 邢窑 group kiln site (C.147gk). Examples of the grooved body characteristic, albeit on works with completely different shapes, can be see in a jar from the tomb of Yuan Shu 元淑 in Shanxi province dated 508 (C.15a) in the Northern Wei, another from an Eastern Wei tomb (C.41cd) in Henan province, and one from the Northern Qi dynasty tomb of Chang Haiyi 张海翼 in Shanxi province dated 565 (C.53a). These examples, while somewhat comparable in terms of grooved design and vessel shape, are not useful comparisons for dating this bottle.
在《汇编》（第128页）中没有发现类似的出土例证，即有绿色和棕色条纹装饰、稳固的弦纹梨形器物。不过，《汇编》中有几件“梨形盘口瓶”的例子。第一个例子是北齐封子绘墓（565年）（C.51i），其他几个例子来自隋代墓葬。
其中隋代河南张盛墓（595年）（C.86i）中出土的器物有大底座和鼓起的瓶身，与此瓶相当相似，而其他的隋代例子则以长而窄的器型为特征。
这类隋代典型长而窄的瓶身也同样在邢窑窑址群（C.147gk）中发现。拥有类似弦纹瓶身特点的器物还有自北魏山西省元淑墓（508年）出土的壶（C.15a），自河南东魏墓出土的壶（C.41cd）和自北齐山西省张海翼墓（565年）出土的壶（C.53a），尽管它们的器型完全不同。这些例子虽然在弦纹设计和器型方面有一定的可比性，但无法用于对此瓶的断代。
This bottle entered the Tokiwayama Bunko Foundation collection as a set excavated from the same tomb with the jar with four lugs and petal-shaped flange (pl.1) and the jar with vertical stripes in green and brown glazes (pl.3). Given that there are no comparable excavated examples in the Compilation, this bottle might be dated to the Northern Qi dynasty given its shared features with two other Tokiwayama collection works, namely the green and brown design, fine-grained, very white body clay with tiny brown particles beneath the transparent glaze that might have been caused by body clay impurities.
In terms of production locale, given that there are no archaeological reports of Northern Dynasties kiln sites that produced lead glazed wares, the production site of this work remains unknown.
此瓶与三彩四耳壶（pl.1）、三彩壶（pl.3）作为同一个墓葬中出土的一组器物，纳入常盘山文库的收藏序列。鉴于《汇编》中没有可比较的出土实例，考虑到此瓶与其他两件常盘山藏品的共同特征，即绿色和棕色的图案、颗粒细密且非常白的胎土、透明釉下带有可能是由胎土杂质造成的细微的棕色颗粒，故此瓶可能是北齐时期的。
就生产地点而言，鉴于没有关于北朝时期生产铅釉器的窑址的考古报告，这件器物的生产地点仍然是未知的。
二、北齊 飄彩弦文瓶
Bottle With Grooved Body Decorated With Vertical Stripes In Brown And
Green Glazes
Northern Qi Dynasty
h. 18cm
Provenance
Distinguished Private Collection, United States
John Berwald, United Kingdom
Lam's Gallery, Hong Kong
This bottle has a pear-shaped body, with its larger base giving the body a greater sense of stability. The lead glaze covering the white body is a pale yellow-greenish in tone. Vertical stripes, alternating between green and brown lead glaze, flow down from the mouth along the sides of the grooved body, creating an attractive juxtaposition of color glaze and white ground. The base is flat and marked with the circular string-cut shaved base mark. The body clayis very white.
This beautifully shaped, tri-colored, grooved body flask with distinguished English provenance is extremely rare. There is only other example in the world to be referenced, from the collection of the Tokiwayama Bunko Collection (H. 17.1 cm, MD. 5.7 cm, BD. 7.0 cm, Wt 620 g), and is almost identical to the present example in terms of dimensions and weight.
來源：
美國顯赫私人收藏
John Berwald, United Kingdom
松心閣，香港
這件飄彩弦紋瓶，造型精美，髮色潤亮，全世界僅有另一個可供參考例子來自常盤山文庫的收藏，（H. 17.1 cm, MD. 5.7 cm, BD. 7.0 cm, Wt 620 g）與本品幾乎一致。
此瓶的瓶身呈梨形，其較大的底座使瓶身更具穩定性。覆蓋白色瓶身的鉛釉是淡黃綠色的色調。綠色和棕色鉛釉交替的竪紋，從口沿順著弦紋瓶身流淌而下，形成了有吸引力的色釉與白地的並置。瓶底部是平的，並有割泥線刨削的環形標記。瓶身胎土非常白。
FAQ: Grooved Bottles from the Northern Qi Dynasty
What are the key features of the Grooved Bottle from the Northern Qi Dynasty?
The Grooved Bottle (飄彩弦文瓶) is a type of pear-shaped bottle with a distinctive grooved body. Two known examples exist, one in the Tokiwayama Bunko Collection and another formerly in a private collection in the United States [1, 2]. Both are believed to be from the Northern Qi Dynasty (550-577) and share nearly identical dimensions and weight [1, 2].
Here are some of their notable features:
Pear-shaped body with a larger base: This design element provides stability to the bottle [3, 4].
Pale yellow-greenish lead glaze: The lead glaze coats the bottle's white body, creating a subtle greenish hue [3, 4].
Alternating green and brown vertical stripes: These stripes, painted on the grooved body, create a visually appealing contrast against the white ground [3, 4].
Flat base with a circular string-cut shaved base mark: This marking indicates the technique used to finish the base [3, 4].
Very white body clay: This suggests the use of high-quality clay in its production [3, 4].
Are there other similar bottles from excavated contexts?
While the Compilation (p.128) from the Tokiwayama Bunko Foundation doesn't list any excavated bottles that share all the characteristics of the Grooved Bottle, there are a few points of comparison with other ceramic works:
Shape: Several examples of "bottles with pear-shaped bodies and dished mouths" were found in tombs from the Northern Qi and Sui dynasties [5]. The Sui Dynasty bottle from the tomb of Chang Sheng (595) in Henan province, in particular, shares a similar large base and swelling body [5].
Grooved Body: Jars with grooved bodies, although in different shapes, have been excavated from tombs dating back to the Northern Wei and Eastern Wei periods [5].
Green and Brown Stripe Decoration: No excavated examples in the Compilation feature this specific decoration on a grooved, pear-shaped bottle [5].
However, it's important to note that the Tokiwayama Bunko's Grooved Bottle was part of a set excavated from the same tomb, which also included a jar with four lugs and a petal-shaped flange and a jar with vertical stripes in green and brown glazes [6].
Based on the shared features of these three bottles, such as the green and brown design, the fine-grained, white body clay, and the presence of tiny brown particles beneath the transparent glaze (possibly due to impurities in the clay), the Grooved Bottle is thought to be from the Northern Qi dynasty [6].
Where were these Grooved Bottles produced?
There are no archaeological reports of kiln sites from the Northern Dynasties period that produced lead-glazed wares. As a result, the specific production location of the Grooved Bottles, and other similar lead-glazed wares, remains unknown [7].
Timeline of Events:
This timeline focuses on the creation and provenance of the two extant Northern Qi Dynasty Vases with Grooved Body Decorated With Vertical Stripes In Brown And Green Glazes.
508 AD: A jar with a grooved body, somewhat comparable to the later vases, is interred in the tomb of Yuan Shu 元淑 in Shanxi province during the Northern Wei dynasty.
565 AD:The tomb of Feng Zihui 封子绘 is constructed, containing a "bottle with pear-shaped body and dished mouth," a shape that shares characteristics with the later vases.
A jar with a grooved body, again somewhat comparable to the later vases, is placed in the Northern Qi dynasty tomb of Chang Haiyi 张海翼 in Shanxi province.
Between 565 AD and 570 AD: It is surmised that the two Northern Qi Dynasty Vases with Grooved Body Decorated With Vertical Stripes In Brown And Green Glazes are created during this period, based on stylistic similarities to other dated objects.
570 AD: Lou Rui's tomb is sealed. Notably, it contains examples of early sancai (three-color) lead-glazed ceramics, which predate and prefigure the famed Tang dynasty sancai wares.
595 AD: A Sui dynasty tomb belonging to Chang Sheng 张盛 in Henan province yields another "bottle with pear-shaped body and dished mouth," this one exhibiting a large base and swelling body akin to the Northern Qi vases.
7th Century: The Northern Qi Dynasty Vases with Grooved Body Decorated With Vertical Stripes In Brown And Green Glazes are interred in an unknown tomb.
Undisclosed Date: The two vases are excavated from the same tomb. While the exact date and location of the excavation remain unknown, the event likely occurred before the 20th century, given the provenance of the vases.
20th or 21st Century: The Tokiwayama Bunko Foundation acquires one of the vases.
20th or 21st Century:One of the vases enters a distinguished private collection in the United States.
The vase is later acquired by John Berwald in the United Kingdom.
Subsequently, it goes to Lam's Gallery in Hong Kong.
2010: The Tokiwayama Bunko Foundation publishes "Ceramics of the Northern Qi Dynasty," which features their vase.
2016: The Tokiwayama Bunko Foundation, in collaboration with the Machida City Museum, further showcases their vase in the exhibition and accompanying catalog, "The Beauty of Chinese Ceramics: A Dialogue Between the Tokiwayama Bunko and the Machida City Museum."
Cast of Characters:
Chang Haiyi (张海翼): An individual living during the Northern Qi dynasty (550-577 AD). His tomb, located in Shanxi province, contained a jar with a grooved body, offering a point of comparison for dating the Northern Qi vases.
Chang Sheng (张盛): An individual from the Sui dynasty (581-618 AD) whose tomb, situated in Henan province, held a bottle with a shape comparable to the Northern Qi vases.
Feng Zihui (封子绘): An individual from the Northern Qi dynasty. His tomb, dating to 565 AD, contained a "bottle with pear-shaped body and dished mouth," providing a stylistic connection to the vases in question.
John Berwald: A collector based in the United Kingdom who, at one point, owned one of the Northern Qi vases.
Lou Rui (婁叡): An individual from the Northern Qi dynasty. His tomb, sealed in 570 AD, is significant for containing early examples of Chinese sancai (three-color) lead-glazed ceramics, showcasing a technical and stylistic link to the era of the vases.
Yuan Shu (元淑): An individual from the Northern Wei dynasty (386-535 AD) whose tomb in Shanxi province contained a jar with a grooved body, providing a distant comparison for the later vases.
Organizations:
Lam's Gallery: An art gallery in Hong Kong that, at some point, handled one of the Northern Qi vases.
SACA (Society for Asian Art): An academic society that published research on the art of the Northern Qi dynasty, including analysis of ceramics.
Tokiwayama Bunko Foundation: A Japanese foundation that owns one of the Northern Qi vases. They have published extensively on their collection, including works specifically dedicated to Northern Qi ceramics.
It's important to note that this timeline and cast of characters are based on the information provided and may not be exhaustive.
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