香爐飾有蓮花與獅子圖案。儘管獅子並非中國原生動物，但有證據顯示，早在西漢（公元前206年至公元9年）時期，部分獅子標本已自西方傳入中國。
隨著佛教在六朝（220–589年）時期於中國的穩固立足，獅子逐漸被賦予護法和護持佛法的象徵意涵，開始在佛教語境中被廣泛使用。 此香爐碗部及足部周圍以兩種不同風格的浮雕蓮瓣作為裝飾，這也是六世紀佛教藝術中常見的圖案元素。
北朝至隋青釉香爐
second half 6th century
時期與朝代：北朝（386–581年）至隋朝（581–618年）
年代：6世紀後半期
材質與工藝：陶器，採用綠釉覆蓋，並以浮雕技法呈現裝飾
尺寸：
香爐本體高度約 29.8 公分（11 3/4 英吋）
壺口直徑約 22.2 公分（8 3/4 英吋）
香爐足部直徑約 19.1 公分（7 1/2 英吋）
流傳記錄：
該香爐原由 C. T. Loo 於1927年售予大都會藝術博物館，現藏於大都會藝術博物館，歸屬於 Fletcher Fund 系列（物件編號：27.46）。
參考資料：
Suzanne G. Valenstein, A Handbook of Chinese Ceramics, New York: The Metropolitan Museum of Art, 1989, p. 55, fig. 48.
北朝至隋時期的陶瓷作品充分展現了中國古代工藝的創新與融合精神。這一時期的陶器不僅秉承傳統製陶技藝，同時吸收了中亞及西方的異域元素，形成獨具特色的裝飾風格。以青釉香爐為例，其上精緻的蓮花與獅子浮雕，既反映了佛教文化中對清淨與護法的追求，也體現了跨文化交流帶來的藝術碰撞。正是這種創新與多元的審美理念，使得北朝陶瓷在國際上備受矚目。西方學者和收藏家對這一時期的陶瓷情有獨鍾，除了欣賞其獨特的造型和精湛的工藝外，更看重其作為中西文化交流見證的歷史價值與象徵意涵。
Ceramics from the Northern Dynasties through the Sui period vividly demonstrate the innovative spirit and fusion of traditions in ancient Chinese craftsmanship. These works not only uphold traditional ceramic techniques but also incorporate exotic elements from Central Asia and the West, creating a distinctive decorative style. For instance, the glazed censer features exquisite relief decorations of lotus petals and lions, reflecting the Buddhist ideals of purity and the protective guardianship of the faith while also showcasing the dynamic impact of cross-cultural interactions. It is precisely this blend of innovation and diverse aesthetics that has attracted considerable international attention. Western scholars and collectors are drawn not only to the unique forms and exceptional craftsmanship of these pieces but also to their historical significance as tangible evidence of the cultural dialogue between East and West.
FAQ – 北朝香爐常見問題解答
問題 1
問：什麼是北朝至隋青釉香爐？答： 這是一件出自北朝至隋時期（6世紀後半期）的陶器香爐，採用綠釉覆蓋，並以浮雕技法裝飾有蓮花與獅子圖案，體現出濃厚的佛教文化色彩與跨文化交流特徵。
Q: What is the Northern Dynasties Glazed Censer with Lotus and Lion Decoration?A: It is an earthenware censer from the late 6th century (transitioning between the Northern Dynasties and Sui period) featuring a green glaze and relief decorations of lotus and lion motifs, reflecting strong Buddhist cultural symbolism and cross-cultural influences.
問題 2
問：香爐上為什麼會有獅子圖案？答： 雖然獅子並非中國本土動物，但自西漢起，獅子形象已從西方傳入。到了六朝時期，隨著佛教在中國的普及，獅子逐漸被賦予護法和護持佛法的象徵意義，故常見於宗教器物的裝飾中。
Q: Why does the censer feature a lion motif?A: Although lions are not native to China, lion imagery was introduced from the West as early as the Western Han period. With the spread of Buddhism during the Six Dynasties, lions came to symbolize protectors of the faith and Buddhist law, and thus became common decorative elements on religious objects.
問題 3
問：香爐上的蓮花圖案有何象徵意義？答： 蓮花在佛教中象徵清淨與超脫世俗，常用來表達精神上的淨化與覺悟。此香爐上所用的蓮花浮雕不僅美化了器形，同時強化了其宗教儀式功能。
Q: What is the symbolism behind the lotus motif on the censer?A: In Buddhism, the lotus symbolizes purity and detachment from the worldly realm, representing spiritual purification and enlightenment. The lotus reliefs on the censer both embellish the object and reinforce its religious ceremonial purpose.
問題 4
問：這件香爐的技術與裝飾有何特色？答： 此香爐採用青釉覆蓋，利用浮雕技法精雕細刻出蓮花與獅子的圖案，展示了當時高超的陶瓷工藝和對宗教美學的追求，具有極高的藝術與歷史價值。
Q: What are the distinctive technical and decorative features of this censer?A: The censer is covered with a green glaze and features finely carved relief decorations of lotus and lion motifs. These techniques showcase the advanced ceramic craftsmanship of the period and a deep engagement with religious aesthetics, endowing the piece with significant artistic and historical value.
問題 5
問：我該如何進一步了解北朝至隋時期的陶瓷藝術？答： 建議參考相關學術專著，如 Suzanne G. Valenstein 所著的《A Handbook of Chinese Ceramics》，以及參觀大都會藝術博物館等機構的展覽，這些資料與展覽能夠提供更詳盡的背景與分析。
Q: How can I learn more about ceramics from the Northern Dynasties to the Sui period?A: It is recommended to consult scholarly works such as Suzanne G. Valenstein’s A Handbook of Chinese Ceramics and visit exhibitions at institutions like The Metropolitan Museum of Art, which offer detailed insights and analyses of the period’s ceramic art.
Censer with Lotus and Lion Decoration
While lions are not native to China, there is evidence that some specimens had reached China from the West by the Western Han (206 B.C.–A.D. 9) period. With the firm establishment of Buddhism in China in the Six Dynasties (220–589) period, lions-regarded as defenders of the faith and of the Buddhist law-began to be used in a specifically Buddhist context. The two types of relief lotus petals that circle the bowl and the bottom of this footed lamp were also a popular ornamental motif in sixth-century Buddhist art.
C. T. Loo sold to MMA in 1927
Suzanne G. Valenstein. A Handbook of Chinese Ceramics. New York: The Metropolitan Museum of Art, 1989, p. 55, fig. 48.
Period: Northern Dynasties (386–581)–Sui (581–618) dynasty
Date: second half 6th century
Culture: China
Medium: Earthenware with relief decoration under green glazes
Dimensions: H. 11 3/4 in. (29.8 cm); Diam. of rim 8 3/4 in. (22.2 cm); Diam. of foot 7 1/2 in. (19.1 cm)
Classification: Ceramics
Credit Line: Fletcher Fund, 1927
Object Number: 27.46
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