北朝筆記 vol.25 大都會博物館：南朝梁/陳 青瓷蓮花紋帶盤茶盞 - Met Museum, Tea Bowl and Saucer with Lotus Decoration
- SACA
- Feb 10
- 7 min read
器物以灰胎為底，施青綠色釉，釉面均勻瑩潤。蓮瓣紋以淺浮雕技法雕刻，線條流暢，層次分明。蓮瓣象徵佛教的「出淤泥而不染」，與南朝佛教興盛的社會背景相符。此類紋飾亦見於唐代越窯青瓷，如陸羽《茶經》推崇的「類玉」「類冰」特質，可追溯至此類早期青瓷。
與唐代茶具相比，此套茶盞更顯古樸。唐代茶文化中，越窯青瓷與邢窯白瓷並稱，而此件作品或為越窯技術的前身。此外，托盤的獨立設計在宋代「鬥茶」文化中演變為「茶托」，成為茶席不可或缺之物。
南朝梁/陳 青瓷蓮花紋帶盤茶盞
中國，約 5–6 世紀
尺寸
茶盞：高 5.4 公分，直徑 10.3 公分
帶盤（茶盞托）：高 3.5 公分，直徑 15.1 公分
材質與製作
石胎青瓷（石胎瓷器），刻花蓮瓣紋，通體施青釉。此種青瓷以陶土和瓷土配合高溫燒製，其色澤多帶青綠調，故稱「青瓷」。在南朝時期，青瓷技術已相當成熟，蓮花紋則以手工刻花方式在坯體上細緻雕琢，最後施釉入窯。
藝術與文化意涵
裝飾特色：茶盞與托盤皆刻有蓮花紋，並施以青釉。蓮花是中國傳統文化與佛教藝術中的重要意象，常用以象徵純潔、清淨，亦可與愛情、長壽、吉祥等意涵相聯繫。
形式與用途：此組茶盞與托盤是中國古代早期與飲茶相關的重要器物之一，也可視為世界上較早出現的「杯托（saucer）」與「茶杯（cup）」組合例證，反映了當時貴族及文人對飲茶禮儀與審美的講究。
歷史背景：
南朝梁至陳（公元 502–589 年）政治與文化中心多位於長江下游地區。這一時期的青瓷生產在江南地區極具代表性，因為水運與商貿往來，使該地區的青瓷在全國乃至國際間都產生影響。
收藏與來源
現藏：紐約大都會藝術博物館（The Metropolitan Museum of Art）
館藏編號：2001.361.2a, b
捐贈：由 Myron S. Falk Jr. 夫婦遺贈予博物館（2000 年）
早期收藏者：原由紐約 Frank Caro Co. 收藏，後於 1964 年售予 Falk 先生夫婦
此件青瓷器物極具藝術與歷史價值，茶盞與帶盤造型優雅統一，工藝細膩。蓮花紋路的設計除具裝飾美感，也與佛教藝術中的「蓮花」意象相呼應，展現了南朝時期在生活器具上對宗教情感與審美的結合。
左：大都會博物館 ； 右：松心閣展品
參考同類例子：松隱閣《松心蒼翠》展覽展品：
洪州青瓷杯及杯托
南朝（420–589）杯托直徑：15.4 公分（6 英寸）
來源：
Anthony Carter，倫敦，1994
Dr Kenneth Lawley（1937–2023）收藏
松隱閣，香港
松隱閣線上展覽：點擊觀展
杯托的圓形容器上，精雕細刻地刻有一圈重疊排列的蓮花瓣紋飾；而杯身外部則依附於一個短足，採用低浮雕技法細緻地刻畫出放射狀的蓮花葉圖案。除基部外，整個杯身及杯托均施以細膩開片的黃綠色釉面，展現出獨特而雅致的視覺效果。
文化與宗教意涵
在南朝佛教興盛之際，此類蓮花瓣紋飾極為流行。蓮花作為佛教的重要象徵，其潔淨無瑕的花朵自污濁水中綻放，被視為身、語、意超越執著與慾望後達到的純淨境界。此外，傳說中釋迦牟尼佛足跡所至之處，必有蓮花綻放，進一步強化了蓮花在佛教器物和儀式中的核心地位。
這件洪州青瓷杯及杯托不僅展示了南朝時期精湛的青瓷工藝，其獨特的蓮花紋飾也反映出當時佛教文化在藝術裝飾中的深遠影響，是研究南朝佛教藝術及早期青瓷發展的重要實物證據。
青瓷蓮花紋帶盤茶盞常見問題（FAQ）
這組茶盞與托盤的時代背景是什麼？
它出自南朝梁/陳時期（約公元 5–6 世紀），當時中國江南地區的青瓷工藝已相當發達，佛教文化亦深刻影響器物題材與審美。
茶盞與托盤上為何使用蓮花紋飾？
蓮花在中國傳統文化、特別是佛教藝術中象徵純潔與高潔，同時蓮花也與愛情、吉祥等寓意相互關聯，因而成為常見的裝飾紋樣。
青瓷是什麼？與其他瓷器有何不同？
青瓷是一種以青綠色釉為主的瓷器。它在高溫燒製後呈現青色調，與白瓷、黑瓷等不同色釉的瓷器相區別。青瓷的色澤受原料、釉藥配方和燒成氣氛影響，在中國陶瓷史中歷史悠久、風格雅緻。
這件作品在茶文化史上有何意義？
這組茶盞與托盤被視為世界上最早的「杯+托盤（碟）」組合之一，體現了中國在南朝時期已經開始普及較為講究的飲茶習慣，也是宋代以前茶具演進的重要實物佐證。
這件青瓷器物保存狀況如何？
根據博物館公佈的資訊，它的整體結構保持完好，釉面與刻紋的可見磨損有限。收藏與保管單位為大都會藝術博物館，具備先進的文物保存與修復技術。
現今是否能在博物館親眼看到這件作品？
理論上可在紐約大都會藝術博物館預約參觀。然而，文物展出可能依館方策展計畫或保管需求而調整，建議出行前查詢官方網站或與館方聯繫。
這件作品對研究佛教藝術及中國陶瓷史有何重要性？
它不僅展現了南朝時期青瓷製作工藝與審美，也折射出當時社會對佛教文化的重視，對理解佛教在日常器物設計中的影響具有重要參考價值；同時亦為中國早期茶文化與禮儀發展提供了實物依據。
如何與其他南朝青瓷比較？
典型的南朝青瓷常見薄胎、飽滿均勻的釉色與細緻的刻紋。本件器物蓮紋的雕刻細膩度、器型的準確度，以及整體協調的比例，都說明其工藝較為優秀，具有代表性。
Tea bowl and saucer with lotus decoration
China 5th–6th century
This elegant set may represent one of the first examples anywhere in the world of a cup and saucer used for drinking tea. It is decorated with carefully carved lotus leaves. Originally symbolic of love in early folk songs, lotuses are associated with purity in Buddhist art.
Culture: China
Medium: Stoneware with carved decoration under celadon glaze
Dimensions: Cup: H. 2 1/8 in. (5.4 cm); Diam. 4 1/16 in. (10.3 cm)Cup-stand: H. 1 3/8 in. (3.5 cm); Diam. 5 15/16 in. (15.1 cm)
Classification: Ceramics
Credit Line: Bequest of Mr. and Mrs. Myron S. Falk Jr., 2000
Object Number: 2001.361.2a, b
Provenance: [ Frank Caro Co. , New York, until 1964; sold to Falk]; Mr. and Mrs. Myron S. Falk Jr. , New York (19642000; bequeathed to MMA)
Object Description and Technical Details
The object is made on a gray-bodied (earthenware) base and is finished with a bluish-green glaze that is uniformly lustrous. The lotus petal pattern is carved using a shallow relief technique, with fluid lines and well-defined layers. The lotus petals symbolize the Buddhist ideal of “emerging unstained from the mire,” which is in harmony with the flourishing Buddhist culture of the Southern Dynasties. Such decorative motifs are also found on Tang Dynasty celadons from the Yue Kiln, echoing the “jade-like” and “icy” qualities extolled in Lu Yu’s The Classic of Tea—traits that can be traced back to these early celadons.
Compared with Tang Dynasty tea wares, this tea bowl set appears even more archaic. In Tang tea culture, Yue Kiln celadons were celebrated alongside white porcelains from the Xing Kiln, and this piece may represent a precursor to Yue Kiln techniques. In addition, the independent design of the saucer later evolved into the “tea tray” during the Song Dynasty’s “tea fighting” culture, becoming an indispensable item at tea ceremonies.
Artistic and Cultural Significance
Decorative Features:
Both the tea bowl and saucer are engraved with lotus patterns and finished with a celadon glaze. The lotus is a key symbol in traditional Chinese culture and Buddhist art, often representing purity and serenity, while also being associated with love, longevity, and auspiciousness.
Form and Function:
This set of tea bowl and saucer is one of the important early objects related to tea drinking in ancient China, and can be considered one of the earliest examples of the cup-and-saucer combination in the world. It reflects the refined tea drinking rituals and aesthetics embraced by the nobility and literati of that era.
Historical Background:
The Southern Dynasties (Liang to Chen, AD 502–589) had their political and cultural centers mainly in the lower Yangtze region. During this period, celadon production in the Jiangnan area was highly representative; the region’s celadons, facilitated by water transport and active trade, had a significant impact both nationally and internationally.
Summary
This celadon object holds tremendous artistic and historical value. The tea bowl and saucer exhibit an elegant, unified design and superb craftsmanship. The lotus pattern not only provides a visually appealing decoration but also resonates with the Buddhist symbolism of the lotus, demonstrating how religious sentiment and aesthetic refinement were integrated into everyday objects during the Southern Dynasties.
left: Met Museum ; right: Lam's Gallery
Referenece: Lam's Gallery
A Hongzhou Celadon Cup and Stand
Southern Dynasties(420-589)
D (stand): 15.4 cm, 6 in
Provenance:
Anthony Carter, London,1994
Property from the Collection of Dr Kenneth Lawley(1937-2023)
Lam's Gallery, Hong Kong
The circular receptacle of the cup stand is intricately carved with a band of overlapping lotus petals. The exterior of the cup, supported on a short foot, is finely carved in low relief with radiating lotus leaves. Both the cup and the stand are applied with a finely crackled yellowish-green glaze with the exception of the basesThis type of lotus petal motif was a popular decorative pattern during the Southern dynasties when Buddhism was in its ascendancy.
Lotus, among other emblems, is the epitome ofBuddhism, finding widespread usage in Buddhist artifacts and rituals across historical periods. ltsunsullied blossoms rising above the muddy water aresymbolic of purity of the body, speech and mind beyond attachment and desire. Legend holds that lotus flowers would bloom wherever Gautama Buddha walked and left his footsteps.
Comments