宋代筆記 vol.107 大都會博物館：宋代銀製花口盃 - Met Museum, Song Dynasty Silver Cup with Floral Scroll
- SACA
- Feb 9
- 7 min read
Updated: Feb 10
宋代（960–1279）是中國陶瓷史上的一個重要時期，其瓷器不僅在技術上達到了前所未有的高度，還在藝術表現上呈現出極為細緻和含蓄的風格。花卉圖案，作為宋瓷裝飾的一個重要元素，不僅反映了當時人們對自然美的追求，也展現了宋代文化中的細膩與理性思維。
宋代銀製花口盃
標題: 花卉捲草紋盃
時期: 南宋（1127–1279）
材質: 銀，浮雕與錘揣裝飾
尺寸: 高 3.5 cm；直徑 9.5 cm；足部直徑 3.8 cm分類: 金屬工藝捐贈: 弗萊徹基金，1924物品編號: 24.208.3
來源:[山中商會，至1924年；售予大都會博物館]
展覽歷程:
美國紐約大都會博物館，「百寶齋」，2006年2月18日–10月31日。
美國紐約大都會博物館，「紅與黑：13至16世紀中國漆器」，2011年9月7日–2012年6月10日。
韓國國立中央博物館，「高麗：韓國的榮光」，2018年12月4日–2019年3月3日。
參考文獻:韓國國立中央博物館，《大高麗 918-2018：其燦爛的挑戰：特別展覽》，首爾：國立中央博物館，2018年，頁298、363，目錄編號303。
芙蓉 / Hibiscus
馬麟，芙蓉圖，台北故宮博物院藏
宋瓷的藝術風格與花卉圖案的興起
宋代瓷器在技術上極為精湛，並且經歷了從早期的粗獷到後期的細緻精緻的演變。當時的瓷器裝飾與其文化背景密切相關，花卉圖案作為其中一種主要的裝飾元素，反映了當時社會對自然、生命和和諧的高度重視。這一時期的花卉圖案通常細緻而富有象徵意義，與儒家思想中的自然哲學、道家對萬物之和諧的重視以及佛教的寓意符號息息相關。
在宋代，尤其是北宋與南宋時期，花卉圖案被廣泛運用在瓷器、漆器以及繪畫中。花卉不僅僅作為一種裝飾手段，更象徵著自然界的生命力和靈性。這些花卉圖案的精緻表現，不僅顯示了宋代工匠對自然世界的敏銳觀察力，也體現了宋代人對理想化生活方式的追求。
花卉裝飾在宋瓷中的表現
宋瓷的花卉圖案呈現出不同的風格和技法，這些設計不僅具有裝飾性，也往往具有深刻的象徵意義。在宋代瓷器上，花卉圖案的表現可以大致分為兩種形式：一種是以單一花卉為主題的簡潔裝飾，另一種則是複雜的花卉捲草圖案，這種圖案往往展示了自然界的複雜性和生命的延續。
單一花卉圖案：在宋代的瓷器上，經常可以見到如蓮花、牡丹、菊花等單一花卉的表現，這些花卉不僅在圖案設計中佔據重要地位，還常常與其他裝飾元素如雲紋、波浪紋等相結合，形成和諧的視覺效果。以蓮花為例，蓮花在中國文化中象徵著潔淨和超脫，它經常出現在瓷器的裝飾中，並且以其開放的花瓣和清新的形象傳遞出理想化的美學。
花卉捲草圖案：在一些精緻的南宋瓷器中，花卉捲草紋（即花卉與葉片交織的捲曲圖案）表現得尤為突出。這類圖案既有裝飾性，又富含動感，表達出自然界中生命的無窮延續。捲草紋的應用不僅強調了工藝的複雜性，還表達了宋代人對大自然繁榮與和諧的敬仰。
花卉與文化意義的聯繫
在宋代，花卉圖案不僅是裝飾性元素，它們往往帶有深刻的文化象徵。根據儒家、道家和佛教的影響，宋代的花卉裝飾常常蘊含著對於吉祥、長壽、富貴及精神追求的象徵。例如，牡丹被視為富貴的象徵，常見於皇室及貴族使用的瓷器中；而菊花則象徵著長壽和隱逸，常見於文人瓷器中，尤其是那些有書畫愛好者的手工作品。
此外，花卉圖案與季節的變化和農業社會的生產周期密切相關。宋代是中國經濟和文化的繁榮時期，瓷器的花卉裝飾往往表現出農耕社會對自然界變化的敏感與順應。這些花卉圖案不僅反映了當時的生活方式，也象徵著人與自然的和諧共處。
花卉與宋代瓷器的市場需求
宋代瓷器的花卉裝飾也與當時市場需求息息相關。宋代的瓷器被廣泛出口至東南亞、中東以及歐洲，花卉圖案作為其主要裝飾元素，無疑迎合了國際市場上對細膩、富有象徵意義的藝術品的需求。這些花卉裝飾也因此成為宋瓷在世界範圍內廣受歡迎的原因之一。瓷器上精緻的花卉圖案無論是在日常生活還是作為外交禮品，都展示了中國手工藝的卓越水準。
總結來說，宋代瓷器中的花卉圖案不僅反映了時代的藝術風格和工藝技術，也承載著深厚的文化內涵。花卉裝飾在宋瓷中的表現，無論是象徵自然的美麗，還是傳遞著吉祥與長壽的寓意，都表明宋代瓷器不僅僅是日常使用的器物，更是一種文化的表達和美學的追求。這些花卉圖案作為宋代瓷器的一部分，見證了中國古代藝術與文化的融合，並對後世的藝術發展產生了深遠的影響。
Title: Cup with Floral Scrolls
Period: Southern Song dynasty (1127–1279)
Date: late 12th century
Culture: China
Medium: Silver with chased and repoussé decoration
Dimensions: H. 1 3/8 in. (3.5 cm); Diam. 3 3/4 in. (9.5 cm); Diam. of foot 1 1/2 in. (3.8 cm)
Classification: Metalwork
Credit Line: Fletcher Fund, 1924
Object Number: 24.208.3
Provenance:
[ Yamanaka & Co. , until 1924; sold to MMA]
Exhibition:
New York. The Metropolitan Museum of Art. "The "Hundred Antiques"," February 18–October 31, 2006.
New York. The Metropolitan Museum of Art. "Red and Black: Chinese Lacquer, 13th–16th Century," September 7, 2011–June 10, 2012.
National Museum of Korea. "Goryeo: The Glory of Korea," December 4, 2018–March 3, 2019.
Reference:
Kungnip Chungang Pangmulgwan. Tae Koryŏ 918-2018: Kŭ Ch'allanhan Tojŏn: T'ŭkpyŏljŏn 대고려 918-2018 : 그 찬란한 도전 : 특별전 (Goryeo: the glory of Korea: special exhibition). Exh. cat. Seoul: Kungnip Chungang Pangmulgwan, 2018, pp. 298, 363, cat. no. 303.
The Relationship Between Song Porcelain and Floral Decoration
The Song dynasty (960–1279) was a pivotal period in the history of Chinese ceramics, marked by significant advancements in both technical skills and artistic expression. The intricate floral designs featured on Song porcelain reflect not only the technical prowess of the era but also the cultural and philosophical values of the time. These floral motifs were not merely decorative; they embodied a deeper connection to nature, life, and harmony, all of which played central roles in Song society.
The Artistic Style of Song Porcelain and the Rise of Floral Patterns
Song porcelain underwent a transformation from earlier, more robust forms to the finer, more delicate designs that characterize the period. Floral motifs became an essential decorative element on porcelain, deeply rooted in the cultural and philosophical contexts of the time. These motifs reflected the era’s heightened sensitivity to nature and its symbolic meanings, influenced by Confucianism, Taoism, and Buddhism, all of which emphasized harmony with nature and the profound beauty of the natural world.
During the Northern and Southern Song periods, floral patterns appeared prominently on porcelain, lacquerware, and paintings. These patterns were not simply decorative; they symbolized life, vitality, and the cyclical nature of existence. The delicate portrayal of flowers on Song porcelain conveyed the ideal of beauty, natural order, and the aspiration for a perfect life, which were core to the aesthetic philosophy of the time.
Floral Decoration in Song Porcelain
The floral designs on Song porcelain vary in style and technique, each reflecting the period’s evolving artistic sensibilities. These designs are not only aesthetically pleasing but also imbued with symbolic meanings. The two main types of floral decoration found on Song porcelain can be broadly categorized as: single-flower motifs and complex floral scrolls. These patterns not only highlight the natural complexity of life but also express the idea of renewal and continuity in nature.
Single-flower Motifs: Simple yet elegant, single-flower designs were commonly used on Song porcelain. Flowers such as lotus, peony, and chrysanthemum were frequently depicted. Each flower carried symbolic meaning within Chinese culture—lotus representing purity, peony symbolizing wealth and prosperity, and chrysanthemum signifying longevity and resilience. These flowers were often depicted with subtle detail and placed harmoniously alongside other motifs, such as clouds or waves, to create a balanced aesthetic. For example, the lotus, a common motif on Song porcelain, represents spiritual purity and transcendence, aligning with the era's Confucian and Buddhist ideals.
Floral Scrolls: More complex floral scrolls, featuring intertwined flowers and leaves, became particularly prominent in Southern Song porcelain. These patterns were often dynamic and intricate, conveying the idea of the perpetual cycle of life and nature. The swirling forms of these floral scrolls not only demonstrated the technical mastery of Song artisans but also reflected the harmony of the natural world. The flowing, organic nature of these patterns suggested the continuity of life, an ideal central to Taoist thought.
Cultural Significance of Floral Patterns
Floral patterns on Song porcelain were deeply intertwined with the cultural and philosophical climate of the time. These motifs were imbued with multiple layers of meaning, often drawn from the major philosophical schools of thought that shaped Song society. The symbolic power of flowers in Chinese culture is significant: the peony, often depicted on the porcelain of elite classes, symbolizes wealth and status, while the chrysanthemum reflects the pursuit of longevity and a life of simplicity—values emphasized in both Confucianism and Taoism. The lotus, meanwhile, symbolized spiritual purity and enlightenment, resonating with Buddhist thought.
Floral motifs were not only decorative but were often used to convey auspicious meanings. In a society that deeply revered nature and its cyclical patterns, flowers on porcelain became metaphors for the regenerative forces of nature. These motifs were frequently seen on porcelain used by the imperial court, literati, and wealthy elites, representing their aspirations toward virtue, prosperity, and longevity.
Floral Designs and the Market for Song Porcelain
The use of floral patterns in Song porcelain also speaks to the period’s sophisticated market demands. Song porcelain was widely exported to regions across East Asia, Southeast Asia, and even the Middle East and Europe. The delicate floral designs appealed to international markets that valued finely crafted, symbolic art. These porcelain items, often seen as luxury goods, were not only prized for their aesthetic beauty but also for their cultural and symbolic significance. Floral motifs, with their association to prosperity, health, and spiritual purity, made Song porcelain highly desirable both for daily use and as diplomatic gifts.
Conclusion
In conclusion, the floral patterns on Song porcelain are more than just decorative elements—they are rich in symbolism and reflect the cultural, philosophical, and aesthetic values of the Song dynasty. These designs reveal the Song people's reverence for nature and their aspiration for harmony and beauty in life. Whether through single-flower motifs or intricate floral scrolls, the floral designs on Song porcelain encapsulate the era's ideals, blending natural beauty with philosophical meaning. Through these motifs, we gain insight into the profound connection between art, nature, and philosophy in Song China, as well as the lasting influence of Song porcelain on the development of global ceramic traditions.
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