宋代筆記 vol.108 大都會博物館：南宋官窯直頸瓶，塞謬爾·彼得斯舊藏 - Met Museum, Samuel T. Peters Southern Song Dynasty Guan Vase
- SACA
- Feb 10
- 8 min read
Updated: Mar 23
這件南宋官窯直頸瓶尺寸巨大，達34cm高，是茶室中最合適的尺寸；其燒製質量上乘，典型的南宋官窯大開片，開片處呈現金絲的顏色，傳世的釉面，底足高台處有兩孔，這是致敬商周青銅禮器的造型。
南宋官窯是宋高宗趙構到了臨安（杭州）之後，為了延續其皇帝的合法性所製作的致敬其父宋徽宗汝窯的作品。最初是作為恢復北宋祭祀的傳統，在八卦田郊壇或其他皇家祭祀場所使用的器物。這件作品，應該就是南宋早期宋高宗時代的作品。塞謬爾·彼得斯（Samuel T. Peters）是美國早期重要藏家，他與一眾偉大藏家弗利爾（Charles Lang Freer）、溫斯洛普（Grenville L. Winthrop）等人在1916年大都會博物館東方陶瓷部創立之際，舉辦了第一次的中國藝術展覽。
圖片由Adolphus拍攝提供
由於塞謬爾·彼得斯夠藏的時間段，與清宮慈禧太后抵押器物給鹽業銀行的時間重疊，這件南宋官窯又具有傳世的特徵，和宮廷收藏的可能，故推測這件作品曾經是乾隆皇帝的收藏，來自清宮，與20世紀早期由慈禧或溥儀帶出宮後被塞謬爾·彼得斯收藏。
南宋官窑直頸瓶
中國 12至13世紀展出地點：紐約大都會藝術博物館第五大道館 220 號展廳
官窯瓷器專為南宋皇室在杭州（當時的首都）生產，出現在12至13世紀。這些作品採用油潤的釉色，呈現微妙的藍色調及仿冰裂效果，被認為是中國陶瓷藝術的頂級成就之一。
尺寸： 高 13 3/8 英吋（34 釐米）；直徑 8 1/2 英吋（21.6 釐米）分類： 陶瓷捐贈說明： 由薩繆爾·T·彼得斯夫人於 1926 年捐贈藏品編號： 26.292.81
来源：萨缪尔·T·彼得斯夫人（纽约，1926年前藏有；后捐赠给大都会艺术博物馆）
展覽歷史：
紐約大都會藝術博物館 “Out of Character: Decoding Chinese Calligraphy—Selections from the Collection of Akiko Yamazaki and Jerry Yang”，展期：2014年4月29日至8月17日。
紐約大都會藝術博物館 “Masterpieces of Chinese Painting from The Met Collection (Rotation One)”，展期：2015年10月31日至2016年10月11日。
紐約大都會藝術博物館 “Embracing Color: Enamel in Chinese Decorative Arts, 1300–1900”，展期：2022年7月2日至2025年2月16日。
紐約大都會藝術博物館 “Learning to Paint in Premodern China”，展期：2023年2月18日至2024年1月7日。
南宋官窯長頸瓶 FAQ問答
這件南宋官窯青瓷長頸瓶的定義性特徵是什麼？
這件南宋官窯青瓷長頸瓶以其34釐米的高度以及獨特的“大開片”（廣泛裂紋）釉面而著稱。釉面上裂紋呈現出金色、如細絲般的線條效果。此外，其台座設計採用了帶有兩個穿孔的結構，這一設計元素使人聯想到商周時期的青銅禮器，既體現了實用功能，又蘊含了深厚的象徵意義。
為何認為這件南宋官窯青瓷長頸瓶曾經屬於中國皇室藏品？
瓷瓶展現出的精湛工藝和細膩審美，正是南宋官窯的典型風格，與皇室藏品所追求的高品質標準相符。再者，該瓷瓶被西方收藏家收購的時間正值清末因財政和政治動蕩導致故宮文物流散的時期，這一時間節點暗示它很可能曾是皇室藏品的一部分。
乾隆皇帝與這件瓷瓶之間有何聯繫，這又意味著什麼？
乾隆皇帝是南宋青瓷的狂熱收藏家，他視這種瓷器為古代工藝的巔峰之作。據推測，這件瓷瓶曾隸屬於他龐大的皇室收藏中，從而成為中國陶瓷這一特定風格在歷史傳承和鑒賞中的重要紐帶。
慈禧太后和末代皇帝溥儀如何促成了清代文物流散的過程？
在清末及民國初年，由於財政壓力與政治動蕩，宮廷珍寶被迫抵押、拍賣及轉讓。無論是慈禧太后時期還是溥儀在位的末期，都經歷了宮廷文物的大規模移出，最終導致許多寶貴文物流入私人收藏家手中，後來又進入了各大博物館。
能否解釋一下南宋官窯及其產品的歷史背景？
南宋官窯由高宗在遷都杭州後創立，旨在鞏固其政權合法性，並借此向其父親時代的汝窯藝術成就致敬。通過再現一種專用於復興北宋宮廷禮儀的瓷器形式，官窯青瓷不僅承載了傳統禮儀的精神，也專為皇室宮廷的使用而精心設計。
“大開片”釉面在像這件瓷瓶這樣的南宋青瓷中有何意義？
“大開片”釉面是官窯青瓷的顯著標誌。這一經過精心設計的技法使得釉面形成了網狀裂紋，其金色、細絲般的紋理不僅增添了表面的質感層次和視覺美感，同時也被視為中國陶瓷工藝的頂級成就之一，因而備受珍視。
南宋官窯青瓷長頸瓶底座的設計透露了哪些歷史和藝術影響？
南宋官窯青瓷長頸瓶底座上的兩個穿孔設計直接向商周時期的青銅禮器致敬。這一設計不僅象徵著對古代傳統的繼承與致敬，也展示了將傳統造型與新興陶瓷藝術相融合的創新精神，體現了歷史與現代技藝的交匯。
這件南宋官窯青瓷長頸瓶目前的所在地及其展覽歷史如何？
這件南宋官窯青瓷長頸瓶目前是紐約大都會藝術博物館永久收藏的一部分。它曾在多個展覽中展出，包括專門展示中國藝術的展覽以及強調東西方陶瓷傳統交融的展览，充分彰显了其在理解中国艺术史中所具有的重要地位。
Southern Song Guan Vase
China
12th–13th century
On view at The Met Fifth Avenue in Gallery 220
Guan ware was produced exclusively for the imperial court in Hangzhou, the capital of the Southern Song dynasty during the twelfth and thirteenth centuries. The unctuous glaze with subtle blue tone and icy crackles on these works is considered among the top achievements of Chinese ceramics.
Title: Vase
Period: Southern Song dynasty (1127–1279)
Date: 12th–13th century
Culture: China
Medium: Stoneware with crackled celadon glaze (Guan ware)
Dimensions: H. 13 3/8 in. (34 cm); Diam. 8 1/2 in. (21.6 cm)
Classification: Ceramics
Credit Line: Gift of Mrs. Samuel T. Peters, 1926
Object Number: 26.292.81
Provenance:
Mrs. Samuel T. Peters , New York, (until 1926; donated to MMA)
Exhibition History:
New York. The Metropolitan Museum of Art. "Out of Character: Decoding Chinese Calligraphy—Selections from the Collection of Akiko Yamazaki and Jerry Yang," April 29–August 17, 2014.
New York. The Metropolitan Museum of Art. "Masterpieces of Chinese Painting from The Met Collection (Rotation One)," October 31, 2015–October 11, 2016.
New York. The Metropolitan Museum of Art. "Embracing Color: Enamel in Chinese Decorative Arts, 1300–1900," July 2, 2022–February 16, 2025.
New York. The Metropolitan Museum of Art. "Learning to Paint in Premodern China," February 18, 2023–January 7, 2024.
Southern Song Dynasty Guan Ware Celadon Vase – Artistic Legacy and Imperial Provenance
Artistic Characteristics and Craftsmanship
The Southern Song Dynasty Guan ware celadon vase is one of the hallmark creations produced by official kilns. Standing 34 cm tall, this straight-necked vase was designed not only to meet the functional and ceremonial needs of tea rooms and royal rituals but also to embody the refined aesthetic values of the period. Its surface features the signature “da kaipian” (extensive crackle) glaze treatment, where the crackle patterns emit a golden, threadlike hue reminiscent of ancient inscriptions. The pedestal base, with its two distinct perforations, clearly pays homage to the bronze ritual vessels of the Shang and Zhou dynasties—symbolizing a harmonious blend of tradition and innovation.
Historical Context and Imperial Collection
The establishment and development of the Southern Song official kilns are closely linked to Emperor Gaozong’s relocation of the capital to Lin’an (present-day Hangzhou). In an effort to consolidate his legitimacy and pay tribute to the illustrious tradition of his father, Emperor Huizong’s Ru kilns, Emperor Gaozong commissioned these wares. Initially, such vessels played a pivotal role in reviving the sacrificial customs of the Northern Song period at royal altars such as the Bagua Tianjiao altar.
During the Qing dynasty, the appreciation for Song celadon reached new heights. The Qianlong Emperor, in particular, was an ardent admirer of the subtle beauty of Southern Song celadon and incorporated many such pieces into the imperial collection. The timeline of acquisition by early Western collectors, notably Samuel T. Peters—active around 1916—overlaps with the period when Empress Dowager Cixi mortgaged select artifacts to the salt bank and when the last emperor, Puyi, saw the dispersal of palace treasures. Consequently, scholars infer that this vase likely belonged to the Qianlong Emperor’s collection before leaving the Forbidden City through channels initiated by the dispersal of Qing palace objects, eventually entering the hands of prominent Western collectors.
Academic Significance
This celadon vase stands as a testament not only to the technical mastery and aesthetic sophistication of Southern Song official kilns but also to a broader narrative of cultural continuity. It bridges the artistic legacy of the Southern Song, the imperial reverence of the Qianlong period, and the subsequent dispersal of Qing cultural relics into modern museum collections. As such, it provides invaluable insights into the evolution of Chinese ceramic art and the shifting dynamics of imperial patronage and art market circulation.
FAQ：Southern Song Guan Vase
What are the defining characteristics of this Southern Song Guan ware celadon vase?
This vase is notable for its 34 cm height and the distinctive "da kaipian" (extensive crackle) glaze, where the crackle lines are a gold, thread-like color. It also features a pedestal base with two perforations, a design element that is reminiscent of Shang and Zhou dynasty bronze ritual vessels, effectively blending practical function with symbolic significance.
Why is it believed this particular vase may have been part of the Chinese imperial collection?
The vase's exquisite craftsmanship and refined aesthetic, typical of Southern Song official kilns, are consistent with the quality expected in imperial collections. Additionally, the timeline of the vase's acquisition by Western collectors coincides with a period when Qing Dynasty artifacts were being dispersed from the Forbidden City due to financial and political instability, suggesting that it was likely part of an imperial collection previously.
What was the Qianlong Emperor's connection to this vase, and what does it signify?
Emperor Qianlong was a fervent collector of Southern Song celadon ceramics, which he regarded as the pinnacle of ancient craftsmanship. It's theorized that this vase was part of his extensive imperial collection, meaning it represents an important link in the historical transmission and appreciation of this specific style of Chinese ceramics.
How did Empress Dowager Cixi and Emperor Puyi contribute to the dispersal of Qing Dynasty cultural relics?
During the late Qing dynasty and early Republican period, financial pressures and political upheaval led to the mortgaging, auctioning, and transfer of various palace treasures. Both Empress Dowager Cixi and the final emperor Puyi's era were marked by the removal of palace artifacts, which ultimately led to many treasures being acquired by private collectors and, later, museums.
Can you explain the historical context of the Southern Song Guan kilns and their wares?
The Southern Song Guan kilns were established by Emperor Gaozong in Hangzhou after the capital was moved there. The aim was to legitimize his rule and pay tribute to the artistic achievements of his father’s Ru kilns by reproducing a form of ceramics that would be used in the revival of Northern Song imperial ritual practices. The Guan ware produced was designed specifically for the imperial court.
What significance does the "da kaipian" (extensive crackle) glaze have on Southern Song ceramics like this vase?
The "da kaipian" glaze is a hallmark of Guan ware. It is a deliberate technique that produces a network of cracks on the glaze surface. The gold, thread-like color of these cracks on the vase adds a textural depth and visual appeal and is highly sought after, considered to be among the top achievements in Chinese ceramics.
What does the design of the vase's pedestal base reveal about the historical and artistic influences?
The pedestal base of the vase, which is characterized by two perforations, directly pays homage to the design of ritualistic bronze vessels from the Shang and Zhou dynasties. This feature is symbolic of a deliberate connection between past and present, while also displaying the innovation of combining traditional forms with the new medium of ceramic art.
What is the current location and exhibition history of this Southern Song Guan ware vase?
This specific Southern Song Guan ware vase is currently a part of the permanent collection at the Metropolitan Museum of Art in New York City. It has been featured in various exhibitions including displays of Chinese art, and in shows that highlight the intersection of eastern and western ceramic traditions, underscoring its importance for understanding Chinese art history.
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