宋代筆記 vol.109 明尼阿波利斯博物館：宋「前赤壁賦 」山水人物銀盤，藍理捷舊藏 - Minneapolis Institute of Art, J.J.Lally, A Song Dynasty Chased Silver ‘Red Cliff’ Pictorial Dish
- SACA
- Feb 12
- 13 min read
這件「前赤壁賦」山水人物銀盤出自宋代，約公元13世紀，裝飾有一幅《前赤壁賦》中的場景，細緻地採用了“白描”技法，表現了蘇軾（1037-1101）與兩位朋友在赤壁水面上划船的畫面。
詩人身穿朝服，伴隨兩位同伴，船上有一桌酒具，其中一人吹笛，另一人翻閱書本，周圍景色包括陡峭的岩岸、青草、蘆葦、垂柳與桂樹，以及遠處瀑布飛流而下。天際上有一對鳥飛向左側，背景雲霧繚繞，月亮上有著名的“玉兔搗藥”圖案，畫中玉兔在桂樹下搗藥，用以煉製長生不老的靈藥。整幅圖描繪了詩人描述的情景，背景中的七星與大星座呈現為由細線連接的圓圈。
宋「前赤壁賦 」山水人物銀盤
徑 26.5 厘米
此盤為八角形，淺底，彎曲的外緣呈利齒狀，直徑26.5釐米。
這件作品曾刊登在《赤壁圖像——宋代畫作與藝術品》一書中，該書由西田和田平編輯，並由東京根津美術館出版，2004年，圖版3，頁44。
《赤壁賦》是蘇軾的兩篇散文詩，作為第一人稱敘述，記錄了他與朋友們在長江赤壁岸邊漂流時的哲學對話，詩中描述了周圍的景象以及友人們的活動，同時也抒發了詩人對人生短暫和雄心勃勃之人徒勞奮鬥的感慨。此銀盤的圖案非常貼合詩人的文字，盤中書本上所刻的三字“前赤壁”正是《前赤壁賦》詩篇的標題。
蘇軾是北宋時期最有影響力的文人之一，因其在文學、書法、繪畫、政治等領域的成就而廣受尊崇。蘇軾於1101年去世，但他的聲譽在去世後繼續增長，各地為他建立了紀念碑和廟宇，學者們不斷收藏他的詩文和書法。
赤壁賦的畫作和詩篇在他的去世後很快成為了人們的熱門題材，南宋畫家李松（1190-1225年）創作了一幅《赤壁圖》，其中描繪了與此盤上相似的場景，畫中蘇軾與朋友們在月光下的江面上划船。
另外，盤上樹木、岩石和水波的描繪風格與南宋畫家喬仲常的《赤壁圖》相似，喬的作品現藏於內爾森-阿金斯藝術博物館。此外，盤上圖景的風格也可與晚宋時期吳元智的《赤壁圖》相對照，這兩幅作品展示了相似的山水畫風格。
與本銀盤類似的宋代定窯白瓷盤也有類似的形態，具體請見《英國博物館中國藝術圖錄》一書中的例子，該書將這種形態歸為12世紀的定窯作品，並表示這類器物的造型“可能受到了同一時期銀器的影響”。
同款參考：
另外還有一例2023年邦瀚斯，同樣為藍理捷舊藏的《文人聚會》題材的銀盤售出88575美元。
這兩件宋代銀盤，分別為《赤壁圖》銀盤和《文人聚會》銀盤，都是精緻的藝術品，反映了當時宋代文化和藝術的高度發展。這些銀盤不僅是日常生活中的實用品，更是表現文人風雅、哲學思想和自然景觀的藝術作品。
《赤壁圖》銀盤描繪了蘇軾（1037-1101）在《前赤壁賦》中的經典場景，詩人與兩位朋友漂流於長江赤壁之地，展開哲理性的對話。盤上精細的「白描」技法刻畫了三人於船上悠閒地品酒、吹笛的畫面，背景的自然景象，包括岩岸、垂柳、桂樹、瀑布等，皆生動再現了詩中的描寫。月亮上的「玉兔搗藥」圖案，則是對中國傳說中的月亮兔的藝術表現，增添了詩意的氛圍。
《文人聚會》銀盤則捕捉了宋代文人聚會的日常場景，畫面中學者們在一座精緻的亭子內品茶、作詩，並欣賞瀑布景色。這樣的聚會反映了宋代文人對自然和藝術的共同欣賞，並強調了學術交流與社交的融合。盤上精細的亭台、山水與人物形象，展現了南宋時期對建築與自然景觀的熱愛與藝術表現。
這兩件銀盤不僅在工藝上達到了宋代金屬工藝的高峰，其所描繪的場景也無不反映了宋代文人文化的興盛與藝術的多樣性。它們不僅僅是裝飾品，更是文學、藝術與哲學思想的具象化，成為宋代文化的代表性物品。
宋代銀盤「赤壁圖」問答集
1. 「赤壁圖」銀盤的意義是什麼？它描繪的是什麼場景？
「赤壁圖」銀盤製作於宋代（13世紀），其意義重大，因為它描繪了蘇軾（1037-1101）著名的《前赤壁賦》中的一個場景。這首詩是蘇軾以第一人稱敘述的散文詩，記錄了他與朋友們在長江赤壁之地的划船經歷，進行哲學對話。盤面上，蘇軾身穿朝服，與兩位同伴悠然自得地在平靜的水面上漂流，畫面中有酒壺和酒杯擺放於船桌上，其中一位友人吹奏笛子，另一位則翻閱書籍。周圍的自然景觀包括陡峭的岩岸、茂盛的芦苇、垂柳與桂樹，遠處瀑布從峭壁上傾瀉而下。天際呈現滿月，天上的七星以細線相連，形成「大熊座」，並且畫上了著名的「玉兔搗藥」圖案，玉兔在桂樹下捣药，炼制長生不老的靈藥。這幅畫作具象化了蘇軾詩中所描繪的景象，並充分展現了文學作品如何激發藝術創作。
2. 「白描」技法是什麼？在這些銀盤上是如何運用的？
「白描」是中國傳統的繪畫技法，也稱為「純線描」，它通過精細的線條來定義形狀，並不使用陰影或色彩填充，實質上是輪廓描繪。這種技法非常適合表現細膩的細節和精緻的場景，特別是對於敘事性的圖像，如這些銀盤上的圖案。這些銀盤表面刻劃的場景，運用了「白描」技法來雕刻銀器表面，這種精確、清晰的線條描繪方法使得人物、自然景觀和日常生活細節栩栩如生。
3. 這些銀盤的形式與宋代其他藝術形式有何關聯？
這些銀盤的形式——淺邊、弓形外緣以及鋸齒狀邊緣——與宋代的其他藝術形式，尤其是陶瓷，具有一定的相似性。12世紀的定窯白瓷盤擁有相似的形狀，這表明銀器和陶瓷工藝之間可能存在相互影響。該文解釋了瓷器盤可能模仿了銀盤的形狀，這也反映了當時對精美銀器的需求和尊崇。這兩者的設計都展示了宋代審美的普遍趨勢。
4. 「文人聚會」銀盤的故事是什麼？它與「赤壁圖」銀盤有關聯嗎？
「文人聚會」銀盤描繪的場景與「赤壁圖」銀盤不同。該銀盤展示了學者們在園林中的聚會場面，圖中有一座亭子，裡面坐著學者，年輕僕人手持酒壺，另一位學者則沉思於瀑布。雖然可能讓人聯想到蘇軾的另一篇詩作，但這幅圖更廣泛地表現了文人聚會的場景，強調了學者們在夏季的社交活動和對美的欣賞。這些聚會是當時文化中非常重要的社交活動，並且常常在畫作和詩歌中有所表現。從形式和風格上看，「文人聚會」銀盤與「赤壁圖」銀盤有些相似，這表明它們可能出自同一工坊，並可能是同一套作品的一部分。
5. 何為「雅集」，它在中國文化中扮演了什麼角色？
「雅集」是指志同道合的學者或文人聚集在一起的社交活動，通常選擇在自然環境或園林中進行，活動內容包括作詩、彈琴、賞畫等。這類聚會促進了知識交流，強化了文人圈的身份認同，並且在後世常常成為畫作和詩篇的主題。「文人聚會」銀盤正是捕捉了這一文化傳統，展現了這些聚會如何成為後代的文化範式。
6. 「文人聚會」銀盤中的建築細節如何反映時代特徵？
「文人聚會」銀盤上的亭子設計展示了宋代建築的特徵，尤其是在南宋時期，對細節的處理和對建築元素的表現有所創新。盤中亭子的架構簡化了一些建築元素，如斗拱的呈現，這些簡化其實反映了當時建築設計的演變。盤上還刻有一個雙菱形的圖案帶，這是當時流行的建築裝飾，代表了「風蓋」，這是一種可移動的建築元素，廣泛應用於南宋時期的建築中，並且常見於園林設計中。這些細節體現了當時在建築創新和藝術表現上的關注。
7. 這些銀盤如何融入自然元素和景觀？
這些銀盤充分利用了自然元素來增強其敘事和美學價值。「赤壁圖」銀盤展示了蘇軾詩中描述的具體自然景觀，包括岩岸、芦苇、柳樹、桂樹和瀑布，這些元素強化了詩的場景感。「文人聚會」銀盤則將自然景觀與人工景觀相結合，描繪了園林中的瀑布和懸崖，這些景觀可能是富貴人家園中的人造景觀。這些描繪反映了宋代對自然的重視，並強調了自然元素在日常生活和藝術表達中的融合。
8. 從這些銀盤的製作與背景可以推測出什麼信息？
這些銀盤，如「赤壁圖」和「文人聚會」銀盤，展示了宋代銀器的精湛工藝和文化地位。它們的製作使用了先進的技術，如錘打、退火和雕刻，並結合了畫作中的設計。盤面上精細的敘事場景反映了當時的文學與藝術品味，特別是對蘇軾等人物的尊崇以及文人聚會的文化實踐。這些銀器的設計也啟發了瓷器和漆器的製作，顯示出銀器在宋代藝術中的重要地位。這些銀盤不僅是實用物品，更是展示學術和藝術追求的象徵，反映了宋代社會中的文人文化與藝術的繁榮。
A CHASED SILVER ‘RED CLIFF’ PICTORIAL DISH
Song Dynasty, A.D. 13th Century
decorated with a scene from the Former Red Cliff Ode by Su Shi (1037-1101), finely engraved in painterly baimiao style showing the poet in court robes with two companions relaxing in a boat drifting on tranquil water, with a winepot and cups on the table in front of them, one figure playing the flute and the other holding an open book, beside rocky banks with grasses and tall reeds, a willow and a cassia tree, and with a cascade spilling down from high cliffs at the far shore, the sky with a pair of birds flying to the left towards a constellation of seven stars drawn as circles joined by thin lines to form the “Big Dipper” seen through drifting clouds surrounding a full moon engraved with the legendary yu tu dao yao (玉兔搗藥) scene of the Moon Rabbit under the cassia tree, pounding a pestle in a mortar to mix his magic elixir of immortality, the shallow plain sides of octafoil bracket-lobed outline rising to a barbed everted rim.
Diameter 10 3⁄8 inches (26.5 cm)
Published Itakura, ‘Red Cliff in Imagery—Song Dynasty Painting and Artifact,’ in Sōgen no bi: denrai no shikki o chūshin ni (The Colors and Forms of Song and Yuan China – Featuring Lacquerwares, Ceramics and Metalwares), by Nishida and Tahira (eds.), Nezu Institute of Fine Arts, Tokyo, 2004, p. 44, fig. 3
The Chibi fu (Red Cliff Odes) are two prose poems written by Su Shi (1037-1101) as first person narratives of philosophical conversations with friends while drifting past the historic Red Cliff on the banks of the Yangzi River. The poet describes the setting and the actions of his companions in the boating party and records his thoughts on the brevity of life and the futile striving of ambitious men. The picture on this silver dish closely follows the poet’s description, and the three Chinese characters inscribed on the book held by a figure in the boat: qian chibi (前赤壁, Former Red Cliff), give the popular title of the first ode.
Su Shi was one of the most influential scholar-officials of the Northern Song. He was famous in his lifetime as a statesman, artist, calligrapher, writer, and poet. Su Shi died in 1101, but his reputation and fame continued to grow after his death as shrines and memorials were erected in his honor and connoisseurs collected his poems and calligraphy. Scenes from his life and literature, especially the scene of the Red Cliff Odes, which was his most popular work, were painted soon after his death. A ‘Red Cliff’ painting by the Southern Song artist Li Song (1190-1225) in the Nelson-Atkins Museum of Art, with a closely related composition showing Su Shi and companions in a small boat on the moonlit Yangzi River, is illustrated in Eight Dynasties of Chinese Painting: the Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art, Cleveland, 1980, p. 54, no. 37. An anonymous Southern Song painting of the same subject, in the National Palace Museum, Taipei, is illustrated by Lee and Lin (eds.), Juan qi qian dui xue: chi bi wenwu tezhan (A Thousand Churning Waves: The Legendary Red Cliff Heritage), Taipei, 2009, pp. 82-83, no. 11-3, described as “a typical depiction of Chibi (Red Cliff) scene during the Southern Song.”
The style of depiction of the trees, rocks and waves on the present dish compares very well to the style of another ‘Red Cliff’ painting by the artist Qiao Zhongchang (active early 12th century), in the collection of the Nelson-Atkins Museum of Art, illustrated by Lin (ed.), Da guan: Bei Song shuhua tezhan (Grand View: Special Exhibition of Northern Sung Painting and Calligraphy), Taipei, National Palace Museum, 2006, pp. 164-169. Compare also the ‘Red Cliff’ painting attributed to Wu Yuanzhi (active late 12th century), depicting a small boat sailing by a steep mountain cliff, in the National Palace Museum, Taipei, illustrated in the catalogue of the same 2009 special exhibition, op. cit., pp. 74-75, no. 11-2.
A Ding ware white porcelain dish with shallow lobed sides and barbed rim very similar in form to the present silver dish is illustrated by Rawson in The British Museum Book of Chinese Art, London, 1992, p. 219, no. 160, attributed to the 12th century. Rawson describes the form of the dish as “copied from silver ware of the same period,” and suggests that the central scene “Xiniu Gazing at the Moon” may have been reproduced from a contemporary painting.
Reference:
Another Dish Sold by Bonhams 2023, also from J.J.Lally, sold for US$88575.
These two silver dishes—the "Former Red Cliff Ode" dish and the "Literary Gathering" dish—were both crafted during the Song Dynasty and reflect the exquisite craftsmanship and cultural depth of Chinese art during that period.
The "Former Red Cliff Ode" silver dish depicts a classic scene from Su Shi's famous "Former Red Cliff Ode." In this ode, Su Shi and his companions engage in a philosophical conversation while drifting on the Yangzi River near the site of the Red Cliff. On the dish, Su Shi and two friends are shown relaxing in a boat, with a wine pot and cups on the table in front of them. One friend plays the flute, while the other holds a book. The surrounding landscape includes rocky banks, willow and cassia trees, and a waterfall, with a full moon in the sky. The moon features the motif of the "Moon Rabbit" pounding the elixir of immortality. The dish is delicately engraved using the "bai miao" technique, with fine lines that bring the characters, landscape, and natural elements to life.
The "Literary Gathering" silver dish depicts a different scene—one of a gathering of scholars in a garden setting. The scholars are shown in a pavilion, with one servant carrying wine and another scholar contemplating a waterfall. The architectural elements of the pavilion reflect the evolving design trends of the Southern Song period. This dish emphasizes the cultural importance of intellectual exchange and the appreciation of nature among scholars, capturing the essence of the literati gatherings of the time.
Both of these silver dishes not only showcase the advanced craftsmanship of the Song Dynasty but also embody the values of the intellectual and cultural life of the period, serving as a window into the social and artistic life of Song Dynasty China.
Frequently Asked Questions about Song Dynasty Silver Dishes
What is the significance of the "Red Cliff" silver dish and what scene does it depict? The "Red Cliff" silver dish, crafted during the Song Dynasty (13th century), is significant because it depicts a scene from Su Shi's famous "Former Red Cliff Ode." This ode is a philosophical prose poem where Su Shi recounts a boat trip with friends on the Yangzi River at the site of Red Cliff. The dish portrays Su Shi in court robes with two companions relaxing in a boat on tranquil water. The scene includes details like a wine pot and cups on the table, one friend playing the flute and another holding a book. The surrounding landscape shows rocky banks, reeds, willow and cassia trees, and a waterfall, with the sky featuring a full moon, the Big Dipper constellation, and the "Moon Rabbit" motif. The dish exemplifies how literary works inspired art.
What is the "bai miao" technique, and how is it used on these silver dishes? "Bai miao" is a traditional Chinese painting technique, also called "plain line drawing," that uses fine lines to define forms without shading or color washes. It is essentially a form of outline drawing. The silver dishes use this technique to create detailed and elegant images by incising the silver surface. This method is common for depicting intricate scenes and is particularly well-suited for narrative depictions, such as those found on these trays. The precision and clarity of the "bai miao" technique bring to life the scenes of literary gatherings and landscapes.
How does the form of the silver dishes relate to other art forms of the Song Dynasty? The form of these silver dishes, with their shallow, bracket-lobed sides and barbed rims, is reminiscent of other Song Dynasty art forms, including ceramics. Ding ware white porcelain dishes from the 12th century share a similar shape, suggesting a possible cross-influence between silver and ceramic crafts. The text explains that the porcelain dishes may have copied the form of silver dishes, highlighting the prestige and demand for fine silver objects. The designs on both reflect broader trends in Song Dynasty aesthetics.
What is the story behind the "Literary Gathering" silver tray and is it related to the "Red Cliff" dish? The "Literary Gathering" silver tray portrays a different scene than the "Red Cliff" dish. This tray shows a gathering of scholars in a garden setting, with figures in a pavilion, a young servant carrying wine, and another scholar contemplating a waterfall. While it might be tempting to link this to another episode from Su Shi's odes, it is more loosely related and depicts a general scene of a literary gathering in a summer setting. It emphasizes the cultural importance of intellectual interaction and appreciation of beauty among scholars of the period. The tray shares formal and stylistic similarities with the "Red Cliff" dish, suggesting they may have been created in the same workshop and perhaps intended to be part of a set.
What are "elegant gatherings" and what role do they play in Chinese culture? "Elegant gatherings" were social events where like-minded scholars and literati would come together in a natural or garden setting for activities such as composing poetry, playing music, and appreciating art. These gatherings fostered intellectual exchange, strengthened the identity of literary circles, and were often commemorated in paintings and poems. The "Literary Gathering" tray captures this social and cultural tradition, illustrating how such events became models for subsequent generations.
How do the architectural details on the "Literary Gathering" tray reflect the period? The pavilion depicted on the "Literary Gathering" tray includes detailed architectural elements. While some might consider the simplification of some elements like brackets (dougong) a limitation of the silver craftsmanship, they actually reflect the evolving architectural practices of the Southern Song period. The tray features a gridded band with a double-lozenge pattern, which represents a removable architectural element known as a "wind cover" that became popular during the Southern Song. This detail reflects the attention to and innovation in architectural trends of that time and their depiction in art.
How do these silver dishes incorporate elements of nature and landscape? Both dishes utilize landscape elements to enhance their narrative and aesthetic appeal. The "Red Cliff" dish includes a detailed natural setting of rocky banks, reeds, willow and cassia trees, and a waterfall to illustrate the specific scenery described in Su Shi's ode. The "Literary Gathering" tray combines a courtyard scene with an artificial natural landscape, including a waterfall and cliffs, which might have been artificially created in a wealthy person's garden. These depictions highlight the importance of nature and the integration of natural elements in both daily life and artistic expression during the Song Dynasty.
What can be inferred about the production and context of these silver dishes? The silver dishes, both the "Red Cliff" and "Literary Gathering" ones, demonstrate the advanced craftsmanship and cultural importance of silverware during the Song Dynasty. They were created using sophisticated techniques like hammering, annealing, and chasing, incorporating designs inspired by paintings. Their detailed, narrative scenes reflect the intellectual and artistic tastes of the time, particularly the reverence for figures like Su Shi and the practice of literary gatherings. The fact that these silver pieces inspired the designs of porcelain and lacquerware highlights the high status and influence of silver craftsmanship within the arts. They were not just functional objects but representations of scholarly and artistic pursuits in Song Dynasty society.
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