宋代筆記 vol.110 和泉久保惣記念美術館：国宝「万声」南宋龍泉窯青磁鳳凰耳花生 - Kuboso Memorial Museum of Arts Izumi, National Treasure Southern Song Dynasty Longquan Celdaon Phoenix Vase
- SACA
- Feb 15
- 11 min read
自古以來，龍泉青瓷便以其優美柔和的青綠色澤和高超的製瓷技術著稱，尤其是南宋時代更達到巔峰。本件「萬聲」鳳凰耳花生不僅反映了龍泉窯對釉色、器形與裝飾的藝術追求，也展現了中日兩國之間悠久的文化交流。儘管歷經歲月流轉與多次易主，它的保存與傳承，正證明其在歷史、藝術與文化研究領域的珍貴地位。
Throughout history, Longquan celadon has been renowned for its gentle, lustrous green hue and superb ceramic craftsmanship, culminating in its pinnacle during the Southern Song period. This “Mansei” Phoenix-Ear Vase not only represents the artistic pursuit of form, glaze, and ornamentation characteristic of Longquan ware, but also underscores the enduring cultural exchange between China and Japan. Over centuries of changing hands, its preservation and legacy attest to its significance in historical, artistic, and cultural research.
此件青瓷被認為是南宋時代於浙江省龍泉窯燒製，並經海運傳入日本。可推測早在室町時代即被視為名器而備受珍重；
德川第三代將軍家光時，曾贈與東福門院，後又遺贈給公弁法親王。關於「萬聲」之名，係後西院（後西天皇）取自白居易「擣月千聲又萬聲」的詩句所命名。與陽明文庫藏近衛家傳來的鳳凰耳花生「千聲」互相輝映，此事在其所附來歷文件與《槐記》中均有記載。
在眾多鳳凰耳花生之中，本件工藝極為精緻，器形莊重，氣度非凡，脫穎而出，可謂神品。
參考另一例德川魚耳瓶：
青磁 鳳凰耳花生 / 青瓷鳳耳瓶
銘「萬聲」（漢語音譯：「青瓷 鳳凰耳花瓶」；
日語讀法為「せいじ ほうおうみみはないけ めい『ばんせい』」）
尺寸：高33.6公分、口徑11.0公分、腹徑14.1公分、底徑11.5公分
器物胎體為略含鐵分的灰白色磁胎，外施粉青色青瓷釉，釉層厚實，底部未施釉露胎。整體造型為圓筒狀的腹部配以修長頸部，口沿呈漏斗狀張開。頸部兩側各貼飾一只鳳凰形耳。
根據釉藥、胎土以及器形特徵，可推斷此件作品為南宋時代龍泉窯製品。宋代中國各地皆有燒製青瓷的窯口，各自生產具地域特色之青瓷，而龍泉窯是其中規模和影響力皆極為盛大的窯場之一。南宋龍泉青瓷常見的柔潤淡青綠色澤，源於厚釉與略帶灰色的胎體交互作用所產生之效果。
尤其是在燒成過程中，釉層內密布微細氣泡，造就了半透明般的柔和色調。此外，肩部厚釉累積處、接近口沿邊緣以及鳳凰耳凸線部分因釉層薄而微現胎色，呈現出青綠色濃淡變化的層次。從南宋到元代，龍泉窯青瓷大量燒造，不僅有此類瓶式作品，也生產香爐、碗、壺及文房用品等，並廣泛輸往國內外；在日本亦常於寺院或茶道器具中使用並備受珍愛。此件鳳凰耳花生據傳自德川家光、東福門院相繼傳至江戶時代後歸於京都的毘沙門堂。
另有關「萬聲」這一銘文（器物上所賦予的雅號），可見於十八世紀隨筆《槐記》之記載，指出後西天皇曾引用「擣月千聲又萬聲」詩句，為京都陽明文庫所藏鳳凰耳花生銘「千聲」（重要文化財）及本件「萬聲」命名。
和泉市久保惣記念美術館（大阪府和泉市內田町3-6-12）
重要文化財指定日期：1906年06月09日
國寶指定日期：1951年06月09日
常見問題（FAQ）
1. 什麼是「龍泉青瓷」？為何如此重要？
龍泉青瓷是指產自中國浙江省龍泉窯的一類青瓷（亦稱「青釉瓷」）。它最顯著的特點在於温潤柔和、帶有微藍調的青綠色釉面，這種效果主要源自特定的燒製技術，搭配略帶灰白色的瓷胎（含少量鐵質）和厚實釉層之交互作用所致。龍泉窯在南宋時期（1127-1279）達到技術與藝術的高峰，並大量對外輸出，不僅在中國國內廣受推崇，亦深刻影響了其他國家的瓷器生產與審美風格。
2. 「萬聲」鳳凰耳花生有何獨特之處？
「萬聲」鳳凰耳花生在日本被指定為「國寶」，是南宋龍泉窯所燒造鳳凰耳花瓶中的極品。它的獨特性表現在以下幾方面：
工藝精湛：胎體製作與貼飾鳳凰耳皆極為細緻。
造型莊重：修長頸部與相對寬厚的腹身比例匀稱，視覺上顯得大氣且富有尊貴感。
歷史價值：在日本歷史上曾為德川家光等顯要人物收藏，增添其傳承意義與文化含量。
3. 如何辨識龍泉青瓷的特徵？
辨識龍泉青瓷通常可參考以下幾項特點：
胎土：多為略帶灰白色或灰黃色的瓷胎，含微量鐵質。
釉色：外施厚厚的粉青釉（soft bluish-green glaze），經高溫還原氣氛燒成後，呈現柔和的青綠色澤。
氣泡與半透明感：燒製過程中形成的細小氣泡密布於釉層，造成釉面略帶半透明效果。
露胎處：底部（底足）常不施釉而露出胎色，方便在燒製時支撐器物。
釉色濃淡變化：由於釉層厚薄不一，器物的凸起或邊緣部位可能呈現較淡或較深的色調，產生富有層次的視覺效果。
4. 這件鳳凰耳花生的歷史背景為何？
「萬聲」鳳凰耳花生很可能是南宋末期（約12世紀末至13世紀）在浙江龍泉窯製作完成後，經海運輸出至日本。據推測，最早在室町時代（1336-1573）就被視為名品而加以珍藏。其後，經歷了多位日本貴族或武家要人的典藏與傳承，例如德川家光（江戶幕府第三代將軍），並在寺院中作為貴重器物長期保存，展現了其經久不衰的文化與藝術魅力。
5. 「萬聲」這個名稱有何典故？
「萬聲」（日語讀作「ばんせい」），是後西天皇（後西院）取自白居易漢詩句「擣月千聲又萬聲」（Tao-getsu senshō mata manshō）的意象所命名。傳說京都近衛家收藏的另一件鳳凰耳花生被稱為「千聲」，而此一件則對應地命名為「萬聲」，形成一千與一萬的呼應關係，象徵其在文化品評中的稀有與重要性。
6. 花瓶上的「鳳凰耳」是什麼？
「鳳凰耳」指的是貼飾在頸部兩側、造型猶如鳳凰的對稱裝飾，通常以鳳首或鳳身曲線表現出飛翔、迴旋的動勢。鳳凰在中國傳統文化中象徵祥瑞、重生與永生，因而經常出現在瓷器、青銅器與其他藝術作品的裝飾中，代表吉祥與高貴。
7. 「萬聲」鳳凰耳花生現藏於何處？
「萬聲」鳳凰耳花生現藏於大阪府和泉市的和泉市久保惣記念美術館（Kuboso Memorial Museum of Arts Izumi）。該館收藏了多件中日名品，是研究中日陶瓷交流史的重要場館之一。
8. 「萬聲」在歷史上如何被評價？
早在室町時代，此器便作為珍罕名品被收藏。之後歷經德川幕府和皇室成員的傳承，更彰顯其高度價值。1906年，它被指定為重要文化財（Important Cultural Property），1951年又獲得國寶（National Treasure）的地位，從而在藝術、文化和歷史研究領域奠定了無可替代的重要性。
Celadon Phoenix-Ear Vase (青瓷鳳耳瓶)
This celadon piece is believed to have been fired at the Longquan kilns in Zhejiang Province during the Southern Song Dynasty and subsequently imported into Japan.
Records suggest it was already highly prized as a rare masterpiece in the Muromachi period. During the era of the third shogun Tokugawa Iemitsu, it was presented to Tōfukumon-in, and later bequeathed to Prince Kōben Hōshinnō. The name “Mansei” (萬聲, literally “ten thousand voices”) derives from the verse “Tao-getsu senshō mata manshō” (“擣月千聲又萬聲,” meaning “Pounding the moon a thousand times, and again ten thousand times”), bestowed by Emperor Go-Sai. According to attached documentation and the early 18th-century essay Kaiki (槐記), the celadon phoenix-ear vase passed down in the Konoe family is referred to as “Chisei” (“a thousand voices”), whereas this piece is called “Mansei” (“ten thousand voices”).
Among the many phoenix-ear vases, this work stands out for its particularly meticulous craftsmanship and dignified, imposing character, making it a superb example of its type.
Celadon Phoenix-Ear Vase (青瓷鳳耳瓶)
Named “Mansei”(Japanese reading: “Seiji Hōō-mimi Hanaike, Mei ‘Bansei’”)
Dimensions: Height 33.6 cm, Mouth diameter 11.0 cm, Body diameter 14.1 cm, Base diameter 11.5 cm
The body is a grayish-white porcelain containing a slight amount of iron, covered with a thick layer of soft bluish-green celadon glaze. The base is unglazed, exposing the clay. The vessel’s form features a cylindrical body with a slender neck and a funnel-shaped mouth. A pair of phoenix-shaped “ears” is attached at the neck.
Based on its glaze, clay body, and overall shape, this piece is considered to be a product of the Longquan kilns during the Southern Song period. Although kilns across various regions of China produced celadon with distinctive traits during the Song dynasty, the Longquan kilns were among the most active and prolific.
The characteristic soft, lustrous pale bluish-green of Southern Song Longquan celadon derives from the thick glaze, coupled with the grayish hue of the underlying clay. In particular, myriad fine air bubbles formed during firing remain embedded in the glaze, imparting the piece with a semi-translucent tone. Moreover, the varying thickness of the glaze adds subtle gradations of color, most notably around the heavily glazed shoulder, the lip edge where the whitish clay shows through, and the raised lines of the phoenix ears. From the Southern Song to the Yuan dynasty, Longquan kilns produced large quantities of celadon wares, including vases like this one, incense burners, bowls, jars, and various scholar’s implements, exporting them not only within China but also overseas.
They were also used in Japanese temples and greatly valued as tea wares. This vase was handed down from Tokugawa Iemitsu and Tōfukumon-in, eventually arriving at Bishamondō in Kyoto after the Edo period. References to the name “Mansei” (as an affectionate moniker for the vessel) can be found in the 18th-century essay Kaiki. It indicates that Emperor Go-Sai selected the poetic phrase “擣月千聲又萬聲” (“Pounding the moon a thousand times, and again ten thousand times”) to name both the celadon phoenix-ear vase “Chisei” (“A Thousand Voices”), held in Kyoto’s Yōmeibunko (classified as an Important Cultural Property), and this piece, “Mansei” (“Ten Thousand Voices”).
Kuboso Memorial Museum of Arts Izumi (3-6-12 Uchida-chō, Izumi-shi, Osaka Prefecture)
Designated as an Important Cultural Property: June 9, 1906
Designated as a National Treasure: June 9, 1951
Frequently Asked Questions about the Longquan Celadon Phoenix-Ear Vase "Mansei"
1. What is Longquan celadon and why is it significant?
Longquan celadon is a type of greenware (celadon) pottery produced in the Longquan kilns of Zhejiang Province, China. It is particularly renowned for its beautiful, soft, and lustrous bluish-green glaze achieved through specific firing techniques and the interaction of the thick glaze with the slightly grayish porcelain body. Longquan ware reached its peak during the Southern Song Dynasty and was widely exported, influencing ceramics production in other countries.
2. What is unique about the "Mansei" Phoenix-Ear Vase?
The "Mansei" vase, now a designated National Treasure in Japan, is a particularly fine example of a Southern Song Dynasty Longquan celadon phoenix-ear vase. It stands out for its meticulous craftsmanship, dignified form, and imposing presence. Its history of ownership by prominent figures such as Tokugawa Iemitsu further enhances its value and significance.
3. How can you identify a Longquan celadon?
Key characteristics of Longquan celadon include a grayish-white porcelain body, a thick layer of soft bluish-green glaze, and often, an unglazed base. The glaze's color is a result of the interaction between the thick glaze and the iron content in the clay, along with tiny air bubbles trapped within the glaze during firing. Varying glaze thickness can create subtle color gradations.
4. What is the historical context of this vase?
The vase was likely produced during the Southern Song Dynasty (1127-1279) in the Longquan kilns of Zhejiang Province. It was then exported to Japan, where it was highly prized as a masterpiece, potentially as early as the Muromachi period (1336-1573). Its subsequent ownership by important Japanese figures like Tokugawa Iemitsu and its association with temples highlight its enduring appeal and cultural importance.
5. What is the meaning behind the name "Mansei"?
The name "Mansei," meaning "ten thousand voices," was bestowed upon the vase by Emperor Go-Sai. It originates from the poetic phrase "Tao-getsu senshō mata manshō" ("Pounding the moon a thousand times, and again ten thousand times"). The "Mansei" vase was named in relation to another similar vase called "Chisei" ("A Thousand Voices"), held by the Konoe family.
6. What are "phoenix ears" on a vase?
"Phoenix ears" refer to the pair of decorative handles attached to the neck of the vase, shaped like phoenixes. These ornate handles are a common motif in Chinese ceramics and other art forms, symbolizing good fortune, renewal, and immortality.
7. Where is the "Mansei" Phoenix-Ear Vase currently located?
The "Mansei" Phoenix-Ear Vase is currently housed at the Kuboso Memorial Museum of Arts Izumi, located in Izumi City, Osaka Prefecture, Japan.
8. How was the "Mansei" Vase valued throughout history?
The vase was already considered a valuable masterpiece in Japan during the Muromachi period. Its ownership by members of the Tokugawa shogunate and imperial family demonstrates its continued appreciation by high-ranking individuals throughout Japanese history. Its designation as an Important Cultural Property in 1906 and a National Treasure in 1951 solidify its significance in the study of art, culture, and history.
青磁 鳳凰耳花生 / 青瓷鳳耳瓶
南宋時代浙江省竜泉窯で焼成され、舶載された作とみられる。
室町時代にはすでに名器として珍重されたことがうかがえ、三代将軍家光の時、東福門院に贈られ、のちに公弁法親王に遺贈された。万声とは後西院が「𢭏月千声又万声」の詩句によって名付けられたもので、近衛家に伝わった鳳凰耳花生を「千声」、これを「万声」としたものとの伝来が添状および『槐記』にある。
鳳凰耳花生のなかでも、とりわけ作調が丁寧で、堂々とした風格を備えた優品である。
青磁 鳳凰耳花生 / 青瓷鳳耳瓶
銘「万声」 （せいじ ほうおうみみはないけ めい「ばんせい」 ）
高33.6 口径11.0 胴径14.1 底径11.5 （㎝）
僅かに鉄分のある灰白色の磁胎に、粉青色の青磁釉が厚くかかり、底裏は露胎である。形は円筒形の胴に細長い頸がつき、口は漏斗状に開いている。頸に鳳凰形の耳一双が貼り付けられる。
本品は、釉薬と胎土および器形の特徴から南宋時代の龍泉窯で作られたと考えられる。宋時代には中国各地に青磁を焼く窯が存在し、それぞれに特色のある青磁を生産していたが、龍泉窯は最も盛んに活動を展開した窯の一つであった。南宋時代の龍泉窯青磁の特色であるやわらかい艶のある淡い青緑色は、厚みのある釉薬とその下地となっている灰色がかった胎土から生じている。特に、焼成時に発生する微細な気泡が釉薬の中に密に留まっていることが、半透明の色調を出す元となっている。また、たっぷり釉薬のかかった肩、胎土が白っぽく透けて見えている口縁先端や鳳凰形の耳の凸線部分など、釉薬の厚さ、薄さが単色の中に濃淡のアクセントをつけている。南宋時代から元時代にかけて龍泉窯の青磁は大量に生産され、本品のような瓶のほか、香炉、碗、壷、文房具などが作られている。それらは中国国内だけでなく海外に輸出され、日本でも寺院などで用いられたほか茶器としても賞玩されてきた。徳川家光、東福門院と伝わり、江戸時代以降、毘沙門堂（京都）に伝来した。また「万声」という銘（器物につけられる愛称的固有名詞）は、「擣月千声又万声」という詩句から、陽明文庫（京都）所蔵青磁鳳凰耳花生銘「千声」（重要文化財）とともに江戸時代に後西天皇によって名付けられたことが『槐記』（18世紀の随筆）の記事により知ることができる。
和泉市久保惣記念美術館 大阪府和泉市内田町3-6-12
重文指定年月日:19060609国宝指定年月日:19510609
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