宋代筆記 vol.114 克利夫蘭博物館：南宋郊壇下官窯花口瓶 - Cleveland Museum, Southern Song Suburban Altar Kiln Guan Lobed Vase

克利夫蘭博物館將這件花瓶定為南宋郊壇下官窯，但根據近年的學術認知和共識，可能更多的學者藏家會偏向定為元代。這種器型的作品龍泉窯也有燒製。這種器物精彩被認為是“白菜瓶”，這種粗暴的形容也是當下收藏家詞彙匱乏的一個精神寫照。

南宋官窯是宋高宗在剛到臨安時為了恢復北宋禮儀而開創的致敬其父宋徽宗汝窯的宮廷祭祀用器，青出於藍而勝於藍，南宋官窯在紫金土和新釉藥配方下，再攀高峰，成為了南北宋承上啟下的藝術關鍵。

官窯花口瓶

克利夫蘭博物館藏

尺寸：寬 6cm 、高11.7cm

來源：Man-Chu Wang 編號25

宋徽宗（趙佶）是北宋末期極具才華的皇帝，他不僅在政治上頗具建樹，更以其卓越的藝術造詣和對文化的熱愛而聞名。宋徽宗對書畫、詩詞、雕刻和園林設計等藝術領域都有深入研究，他將個人的審美情趣與國家的文化建設緊密結合，使得北宋宮廷藝術達到了一個空前的繁榮高峰。然而，他在沈迷藝術的同時，也在政治和軍事上疏於防備，這為後來的外患埋下了隱患，最終導致金兵南下、北宋覆滅的悲劇。

相較之下，宋高宗（趙構）雖然繼承了父親豐富的文化遺產，但他面對的是一個國勢衰微、內憂外患不斷的局面。北宋滅亡後，宋高宗在危急存亡的關頭登基，在政治、軍事和經濟等方面都不得不作出果斷而務實的調整。他深知單靠藝術的繁華難以輓救搖搖欲墜的國家，於是把更多精力投入到重建、恢復和穩定上。

靖康之變

靖康之變（1126-1127年）是中國歷史上的一個重大事件，北宋首都汴京（今河南開封）被金國軍隊攻陷，宋徽宗和他的兒子、當時的皇帝宋欽宗（宋徽宗的長子）被俘虜，北宋滅亡。這一事件對宋高宗產生了深遠影響。當時，宋高宗並未在汴京，而是在外地擔任地方官員，幸運地避開了被俘的命運。

宋高宗的登基與南遷

在靖康之變後，宋高宗在南京應天府（今河南商丘）被擁立為帝，成立了南宋。他的統治初期面臨著巨大的內外壓力，包括抵抗金國的繼續入侵和穩定因靖康之變而動盪不安的國家。宋高宗的南遷和建立南宋標誌著宋朝從北方的失敗中崛起，繼續在南方發展。

宋高宗與宋徽宗的關係

在歷史上，宋高宗與宋徽宗之間的關係相當複雜。雖然宋高宗是宋徽宗的兒子，但他對父親的態度受到了多方面因素的影響。宋徽宗是一位著名的藝術家和收藏家，但他的統治期間因奢侈揮霍和對外戰爭失利而備受爭議。靖康之變過後，宋高宗在處理與金國的關係時，面臨著是否要盡力營救被俘的父親和兄長的難題。

宋高宗在位期間，對於營救宋徽宗和宋欽宗的態度一直相當謹慎。一方面，他對父親和兄長的遭遇表示同情；另一方面，考慮到國家的困難處境和自身的政治安全，他並沒有採取積極的行動去營救他們。這種矛盾的心態反映了宋高宗在維護國家利益和家庭情感之間的掙扎。

結論

宋高宗和宋徽宗之間的恩怨情仇，主要反映在宋高宗對於如何處理靖康之變後的政治困境以及對被俘父兄的態度上。雖然宋高宗在南宋建立了新的基業，維繫了宋朝的延續，但他在處理與金國的關係以及對待被俘宋徽宗和宋欽宗的問題上，顯示出一位皇帝在面對國家危機和家庭情感時的艱難抉擇。

Lobed Vase: Guan ware

China, Hangzhou, Suburban Altar Kiln,

Southern Song dynasty (1127-1279)

Glazed reddish-brown porcelain

Diameter: 6 cm (2 3/8 in.); Overall: 11.7 cm (4 5/8 in.)

John L. Severance Fund 1957.43

Provenance

Men-chu Wang, Seller's no. 25

The Cleveland Museum has classified this vase as a product of the Southern Song Jiao Tan Xia Guan kiln. However, based on recent scholarly research and consensus, many scholars and collectors now lean toward identifying it as a Yuan Dynasty piece. Vases of this form were also produced by the Longquan kiln.

The Southern Song imperial kilns were established by Emperor Gaozong when he first arrived in Lin'an, aiming to restore the Northern Song ceremonial rites. This initiative paid tribute to his father, Emperor Huizong’s renowned Ru kiln creations. As the saying goes, "the student surpasses the master"—the Southern Song imperial wares, benefiting from Zijin soil and innovative glaze formulas, reached unprecedented heights and became a crucial artistic link bridging the Northern and Southern Song dynasties.

Emperor Huizong (Zhao Ji) of the Northern Song was a remarkably talented ruler who left an indelible mark on both politics and the arts. Renowned for his profound achievements in calligraphy, painting, poetry, sculpture, and garden design, Huizong seamlessly integrated his personal aesthetic pursuits with state cultural initiatives, ushering in an unprecedented era of courtly artistic brilliance. However, his deep immersion in artistic endeavors came at a cost: he neglected crucial political and military responsibilities, inadvertently sowing the seeds for the calamity that followed with the invasion of the Jin forces and the eventual collapse of the Northern Song.

In contrast, Emperor Gaozong (Zhao Gou), while inheriting his father’s rich cultural legacy, was confronted with the grim reality of a weakened state beset by internal strife and external threats. Ascending the throne in the aftermath of Northern Song’s demise, Gaozong was compelled to undertake decisive and pragmatic reforms in politics, military strategy, and economic recovery. Fully aware that the allure of refined art alone could not salvage a faltering nation, he dedicated himself to rebuilding the defense, restoring production, and stabilizing the populace.