本次探討的是曾經被德川家用來做水指的一件南宋官窯琮式瓶，這件作品，在2023年出光美術館的青瓷展覽上展覽過，當時被標為青釉、官釉，指出傳統認為南宋官窯，但隨著學術考古的進程，越來越多人懷疑這件器物是不是官窯。
東京國立博物館隨後標出了南宋官窯的標籤，完全忽視這個私人美術館的自言自語，可見在日本的美術屆，也是有學術流派的爭奪。
從目前所有的證據看，這件器物應該是南宋官窯：
造型在龍泉沒有出現，在南宋官窯窯址有發現；
釉色接近大阪市立東洋陶磁美術館的八方瓶，屬於偏青色的釉水；
The present study is about a Southern Song official kiln vase, once used by the Tokugawa family as a water finger. This piece, which was exhibited in a celadon exhibition at the Idemitsu Museum of Art in 2023, was labelled at the time as being of blue glaze and official glaze, pointing out that it was traditionally regarded as an official kiln of the Southern Song dynasty, but with the advancement of academic archaeology, more and more people have come to doubt that it is not an official kiln.
Tokyo National Museum subsequently marked out the Southern Song Dynasty official kiln label, completely ignoring the private museum's self-talk, showing that in the Japanese art, there is also a struggle of academic schools.
All the evidence so far suggests that this is a Southern Song imperial kiln:
The shape does not occur in Longquan, but is found at the kiln site of the Southern Song official kiln;
The glaze colour is close to that of the octagonal vase in the Osaka Municipal Museum of Oriental Ceramics and Magnetism, which is of a greenish glaze;
东京国立博物馆（德川家光、广田松繁）
这件琮式瓶是四件传世琮瓶中传承记录最清晰的一件。这件作品可以追溯到尾张德川家的初代德川义直，并有17世纪德川家光茶会的使用记录，当时便被用为茶道中的水指。
▲ 德川家光，日本江户幕府第三代将军，乳母是春日局（家光曾用静嘉堂曜变天目喂药给乳母喝）。
在德川幕府十五代将军里头，是正室所生的将军，虽说共有初代家康、三代家光以及末代庆喜等三名，但这几位当中，真正由已担任将军的父亲与正室(御台所)所生下的嗣子，只有德川家光一位而已。
倘若家光曾使用这个水指来点茶，令人遐想的是：当时用的茶碗是不是曜变天目？
在日本的命名为「青瓷琮式花生 / 水指」，这件作品是著名古董商壶中居的创始人广田松繁（不孤斋，上图右）的重要收藏，他于上世界70年代过世后捐赠给东京国立博物馆。
日本业界早期将其定为南宋官窑琮瓶，近期在出光美术馆展览展出介绍中，改为青瓷琮瓶，但其釉色堆积、开片和整体的气势，又指向南宋官窑。因此，是一件非常值得讨论的珍品：
1. 倘若确认为南宋官窑，这件作品将改写历史 — 日本在20世纪初期才初次认识南宋官窑，当时的广田松繁（不孤斋）在北京觅得一件青瓷鼎式香炉，并推荐给三菱集团的掌门人岩崎。
岩崎将其所藏的传世龙泉青瓷（Kinuta Celadon、砧青瓷）悉数摆出，将广田推荐的香炉放置其中，当其发现这件香炉丝毫不输时，立刻决定买下。这便是日本第一件被确认的南宋官窑，现收藏于静嘉堂文库美术馆。
倘若本件琮瓶可以确认为南宋官窑，那么日本第一次认识南宋官窑的时间至少要推前至17世纪德川家光时代。
Early designations by the Japanese trade as a Southern Song official kiln bottle were recently changed to a celadon vase in the exhibition presentation at the Idemitsu Museum of Art, but the glaze build-up, the openings, and the overall grandeur of the bottle point to a Southern Song official kiln. It is, therefore, a treasure that is well worth discussing:
1. If confirmed as an official kiln of the Southern Song dynasty, this piece will rewrite history - Japan first became aware of the Southern Song dynasty kilns in the early twentieth century, when Hirota Matsushige (Fukusai) found a celadon tripod incense burner in Beijing and recommended it to Iwasaki, the head of the Mitsubishi Group.
Iwasaki put out his collection of heirloom Longquan celadon (Kinuta Celadon, Anvil Celadon), placed the incense burner recommended by Hirota in it, and when he found that the incense burner was not inferior at all, he decided to buy it immediately. This was the first official kiln of the Southern Song dynasty to be identified in Japan, and it is now in the collection of the Shizukado Bunko Museum of Art.
If the present bottle can be identified as an official kiln of the Southern Song dynasty, then the first recognition of Southern Song kilns in Japan dates back to at least the Tokugawa Iemitsu period in the 17th century.
2. 倘若确认为南宋官窑，关于南宋官窑如何东渡到日本的问题值得探讨。南宋时代的官窑，是如何从宋代的皇宫到了德川家？
本件传承历史上，与极为显赫的尾张德川家的联系起来，是其最闪亮的因素。明确记载，这件作品是初代义直的藏品，宽永十三年（1636年），德川家光将其作为水指使用。
值得注意的是，从台北故宫博物院的一个杜良臣尺牍所使用的宋代花笺上插有的水仙琮瓶图像看，宋代的文人墨客，曾将琮瓶用来做花瓶，琮瓶在宋代被当作花瓶使用是有直接证据的。
2. If the kiln is confirmed as an official kiln of the Southern Song dynasty, it is worth exploring the question of how the kilns of the Southern Song dynasty were transported eastward to Japan. How did an official kiln of the Southern Song dynasty get from the Song imperial palace to the Tokugawa family?
The history of this piece's inheritance, linked to the extremely prominent Owari Tokugawa family, is its most shining factor. It is clearly documented that this piece was in the collection of Hatsushiro Yoshinao, and that Tokugawa Iemitsu used it as a water finger in the thirteenth year of Kan-ei (1636).
Significantly, the image of a Narcissus cong cong vase inserted into a Song dynasty flower paper used in a Du Liangchen shakuji at the National Palace Museum, Taipei, shows that the cong vase was used as a vase by Song literati, and that the cong vase's use as a vase in the Song dynasty is directly attested to.
背景資料：
南宋官窯起源於南宋初期的皇城臨安（現杭州）鳳凰山麓，目前已發現的窯址包括鳳凰山上的老虎洞窯址（被廣泛認為接近修內司）和郊壇下的兩個窯址。
宋高宗趙構是宋徽宗趙佶的第九子，歷史的進程選擇了趙構。由於金兵在北宋末年俘虜了徽、欽二帝，趙構轉都臨安以宋高宗身份開啓了南宋時代，並在臨安城複製了東京汴梁的禮儀制度，包括祭天、狩獵的玉津園，以及致敬汝窯的南宋官窯。
南宋琮式瓶是南宋官窯獨立於汝窯的新創作，用來替代原本的青銅祭祀禮器。南宋官窯禮器的誕生標誌著宋徽宗美意識的延續。宋高宗在汝窯的基礎上發展南宋官窯，滿足了宮廷需求，同時也啟動了南宋厚釉青瓷的研究。龍泉窯在南宋官窯的帶領下蓬勃發展。
雖然世界僅存4件南宋官窯琮瓶，外觀相似，但在技術、造型和設計上各有特色，每一件都蘊含獨特的精神世界，仿佛展現了南宋官窯早期為製作合適禮器所進行的整個設計和實踐過程。
承上啓下、跨越千年，凝固徽宗、高宗父子的精神世界，連接南北宋美意識，延續絢爛宋瓷帝國的光輝，12世紀的南宋官窯如同超新星爆發，閃耀傳世。
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