上海博物館藏有一例綠釉多足硯台，與常盤山文庫隋至初唐的綠釉辟雍硯同款。這類袖珍的器物十分罕見，特別是綠釉帶有獸面的綠釉硯。
The Shanghai Museum houses a rare green-glazed multi-legged inkstone, closely resembling the green-glazed Biyonginkstone from the Sui to early Tang period in the Tokiwayama Bunko collection. These petite artifacts are exceptionally uncommon, particularly those with green glaze adorned with intricate beast motifs, showcasing both technical mastery and artistic refinement.
在收集隋唐時期的出土資料時可以發現，這時期最具特色的器物之一是多足圓形砚，在古代中國被稱為「辟雍硯」。
上海博物館藏 袖珍綠釉辟雍硯
常盤山文庫藏品中有三件白瓷砚和一件綠釉砚，但圓形砚有兩種類型：一種是在支撐砚面的多足下有一個圓環；另一種是沒有圓環的。
最先出現的是無圓環的多足型，大約在六世紀末出現於河南安陽，後來在七世紀出現於陝西，圓環與河南的不同。 至於綠釉器，則有從寧夏固原七世紀後期墓葬出土的例子。
緑釉小円硯
りょく ゆう しょう えん けん
高2.3㎝ 硯面径3.0㎝ 底径5.5㎝
隋～初唐 7世紀
When collecting excavated materials from the Sui and Tang dynasties, one of the most distinctive artefacts of the period is the rounded inkstone with multiple feet, which was known in ancient China as a ‘biyong ji’ (辟雍硯).
There are three white porcelain inkstones and one green-glazed inkstone in the collection of the Changbansan Archives, but there are two types of rounded inkstones: one with a ring under the multiple feet supporting the surface of the inkstone, and the other without a ring.
The first of these, a multi-legged type without a ring, appeared at Anyang, Henan, around the end of the sixth century, and then in Sui and Shaanxi in the seventh century, with a different ring than the one in Henan. As for green-glazed wares, there is an example from a late seventh-century tomb in Guyuan, Ningxia.
▲ 10.「河南省安陽市置度村M8隋墓」，圖中10f手持的就是沒有圓環的「辟雍硯」
▲ 6.「河南省安陽市小屯村北YM243號墓」，6k，「辟雍硯」此時還沒有底座的圓環
隋から唐の出土資料を収集してみると、この時期に特徴的な出土品の一つに、中国で「辟雍硯（へきようけん）」と呼ばれる多足の円硯がある。
常盤山文庫には白磁3点、緑釉1点の円硯があるが、円硯には当文庫所蔵のように硯面を支える多足の下に円環を伴うタイプと、円環を伴わないタイプの二種があり、これまでの出土資料では、前者は陝西省および寧夏固原、後者は河南省と出土地域が異なっている。先に現れるのは円環を伴わない多足のタイプで、6世紀末頃の河南省安陽に現れ、そののち隋も7世紀に入ると陝西省で、河南省とは異なる円環を伴う形のものが現れるようになる。緑釉に関しては寧夏固原の7世紀後半の墓に出土例がある。
掲載図書
『常盤山文庫と町田市立博物館が語る 中国陶磁うつくし』町田市立博物館、2016（解説 佐藤サアラ）常盤山文庫中国陶磁研究会会報7『初期白磁』公益財団法人常盤山文庫、2018（解説 佐藤サアラ）『常盤山文庫創立80周年記念名品選 蒐集のまなざし』公益財団法人常盤山文庫、2023（解説 三笠景子）
白磁小円硯
はく じ しょう えん けん
高2.5㎝ 硯面径5.9㎝ 底径6.7㎝
隋～初唐 7世紀
根據常盤山文庫的資料，西安7世紀以後出土的「辟雍硯」底足都有圓環。確實如隋唐紀年墓的紀錄顯示，6世紀末期的類似例子都沒有底足的圓環。
According to the Tokiwayama Archives, all of the Piyong Inkstone excavated in Xi'an from the 7th century onwards have a rounded footrim. Indeed, as the records of Sui and Tang dynasty tombs show, similar examples from the late sixth century do not have rounded feet.
▲ 7.「河南省安阳市桥村隋墓」7w
掲載図書常盤山文庫中国陶磁研究会会報7『初期白磁』公益財団法人常盤山文庫、2018（解説 佐藤サアラ）
白磁小円硯
はく じ しょう えん けん
高2.3㎝ 硯面径4.8㎝ 底径5.8㎝
隋～初唐 ７世紀
大約在605年開始，出現了帶有底足圓環的「辟雍硯」。6世紀末先出現了沒有底足圓環的「辟雍硯」，而605出現有底足圓環的同類作品，並不能代表前者就完全被淘汰了，只能說兩種做法同時共存，但前者更早出現。
The appearance of ‘Piyong Inkstone’ with rounded footrims from about 605, ‘Piyong Inkstone’ without rounded footrims at the end of the sixth century, and similar works with rounded footrims at 605, does not mean that the former were completely eliminated, only that they co-existed, but that the former appeared much earlier.
▲ 16.「陝西省西安市長安區李裕墓」，605年，16f
▲ 19.「陕西省西安市长安区苏统帅墓」
白磁小円硯
はく じ しょう えん けん
高2.3cm 硯面径5.0㎝ 底径5.5㎝
隋～初唐 7世紀
610年，在一個墓葬中又出現了沒有底足圓環的製品，這說明了兩個可能性：
有底足圓環、沒有底足圓環的作品在至少605年以後就共存；
這個墓葬的主人，在6世紀末購買了這個早期製品，然後在610年陪葬（不能完全排除這個可能性。
The reappearance of pieces without footed rings in a burial in 610 suggests two possibilities:
Pieces with and without footed rings coexisted from at least 605 onwards;
The owner of this tomb, who purchased this early piece in the late 6th century, was then buried with it in 610 (a possibility that cannot be entirely ruled out.
▲ 24.「河南省郑州市郑仲明墓」，610年
以上陳述的第二種可能性是存在的，因為在618年，又出現了一個底足帶圓環的作品：
The second possibility of the above statement exists, for in 618 another piece with a rounded foot appears:
▲ 26.「陕西省西安市田行达墓」，618年
隋唐時期多足硯台常見問題解答
什麼是「辟雍硯」，它在隋唐時期有何意義？辟雍硯是一種圓形多足硯台，是隋唐時期極具特色的文房器物。其名稱源於硯台的圓形結構及其用途。此類硯台不僅展現了當時的藝術與工藝水平，亦體現了隋唐時期文人文化與審美的發展。辟雍硯在墓葬中的出現，更顯示其具備文化及可能的儀式性意涵。
根據考古發現，辟雍硯主要分為哪兩類？它們有何差異？辟雍硯主要分為兩類，分別是帶有圓形圈足（足緣）及不帶圈足的硯台。第一類硯台僅由多足支撐硯面，無圈足；第二類則在多足支撐硯面的同時，底部加有連接的圓形圈足。
這兩類辟雍硯分別何時何地首次出現？無圈足的辟雍硯最早出現在6世紀末的河南安陽。而帶有圈足的辟雍硯則於7世紀在陝西首次出現，其圈足結構與河南地區的硯台有所不同。
帶圈足硯台的出現是否意味著無圈足硯台的消失？並非如此。考古資料顯示，兩類辟雍硯自605年起至少同時存在。儘管帶圈足的設計較新穎，但未完全取代早期的無圈足設計。無圈足硯台可視為較早的樣式。
除了圈足的差異，這些硯台還有其他顯著的變化嗎？除了圈足的有無，部分辟雍硯使用白瓷製成，另有一些施以綠釉。其中，綠釉硯台上刻飾獸面圖案，格外彰顯藝術風格的多樣性及釉彩技術的精湛。
西安和固原等地的考古發現對這些硯台的年代與分佈有何啟示？西安出土的7世紀以後的辟雍硯多帶有圓形圈足，綠釉類型，包括帶有獸面設計的硯台，則在寧夏固原的7世紀末墓葬中有所發現，顯示這類硯台在地域上的分布，以及特定設計在不同地區的興起或流行。
為什麼某些辟雍硯被認為極為稀有？袖珍型或「口袋型」辟雍硯因其體積小巧，製作工藝要求極高而被視為稀有品。其中施以綠釉並飾有獸面圖案的硯台，尤為珍罕，體現了隋唐時期工藝與藝術創新的高度。
辟雍硯在墓葬中的出現，如何揭示隋唐時期的日常生活與信仰？辟雍硯出現在墓葬中，表明其為逝者重要的隨葬物品，可能被視為在來世可供使用的器具，反映了當時文人對書寫、書法及學術的重視。同時，它也顯示出逝者的社會地位與藝術品味。此外，同一墓葬中同時出現早期與後期的硯台，說明硯台的選擇更多關乎其自身價值，而非單純的風格趨勢。
FAQ: Multi-Legged Inkstones of the Sui and Tang Dynasties
What are "Biyong Inkstones" and what is their significance during the Sui and Tang dynasties?
"Biyong Inkstones" (辟雍硯) are rounded inkstones with multiple legs, distinctive artifacts from the Sui and Tang dynasties in China. Their name derives from their circular design and function. They are significant as they showcase the artistry, craftsmanship, and evolving styles of the period, and they are found in burial sites indicating their cultural and possibly ritualistic importance.
What are the two primary types of Biyong Inkstones identified by archaeological findings, and how do they differ?
The two primary types of Biyong Inkstones are distinguished by the presence or absence of a circular ring (rounded footrim) beneath their supporting legs. One type has multiple legs supporting the inkstone's surface without a ring; the other has legs supporting the surface with a circular ring connecting the base.
When and where did the two types of Biyong Inkstones first appear?
The type of Biyong Inkstone without the circular ring appeared first, around the end of the 6th century in Anyang, Henan province. The type with the circular ring appeared later, during the 7th century in Shaanxi province, featuring a different ring structure from those found in Henan.
Does the appearance of the inkstone with the circular ring mark the disappearance of the earlier type?
No, the archaeological record suggests that both types coexisted from at least 605 onwards. The newer design with a ring did not completely replace the earlier design without a ring. However, the type without a ring appeared first and could be considered an earlier style.
Besides the difference in rings, are there other notable variations in these inkstones?
Besides the presence or absence of the footrim, some Biyong Inkstones are made of white porcelain, while others are green-glazed. Notably, some green-glazed examples are adorned with beast motifs, showcasing artistic diversity and skillful application of glaze techniques.
What do findings at sites like Xi'an and Guyuan tell us about the chronology and distribution of these inkstones?
Findings in Xi'an from the 7th century onwards reveal Biyong Inkstones consistently featuring a rounded footrim. The green-glazed type, including examples with animal designs, have been discovered in late 7th-century burials in Guyuan, Ningxia. This indicates a geographical spread of inkstone types, with specific features emerging or becoming more prominent in different regions.
Why are some Biyong Inkstones considered exceptionally rare?
Petite or "pocket-sized" Biyong Inkstones are considered exceptionally rare due to their small size, requiring considerable craftsmanship, and particularly those with a green glaze adorned with beast motifs, represent both a high level of technical skill and artistic innovation.
How does the existence of Biyong Inkstones in tombs provide insights into the daily life and beliefs of the Sui and Tang dynasties?
The presence of Biyong Inkstones in tombs suggests these were important personal items that the deceased might use or value in the afterlife. It shows the importance of literacy, calligraphy and scholarship. It could also show the status of the deceased, as well as artistic appreciation during the period. The fact that both older and newer types are sometimes found in the same tomb suggests that it was not necessarily about style so much as the item itself.
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