銀兔毫禾目天目茶碗
宋代，960-1279
造型優美，碗口薄而邊緣漸厚，這使得這只茶碗重心較低，雖較為厚重卻不顯笨重。這件茶碗屬於典型建盞風格，底足短小，底座扁平且直壁，這是典型的建盞底型。表面呈黑色，釉色深褐，覆蓋碗身內外，唯一未覆釉的部分為底足與底座。由於外圍的輪廓角度變化，一側的釉色流動被遏制，另一側則流至足部，形成兩道厚重的釉痕，底邊緣的釉層形成不規則的釉聚。
外壁和內部的小圓形、略微傾斜的底面上，均可見到深色銀棕色的兔毫紋樣。茶碗的外壁下部未覆釉的陶土顯示出深紫褐色的色澤。此碗是用陶輪製作，之後用刀具修整底部和底座。乾燥後，碗被浸入釉液中，再次乾燥後，碗口部分浸入鐵含量較高的滑石中，這一過程在窯內形成了兔毫紋。碗是正立於窯內在匣鉢中燒製。
物品編號：2007.81
尺寸：高 6.8 公分 x 直徑 12.9 公分 (2 11/16 x 5 1/16 英吋)
來源
J.J. Lally & Co., New York (經銷商) (2007)
Diane H. Schafer Collection, New York (購得於1980年代末或1990年代初)
James Bradford Godfrey, New York (經銷商) (1980年代末或1990年代初)
Mrs. Agnes Hellner Collection, Stockholm, Sweden (赫爾納博士的遺孀或女兒) (1980年代)
J. Hellner Collection, Stockholm, Sweden (收集於1950年代或1960年代)
可能來自一個舊的日本收藏，從金屬邊緣及其於二十世紀中期進入歐洲收藏可見端倪。
出版歷史
Robert D. Mowry, Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese brown- and black-glazed ceramics, 400-1400, 展覽目錄, Harvard University Art Museums (Cambridge, MA, 1996)，第218-219頁，第82號
Crosscurrents: Masterpieces of East Asian Art from New York Private Collections, 展覽目錄 (New York, 1999)
展覽歷史
Re-View: S228-230 Arts of Asia, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 2008年5月31日至2013年6月1日
宋徽宗（1082-1135），名趙佶，是宋朝的第八任皇帝，也是中國歷史上著名的書畫家和藝術鑑賞家。他對中國藝術有深遠的影響，尤其是在瓷器和茶文化方面。徽宗對茶道有深刻的理解和推崇，並且在他統治下，茶道達到了一個全新的高峰。他倡導的“文人茶道”提倡品茶的雅緻與精緻，並將其視為一種文化活動，不僅限於茶葉的飲用，更重視茶具和茶席的設置。
徽宗對建盞的推崇也使這種瓷器在當時達到頂峰。建盞，特別是天目盞，以其獨特的釉色和細緻的工藝著稱，其中最具代表性的便是“禾目天目”茶盞。建盞的釉色深沉，且具備特殊的“兔毫”紋理，這是由於在燒製過程中，釉料與陶土的反應所產生的效果。徽宗喜愛這些具有藝術性和實用性的建盞，並且將其與茶道的儀式融為一體，使其成為品茶的重要工具。建盞不僅是茶器，也代表了宋代文人雅士對品味和藝術的追求。
徽宗時期，茶道不僅是皇宮中的奢華享受，也滲透到了日常生活中，成為文人雅士交流思想和情感的一種方式。茶盞、茶具及茶道的氛圍，與當時的藝術、文學、哲學緊密相連，成為宋代文化的象徵之一。
Tea Bowl
with Indented Lip and Silvery-Brown Hare's-Fur Markings
Song dynasty, 960-1279
The walls of this large yankou wan, or funnel-shaped, tea bowl expand from the small, circular foot, beginning their steep ascent to the lightly indented, vertical lip at an angle approximately one-half inch above the foot. Thin at the rim, the walls thicken as they descend, so the relatively heavy bowl has a low-set center of gravity. Of standard Jian type, the short footring has a flat blottom and straight walls of intermediate thickness; also of standard type, the base is both flat and shallow. Appearing black, a dark brown glaze coats the bowl inside and out, excluding the foot and base. Although the angled change of profile arrested its flow on one side, the glaze ran to the foot in two thick tears on the other; the thick welt at the glaze's lower edge is thus irregulary configured. Denser at the mouth, a pattern of silvery brown hare's-fur markings extends to the glaze edge on the exterior and to the small, circular, lightly tilted floor on the interior. The exposed body clay on the bowl's lower eterior assumed a dark purplish brown skin in firing. The bowl was turned on the potter's wheel, after which its foot and base were shaped with a knife. Following a period of drying, the bowl was dipped in the glaze slurry; once it had dried again, its lip was immersed in an iron-bearing slip, which caused the hare's-fur streaks to form in the kiln. The bowl was fired right side up in its saggar, seated on a clay firing cushion.Object Number: 2007.81
Dimensions: H. 6.8 cm x Diam. 12.9 cm (2 11/16 x 5 1/16 in.)
Provenance
J.J. Lally & Co., New York (dealer) (2007)
Diane H. Schafer Collection, New York (acquired in the late 1980s or early 1990s)
James Bradford Godfrey, New York (dealer) (late 1980s or early 1990s)
Mrs. Agnes Hellner Collection, Stockholm, Sweden (widow or daughter of J. Hellner) (1980s)
J. Hellner Collection, Stockholm, Sweden (acquired in the 1950s or 1960s)
Probably from an old Japanese collection, as indicated by the metal rim and by the bowl's mid-twentieth-century entry into a European collection
Publication History
Robert D. Mowry, Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese brown- and black-glazed ceramics, 400-1400, exh. cat., Harvard University Art Museums (Cambridge, MA, 1996), pp. 218-219, no. 82
Crosscurrents: Masterpieces of East Asian Art from New York Private Collections, exh. cat. (New York, 1999)
Exhibition History
Re-View: S228-230 Arts of Asia, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 05/31/2008 - 06/01/2013
Emperor Huizong of the Song Dynasty (1082-1135), born Zhao Ji, was the eighth emperor of the Song dynasty and one of the most renowned figures in Chinese history for his contributions to art, particularly in painting and calligraphy. His influence extended beyond the visual arts into the realm of tea culture, where he played a pivotal role in elevating tea rituals to new heights. Huizong championed a refined "scholar's tea ceremony," which emphasized the elegance and sophistication of tea-drinking, elevating it from a mere daily activity to an art form that celebrated both the aesthetic and philosophical aspects of tea culture.
Huizong's admiration for Jian ware, especially the Tenmoku variety, helped elevate its status during his reign. Jian ware, particularly the famous "Hare’s Fur" Tenmoku tea bowls, became highly prized for their unique glazes and exquisite craftsmanship. The dark, almost black glaze of these bowls is marked by silvery brown streaks, reminiscent of hare's fur, a result of the specific chemical reactions during the firing process. Huizong had a deep appreciation for both the artistic and functional aspects of Jian ware, and these tea bowls became an integral part of tea ceremonies, serving as tools of refinement in the culture of tea-drinking.
During Huizong's reign, tea culture transcended the royal courts and became ingrained in the daily lives of scholars and artists. The tea bowl, along with the tea implements and the ambiance of the tea ceremony, became not just an instrument of tea preparation but a reflection of the cultural sophistication of the Song period, intertwining with the era's art, literature, and philosophy. The Jian tea bowls symbolized the high status of both the tea culture and the intellectual elite of the time.
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