宋代黑胎龍泉瓷器初探

龍泉窯位於浙江省南部，與南方的越窯、景德鎮窯、建窯，以及北方的定窯、耀州窯、磁州窯、鈞窯並稱為中國八大瓷窯體系，它融合匯集南、北方的陶瓷技藝，並加以改革創新，除了大量生產銷售國內外的商品瓷，更為南宋朝廷生產品質精美的御用瓷，瓷器製作技術之高超，冠絕古今，享譽中外。根據考古發掘報告與陶瓷研究資料顯示，龍泉窯創燒於北宋，南宋晚期為鼎盛期，所生產的黑胎厚釉與白胎厚釉青瓷為兩種優質極品，尤其宋代黑胎龍泉瓷器數量稀少珍貴，外觀特徵與南宋官窯極為相似，兩者間存在密不可分的關係，耐人尋味。 1960年以來，考古學家對龍泉窯遺址進行多次調查發掘，並發表許多相關的文章，只可惜生產黑胎瓷器的窯址嚴重被盜掘，堆積層破壞殆盡，每每提及黑胎龍泉瓷器，大都只是點到為止的隻字片語，內容極其有限，使得宋代黑胎龍泉瓷器的研究長期處於曖昧不明的階段。筆者一年多來不斷蒐羅龍泉窯的相關資料，嘗試整理多位學者的研究觀點，致力從宋代龍泉窯的燒製歷史、演化過程、胎釉分析、造型風格、製作技術、科學檢測等多方面來研究宋代黑胎龍泉瓷器，期能透過理論與實務的結合，勾勒出宋代黑胎龍泉瓷器較為完整的面貌。

關鍵字

宋代；龍泉；青瓷；黑胎龍泉

並列摘要

The Longquan Kiln, located in the south of Zhejiang province, is one of the famous eight kilns in Chinaese history, such as the South Yue Kiln, Jingdezhen Kiln, Jian Kiln, and the North Ding Kiln, Yaozhou Kiln, Cizhou Kiln, Jun Kiln. Besides integrateing the technologies of producing porcelain from the South and the North, the Longquan Kiln innovated the technology. The mass production of porcelain goods in the Longquan Kiln was not only sold at home and abroad, but produced exquisite porcelain for the Southern Song Dynasty court. Since then the porcelain production in the Longquan Kiln is sensational for Chinese and the foreign countries till now. According to the archaeological reports and the research data, Longquan Kiln was set off in the Northern Song Dynasty, and had its heyday in the late Southern Song Dynasty. It produced two elegant types of nonpareil: one was the black clay / thick glaze celadon, and the other was the white clay / thick glaze one. And the number of the black clay Longquan celadon of the Song Dynasty was preciously scarce. What is wondering is that the features and appearance of the black clay Longquan celadon of the Song Dynasty are very similar to the Guanyao celadon of the Southern Song Dynasty, and it is thought-provoking at that point. Since 1960, the archaeologists have excavated and investigated the sites of Longquan Kiln several times, and have published many related articles. Unfortunately, the sites that produced the black clay celadon were illegally seriously dug by thieves, and the accumulations of cultural relics were badly damaged. Thus, even the scholars intended to refer to the black clay Longquan celadon, they failed to offer sufficient information but only a brief note or letter in stead. This has cast a shadow persistently on the study of the black clay Longquan celadon of the Song Dynasty. I had constantly collected the information about the Longquan Kiln for more than one year, and tried to collate many scholars’ points of view. In my essay, I am devoted to the study of the black clay Longquan celadon of the Song Dynasty from the history, the analysis of clay and glaze, the technologies, etc. Through the combination of theory and practical experience, hopefully the understanding of the black clay Longquan celadon of the Song Dynasty can be improved.