十七世紀景德鎮「祥瑞」類型瓷器與其相關問題

Abstract

十七世紀的景德鎮曾外銷大量瓷器至日本，其中一類瓷器因部份作品帶有「五良大甫吳祥瑞造」銘款而被稱之為「祥瑞」，現今幾乎只流傳於日本。「祥瑞」除了以獨特的銘款與裝飾特徵為世所知，長期以來更被視為日本茶人的茶道具訂製物，過去研究多著墨於「吳祥瑞」身份之謎，並出現諸多分歧說法，對實物的研究尚嫌不足。本文注意到在各大博物館及研究專書中被稱為「祥瑞」的作品，包括了各類器型殊異的器皿，紋飾內容及繪畫筆法也各有不同，銘款字跡更有明顯的差別，半數以上並不具「祥瑞」款。為釐清「祥瑞」的定義以及十七世紀至今日本對於這類瓷器的認識脈絡，本文對於傳世作品以及出土遺物進行分析，將祥瑞區分為自銘器、類自銘器、非自銘器三種類型，並釐清其裝飾特徵。藉由近年的出土資料以及祥瑞類型分析研究，本文從明代後期景德鎮瓷器外銷各國的交流背景，討論十七世紀祥瑞裝飾之意涵。本文認為，祥瑞的裝飾佈局手法可能源自於十六世紀景德鎮陶工為葡萄牙人燒造的紋章瓷；另外在同時代外銷至日本的中國鏍鈿漆器及描畫日人形象的《倭寇圖卷》中，則可見與祥瑞相似的紋飾及圖繪。由此可推論景德鎮陶工除了接受來自日本的訂製需求，更設計出迎合異國消費者的瓷器商品。另一方面，十七至十九世紀肥前瓷與京燒作品曾針對各類型祥瑞作品進行仿造，則反映了當時江戶時代崇尚明末文化的現象。最後本文提出，現今「祥瑞」類型瓷器的鑑賞與認定，應與日本近代對於茶道史的論述脈絡有關。

In the 17th century, a remarkable amount of Jingdezhen wares were exported to Japan. Among those exported wares, one particular type had eight characters marked upon, “Wu Liang Da Fu Wu Siang Ruei Zao” (made by Wu Liang Da Fu Wu Siang Ruei, “Shonzui” means Siang Ruei in Japanese), and were thus named “Shonzui wares,” which mainly circulate in Japan nowadays. The Shonzui wares are widely known for their unique marks as well as style of decoration, and have long been considered the tea wares commissioned by Japanese tea-masters. While former studies centered mainly on demystifying the real identity of “Wu Siang Ruei” and reached no consensus over the years, research on the objects themselves remains insufficient. Focusing on the Shonzui wares collected by prominent museums and mentioned in important research papers, this study inspected the differences in shapes, as well as the decorative designs, patterns, and strokes. Also, the marks on these wares vary. To clarify the definition of “Shonzui” and examine the context of how this type of porcelain has been identified in Japan since the 17th century to date, this study conducted a formal analysis of the excavated artifacts and the inherited items, and classified them into three categories, namely wares with eight-character marks, with similar decorative styles, and without marks, to clarify their traits.

Based on the recent excavation reports and analytic research of Shonzui, this study attempted to discuss the meanings of the Shonzui decorations in the historical context of overseas trading in the late Ming Dynasty. The main concept of this study is that the adoption of Shonzui decoration could be traced back to the armorial porcelain created in Jingdezhen under the commission of the Portuguese. Meanwhile, the mother-of-pearl lacquerwares and the Japanese Pirates scroll painting depicting Japanese figures were exported from China to Japan, and their decorative designs were similar to the Shonzui marks. From these evidences, it can be deduced that besides manufacturing items under the Japanese commissions, the craftsmen in Jingdezhen also created works catering to exotic demands. On the other hand, the Kyo wares and Hizen wares from the 17th century to the early 19th century imitated the Shonzui ware style, which reflects the Japanese cultural reverence for the late Ming in the Edo era. In the last part, this study proposed the idea that the appreciation and appraisal of Shonzui wares nowadays could have a close connection with the pre-modern Sadō historical context.