南北朝陶瓷與金屬工藝：以響銅為中心

Abstract

響銅是一類出現在南北朝時期的高錫青銅器，本文將討論此類獨特金屬工藝的發展，以及其對陶瓷的影響。響銅器在技術上的特點，在於器物成形後多經過轆轤加工修整，同時此類器物在器類及樣式上也與中國傳統青銅器明顯有別。藉由闡明響銅與漢代青銅及亞洲其他地區高錫青銅工藝的關係，本文認為南北朝響銅技術的淵源有三：其一是中國本土的高錫青銅技術，其二是犍陀羅地區，其三是西亞和中亞；後二者的影響反映了中國中古時期的文化交流。響銅器的若干技術特點，暗示此工藝技術很可能具有特定的性質與發展背景。本文認為中古文獻紀錄中的「鍮」、「鍮石」，除了過往學者認定的黃銅之外，還應該包含了響銅；而文獻所見的鍮石器物多與佛教有關，因此響銅的發展應與南北朝盛行的佛教有所關連，響銅應是一類運用於佛教器物製作的金屬工藝技術。此外，響銅技術成熟的南北朝時期，恰好是西方貴金屬容品傳入中國的時期，響銅器也呈現出重量輕巧、色澤明亮等近似於金銀器的工藝特點，因此本文認為響銅器應具有貴金屬替代品的性質，其工藝發展受到了西方金銀器的刺激。在釐清響銅器的技術源流、發展背景之後，本文將以重要的代表性器類，具體地說明響銅對陶瓷工藝的影響。透過實物和圖像的對比，本文認為出現在南北朝的長頸瓶、象首瓶淵源於印度，這類具有佛教象徵意義的器物，應該便是隨著佛教傳播傳入中國。流行於同一時期的圈足深腹碗、杯，則表現出鍛造金銀器特有的樣式特徵，其造型很可能是源於西方貴金屬器物。陶瓷與響銅器共享金銀器形式特徵的現象，反映出南北朝時期追求貴金屬樣式的時代風潮。

This study explores the development of sahari bronze, a type of high-tin bronze, and its influence on ceramics in Northern and Southern Dynasties. While sahari bronzes showed typological and stylistic differences from traditional Chinese bronze, the use of lathe in its manufacturing process is one of the distinguishing features that defines this unique metalcraft. By comparing sahari bronze to Han dynasty bronze and then to high-tin bronze artifacts from other regions in Asia, I propose that the origins of sahari bronze are from: (i) the local high-tin bronze industry of China; (ii) Gandhara region; (iii) west and central Asia. The influence of Gandhara region and west and central Asia on sahari bronze also reveal cultural exchange between China and other regions in medieval period. Technical traits of sahari bronze suggest that it might have been developed for specific purposes and under particular social circumstances. I argue that 'tou' and 'tou-shi' from medieval literature were referring not only to brass but also to sahari bronze. Given that most of tou-shi utensils are related to Buddhism, I believe the sahari bronze technique was used for Buddhist metalcraft. Furthermore, sahari bronze was established in a period that coincides with the spread of western precious metalware, and some characteristics of sahari bronze, such as lightness and surface brightness, mimic gold and silver vessels. Therefore, I argue that sahari bronzes served as substitutes for precious metalware, and their development was very likely stimulated by gold and silver vessels. Finally, I will focus on distinctive artifacts as case studies to explain the influence of sahari bronze on ceramics. Using archaeological and visual evidence, I conclude the long-necked water bottle, with its Buddhist symbolism, had its roots in India, and was introduced to China through transmission of Buddhism. The high-footed round and deep concave bowl and cup, another widespread artifact type from the same period, exhibit stylistic attributes similar to forged gold and silver vessel, and might have its prototype derived from western precious metalware. The phenomenon of ceramic and sahari bronze sharing the same stylistic features of gold and silver vessel reflects prevalent trends of precious metalware in Northern and Southern Dynasties.