五代後周時期柴官窯綠釉皇室工藝底部篆印 “柴” 一字款雙龍紋薄胎鏤空管心瓶
Chai imperial kiln green glaze royal craftsmanship with bottom seal-marked-and-printed one-character "Chai", double dragon patterns, thin shell, hollow-carved, tube heart, Bottle Vase, Imperial Palace Workshop, Hou Zhou Period (921 - 959 A.D.) Five Dynasties.
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尺寸：
全高 23.8 cm 公分 厘米 x 最大腹徑 9.4 cm 公分 厘米 x 圈足直徑 7.9 ~ 8.0 cm 公分 厘米
本瓷瓶為除了未塗釉的底足露胎部外，全器內外均施以綠釉、薄胎、鏤空、八蓮花瓣棱窄口、各飾十六蓮花瓣紋之雙圓錐體以一圈凸弦紋對接式鼓頸、下接一圈束帶紋束頸、再接十六蓮花瓣乳突紋與一圈凸弦紋、十七個半雙蓮花瓣紋與一圈凸弦紋、內有管心之鏤空雕雙龍紋圓筒形鼓腹、三十一個穀紋飾、兩凹弦紋下接飾八蓮瓣紋外撇圈足、細微冰裂紋片，潤之如玉，未塗釉的底足露胎部呈現瓷胚本來的粗黃色。
瓷瓶上有數處「白點之古瓷瑕疵」，底部八蓮瓣紋上方兩凹弦紋處有「深藍色青金寶石微粒及瑪瑙入釉與聚釉痕跡」，瓶身上亦有數個明顯的「棕眼之古瓷瑕疵」，綠釉有古代柴燒氣泡及細微冰裂開片紋，底部圈足略為外撇，圈足露胎上有「一個刀痕」、「滴釉」及「黏窯砂、粘渣底」。器底圈足露胎的胎釉連接處有「火石紅」痕跡。
從瓶左右兩邊上方口、唇、頸、肩、至下方腹、足、底處有明顯的兩個模印胎體互為黏接線痕。
而此傳世五代後周時期柴官窯瓷器有五個特點：
第一點是胎體輕薄如薄胎。據明人曹昭寫的《格古要論》記載柴窯為「薄如紙」。
第二點是胎色為粗黃色，未塗釉的底足露胎部呈現瓷胚本來的粗黃色。
第三點是瓷胎質細膩滋潤，堅緻緊密，用金屬銀粉、深藍色青金寶石粉、瑪瑙粉、和土混合作胎，加入「銀粉、寶石粉、瑪瑙粉」後，被譽為「銅骨」。因此，加入「銀粉」的瓷胎有「吐銀現象」，形成綠釉上面的棕褐色「吐銀斑痕跡」。另外，接觸過傳世古瓷的人常有「扣聲如磬」的形容，這在一定程度上也說明了古瓷胎的輕薄與緻密。據明人曹昭寫的《格古要論》記載柴窯為「聲如磬」。
第四點是在高倍放大鏡下能看出柴窯的釉裡面含有深藍色青金寶石的礦物質微粒，釉面平滑，發出的是寶石一樣的明亮光澤，且具備有千年古瓷的蛤蜊光彩。據明人曹昭寫的《格古要論》記載柴窯為「明如鏡」。
第五點是五代後周時期柴官窯綠釉延用唐朝唐三彩綠釉，唐三彩雖然很少見單純的單色綠釉陶裝飾，但綠釉作爲唐三彩的主色調，貫穿了整個大唐盛世。因此柴窯綠釉具備與唐朝唐三彩綠釉相同的細微冰裂開片紋。據明人曹昭寫的《格古要論》記載柴窯為「青如天」。
另外，器底於光線下呈現略為凹凸不平，是由於泥坯中間的部位水份未乾，成型泥胎在掙脫粘連的泥范（模）時，由五代後周時期窯工左右輕微轉動脫模操作所形成。現代仿製品完全無法製作器底略為凹凸不平現象。
柴窯，據記載創建於中國五代後周顯德初年 (公元 954 年) 河南鄭州，是後周世宗帝柴榮的御窯，所以從北宋開始稱為柴窯。
後周世宗帝柴榮曾御定御窯瓷：「雨過青天雲破處，這般顏色作將來」，以象徵未來國運如雨過天青。
柴窯瓷器燒製成本非常高且燒成率特別低，所以現存於世的柴窯瓷器數量非常稀少，幾乎是難得一見的稀有物品。
而鏤空與管心瓷器更需要特別精心設計。因此，此件柴窯鏤空管心瓷器的製作難度更大，技術要求更高，產出成品率更低，幾乎就是難得一見的珍品。
清蘭浦、鄭廷桂在《景德鎮陶錄》一書中也說柴窯瓷：「滋潤細媚，有細紋，制精色異，為諸窯之冠」，還說柴窯瓷久不可得，得到殘件碎片，也當珍寶，用作服飾、帽飾；柴窯瓷片光芒奪目，如飛箭一般。
明朝文震亨在《長物志》中寫道："柴窯最貴，世不一見"。據明人曹昭寫的《格古要論》記載柴窯：青如天、明如鏡、聲如磬、薄如紙。
柴窯黃土胎，滋潤細媚有細紋，制精色異，器型古雅，上手輕如無物。黃土胎即是未塗釉的底足部呈現瓷胚本來的粗黃色。
就此瓷瓶上的兩個龍紋而言，與台北故宮博物院所藏下列 “北宋真宗祥符元年 (公元 1008 年) 禪地玉冊玉匱嵌片” 上的龍紋相比，兩者皆近似，故推斷有此龍紋瓷瓶應屬從五代後周至北宋時期官窯的作品。
北宋真宗祥符元年 (公元 1008 年) 禪地玉冊玉匱嵌片
文物統一編號：贈玉000004N000000006
https://digitalarchive.npm.gov.tw/Antique/Content?uid=47382&Dept=U
來源：
屬擊敗蒙古元朝歐亞大帝國的明朝皇帝朱元璋所分封為軍事大元帥的「陳秀甫」(陳秀甫亦為明代開國功臣光祿大夫《光祿大夫為皇帝開國及軍事作戰的出糧出資金錢財主》) 家族傳世的祖傳傳世品。
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Chai imperial kiln green glaze royal craftsmanship with bottom seal-marked-and-printed one-character "Chai", double dragon patterns, thin shell, hollow-carved, tube heart, Bottle Vase, Imperial Palace Workshop, Hou Zhou Period (921 - 959 A.D.) Five Dynasties.
Dimensions:
Total height 23.8 cm x Maximum abdominal diameter 9.4 cm x Round foot ring 7.9 ~ 8.0 cm in diameter
The bottle vase is covered with green glaze inside and outside, except the unglazed bottom foot exposed with ceramic part, in thin shell, hollow-carved, eight lotus petal edges and narrow mouth, each decorated with sixteen lotus petal pattern of double cones connected each other with a circle of convex string pattern at bulge neck, subsequent to the neckband with a belt pattern, followed by sixteen lotus petal papillae patterns and a circle of convex string patterns, seventeen and a half double lotus petal patterns and a circle of convex string patterns, the hollow-carved double-dragon-patterned cylindrical bulge belly with a tube heart inside, the thirty-one cereals-pattern decoration, the eight lotus petals' patterns under two concave string patterns, then the slightly outer-skimmed ring foot, the fine broken-ice-cracking-like cracking-patterns, jade-like smoothness, the unglazed bottom ring foot shows the original dark yellow color of the porcelain body.
There are several "white spots of ancient porcelain flaws" on the bottle vase. There are "dark blue lapis lazuli gemstone particles and marks of agate mixed in the glaze and polyglaze" at the two concave string patterns above the eight lotus petal pattern on the bottom. There are also several obvious marks of "brown-eyed-small-holes" which are ancient porcelain flaws on the bottle vase. The green glaze has ancient wood-fired air bubbles and tiny broken-ice-cracking-like cracking-patterns, the bottom ring foot is slightly skimmed outward, and there are "a mark of knife-cut", "a drop glaze" and "pasted kiln sands, sticky slag bottom" at the exposed ceramic body of the ring foot. There are traces of "flint red" at the junction of the glaze and the exposed ceramic body on the bottom ring foot.
From the upper mouth, lips, neck, shoulders, to the lower abdomen, foot and bottom, at the left and right sides of the bottle vase, there are obvious two sticky junction lines of molded ceramic carcasses that are bonded to each other.
The Chai imperial kiln porcelain handed down from the Hou Zhou period of the Five Dynasties has five characteristics:
The first is that the porcelain body is as thin as a thin shell. According to the "Ge Gu Yao Lun (The important studies of ancient porcelain)" written by Cao Zhao of the Ming Dynasty, it was recorded that the Chai kiln porcelain is "thin as paper".
The second is that the porcelain fetal color is dark yellow, and the exposed porcelain fetal part of the unglazed ring foot shows the original dark yellow of the porcelain body.
The third is that the texture of porcelain body is delicate and smooth, firm and compact. It is made of metallic silver powder, dark blue lapis lazuli gemstone powder, agate powder, and soil mixed with "silver powder, gemstone powder, agate powder", and is known as "bronze bone". Therefore, the porcelain body added with "silver powder" has "silver spitting phenomenon", forming a dark brown "silver spitting mark" on the green glaze. In addition, people who have been in contact with handed down ancient porcelain often describe it as "sound like a chime (a musical stone)", which to a certain extent also shows the lightness and compactness of ancient porcelain bodies. According to the "Ge Gu Yao Lun (The important studies of ancient porcelain)" written by Cao Zhao of the Ming Dynasty, it was recorded that the Chai kiln porcelain is "sound like a chime (a musical stone)".
The fourth is that under a high magnification magnifying glass, it can be seen that the glaze of the Chai kiln contains mineral particles of dark blue lapis lazuli. The surface of glaze is smooth. It has the splendid brilliance of gemstones as the clam's reflection light occurred on the ancient thousand-year-old porcelain. According to the "Ge Gu Yao Lun (The important studies of ancient porcelain)" written by Cao Zhao of the Ming Dynasty, it was recorded that the Chai kiln porcelain is "bright as a mirror".
The fifth is that the green glaze of Chai imperial kiln in the Hou Zhou period of the Five Dynasties extended the use of green glaze of the Tang Sancai tri-colored glaze in the Tang Dynasty. Although the pure Tang tri-colored green glaze is rare to be seen as a monochrome one-colored porcelain decoration, green glaze, as the main color of Tang Sancai tri-color, ran through the prosperous ages of the entire great Tang Dynasty. Therefore, the green glaze of the Chai kiln has the same fine broken-ice-cracking-like cracking-patterns as the Tang Sancai (tri-color) green glaze of the Tang Dynasty. According to the "Ge Gu Yao Lun (The important studies of ancient porcelain)" written by Cao Zhao of the Ming Dynasty, it was recorded that the Chai kiln porcelain is "green as the sky".
In addition, the bottom of the utensil is slightly uneven under the light, because when the water in the middle of the porcelain mud body was not dry yet, and then meanwhile the molded mud body was slightly turned left and right to be broken away from, and out of its sticking mud's mold. So long as the porcelain kiln workers in the Hou Zhou Dynasty of the Five Dynasties took the above procedure, then the uneven bottom would have been formed. Modern imitations are completely unable to produce slightly uneven bottoms.
According to records, the Chai Kiln was founded in Zhengzhou, Henan Province, China in the first year of Hou Zhou Xiande (954 A.D.) of the Five Dynasties. It was the imperial kiln of Chai Rong, Emperor Shizong of the Hou Zhou Dynasty, so it was called Chai Kiln from the Northern Song Dynasty.
Chai Rong, Emperor Shizong of the Hou Zhou Dynasty, once ordered imperial kiln porcelain: "When the rain passes in the sky and the clouds break away, this color is to be the future", to symbolize the future national fortune like the rain passed and becomes green sunny sky.
The cost of firing Chai kiln porcelain is very high and the firing successful rate is very low, so the number of existing Chai kiln porcelain in the world is very rare, almost a rare item that is extremely difficult to be seen.
The hollow-carved and tube heart porcelain requires special careful design. Therefore, the production of this piece of Chai kiln hollow-carved and tube heart porcelain is more difficult, with higher technical requirements and lower production yield, which is almost a rare piece hardly to be seen.
Qing Lanpu and Zheng Tinggui also said in the book "Jingdezhen Pottery Records" that Chai kiln porcelain is "smooth and delicate, with fine cracking-patterns, made exquisite in refined colors. It is the best of all kilns", and also said that Chai kiln porcelain would have not been available for a long time. The fragments obtained are also treasures, used as the decoration for clothing and hats; the shards of Chai kiln porcelain are dazzling, like flying arrows.
Ming Dynasty Wen Zhenheng wrote in "Changwuzhi (The Study of Fine Antique)": "Chai kiln is the most expensive, and it is not seen in the world." According to the "Ge Gu Yao Lun (The important studies of ancient porcelain)" written by Cao Zhao of the Ming Dynasty, it was recorded that the Chai kiln porcelain is as green as the sky, bright as a mirror, sound like a chime (a musical stone), and thin as paper.
Chai kiln is loess porcelain body, smooth, delicate and charming, with fine cracking-patterns, made exquisite in refined colors, quaint shape, light as nothing to be held on hand. The loess porcelain body is the unglazed bottom foot showing the original dark yellow color of the porcelain body.
As far as the double dragon patterns on this porcelain bottle is concerned, they are similar to the following "the dragon pattern on the Jade plaque composing a jade case, made in the first year (1008 C.E.) of Xiangfu of Emperor Zhenzong reign, Northern Song dynasty", which is in the collection of the National Palace Museum, Taipei, Taiwan, Republic of China. In comparison, both are similar, so it is inferred that this dragon-patterned porcelain bottle should be the work of Imperial kiln from the Hou Zhou period of the Five Dynasties to the Northern Song Dynasty.
Jade plaque composing a jade case, made in the first year (1008 C.E.) of Xiangfu of Emperor Zhenzong reign, Northern Song dynasty.
Unified number of cultural relics: NPM Donate Jade 000004N000000006
https://digitalarchive.npm.gov.tw/Antique/Content?uid=47382&Dept=U
Provenance:
The handed down collection from the family ancestor of Chen Xiufu, a military marshal who was assigned by the Ming Emperor Zhu Yuanzhang (Zhu Yuanzhang defeated the Eurasian Empire of the Mongolian Yuan Dynasty), (Chen Xiufu was also the founding hero of the Ming Dynasty, whose official name was Guangludafu, "Guangludafu was the rich and wealthy capitalist of food and money supplied for the emperor's nation-founding and military operations.").
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五代後周時期柴官窯綠釉皇室工藝底部篆印 “柴” 一字款雙龍紋薄胎鏤空管心瓶
Chai imperial kiln green glaze royal craftsmanship with bottom seal-marked-and-printed one-character "Chai", double dragon patterns, thin shell, hollow-carved, tube heart, Bottle Vase, Imperial Palace Workshop, Hou Zhou Period (921 - 959 A.D.) Five Dynasties.
連結 Link：
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