唐宋時期越窯系瓷盒研究——以器型、紋飾為主

Abstract

本論文聚焦唐宋時期越窯瓷盒，深入探討其器型演變、紋飾風格與文化意涵。越窯瓷盒自中晚唐崛起，不僅標誌著製瓷技術的飛躍，更因與吳越國錢氏等上層社會的緊密關聯，而使秘色瓷盒以土貢、進奉、貿易等方式流入中國北方、海外。透過整合紀年墓、窯址地層與沉船等考古證據，輔以文獻記載，本論文對越窯瓷盒建立系統性的器型分類與分期。其中最為顯著轉變在於五代至北宋早期，植物造型的像生盒，以及蓋面扁平、高圈足外撇的瓷盒逐漸流行。越窯瓷盒紋飾的裝飾技法以刻劃、印花與鏤空為主。植物紋中，蓮花紋由唐代的簡約對稱演變為五代北宋的寫實立體；動物紋則常見雁、雀、鶴等鳥紋，以及鳳凰、龍、獅子等瑞獸。套盒分面，鏤空為主要裝飾技法，其樣式從晚唐五代的「壼門」、「雲紋」樣式，演變至北宋時期代表禮制、吉祥寓意的「綬帶紋」，清晰揭示了風格與文化意涵的時代變遷。綜上所述，本論文透過器型與圖像的整合分析，完整勾勒出越窯瓷盒風格特色。越窯瓷盒不僅是唐宋時期工藝與審美的結晶，更是承載了禮制思想、宗教信仰、跨文化互動的複雜文化載體，從而確立其在唐宋物質文化史中的獨特價值。This study examines the typological evolution, decorative styles, and cultural significance of Yue ware boxes from the Tang and Song dynasties. Originating in the mid-to-late Tang as a major technological advancement, the development of these boxes was closely linked with elite circles, particularly the Qian rulers of the Wuyue Kingdom, which enabled the circulation of high-quality Mise ware to northern China and overseas. Drawing upon archaeological findings from dated tombs, kiln site stratigraphy, and shipwrecks, as well as textual records, this research establishes a systematic typology and chronology. A significant transformation occurred from the Five Dynasties to the early Northern Song, which saw the rise of flat-lidded boxes, high everted foot-rings and phytomorphic forms. Decorative techniques included carving, stamping, and openwork, with lotus motifs evolving from Tang-dynasty symmetry to Northern Song realism, and openwork patterns shifting from cusped arches and clouds to the symbolic ribbon motif. The analysis demonstrates that Yue ware boxes were not merely aesthetic objects but complex cultural carriers, embodying ritual ideologies, religious beliefs, and cross-cultural exchange, thereby securing their distinct place in the material culture history of the Tang and Song dynasties.