【作者】 张凯；

【导师】 彭善国；

【作者基本信息】 吉林大学 ， 考古学， 2025， 博士

【摘要】 本文以五代宋金耀州窑青瓷为研究对象,在全面搜集相关资料,回顾考古发现与前人研究成果的基础上,对五代宋金时期耀州窑青瓷的类型、编年与分期、生产工艺与生产方式、流布等问题,从考古学的角度,进行了系统深入的研究。本文进一步订正和完善了五代宋金时期耀州窑青瓷编年体系和分期框架,揭示了五代宋金耀州窑青瓷发展演变规律,为同时期其他地区民窑青瓷提供断代参考;系统考察五代宋金耀州窑青瓷的生产工艺问题,厘清了五代宋金时期耀州窑青瓷的装烧工艺和窑炉技术发展脉络,为耀州窑青瓷断代和窑口辨识提供依据,对研究宋代北方地区瓷窑炉的发展演进规律具有重要意义;对耀州窑高度分工的生产模式、窑工(户)和耀州贡瓷问题的探讨,或填补之前研究的空白,或修正以往错误认识;论文还对五代宋金耀州窑青瓷的流通和消费做了全面研究,首次揭示耀州窑作为一个西北内陆窑场产品国内流布和对外输出的完整面貌和动态变化过程,对研究这一时期陶瓷贸易体系提供珍贵案例。全文分为六章。第一章为绪论。首先介绍选题缘由、研究对象及时空范围,在细致梳理了古代文献中耀州窑的相关记载和近代以来耀州窑的考古发现,回顾以往五代宋金耀州窑青瓷的研究史的基础上,总结以往研究的不足之处,并提出本文的研究思路。第二章为五代宋金耀州窑青瓷的类型分析。对窑址内外出土的五代宋金耀州窑青瓷的30余种典型器物进行全面细致的类型学分析,为后续编年与分期研究奠定基础。第三章为五代宋金耀州窑青瓷的编年与分期。以纪年瓷为基础,结合窑址内外年代较单纯的典型单位出土器物及类型学分析排比,从器型、胎釉、装饰、装烧及组合特征等方面,将五代宋金耀州窑青瓷分为六组,这六组分别对应五代(10世纪中叶前后)、北宋早期(10世纪70年代至11世纪20年代)、北宋中期(11世纪30年代至70年代)、北宋晚期或稍晚(11世纪80年代至12世纪40年代初)、金代前期(12世纪40年代至70年代)和金代后期(12世纪80年代至13世纪30年代初)六期。认为五代多见青灰胎素面或瓜棱腹青瓷;北宋早期新出现灰白胎青瓷,多见细线花划花和剔刻花装饰;北宋中期出现印花工艺,以器内印缠枝菊纹和菊瓣纹多见;北宋晚期胎体轻薄流行刻印花,细线划花以及贴塑、镂空等多种装饰,纹饰多样,以各式牡丹纹最具特色,新出现少量淡青釉、姜黄釉瓷;金代前期青瓷多见刻花,流行细瘦叶牡丹、水波浮鹅和缠枝梅花;金代后期青瓷刻花仍常见,月白釉瓷多为素面,姜黄釉瓷多印花,莲纹大为流行。第四章为五代宋金耀州窑青瓷的生产工艺和生产方式的研究。分两部分,第一部分主要从瓷土的来源与制备、釉料的来源、坯件的成型与装饰、成品的装烧与烧成等方面系统考察生产工艺,认为五代宋金耀州窑青瓷的釉料来源与晚期陈炉窑配置白釉的富平釉石关系不大;北宋早期耀州瓷窑仍以柴为燃料,可确定北宋晚期转变为煤烧。推测具有宽深通风道的煤烧瓷窑或已到金代后期;认为北宋中晚期瓷窑长通风道前方形浅坑或为木扇类鼓风设施遗迹。第二部分主要从耀州窑青瓷的生产模式、窑工窑户及耀州贡瓷等问题对生产方式进行探讨,总结了宋代耀州窑高度分工的专业化生产模式;历时性梳理宋金耀州窑器物上姓氏铭文资料,认为马氏是宋代耀州窑场重要的窑户之一;指出耀州窑“官”字款青瓷北宋早期仍有烧造,否认其贡御属性;将蓝田吕氏家族墓地出土金银釦耀州窑青瓷的年代后推至北宋晚期;认为北京广安门外发现的耀州窑印龙(凤)纹青瓷多为金大定前后耀州入贡金中都的贡瓷;否认北宋中晚期印年号款青瓷专作贡瓷之用,推测或仅作高级商品瓷的装饰标识。第五章为五代宋金耀州窑青瓷的流布研究。分为三部分,第一部分对文献中耀州窑青瓷的流通地域和消费场所、器类、运输人员及方式进行梳理,认为耀州不仅贩运青瓷至宋金都城,还流布到北宋秦州,金代河朔及南宋蜀地。寺院和食肆饭馆是耀瓷常见的消费场所,多使用青釉印海水游鱼纹碗和月白釉青瓷等。耀州官吏参与了瓷器贩易和贡瓷活动。耀州青瓷在北方的转输主要依靠畜力车而非水运。第二部分为耀瓷国内流布研究。将搜集国内窑址外541个单位(地点)出土的1802件耀州窑青瓷,分六阶段论述耀州窑青瓷的流布范围、器物类型及各地区耀瓷的消费使用阶层等并认为耀瓷的国内流布历经五代(初兴)、北宋早期(扩大)、北宋中期(转变)、北宋晚期(高峰)、金代前期(收缩)以及金代后期(复兴)六阶段。五代至北宋早期耀瓷集中出土于窑址周边、长安到都城一线,辽境也有广泛分布,消费集中于辽代贵族墓和重要交通线上的州府。北宋中晚期耀瓷除窑址周边外,大量出现在长江流域,尤以中下游为多,多见长江干支流沿线城市和富民阶层墓葬以及沿海港市,当与以越窑为代表的南方青瓷的衰落和耀瓷大规模输出海外有关。金代前期耀瓷多见于长安金中都一线及周边地区,原北宋两京地区、长江流域几乎不见,显示战争破坏及政权对峙对耀瓷流布的影响。金代后期耀瓷集中出土于窑址周边及川陕四路地区的窖藏;本期耀瓷大量传入西夏境内直至西辽,西州回鹘商人起了重要中转作用。第三部分为耀瓷海外输出研究。系统搜集海外出土的耀州窑青瓷,将其分为北宋早、中、晚和金代四期,探讨其消费情境和流入途径。发现耀瓷不仅北宋时期大量外销,金代仍有一定渠道输出海外,耀瓷除了通过港口海路贸易外,金代后期陆路也是耀瓷输出的重要途径。第六章为结语。总结全文的收获与认识。更多还原

【Abstract】 This article focuses on Yaozhou Kiln celadons from the Five Dynasties to the Song and Jin periods.Based on comprehensively collecting relevant materials and reviewing archaeological discoveries and previous research findings,this paper systematically and deeply explores the typology,chronology,production techniques,operational models,circulation and consumption of Yaozhou Kiln celadons during these periods from an archaeological perspective.This paper refines and specifies the chronological system and staging framework,investigates the production technology of Yaozhou Kiln celadons.It further discusses the highly specialized production mode、the kiln workers(households),and Yaozhou tribute celadons.Additionally,through the comprehensive study,it presents a complete picture of the domestic distribution and foreign export of Yaozhou Kiln celadons for the first time.The dissertation comprises six chapters:Chapter 1 is the introduction.Including the research object,the relevant recordsof the Yaozhou Kiln in ancient literature,archaeological discoveries since the modern era,and previous studies.Finally,proposing the research approach of this paper.Chapter 2 is the typological analysis.This part conducts a detailed typological study of over 30 representative artifacts of Yaozhou Kiln celadons excavated from kiln sites and other contexts.Limited extant artifacts are included to enhance the understanding of vessel forms and decorations.Chapter 3 is the chronology and periodization.Based on dated Yaozhou Kiln celadons,typical units and typological analysis,this paper establishes a six-phase chronological framework.It corresponds respectively to the Five Dynasties(the mid-10th century),the early Northern Song Dynasty(970s–1020s),the mid Northern Song Dynasty(1030s–1070s),the late Northern Song Dynasty or slightly later(1080s–1140s),the early Jin Dynasty(1140s–1170s),and the late Jin Dynasty(1180s–1230s).Each phase’s characteristics are summarized,further refining and improving the chronological system and periodization framework of Yaozhou Kiln celadons during the Five Dynasties,Song and Jin periods.Chapter 4 is the Production Technology and Mode.Part I examines the source and preparation of porcelain clay、glaze,the shaping and decoration of unglazed wares,and the loading,firing methods of products.It is believed that the source of glaze materials has little relation to the Fuping glaze stones.Yaozhou celadon kilns transitioned from wood to coal fuel in the late Northern Song Dynasty.Coal-fired kilns with wide and deep ventilation tunnels may have appeared by the late Jin Dynasty.It is speculated that the square shallow pits in front of the long ventilation tunnels in some porcelain kilns during the mid to late Northern Song Dynasty may be the remains of wooden bellows.Part II,through discussing the production mode,kiln workers and households,and Yaozhou tribute celadons,summarizes the highly specialized production mode of the Yaozhou Kiln during the Song Dynasty,considers that the Ma family was one of the important kiln households and points out“Guan”-marked celadon continued into the early Northern Song Dynasty but denies its attribute as tributes.Moreover,gold or silver-rimmed celadons excavated from the Lüfamily cemetery in Lantian date to the late Northern Song Dynasty.Dragon/phoenix-patterned celadons mainly were tributes contributed by Yaozhou to the Central Capital of Jin Dynasty around the Dading period.Reign-marked celadons likely served as premium commodity porcelains rather than tribute items.Chapter 5 is the circulation and consumption.Part I discusses the circulation of Yaozhou Kiln celadons as seen in ancient literature,including circulation regions,consumption places,types,transport personnel,and methods.It supposes that Yaozhou Kiln celadons were not only transported to the capitals of the Song and Jin dynasties for tribute or trade,but also distributed to the Northern Song Dynasty’s Qingzhou,the Jin Dynasty’s Heshuo region,and the Southern Song Dynasty’s Shu area.Local officials in Yaozhou were involved in these activities.Yaozhou Kiln celadons in the northern China were primarily transported and sold using animal-drawn carts rather than waterways.Temples and restaurants were common consumption places,which used celadon bowls printed with water and fish pattern and moon-white glazed porcelains.Part II studies on the domestic distribution of Yaozhou Kiln celadons.By analyzing 1,802 artifacts excavated from 541 units(locations)outside the kiln sites in China,the domestic distribution can be divided into six stages:Five Dynasties(initial rise),early Northern Song Dynasty(expansion),mid Northern Song Dynasty(transition),late Northern Song Dynasty(peak),early Jin Dynasty(contraction),and late Jin Dynasty(revival).Furthermore,this paper discusses the distribution range,types of Yaozhou Kiln celadons,and consumer classes in different regions.Part III focuses on the overseas export of Yaozhou Kiln celadons.It systematically collects Yaozhou Kiln celadons excavated overseas,conducts detailed periodization,and discusses its consumption and inflow routes.It argues that Yaozhou Kiln celadons had a sustained maritime trade during the Northern Song and Jin periods,Besides maritime trade through coastal ports,the Silk Road was also an important route for the export of Yaozhou Kiln celadons in the late Jin Dynasty.Chapter 6 is the conclusion.It summarizes the findings and insights of the paper.更多还原