鮑志成

日本珍藏有三件來自中國的天目茶碗，合稱“日本藏曜變天目茶碗三寶”：一為東京靜嘉堂文庫美術(shù)館所藏，一為大阪藤田美術(shù)館所藏，一為京都龍光院所藏。

靜嘉堂藏天目茶碗，因原為淀城城主稻葉家所有，故又稱“稻葉天目”，釉色最為異彩精妙，黑底色中散發(fā)著銀色斑斕，四周又泛發(fā)著藍(lán)色淡彩，在室內(nèi)和室外觀賞，會(huì)有不同的視覺效果。這茶碗僅僅12厘米直徑，卻能引人遐思繁繁點(diǎn)點(diǎn)的星空。藤田美術(shù)館藏天目茶碗，是日本幕府執(zhí)政德川家族代代相傳的鎮(zhèn)家之寶，也是傲視天下權(quán)勢權(quán)力的象征。這茶碗是唯一內(nèi)外都有結(jié)晶斑斕釉彩的一件，表面上顯得樸實(shí)無華，但若以手電筒照射，便具有幻化彩虹及美妙條紋，非常引人入勝。龍光院藏天目茶碗，是三寶中最細(xì)致樸素的一件，釉彩接近油滴天目，不過仔細(xì)看，可見到諸多藍(lán)白色的渲染點(diǎn)分散其間，讓人聯(lián)想枯寂、幽靜之美。

這三件天目茶碗的釉色窯變不同，但器物的形制和大小基本一致，高分別是6.8、6.8、6.6厘米，口徑分別是12.0、12.3、12.1厘米，碗底直徑全部是3.8厘米。這樣的尺寸，從文物鑒定和器物學(xué)的角度看，完全可以斷定是出自中國同一個(gè)窯口的產(chǎn)品。專家學(xué)者并一致推斷其制作年代是在12、13世紀(jì)的南宋時(shí)期。

世界上的天目茶碗僅存此三件，因而，它們先后在1951年到1953年，被日本政府評鑒為“國寶”，規(guī)定每10年方才展出一次。

歷史上，日本的王公貴族若是擁有一個(gè)天目茶碗，身份、地位便自非凡：這碗的價(jià)值甚至可以換一座城池。那么，這些南宋制作的品相獨(dú)特的天目茶碗，是怎么流傳到東瀛日本的呢？

宋元時(shí)期中日禪僧往來求法播道最多，是兩國文化交流中繼隋唐之后掀起的第二個(gè)高潮。都城臨安（今杭州）近郊的余杭徑山寺，是當(dāng)時(shí)中國佛教的學(xué)術(shù)制高點(diǎn)。以無準(zhǔn)師范為代表的徑山寺高僧大德，不僅在中日佛教（主要是禪宗臨濟(jì)宗）交流中發(fā)揮了重要的作用，而且對整個(gè)宋日關(guān)系也作出了很多貢獻(xiàn)。禪宗傳燈日本，開宗立派，瓜瓞綿延，以致深刻影響了日本民族文化的形成和風(fēng)格特征，在眾多領(lǐng)域，無不留下了宋元徑山禪僧的歷史記憶和文化印記。徑山寺是日本禪宗的發(fā)祥地，是日本流派紛呈的禪宗法系的本山祖庭。正是在這一波中日文化交流的高潮中，江南禪院的茶禮法會(huì)與清規(guī)戒律一起被傳播到日本，并在此基礎(chǔ)上逐漸演變、發(fā)展成為日本茶道。天目茶碗也就在此際傳到東瀛。

學(xué)界公認(rèn)：宋代斗茶盛行的黑釉茶盞，最晚在南宋時(shí)隨僧人流入日本；而日本文獻(xiàn)出現(xiàn)“天目茶碗”的記載，遲在元代，當(dāng)時(shí)稱作“天目盞”?！洞笕毡臼妨稀匪d《泊寺院打入惡黨等交名文書》記載，有壞人闖入寺院，盜走公物，其中有“天目盞二只”，時(shí)在日本建武二年（1335）九月。此后，有關(guān)天目茶碗的史料記載逐步增多。

日本室町幕府時(shí)期的藝術(shù)家、茶道師能阿彌（1397—1471）所著的《君臺(tái)觀左右賬記》中，記錄了“唐物美術(shù)目錄”，其中有“天目茶碗”，分別為曜變、油滴、建盞、烏盞、鱉盞、能皮盞、灰被、黃天目、唯天目等九種?！疤莆铩敝傅氖菑闹袊鴤魅サ钠魑?，“天目茶碗”顯然是對宋代流行的黑釉茶盞（碗）的統(tǒng)稱。能阿彌是室町時(shí)代幕府將軍的文化侍從，通曉書、畫、茶，還負(fù)責(zé)掌管將軍搜集的文物。他發(fā)明了規(guī)定嚴(yán)格的點(diǎn)茶法，創(chuàng)造了“書院飾”“臺(tái)子飾”的新茶風(fēng)，促使當(dāng)時(shí)的幕府將軍足利義政將宗教融入茶道，使日本飲茶真正走上“茶道”之路。能阿彌曾推薦村田珠光當(dāng)足利義政的茶道老師，使后者得以有機(jī)會(huì)接觸“東山名物”等高水準(zhǔn)的藝術(shù)品，達(dá)成了民間茶風(fēng)與貴族文化接觸的契機(jī)，使日本茶道正式成立之前的書院貴族茶和奈良的庶民茶得到融會(huì)、交流，為村田珠光成為日本茶道的開山之祖提供了前提。能阿彌應(yīng)是日本茶道的先驅(qū)。

“天目茶碗”統(tǒng)稱的出現(xiàn)，有一個(gè)漫長的歷史過程，相對應(yīng)的中國朝代，早就不再是南宋，而是元末甚至明前期了。這也恰恰反映了日本茶道在形成過程中對宋代斗茶崇尚黑釉茶盞風(fēng)尚的繼承以及對同類各色茶具的包容。能阿彌在他的著錄里記載天目茶碗，具有別于一般著述的可信度和權(quán)威性，可以相信，天目茶碗至少在當(dāng)時(shí)日本的權(quán)貴、武士、僧人等上流社會(huì)，已經(jīng)是普遍使用的名稱了。

其實(shí)，“天目盞”之名直接源自天目山本地。元代天目山高僧中峰明本的《天目中峰和尚廣錄》中，就有“天目盞”的記載，證明當(dāng)時(shí)當(dāng)?shù)氐纳耸瞧毡槭褂眠@種茶器的。而日本文獻(xiàn)出現(xiàn)“天目盞”，應(yīng)該是來天目山的求法僧連同器物一起帶回去的結(jié)果。中峰明本（1263－1323），是吳越地區(qū)最著名的僧人之一，也是有元一代影響最大的禪門宗匠，被譽(yù)為“江南古佛”，上至皇帝大臣，下至平民百姓，遠(yuǎn)則西域、南詔（今云南），域外韓國、日本，都爭相瞻禮。他所居住的天目山，成為江南禪宗的中心。不少日本僧人紛紛前往中國的江南參學(xué)，而天目山是他們最大的目的地。根據(jù)《延寶傳燈錄》等記載，在日本入元求法禪僧中，“僅登浙江西天目山拜謁高峰原妙、中峰明本兩位碩德的日本僧伽，就不下二百二十人”。明本道場所在的天目山寺僧所用所名的“天目盞”直接引用到日本，是南宋以降以東南地區(qū)為中心的對日禪茶文化交流的結(jié)果。而天目窯址群的發(fā)現(xiàn)，又證明在日本被統(tǒng)稱為“天目茶碗”的宋元黑釉茶盞中，至少一部分出產(chǎn)自杭州天目山。

（本文照片由作者與沈海濱提供）

Temmoku Teabowls in Japan

By Bao Zhicheng

Japan has three ancient Temmoku tea bowls, collectively known as three treasured Temmoku tea bowls with iridescent spots in Japanese collection. The first is in the Seikado collection situated in Tokyo; the second is in the collection of Fujita Museum of Art; the third is housed in the collection of Ryukoin Temple of Kyoto.

The three Temmoku teabowls present differences in glaze and firing, but they are largely of the same size: respectively they measure 6.8 cm, 6.8 cm and 6.6 cm in height, 12.0 cm, 12.3 cm and 12.1 cm in diameter of the bowl mouth, 3.8 cm in diameter of the bottom. The dimensions, in the final archaeological analysis, indicate that they were made in the same kiln of China. Experts and scholars agree that they were manufactured during the southern Song Dynasty (1127-1279).

According to some experts, they are the worlds only three Temmoku teabowls with iridescent spots. The three were designated as national treasure respectively from 1951 to 1953 by the Japanese government. According to the government policies, they can be displayed for public review only once every ten years.

In history, Temmoku teabowls from China were highly treasured by the aristocrats in Japan. How did these precious tea utensils made in Zhejiang Province get to Japan? It turned out they came to Japan through the flourishing cultural exchanges between the two countries. During the Song (960-1279) and Yuan (1279-1368), Zen monks traveled between Japan and China. In terms of cultural exchanges, the period witnessed the second climax of cultural exchange programs ever seen between the two neighboring countries (the first occurred during the Tang Dynasty 618-906). Jingshan Temple in the suburb of Hangzhou, the capital of the Southern Song Dynasty, served as the center of Buddhist scholarship in China. The temple played a key role in the establishment of the Linji Sect of Japanese Zen. Presumably, Chinese Zen and tea traveled from this temple all the way to Japan. Zen and tea developed into various systems in Japan. The Japanese tea ceremony or Sado grew and matured. Temmoku teabowls were shipped to Japan during this period.

Scholars in China believe that black-glazed teabowls were used in the Song Dynasty and Zen monks carried the bowls over to Japan during the Southern Song Dynasty by the latest. In Japanese literature, records of Temmoku teabowls appear in the years of the Yuan Dynasty. In September 1335, a Buddhist temple in Japan was robbed of two Temmoku teabowls. More historical records on Temmoku teabowls followed afterwards.

Noami (1397-1471), a Japanese poet and painter and master of tea ceremony, played a key part in establishing tea ceremony in Japan. A catalogue of arts and crafts from China he created classified nine categories of Temmoku teabowls including black-glazed Temmoku teabowls with iridescent spots.

Temmoku Teabowl became a universally accepted term in Japanese language and historical records through a long period of history. The term became established as a general name for the bowls in the last years of the Yuan Dynasty or the early years of the Ming Dynasty (1368-1644), that is, long after the demise of the Southern Song Dynasty, reflecting the fact that the tea ceremony in Japan matured gradually and a wide range of Chinese tea utensils was absorbed into the system.

In fact, however, Temmoku teabowl was a Chinese name in the first place. Zhong Feng Ming Ben (1263-1323), a Hangzhou native and Zen monk, was the most influential Zen monk of the Yuan Dynasty. During his lifetime, he was venerated as the Ancient Buddha of Jiangnan (the south of the Yangtze River Delta). He dwelled in a Buddhist temple in Tianmu Mountain. Monks from Korea and Japan came to the temple to study Zen. According to a Japanese historical record, more than 220 Japanese monks visited the monk and another highly respected monk at temples in Tianmu Mountain. It was these visiting Japanese Buddhists that brought the Temmoku teabowls back directly to Japan. The discovery of the sites of ancient kilns in Tianmu Mountains confirms that at least part of the black-glazed Temmoku teabowls used in Japan were manufactured in the Tianmu mountains of Hangzhou during the Song and Yuan dynasties.□