駱蔓?黃蕓

展廳的一角傳來(lái)極細(xì)且柔的江南絲竹的背景音樂聲，好像是《采茶舞曲》，兩名中國(guó)女子正用龍泉青瓷茶具演示中國(guó)茶道。與日本茶道的生活化程式不同，中國(guó)茶道更具舞臺(tái)藝術(shù)的表現(xiàn)力，演示如淡云薄霧舒卷自如于茶山之間，讓前來(lái)欣賞的日本觀眾感嘆不已，紛紛豎起大拇指而頻頻點(diǎn)贊。

這中國(guó)茶道表演是“日本·浙江文化年”重頭項(xiàng)目“龍泉青瓷生活主題展”中的主要節(jié)目之一，不久前在東京中國(guó)文化中心舉行。日本是十分喜愛瓷器的國(guó)度，在本次龍泉青瓷展覽上，日本民主黨前黨首海江田萬(wàn)里先生稱，青瓷在日本人心目中是“神器”。

絲綢之路自唐代于海上開辟之后，首航地區(qū)便是日本群島和朝鮮半島。宋代以來(lái)、尤其是明清時(shí)期，經(jīng)由海上絲路，中國(guó)向域外輸出的貨物中，排名最大宗的其實(shí)是瓷器，次之才是絲綢、茶葉等。中國(guó)瓷器本是生活用品，因器形、色彩、裝飾、繪畫的豐富多樣，改變和提升了人們的生活方式和生活品質(zhì)、生活品位，也同時(shí)產(chǎn)生有藝術(shù)的屬性，能美化人居環(huán)境、培育人文素養(yǎng)。于是，中國(guó)瓷器承載了東亞文明、南亞文明、西亞文明和歐洲文明，并成為有相互影響作用、造成“文化循環(huán)”的“天下之器”。

由于地理遠(yuǎn)近關(guān)系，歷史上日本于公元8或9世紀(jì)最先接觸浙江越窯青瓷，而對(duì)龍泉青瓷的進(jìn)口至遲能夠?qū)に莸?3世紀(jì)。在日本，除北海道外，其他三大島都有早年的龍泉青瓷出土。1323年，中國(guó)一艘從浙江寧波到日本博多的貿(mào)易船在高麗新安沉沒，650年后打撈出的近兩萬(wàn)件中國(guó)瓷器中，有百分之六十為龍泉青瓷。17世紀(jì)，荷蘭人打開了對(duì)日本的中國(guó)瓷器銷售市場(chǎng)，“青如玉、明如鏡、薄如紙、聲如磬”的龍泉窯青瓷在其中格外受到歡迎，被民間廣泛使用，而精品主要得到皇室、寺院、世家的收藏。

日本陶瓷學(xué)家三上次男先生，在他所著的《陶瓷之路——東西文明接觸點(diǎn)的探索》中盛贊“宋代龍泉青瓷以其精湛的品質(zhì)獨(dú)步于世界”，并稱這種瓷器的青色，其清澈猶如秋高氣爽的天空，也如寧?kù)o的深海。

如今，這曾經(jīng)的藝術(shù)品又逐漸生活化，重新走近普通人，成為現(xiàn)代生活的一部分，龍泉青瓷茶具就是最好的例證。本次展覽現(xiàn)場(chǎng)，用龍泉青瓷茶具進(jìn)行中國(guó)茶道表演，使這一藝術(shù)品的生活氣息愈發(fā)濃郁。

有人說青瓷生活化是回歸本真，說得對(duì)。記得法國(guó)詩(shī)人這樣高歌：“給我倒杯茶吧，艾蘭小姐，請(qǐng)用這樣美的中國(guó)瓷杯?！保úǖ氯R爾《給我倒杯茶》）德國(guó)漢學(xué)家雷德侯先生在他所著的《萬(wàn)物》一書寫道：“瓷器能按照人的意愿成型;裝飾方式多樣;用后極易清洗，同時(shí)又堅(jiān)硬、耐用;能發(fā)出鏗鏘聲，加之其美如玉——光滑、白凈、晶瑩，而且半透明?！?/p>

而我們從當(dāng)下文化交流的層面深入一點(diǎn)想，溫潤(rùn)的青瓷、輕盈的茶葉，在身穿絲綢服飾的女子的清溪流水似的演繹下，體現(xiàn)的正是海上絲路所傳播的瓷器、絲綢、茶葉的歷史作用和意義，婉轉(zhuǎn)反映出古代中國(guó)文明與包括日本在內(nèi)的各國(guó)文明的一衣帶水。

龍泉青瓷一度斷代，恢復(fù)以后的工藝越來(lái)越熠熠生輝。本次展出的龍泉青瓷共有百件，在工藝美術(shù)的設(shè)計(jì)裝飾上，造型、釉色、紋片無(wú)不精彩，我們看去，“青瓷薄胎”“青瓷玲瓏”“青瓷釉下彩”“象形開片”“文武開片”“青白結(jié)合”“哥弟窯結(jié)合”，大約都在。

面對(duì)這樣優(yōu)雅大氣、瑩潤(rùn)如玉的龍泉青瓷作品，日本嘉賓紛紛表示，如此規(guī)模和水平的龍泉青瓷來(lái)日本展出難得一見。歷史上海上絲路延伸至古都奈良，陶瓷也從中國(guó)傳到日本，于17世紀(jì)出現(xiàn)田瓷器（伊萬(wàn)里瓷），現(xiàn)在更發(fā)展成一眼就能明顯看出日本特色的陶瓷工藝，希望文化交流的碩果惠及兩國(guó)人民。

愛好攝影的公司職員田中先生圍著展品拍個(gè)不停。他說：“龍泉青瓷就像包裹的美玉，給人一種神秘感，在鏡頭里更生動(dòng)。真是太美了！”愛好瓷器的退休教員宮本先生一直在2016年G20杭州峰會(huì)國(guó)禮級(jí)龍泉青瓷作品雙耳盤口瓶、吉祥如意之尊、雙耳瓶前轉(zhuǎn)悠，凝視久久，不愿離去。我們很想與宮本先生深入交談，卻又實(shí)在不忍心打擾。

絕沒有料到本次展覽在異國(guó)他鄉(xiāng)如此受歡迎，龍泉青瓷藝人王武先生說：“能受邀到日本參展，對(duì)我來(lái)說意義重大。同行的龍泉青瓷作品精美絕倫，我也感到自豪，希望以后全世界都知道龍泉青瓷，讓它的知名度越來(lái)越高?！奔?dòng)之情溢于言表。

“中國(guó)瓷對(duì)世界史研究的最大價(jià)值，在于它反映了一項(xiàng)規(guī)模最為龐大的文化轉(zhuǎn)型活動(dòng)。”讀過世界文化史的人知道，美國(guó)歷史學(xué)家羅伯特·芬利先生，曾經(jīng)在《朝圣者的藝術(shù)：世界歷史中的瓷文化》一書中探討，絲綢、茶葉被人消費(fèi)使用而消失，“只有瓷器，不僅歷時(shí)長(zhǎng)在，還在文化相互影響上發(fā)揮了核心作用”。為了傳播中國(guó)瓷器，開幕式上，浙江省工藝美術(shù)大師金益榮先生為日本的嘉賓和陶瓷匠人講解龍泉青瓷：哥窯、弟窯的傳說故事，龍泉青瓷的發(fā)展歷史以及制瓷工具、原材料和拉坯、刻花等手工藝。與之配合，現(xiàn)場(chǎng)還展示了青瓷碎片、老龍窯和青瓷制作場(chǎng)景及工藝流程等老照片。這些講解和展示，蘊(yùn)含了龍泉青瓷背后的美麗動(dòng)人的文化故事。

與通常的展覽不同，本次展覽專門從浙江龍泉運(yùn)來(lái)一臺(tái)傳統(tǒng)手工拉坯機(jī)、龍泉青瓷常用的瓷土原料、制瓷工具等，進(jìn)行拉坯和刻花的活態(tài)展示。龍泉青瓷的燒瓷技藝，是全球第一個(gè)、也是唯一入選聯(lián)合國(guó)教科文組織“人類口述和非物質(zhì)遺產(chǎn)代表作”名錄的陶瓷類項(xiàng)目。

“三上次男先生在上世紀(jì)80年代專門來(lái)了一趟龍泉。他看到古窯的時(shí)候，立即雙膝跪地，磕了三個(gè)頭?！敝袊?guó)工藝美術(shù)大師、國(guó)家級(jí)非遺項(xiàng)目龍泉青瓷燒制技藝代表性傳承人徐朝興先生，在“龍泉青瓷生活主題展”出國(guó)前的杭州預(yù)展上告訴我們，為了表示尊重和崇仰，三上次男先生回日本時(shí)特意帶了一捧龍泉窯泥，說這就是龍泉青瓷的土脈，值得永遠(yuǎn)收藏。endprint

我們?cè)趨⒄菇Y(jié)束前，去市面購(gòu)買了幾件日本的生活類瓷器，這些實(shí)物將會(huì)與心中的本次展覽一起永遠(yuǎn)收藏。

（本文照片由作者提供）

May 30， 2017 witnessed Zhejiang launching a Longquan Celadon exhibition in Tokyo， Japan. The year 2017 is designated as Japan-Zhejiang Year of Culture. The venue was China Cultural Center in Tokyo. The exhibition is a top priority on the agenda of the years activities.

On display were 100 celadon pieces， featuring all the characteristic charms and beauties of the ceramic consummated in Longquan in southern Zhejiang. Also on the show were a number of photos showcasing celadon kilns， celadon-making tools， and procedures.

At the launching ceremony， Mr. Jin Yirong， a master of arts and crafts of Zhejiang， gave a brief lecture on the genesis of celadon. Among the audience were Japanese VIPs and masters of ceramics. Masters from Zhejiang demonstrated their celadon art during the exhibition， which ended on June 9.

Japanese visitors responded warmly to the glory of celadon. Mr. Banri Kaieda， a statesman who served as the President of the Democratic Party of Japan between 2012 and 2014， visited the exhibition and marveled at the celadon exhibits， wowing that the ceramics looked like magic objects. Mr. Tanaka， an amateur photographer who was a white-collar worker in a Japanese company， took the opportunity to take pictures of the celadon. He commented that the Longquan Celadon was as beautiful as jade pieces and they looked vivid through camera lens. Mr. Miyamoto， a retired teacher， could not tear himself away from the celadon masterpieces custom-made for the G20 Summit 2017 held in Hangzhou， capital city of Zhejiang Province.

Celadon， produced in Longquan， was and is widely appreciated in Japan， a country which has a passion for ceramics. This passion was first kindled by the ceramics from China as soon as the Silk Road on the Sea opened up during the Tang Dynasty （618-907AD）. In fact， the world-famous trade route on the sea first extended between China and Japan and Korea peninsula and， of the goods shipped through the trade route， ceramics ranked the biggest quantity， followed by silk and tea.

Essentially ceramics are for everyday life. Shapes， colors， and patterns are attractive. And they themselves are like decorative objects. They offer a touch of aesthetics and make life beautiful. Ceramics made in China have had a huge impact on civilizations across the world.

Close geographically to China， Japan first saw celadon made in Yue Kiln in the 8th or 9th century. The import of Longquan Celadon to Japan started very early. In 1323， a Chinese merchant vessel sailed from Ningbo to Hakata， a Japanese port city. The ship sank off the southwest coast of Sinan， South Jeolla Province， in todays South Korea. The shipwreck was discovered in 1975. Of the objects excavated from the underwater shipwreck are numerous Chinese ceramics. About 60% of the nearly 20，000 pieces of Chinese porcelains are of Longquan Celadon. In the 17th century， Chinese ceramics found a full market in Japan. Celadon from Longquan enjoyed popularity in the island nation. Celadon was as green as jade， as bright as mirror， as thin as paper， and as musical as the sound from the musical instrument “Qin”. The best celadon pieces went into the collections of the noble houses， Buddhist temples， and big families across Japan.

Mr. Wang Wu， a celadon master from Longquan who was with the Chinese exhibitors， was surprised to witness the warm reception of celadon in Japan. “It means a great deal to me to be at this exhibition in Japan. I am happy and proud that the celadon pieces made by my fellow celadon masters are well received in Japan. I hope Longquan Celadon can be made better known across the world in the future，” said Mr. Wang Wu emotionally.

The same exhibits had been displayed to the public first in Hangzhou before they were shipped to Tokyo for the Zhejiang Cultural Year in Japan.endprint