society for the ancient chinese art
Nothern QiSpecial
SACA学会是一个多元开放性的学术实践平台，致力于古代艺术与当代生活美学的融合实践与研究成果交流。
＊ 北齐至隋朝，白瓷的出现使青瓷的发展达到顶峰。这种通过最大程度地去除任何存在于胎土和釉料中的杂质，从而得以烧制出让人眼前一亮的精美器物的演变发展，可能是一种有意的尝试。
长期以来，中国6世纪的陶瓷状况一直让学者们感到困惑。多亏中国的考古学发展，我们开始对那个时代有了清晰的认识。本研究基于常盘山文库基金会藏铅釉陶瓷，对北朝时期的陶瓷，即北魏至北齐时期的陶瓷进行研究。
近年来，文库基金会内部成立了由長谷部楽爾博士领导的中国陶瓷研究小组，并以简报的形式公布其研究成果。它已经出版了七卷，并得到了国内外大学、博物馆和研究人员的反馈，从而做出了学术贡献。平成24年（2012年），它被批准成为一个公益性的注册基金会。
北齐之光:
Northern Qi Dynasty
the Diversity and Subtlety of Arts
Tokiwayama BunkoFoundation
translated edited by SACA
历史
常盤山文庫的藏品最初是由实业家菅原通濟（1894-1981）购藏的。藏品的四大支柱是禅宗道士的墨迹拓片、中国和日本绘画、中国陶瓷和天神图像。
目前藏品包括两件国宝、23件重要文化财产（六幅绘画、十六件书法作品/古文献/古典文献、一件室町时代的红漆碗）和18件重要艺术品。该基金会拥有日本最大的博古斯基书法、陶瓷和宗教艺术收藏之一。
無準師範墨蹟 禅院牌字鐮倉 常盤山菅原通濟全面的收藏始于1943年（昭和18年）的战争期间，当时研究人员聚集在所收集的艺术品周围，博物馆也成为一个学习的地方。1954年（昭和29年），菅原通濟在60岁生日之际从商界退休后，专注于公共服务，成立了以他在镰仓常盤山的家常盤山命名的常盤山文庫基金会，并将他的收藏品搬到这里。
从那时起，这些藏品就在这个地方向公众开放。然而，由于《文化财产保护法》的修订，不再可能在这个地方和建筑中展示藏品，我们现在通过在存放作品的东京国立博物馆和九州国立博物馆举办永久性展览，应日本和国外博物馆的要求出借藏品，以及为其他学术目的提供材料，为社会作出贡献。
緑釉突起文高足杯近年来，中国陶瓷和瓷器的收藏也取得了进展，基金会内部成立了由長谷部楽爾博士领导的中国陶瓷研究小组，并以简报的形式公布其研究成果。它已经出版了七卷，并得到了国内外大学、博物馆和研究人员的反馈，从而做出了学术贡献。平成24年（2012年），它被批准成为一个公益性的注册基金会。
据菅原的儿子说，他父亲的收藏 '相当自然和随意地增长，遵循[他]的个人愿望和品味'。因此，他说，这些物品不仅让观察者了解了艺术，而且还 '了解了收藏者本人'。
米色青磁瓶Northern Qi Ceramics
北齐瓷器
Gakuji Hasebe
The Tang dynasty is considered today to have been a particularly brilliant era in Chinese ceramic history and superb Tang Sancai and Tang white wares have long delighted the eyes and hearts of all who view them. Needless to say, prior to those bright Tang ceramics, various tomb figures and burial wares dating from the Han dynasty onwards were the basis for the development of the brightly colored Tang achievements. In parallel, celadon wares were developed and went on to be distinguished in their own right. Celadon, with tiny amounts of iron element in both body clay and glaze and fired at hight temperatures, was made in various different regions over the course of several hundred years. The pinnacle of celadon development was attained when white porcelain appeared around the Northern Qi to Sui dynasties. This development may have been an intentional attempt to create the bright and beautiful wares through the removal, to the greatest degree possible, of any impurities in the clay and glaze.
今天，唐代被认为是中国陶瓷史上一个特别辉煌的时代，精湛的唐三彩和唐白瓷长期以来一直让所有观赏者的眼睛和心灵感到愉悦。不用说，在这些光辉的唐代陶瓷之前，汉代以来的各种墓葬陶俑和随葬品是构成绚烂唐代器物的成就基础。与此同时，青瓷也得到了发展，并在自己的领域中崭露头角。青瓷在主体胎土和釉料中都含有少量的铁元素，并在高温下烧制，在几百年的时间里于不同的地区制作。
北齐至隋朝，白瓷的出现使青瓷的发展达到顶峰。这种通过最大程度地去除任何存在于胎土和釉料中的杂质，从而得以烧制出让人眼前一亮的精美器物的演变发展，可能是一种有意的尝试。
The lead white wares printed here as dating from the Northern Qi dynasty show us the evidence of such efforts. The low-fired lead glazes are nearly transparent but some are greenish or brownish in tone. Some examples are decorated with vertical strips of brown and green lead glaze on the mouth or outside body and they can be considered a type of Sancai wares (pls.1-3). The decorative method found on the lead glazed white bowl with medallion design of pointed applied dots (pl.4) is reminiscent of ancient glass wares. A small ink slab, a jar in the shape of tiger, a vase, a tripod basin and a cup with saucer (pl.8) indicate the popularity of white-glazed burial wares. In terms of production locale, these works seem to have been produced around the Ye 邺 domain (southern part of Hebei province), the former capital in Northern Qi dynasty, and the northern part of Shanxi province. Recently some have suggested the Xiangchou-yao 相州窑 kilns near Anyang 安阳.
图示的北齐时期铅白器向我们展示了这种努力的证据。低温烧制的铅釉几乎透明，但有一部分带绿色或褐色的色调。有些标本在口沿或器身外侧有棕色和绿色铅釉竖纹装饰，可认作是三彩的一类（图1-3）。铅釉白碗上发现的装饰方法与古代玻璃器皿一样，都是点画的圆型图案（pl.4）。小砚台、虎形罐、花瓶、鼎形盆和杯与碟（图8）表明白釉随葬品的流行。
就生产地而言，这些器物似乎是在北齐故都邺域（河北省南部）和山西省北部一带制作的。最近也有人提出是在安阳附近的相州窑烧制。
This book is the first public presentation of the works in the Tokiwayama Bunko Foundation collection, and at the same time, includes the publication of Ritsuko Yajima’s “White Wares in Northern Dynasties” and Sarah Sato’s “Compilation of Data on Datable Excavated Materials from the Northern and Southern Dynasties”. Yajima brief discusses excavated examples from the Northern Qi dynasty of lead glaze wares intended as “white wares”, which promoted the birth of white porcelain in the Sui dynasty. The data in her paper was cited from the Compilation by Sato, which lists examples excavated from Northern Dynasties and Southern Dynasties tombs and kiln sites. Given the lag in the study of Northern Dynasties ceramics versus that of Southern Dynasties ceramics, undoubtedly this paper and compilation will prove to be valuable contributions to the study of Chinese ceramics. It is our hope and expectation that this book will be useful as a resource and will contribute to further progress in the study of Chinese ceramics.
本书是常盘山文库基金会收藏器物的首次公开展示，同时包括矢岛律子的《北朝白瓷》和佐藤莎拉的《南北朝可考证出土资料汇编》的发表。矢岛简要讨论了北齐时期出土的旨在作为“白瓷”的铅釉器的例子，从而促进了隋白瓷的诞生。她论文中的数据引自佐藤的《汇编》，其中列出了从北朝和南朝墓葬和窑址出土的例证。鉴于对南北朝瓷器的对比研究的滞后性，毫无疑问，这篇论文和《汇编》将被证明是对中国瓷器研究的宝贵贡献。我们希望这本书能成为有用的资源，并能促进中国陶瓷研究的进一步发展。
White Wares in Northern Dynasties [Summary]
北朝白瓷【综述】
Ritsuko Yajima
矢岛律子
The state of Chinese ceramics in the 6th century has long puzzled scholars. Thanks to archaeological developments in China, a clear picture is now emerging of that era. This study examines Northern Dynasties ceramics, namely those from the Northern Wei to Northern Qi dynasties, based on examination of lead glazed ceramics in Tokiwayama Bunko Foundation.
长期以来，中国6世纪的陶瓷状况一直让学者们感到困惑。多亏中国的考古学发展，我们开始对那个时代有了清晰的认识。本研究基于常盘山文库基金会藏铅釉陶瓷，对北朝时期的陶瓷，即北魏至北齐时期的陶瓷进行研究。
White body clay wares covered with lead glaze became popular in Shanxi and Henan provinces from the 560’s to the 570’s in the Northern Qi dynasty. They were unfinished “white wares” with an unstable, pale yellow-greenish tone created by impurities in the lead glaze, a technique that more often than not resulted in white wares with pure transparent lead glaze. The combination of such lead glazed white wares and high temperature firing techniques that spread from the ash-glazed firing technique in South China led to the birth of white porcelain. This combination was made possible by the development of unglazed firing and white slip techniques. In other words, after a relatively high temperature unglazed firing of wares coated in white slip, some of the works were coated with a lead glaze and refired at a low temperature. The other works were coated with an ash glaze and refired at a high temperature. The use of white body clay also encouraged new, strongly contrasting color concepts in vessel decoration, which resulted in the decorative use of green lead glaze and Sancai polychrome glazes. This was the starting point of what would become Tang dynasty Sancai wares.
北齐560年至570年，铅釉的白胎器物在山西和河南两省流行。它们是未完成的“白色陶瓷”，由于铅釉中的杂质呈不稳定的淡黄绿色调，这种技术通常无法烧制出白色陶瓷的纯透明铅釉。这类铅釉白色器物与从中国南方的灰釉烧制技术传播而来的高温烧制技术相结合，促成了白瓷的诞生。这样的结合是通过素胎烧制和白色化妆土技术的发展而实现的。换句话说，涂有化妆土的素胎经过相对高温烧制后，其中一些被涂上铅釉并在低温下再次烧制。其他作品则被涂上灰釉，在高温下再次烧制。白色胎土的使用也促进了在器物装饰上采用全新的、强烈对比的色彩概念，并形成了绿色铅釉和三彩多色釉的装饰性使用。这就是唐三彩器物的起点。
Given the applied decoration of lead glazed white wares excavated from around Jingyang 晋阳, the rapid growth of a preference for “white wares” in the Northern dynasties may be connected to the popularity of white marble Buddhist statues that combined traditional Chinese adoration for white jade with the prosperity of Buddhism in the northern dynasties. There was a rapid, and unprecedently huge, absorption of foreign cultures from the West, including Buddhism, in the Northern Dynasties. The flexible cultural climate of the Northern Dynasties, which were governed by sinicized non-Han tribes starting in the Northern Wei dynasty, received and digested such foreign cultures and thus created new forms of Chinese culture. That cultural climate opened they way to the new concept of “white wares” which had not previously existed in Chinese ceramic history. In Northern dynasties, potters made excellent use of the inherent, unique plasticity of the ceramic medium and glazing versatility to create works not possible in other media.
鉴于晋阳一带出土的铅釉白色陶瓷的实用装饰，北朝时期对“白色器物”偏好的迅速增长可能与白色大理石佛像的流行有关，它将中国传统对白玉的崇拜与北朝时期佛教的繁荣相结合。北朝时期对来自西方的外来文化，包括佛教，进行了迅速地、空前巨大地吸收。从北魏开始由汉化的非汉族部落统治的北朝，其灵活的文化氛围接受并消化了这些外来文化，从而创造了中国文化的新形式。这样的文化氛围为“白色器物”的新概念开辟了道路，而在此之前的中国陶瓷史上是不存在的。在北朝时期，陶艺家们很好地利用了陶瓷媒介固有的、独特的可塑性和施釉的多功能性，创造出了通过其他媒介不可能实现的作品。
Northern dynasties ceramics not only incorporated the shapes, decoration and motifs of other media, they also made use of Buddhist motifs and absorbed white jade concepts and imagery. The Northern dynasties was a remarkable period in Chinese ceramic history, a time when ceramics came to establish its own proper place within the decorative arts and was no longer simply viewed as a substitution for bronze or lacquer.
北朝时期的陶瓷不仅吸收了其他媒介的形状、装饰和图案，还利用了佛教主题，吸收了白玉的概念和意象。北朝时期是中国陶瓷史上的一个重要时期，在这个时期，陶瓷在装饰艺术中确立了自己应有的地位，不再简单地被视为青铜器或漆器的替代品。
Explanatory Texts for Tokiwayama Bunko Collection Works
常盘山文库作品的释文
Sarah Sato
佐藤莎拉
1. Jar with Four Lugs and Carved Petal-Shaped Flange, Decorated with Vertical Stripes in Brown and Green Lead Glazes
三彩四耳壶
Northern Qi dynasty 北齐
H. 18.1 cm, MD. 7.5 cm, BD. 8.0 cm, Wt 1,560 g
This jar is characterized by four square lugs on its shoulders and a petal-shaped flange around the lower body. Fourteen evenly spaced vertical incised lines extend from the shoulder to the petal-edged flange on the lower-body, with the flange made up of carved overlapping double petals that protrude perpendicularly from the side of the body. Traces of planing or shaving are apparent under the petal-edged flange, making the below-flange area slightly smaller in circumference and more steeply angled to the smaller base, than the upper surface of the flange (fig.1 upper p.41), while the lower surface of the flange (fig.1 lower p.41) is flat. This differentiation may indicate that the flange was cut out from the section running from the base to the mid-body.
此壶的特点是肩部有四个方耳，下半部有莲瓣状的凸缘。十四条均匀分布的垂直刻线从肩部延伸到下部的莲瓣凸缘，凸缘由雕刻的重叠双层莲瓣组成，垂直于器身从侧面伸出。
莲瓣凸缘下有明显的刨削痕迹，与凸缘以上相比，凸缘以下部分周长略小，延伸至更小的底座的角度更陡峭，而凸缘的下表面（图1上页41）则是平的。这种区别可能表明，凸缘是由从底座到中体的部分切割出来的。
The jar’s unglazed base reveals an extremely white body clay (pl.1b). The lead glaze covering the white body is a pale yellow-greenish in tone. Eight vertical stripes, alternating between green and brown lead glaze, flow down from the mouth along the sides of the body, creating an attractive juxtaposition of color glaze and white ground. While polychrome lead glaze decoration development with remarkable sophistication during the Tang dynasty, early examples of this decoration had already appeared in the Northern Qi dynasty, as seen in a small bowl from the tomb of Lou Rui 娄叡 (570) in Shanxi province (C.56a). This jar is yet another early example of polychrome lead-glazed ware.
壶未施釉的底部露出极白的胎土（pl.1b）。覆盖在白胎上的铅釉带有淡黄绿色的色调。八条绿色和棕色的铅釉竖纹交替出现，从口沿顺着器身流淌而下，形成了迷人的色釉和白地的并置。
虽然多色铅釉装饰在唐代有了显著的发展，但这种装饰的早期例证在北齐已经出现，如山西省娄叡（570）墓出土的一个小碗（C.56a）。此壶是多色铅釉器的又一早期例证。
In terms of dating this jar, reference is best made to the Compilation (p.128). Datable tombs where similar types of jars have been excavated up to the present are all located in the Ye 邺 domain, the old capital of the Norther Qi dynasty, located in the area that straddles present-day southern Hebei and northern Henan provinces. The excavated comparable examples are essentially the same in shape though different in detail. For example, differing details include glazing methods, the number and shape of lugs, and the shape of the carved petals.
关于此壶的断代，最好参考《汇编》（第128页）。到目前为止，出土过相似类型壶的可考证墓葬都位于北齐的故都邺城，位于今河北省南部和河南省北部交界的地区。
出土的可比性例证在形状上基本相同，但在细节上有所不同。例如，不同的细节包括施釉方法、耳的数量和形状以及雕刻莲瓣的形状。
Four comparable examples have been excavated from the tomb of Fan Cui 范粹, which is dated to 575 and located in Anyang 安阳, Henan province (C.63). Two of these jars have three lugs and are decorated with green stripes of lead glaze on the body. These two jars measure only 12.5 cm in height (C.63b), and are thus much smaller than this jar. Two further jars that are approximately the same as this jar each have four lugs and are 20.0 cm in height (C.63c). They lack, however, any color decoration. These works are reported to have finely grained, very white body clay. While these jars and the Tokiwayama jar all share the same basic shape, some shape differences can be indicated. First, the comparison jars are only glazed on the upper half of their bodies, while the Tokiwayama jar is glazed overall. Second, the petals on the Tokiwayama jar curve more gently than those on the comparison works. Finally, the Tokiwayama jar’s lugs are squared, while those on the comparison works are round. This type of round lugs is found on a jar, to be discussed later, excavated from the tomb of Li Yun 李云 dated 576 and located in Puyang 濮阳, Henan province (C.64d). Another jar, albeit with a vessel shape that differs from the Liyun tomb jar, has been excavated from the tomb of Yao Jun 尧峻, which is dated 571 and located in Hebei province (C.59b). Whether round or square, flat lugs with central holes that were attached vertically to a jar’s shoulder area, may have been a popular shape in northern China during this period. In the Sui dynasty, loupe-shaped lugs grew in popularity and replaced flat, vertical lugs.
河南安阳范粹墓（575年）出土了四件类似的样本（C.63）。其中两件各有三个耳，壶体上有绿色的铅釉条纹装饰。壶的高度只有12.5厘米（C.63b），相较此壶小很多。另外两件与此壶大致相同的壶各有四个耳，高度为20.0厘米（C.63c）。然而，它们没有任何色彩装饰。
据报告称，这些器物的胎土颗粒细密，土色很白。虽然这些壶和常盘山壶有相同的基本形状，但可以看出一些器型上的差异。首先，用作对比的壶只在壶身的上半部分施釉，而常盘山壶则为整体上釉。
其次，常盘山壶的壶身曲线与对比作品的线条更为柔和。最后，常盘山壶的壶耳是方形的，而对比作品上的壶耳都是圆形的。
这类圆耳在河南濮阳李云墓（576年）出土的一件壶（C.64d）上也有发现，将在后面讨论。
另一件自河北尧峻墓（571年）中出土的壶（C.59b），尽管其器型与李云墓的壶不同，其耳也是圆形。
无论是圆形还是方形，中间开孔的扁平耳垂直附着在壶的肩部，可能是这一时期中国北方的流行器型。到了隋朝，放大镜形的壶耳越来越流行，并取代了扁平且垂直的壶耳。
Another two examples were found in the tomb of Li Yun, dated 576 in Puyang, Henan province (C.64cd). Both jars have four lugs, eight vertical stripes of green lead glaze on the body, and incised design on its flange petals. Both jars are 24.0 cm tall, half-glazed with the lower part of their carved petal flanges left unglazed. The report states that their body clay is fine-grained and white. One of the jars has square lugs with central holes, like those on the Tokiwayama jar, while the other jar has round lugs.
另外两个例证是在河南濮阳的李云墓（576年）中发现的（C.64cd）。两件壶都有四个耳，壶身有八条竖直的绿色铅釉，其莲瓣凸缘上有刻画的图案。两件均为24.0厘米高，半施釉且雕刻的莲瓣凸缘的下部没有上釉。报告指出，它们的主体胎土是颗粒细密且呈白色。其中一件壶有中间开孔的方形耳，与常盘山壶相同，而另一件壶为圆耳。
The design method of carving petal flanges out of the body clay may have originated in the petal design found on celadon of the Eastern Jin dynasty and the Southern Dynasties, and then seems to have changed into a distinctive northern style. However, the petal design seen on southern wares in generally relief-like in form (fig.3 p.44), with protrusion from the body rare. Those rare protruding examples, however, differ from the northern type in that veins are expressed on the carved petals (figs.4,5 p.44). The petal design may have first appeared on northern celadon under influence from southern celadon and then developed into the unique style found on northern lead glazed wares.
从器身伸出雕刻莲瓣凸缘的设计方法可能起源于东晋和南朝青瓷上的莲瓣设计，后来似乎形成了独特的北方风格。
不过，南朝器物上的莲瓣设计一般是浮雕式的（图3 p.44），突出器身的情况很少。然而那些罕见的突出的例子在雕刻的莲瓣上有脉络的表现（图4,5 p.44），也与北方风格不同。
莲瓣的设计首次出现在北方青瓷上可能受到了南方青瓷的影响，这种设计随后逐渐发展成熟，并成为北方铅釉器物上的一种独特风格。
Considering this jar’s white body, Compilation (p.128) indicates that white body clay became popular in the Northern Qi dynasty. Before the appearance of white body clay, works with a white ground began to appear around the end of Northern Wei or Eastern Wei. First, unglazed grayish ware covered with white slip was excavated at a datable Northern Wei dynasty tomb dated 508 in Shanxi province (C.15). Then, unglazed white body wares have been found in the Eastern Wei dynasty tomb dated 537 in Shandon province (C.32) where a bowl and a vessel are reported as “white body”, to differentiate them from all the other “grayish body” wares. In addition, numerous unglazed wares with “white body” have been found in Eastern Wei tombs. Even though a simple report sentence of “white body” is not enough evidence to confirm how white the body clay is without seeing the work, this statement may indicate that white clay works existed as distinguished from grayish clay works before the Northern Qi dynasty.
鉴于此壶的白色器身，《汇编》（p.128）指出，白色胎土在北齐时期开始流行。在白色胎土出现之前，大约在北魏末年或东魏就开始出现白地的作品。
首先，自山西省一座可考证的北魏墓（508年）中出土一件涂覆白色化妆土的素胎灰色器物（C.15）。然后，自山东省的一座东魏墓（537年）中发现素胎白色器物（C.32），其中一件碗和另一件器物被记录为“白胎”，以区别于所有其他“灰胎”器物。
此外，东魏墓葬中还发现了大量“白胎”素胎器物。尽管一句简单的“白胎”记录在没有看到实物的情况下不足以证实胎土有多白，但这一说法可能表明，白胎器物在北齐之前是存在的，且与灰胎器物有明显区别。
A few decades later, from 560 to 570 in the Northern Qi dynasty, works with a “white body” covered with lead glaze began to be seen in Shanxi, Henan and Hebei province. Examples from datable tombs are too numerous to cite, but some examples are the tomb of Kudi Huiluo 库狄廻洛 dated 562 in Shanxi (C.50), the tomb of Feng Zihui 封子绘 565 in Hebei (C.51), the tomb of Kudi Ye 库狄业 567 in Shanxi (C.54), the tomb of Lou Rui 570 in Shanxi (C.56), the tomb of Yao Jun 571 in Hebei (C.59), the tomb of Fan Cui 575 in Henan (C.63), and the tomb of Li Yun 576 in Henan (C.64). Judging from these examples, it can be said that white body-wares covered with lead glaze were popular during the Northern Qi dynasty.
几十年后，从北齐的560年到570年，山西、河南、河北等地开始出现施铅釉的“白胎”作品。
可考证墓葬中的例子不胜枚举，其中有山西库狄廻洛墓（C.50），河北封子绘墓（565年）（C.51），山西库狄业墓（567年）（C.54），山西娄睿墓（570年）（C.56），河北尧峻墓（571年）（C.59），河南范粹墓（575年）（C.63），河南李云墓（576年）（C.64）。从这些例子来看，可以说北齐时期流行使用施铅釉的白胎器物。
The glaze colors on the white body wares with lead glaze discussed above can be described in various ways. These glazes are apparently not the usual green lead glaze or brown lead glaze, but rather are often described as “pale green glaze” or “pale yellow glaze”. While these color tones are often described as “pale green glaze” or “pale yellow glaze”, but in fact, I think that it is actual “transparent” lead glaze that was not intentionally colored or coloring. Or it might be better described as intentionally transparent in order to more effectively reveal the white body clay under the glaze. The pale yellow-greenish color seen may be an unstable tone created by the impurities that were not removed from the lead glaze.
上面讨论过的铅釉白胎器物上的釉色可以用各种方式来描述。这些釉色显然不是常见的绿色铅釉或棕色铅釉，而常被描述为“淡绿釉”或“淡黄釉”。虽然这些色调常被描述为“淡绿釉”或“淡黄釉”，但事实上，我认为它其实是“透明”铅釉，非有意地着色或染色。
或者说，为了更有效地揭示釉下的白色胎土，把它描述为有目的的透明可能更好。我们看到的淡黄绿色可能是因铅釉中没有去除的杂质而产生的不稳定的色调。
Judging from the information above, Tokiwayama jar’s vessel shape, white body, and unstable transparent glaze seem to indicate a date in the Northern Qi dynasty. In terms of production locale, it is possible to consider that this work was created in the area around the excavation sites mentioned above. However, given that we have no archaeological reports of Northern Dynasties kiln sites producing lead glazed wares in those areas, the production site of this work remains unknown.
从上述信息来看，常盘山壶的器型、白色器身和不稳定的透明釉面似乎表明其年代为北齐时期。就生产地点而言，这件器物可能是在上述发掘地点周围地区制作的。然而，鉴于我们没有关于北朝窑址在这些地区生产铅釉器的考古报告，这件器物的生产地点仍然是未知的。
2. Bottle with Grooved Body Decorated with Vertical Stripes in Brown and Green Glazes
三彩弦文瓶
Northern Qi dynasty 北齐
H. 17.1 cm, MD. 5.7 cm, BD. 7.0 cm, Wt 620 g
This bottle has a pear-shaped body, with its larger base giving the body a greater sense of stability. The lead glaze covering the white body is a pale yellow-greenish in tone. Vertical stripes, alternating between green and brown lead glaze, flow down from the mouth along the sides of the grooved body, creating an attractive juxtaposition of color glaze and white ground. The base is flat and marked with the circular string-cut shaved base mark. The body clay is very white.
此瓶的瓶身呈梨形，其较大的底座使瓶身更具稳定性。覆盖白色瓶身的铅釉是淡黄绿色的色调。绿色和棕色铅釉交替的竖纹，从口沿顺着弦纹瓶身流淌而下，形成了有吸引力的色釉与白地的并置。瓶底部是平的，并有割泥线刨削的环形标记。瓶身胎土非常白。
There are no comparable excavated examples of grooved-side, pear-shaped stable body works with green and brown stripe decoration found in the Compilation (p.128). There are, however, several examples of “bottle with pear-shaped body and dished mouth” works in the Compilation. The first example is from the tomb of Feng Zihui 封子绘, dated 565 (C.51i) in the Northern Qi dynasty and several other examples from Sui dynasty tombs. While the example from the Sui dynasty tomb of Chang Sheng 张盛 dated in 595 in Henan province (C.86i) has a large base and swelling body that are rather similar to this bottle, other Sui examples are characterized by longer, narrower body forms. This typical Sui era bottle with long, narrow body was also found from at the Xing-yao 邢窑 group kiln site (C.147gk). Examples of the grooved body characteristic, albeit on works with completely different shapes, can be see in a jar from the tomb of Yuan Shu 元淑 in Shanxi province dated 508 (C.15a) in the Northern Wei, another from an Eastern Wei tomb (C.41cd) in Henan province, and one from the Northern Qi dynasty tomb of Chang Haiyi 张海翼 in Shanxi province dated 565 (C.53a). These examples, while somewhat comparable in terms of grooved design and vessel shape, are not useful comparisons for dating this bottle.
在《汇编》（第128页）中没有发现类似的出土例证，即有绿色和棕色条纹装饰、稳固的弦纹梨形器物。不过，《汇编》中有几件“梨形盘口瓶”的例子。第一个例子是北齐封子绘墓（565年）（C.51i），其他几个例子来自隋代墓葬。
其中隋代河南张盛墓（595年）（C.86i）中出土的器物有大底座和鼓起的瓶身，与此瓶相当相似，而其他的隋代例子则以长而窄的器型为特征。
这类隋代典型长而窄的瓶身也同样在邢窑窑址群（C.147gk）中发现。拥有类似弦纹瓶身特点的器物还有自北魏山西省元淑墓（508年）出土的壶（C.15a），自河南东魏墓出土的壶（C.41cd）和自北齐山西省张海翼墓（565年）出土的壶（C.53a），尽管它们的器型完全不同。这些例子虽然在弦纹设计和器型方面有一定的可比性，但无法用于对此瓶的断代。
This bottle entered the Tokiwayama Bunko Foundation collection as a set excavated from the same tomb with the jar with four lugs and petal-shaped flange (pl.1) and the jar with vertical stripes in green and brown glazes (pl.3). Given that there are no comparable excavated examples in the Compilation, this bottle might be dated to the Northern Qi dynasty given its shared features with two other Tokiwayama collection works, namely the green and brown design, fine-grained, very white body clay with tiny brown particles beneath the transparent glaze that might have been caused by body clay impurities.
In terms of production locale, given that there are no archaeological reports of Northern Dynasties kiln sites that produced lead glazed wares, the production site of this work remains unknown.
此瓶与三彩四耳壶（pl.1）、三彩壶（pl.3）作为同一个墓葬中出土的一组器物，纳入常盘山文库的收藏序列。鉴于《汇编》中没有可比较的出土实例，考虑到此瓶与其他两件常盘山藏品的共同特征，即绿色和棕色的图案、颗粒细密且非常白的胎土、透明釉下带有可能是由胎土杂质造成的细微的棕色颗粒，故此瓶可能是北齐时期的。
就生产地点而言，鉴于没有关于北朝时期生产铅釉器的窑址的考古报告，这件器物的生产地点仍然是未知的。
3. Jar Decorated with Vertical Stripes in Brown and Green Lead Glazes
三彩壶
Northern Qi dynasty 北齐
H. 19.4 cm, MD. 7.0 cm, BD. 6.5 cm, Wt 1,080 g
This jar has a sloping shoulder silhouette and a mouth construction that looks as if the outer surface has been rounded and coiled onto the jar. Alternating vertical stripes of green and brown lead glaze flow down from the mouth to the inner surface and from the shoulder area along the sides of the body. There are no comparable excavated examples in the Compilation (p.128) and the jar cannot be dated based solely on its vessel form. However, given that the jar shares features with other Tokiwayama collection works — namely the green and brown glaze vertical stripe design, the white body clay, the tiny brown particles seen beneath the transparent glaze which may have been caused by impurities in the body clay and the pale yellow-greenish tone of the overall lead glaze — it can be tentatively dated to the Northern Qi dynasty and thought to have been made in the area around Anyang 安阳 in Henan province, located near the Ye 邺 domain, the former capital of the Northern Qi dynasty.
此壶有一个倾斜的肩部轮廓，口沿结构看起来就像外表塑造成圆条形并盘绕在壶口。绿色和棕色铅釉的竖纹交替从口沿流淌至内部，并从肩部沿着器身流下。在《汇编》（第128页）中没有类似的出土实例，因此不能仅根据其器形来确定该壶的年代。
然而，鉴于此壶与其他常盘山藏品有共同的特征 —即绿色和棕色釉的竖纹设计、白色的胎土 —可初步定为北齐时期的器物，且可能是在河南省安阳附近地区制作的，该地区位于北齐王朝的故都邺城附近。
4. Lead Glazed White Jar with Four Lugs Decorated with Vertical Stripes in Copper-Green
白釉绿彩四耳壶
Northern Qi dynasty 北齐
H. 21.2 cm (without lid), MD. 9.0 cm, BD. 9.8 cm, Wt 1,820 g (without lid)
This jar shares the same characteristic elements with the Tokiwayama jar with four lugs and a carved petal-shaped flange and brown and green lead glaze vertical stripes (pl.1). Here, however, the flange is handled in a different manner. This jar has wider petal elements and flat petal tips, which are not carved to form overlapping petals. The overall transparent lead glaze is not tinged with a yellowish or greenish tone, but it does appear to have oxidized into a silvery form. Copper-green glaze stripes flow down from eight points on the rim. The traces of shaving on the body may suggest that the jar was in the ground for a long time and there were stains that needed to be removed from its surface in order to make it more appealing. The clay is very white.
此壶与常盘山三彩四耳壶（pl.1）有相同的特征元素，其有四耳、雕刻成莲瓣状的凸缘以及棕色和绿色的铅釉竖纹。
然而，此处凸缘是以不同方式处理。此壶的莲瓣元素较宽，尖端扁平，没有雕刻成重叠的花瓣。整体透明铅釉没有染上黄色或绿色的色调，但似乎已经氧化成银色。铜绿色的釉纹从口沿边缘的八个点流下。
壶身上的刮削痕迹可能表明此壶在地下储存许久，为了使它看起来更吸引人去除了一些曾经沾有的污渍。胎土颜色非常白。
As mentioned in the entry for the Tokiwayama jar with brown and green lead glaze vertical stripes (pl.1), carved petal-shaped body flanges seem to have been concentrated in the Ye 邺 region of the Northern Qi dynasty, namely the northern part of Henan province. This jar differs from those Henan jars in terms of the non-overlapping tips of its petal-shaped flange. This kind of petal-shaped flange is found in different kinds of vessels, namely jars with handles and chicken head finials that have been excavated from the tombs in Shanxi province, such as the tomb of Han Yi 韩裔 dated 567 (C.55d) prior to the datable Henan examples. The source of this flange shape difference is hard to determine. Was it a result of place or date differences? In any event, let me indicate that there are various versions of carved petal-shaped flanges. There are petal-shaped flanges with overlapping petal-shaped tips, such as Tokiwayama jar (pl.1) and other examples from Henan province, along with petal-shaped flanges, as here and the Han Yi example (fig.9 p.47), in which wide petal tips are flat and intentionally not overlapped. There are a further two types within the latter wide-petal, flat-tip type, namely those which maintain some overlapping petal tendency, and those which have no intentional overlapping petal tip carving, as seen in the jar with a handle and a chicken head finial form the tomb of Lou Rui 娄叡 (C.56f), dated 570, in Shanxi province. The long-necked jar with a dished mouth from the tomb of Duhu Cang 独孤藏, dated 578, in Shaanxi province in Northern Zhou dynasty (C.72b) also belongs to this latter type. This Duhu Cang jar lacks a carved finish of overlapping petal tips, though its flange looks like double petals thanks to the wavy edge of the flange. Works with a straight-edged flange without petal-shape handling were produced in parallel to the various verisons of the petal-shaped flange. One such straight-edged flange can be seen on a chicken-head finial jar excavated at Lou Rui (C.56g), and this type seems to have lasted longer than the flanges with petal-shaped tips, as seen in an example excavated from the tomb of Wang Shiliang 王士良, dated 565 and 583, in Shaanxi province (C.77a).
正如常盘山三彩四耳壶（pl.1）条目中提到，器身上雕刻莲瓣状凸缘的形式似乎集中在北齐时期的邺城地区，即河南省北部地区。此壶与那些河南壶不同的是，它的莲瓣凸缘尖端不重叠。此类莲瓣状凸缘在不同种类的器物中都有发现，其中包括山西省墓葬中出土的凤头执壶，如韩裔墓（567年）中出土的壶（C.55d），其年代比河南的例子更早。
凸缘形状差异的来源很难确定。是否根据地域或年代差异造成？无论如何，我想说明的是，莲瓣状凸缘有各种不同的形式。有花瓣重叠的莲瓣凸缘，如常盘山三彩四耳壶（pl.1）与河南省的其他实例；也有莲瓣宽尖端扁平且花瓣有意不重叠的凸缘，如此壶与韩裔墓出土的实例（图9 p.47）。
第二种宽莲瓣、尖端扁平的凸缘形式中还分为两个小类，分别为保持一部分莲瓣重叠趋势的类型以及没有刻意使莲瓣尖端重叠的类型，如山西省娄叡墓（570年）出土的凤头执壶（C.56f）。
自北周陕西省独孤藏墓（578年）中出土的盘口长颈壶也属于第二种类型。这件独孤藏壶无重叠莲瓣尖的雕饰，不过由于其凸缘的波浪形边缘设计，看起来像双重莲瓣。与莲瓣凸缘的各种版本同时期生产的还有没有处理成莲瓣形式的平直凸缘器物。自娄叡墓中出土的一件凤头盖罐（C.56g）上可以看到这样的平直凸缘，且此类凸缘似乎比莲瓣状凸缘持续时间更长，如自陕西省王士良墓（565年和583年）出土的实例（C.77a）。
Data in the Compilation (p.128) indicates that there was an increase in wares with simple, undecorated flanges in the Sui dynasty. Examples, like the work excavated from the tomb of Song Xun 宋循 (C.83a), dated in 589, in Henan province, lack the carved petal design as seen on the upper surface of the flange of Wang Shiliang example. This was followed by an increase in wares with simple incised circles instead of flanges. It is possible that this simple incised circle was one phase in the evolution of the flange form.
《汇编》(p.128)中的数据表明，在隋朝，简单、凸缘无装饰的器物数量越来越多。像河南宋循墓（589年）出土的器物（C.83a），没有像王士良的例子那样在凸缘的上表面雕刻莲瓣图案。此后，带有简洁弦纹而不是凸缘的器物增多。而这种简洁的弦纹可能是凸缘形式演变中的一个阶段。
At present, we date this jar to the Northern Qi dynasty based on its basic shape that is the same as those found on Henan type datable jars with four vertical lugs and petal-shaped flanges. And yet, given the variety of flanges mentioned above, the fact that such flat-tipped, wide petal-shaped flanges have never been found in Henan province but only in Shanxi in the Northern Qi dynasty and Shaanxi in the Northern Zhou dynasty, the fact that this type of flat tipped flange has been found on different vessel types than the Henan type far, and moreover, the fact that the Henan type flange dates only from a limited time frame and thereafter was changed to a simple flange, it can be suggested that this type of jar with wide, untipped petal flange could be dated to around the Northern Zhou dynasty.
目前，我们根据此壶的基本器型来确定它来自北齐时期，其与带有四个垂直系耳及莲瓣形凸缘的河南类型、年代可考的壶相同。
然而，考虑到上面提到的各种凸缘，这种尖端扁平、宽大的莲瓣形凸缘从未在河南省发现过，而仅在北齐时期的山西和北周时期的陕西发现；事实上相较于河南类型，这类扁平凸缘在不同类型的器物上都存在。
此外，河南类型的凸缘只在一段有限的时间范围内出现，此后被改为更简洁的凸缘，因此可以认为这种带有宽大的无尖端莲瓣凸缘的壶造型可以追溯到北周时期左右。
5. Lead Glazed White Bowl with Medallion Design of Pointed Applied Spots
白釉突起文碗
Northern Qi dynasty 北齐
H. 10.0 cm, MD. 11.7 cm, BD. 5.2 cm, Wt 400g
This bowl has straight walls that curve in at the mouth and a spreading foot with central hollow base. This vessel shape is often found in Northern Qi dynasty tombs according to the Compilation (p.128). There are three spur marks on the base. Yellowish-green tinged transparent lead glaze covers the entire surface and there are vitreous amber colored pools of glaze in the center of the bowl (pl.5a) and on its base (pl.5b). While the body clay is fine grained, hard and very white, tiny brown particles seen spreading beneath the transparent glaze may have been caused by impurities in the body clay. Sharply pointed applied clay slip dots are the design feature of this bowl. These small dots line the area under the mouth-rim, while circular dots surround the medallion-like motifs and small disks make up a medallion-like motif. All of these dots and disks are sharply pointed. The small disks were made in a two-step then sharply pointed cones were added on top of the disks. The points sharp enough to be painful to the touch. This sharpness indicates the conscientious application of wet clay slip to form sharp peaks.
此碗的碗壁较直，口沿内收，平展且中央挑空的底部。根据《汇编》（第128页），这类器型在北齐时期的墓葬中经常出现。底部有三个支钉。整件器物表面覆盖黄绿色调的透明铅釉，碗的中心（图5a）和底部（图5b）有玻璃光泽的琥珀色积釉。
虽然器身胎土颗粒细致、坚硬且非常洁白，但在透明的釉面下可以看到微小棕色颗粒，这可能是由胎土中的杂质造成。尖锐的化妆土圆点纹是此碗的设计特点。这些小圆点排列在口沿以下的部分，小圆盘组成了徽章样式，且被更小的圆点环绕。所有这些小圆点和圆盘的尖端都是尖锐的。
小圆盘分两步制作，又在圆盘上面加上尖锐的圆锥体。这些点足够尖锐，触碰时会感到疼痛。这种锋利的程度表明在制作时有意使用湿润的化妆土来塑造尖锐的顶点。
Previously this ware type with pointed dot medallions has never been excavated from China, while the shards of this bowl type made of a white body with lead glaze and copper-green splashes have been excavated from an old mound know as Sōroku on Iki Island off the coast of Kyushu (figs.12,13 p.49). According to the person in charge of cultural properties in Iki who reported Sōroku mound, the Sōroku mound is dated from the latter half of the 6th century to the latter half of 7th century. These shards were reassembled to their original shape, resulting in a bowl (pl.12b) that is much smaller than the bowl in Tokiwayama collection. The Iki bowl shard that corresponds to the work’s base indicates that the foot had a hollow center base. The shards have transparent lead glaze that is not tinged with a yellowish-green color and a very white body without any impurity particles is visible under the glaze. While the overall impression of this reconstructed Iki shards bowl is similar to that of the Tokiwayama bowl, there are some apparent differences. First, the motif application method differs considerably. As mentioned above, the Tokiwayama bowl has pointed cones applied to small flat disks. The Iki bowl, conversely, has pointed cones applied directly to the body of the work without flat disk bases. In other words, the design motif was a two-step process on the Tokiwayama bowl, and only a one-step process on the Iki bowl. Second, the medallions on the Tokiwayama bowl are surrounded by pointed dots, while the Iki bowl only has medallions.
此前，中国从未出土过这种带有尖头圆点的器物，而在日本九州沿海的壹岐岛上一个名为双六的古坟中则出土了这种由白色胎体、铅釉和铜绿斑纹组成的碗型的残片（图12,13第49页）。
根据管理壹岐岛文化财产的负责人的说法，双六古坟的年代为六世纪下半叶至七世纪下半叶。这些残片被重新修复成一件碗（pl.12b），它比常盘山文库所藏的碗小很多。壹岐碗与此碗一样在底部中央有挑空。壹岐碗残片的透明铅釉没有染上黄绿色，釉下可见非常白的器身，没有任何杂质颗粒。虽然重新拼合的壹岐残碗与常盘山碗很相似，但也存在一些明显的区别。
首先，图案的装饰方法有很大的不同。如上所述，常盘山碗是在小圆盘上涂抹尖锥体。相反，壹岐碗的尖锥体直接贴在器身上，没有圆盘。换句话说，常盘山碗的装饰过程有两个步骤，而壹岐碗只是一个步骤。第二，常盘山碗上的徽章装饰周围环绕着圆点，而壹岐碗只有徽章样式的图案。
Another example with pointed applied design elements is two shards from a lead glazed, stemmed cup from the Ishigami ruin in Nara (figs.14,15 p.50). The archaeological report suggests that the Ishigami ruins functioned as facilities for foreign visitors and for banquets held during the reign of Emperor Saimei 齐明 in the mid 7th century. The body clay of these shards is very white and thinly potted. The sharply pointed design elements on these shards are pyramidal in shape, rather than the cone shape found on the Tokiwayama bowl. Examination of the cross-section of the shards indicates that the sharply pointed pyramids were applied to the body clay.
另一个带有尖头纹饰设计的例子是奈良石上遗迹出土的铅釉高足杯的两块残片（图14、15，第50页）。考古报告显示，石上遗迹在七世纪中叶齐明天皇统治时期曾作为接待外国访客和举行宴会的场所。这些残片的胎土非常白，且为陶质薄片。残片上的尖锐设计为金字塔形，而不是常盘山碗上的圆锥形。对残片断面的检测表明，尖锐的金字塔形装饰是直接贴在器身上。
Then we must consider the question, how is it that this type of ware has been excavated from sites in Japan but not from sites in China? It is possible that the works excavated from Japanese sites were brought to Japan via the Korean Peninsula, but we do not know the circumstances surrounding the movement of Northern Qi wares to Japan. Two theories could explain why such works have not been excavated from China, namely, either such wares were stolen from tombs prior to formal excavations, or they were not the type of wares used in tomb burials. However, given the fact that they are lead-glazed wares, it is better to consider the former possibility. Until further evidence is available, this question must remain unanswered.
那么我们必须考虑一个问题，为什么这种类型的器物在日本的遗址中出土，而在中国的遗址中却没有？
从日本遗址出土的器物有可能是通过朝鲜半岛带到日本，但我们不知道有关北齐器物向日本移动的情况。有两种理论可以解释为什么这类器物没有从中国出土，即要么这类器物在正式发掘前从墓葬中被盗，要么它们不是墓葬中使用的器物类型。然而鉴于它们是铅釉器，前者的可能性更大。在有进一步的证据之前，这个问题仍无法回答。
Up until now we have not had any information on where such works with pointed applied design motifs were produced. Recent archaeological reports, however, indicate that two stem cups with this type of ornamentation (pls.12gh) have been excavated from the site of the Xiangzhou-yao 相州窑 kiln at Anyang 安阳 in Henan province. Through comparisons with materials from dated kilns at Fan Cui 范粹 (C.63) and Zhang Sheng 张盛 (C.86), this kiln is said to have started at the end of the Northern dynasties and flourished in the Sui dynasty. While the report dates the stem cups to the Sui dynasty, it only includes photographs without any explanatory text. Therefore, at this point, these materials do not provide enough evidence regarding the production place and date of this ware type.
到目前为止，我们还没有任何关于这种带有尖头图案的器物是在哪里生产的信息。然而，最近的考古报告表明，河南安阳相州窑遗址中出土了两件带有这类装饰的高足杯（图12gh）。
通过与可考墓葬范粹墓(C.63)和张盛墓(C.86)中材料进行比较，该窑据称始于北朝末年，盛于隋朝。虽然报告将高足杯的年代定为隋朝，但报告中仅有照片，没有任何解释文字。因此在这一点上，这些材料并没有提供关于这种器物类型的生产地点和年代的足够证据。
In addition to the Iki example, there are two examples in collections, rather than archaeological finds, which are similar to the Tokiwayama bowl in terms of their medallion motifs. One example is a green lead glazed bowl in the Xushi Museum 徐氏艺术馆 in Hong Kong (pl.12d), while the other is a green and brown lead glazed bowl in the Museum of Oriental Ceramics, Osaka (pl.12c).
At first glance, the Xushi bowl seems to be similar to the Tokiwayama and Osaka bowls, but it does differ in details. First, the Xushi bowl’s medallions are composed of flat roundels without sharp-pointed cones. Second, the vessel shape and the motif details differ from those on the Tokiwayama and Osaka bowls.
The Osaka bowl, on the other hand, is similar in motif to the Tokiwayama bowl. In spite of some similarities, its sharply pointed elements differ from those on the Tokiwayama bowl in that they are not accompanied by small disks. The Osaka bowl is glazed brown on the inside and green on the outside. The Osaka bowl is approximately the same size as the Tokiwayama bowl. While the Tokiwayama bowl is glazed overall, the base of the Osaka bowl was left unglazed. The unglazed base area reveals the very white body clay, which brightens the green and brown tones of the lead glaze. While the Tokiwayama bowl has spur marks on the base, the Osaka bowl has spur marks in the center of bowl interior (fig.16 p.51).
除了壹岐的例子外，还有两件藏品，相较考古发现，在徽章图案方面与常盘山碗相似。一个例子是香港徐氏艺术馆的绿釉碗（pl.12d），另一个是大阪东洋陶瓷美术馆的绿褐釉碗（pl.12c）。
乍一看，徐氏碗似乎与常盘山碗和大阪碗相似，但它在细节上确实有所不同。首先，徐氏碗的徽章是由扁平的圆形组成，没有尖锐的锥体。其次，器型和图案的细节与常盘山和大阪碗不同。
另一方面，大阪碗在图案上与常盘山碗相似。尽管有一些相似之处，其尖锐的元素与常盘山碗上的元素不同，因为它们不伴有小圆盘。大阪碗的内壁施以棕色釉，外壁施以绿色釉。大阪碗的大小与常盘山碗大致相同。
常盘山碗整体上釉，而大阪碗的底部却没有上釉。未上釉的底部显露出非常白色的胎土，这使铅釉的绿色和褐色色调更加明亮。常盘山碗的底部有支钉，而大阪碗的内部中央有支钉（图16第51页）。
As seen in examples from Xiangzhou yao kiln site, there are stem cup works with sharply pointed design elements.
Two stem-cups with green lead glaze are known, one is in the Tokiwayama Bunko Foundation (pl.6) and the other is in a Japanese private collection (pl.12f) and was exhibited in 2009. Both are decorated with sharply pointed cones without flat roundels. Though those two differ greatly in shape and motif, both shapes are reminiscent of their source metal work forms.
The green lead glazed stem-cup in the Museum of Oriental Ceramics, Osaka (pl.12e) lacks sharply pointed design elements, but it does have the small roundels that are used as the base of the pointed cones on the Tokiwayama bowl. The greenish glaze coating the entire work is darkened by the reddish body clay while the light green roundels are made of white clay. Thus the green glaze reads as a bright color on the white clay but reads as blackish green on the reddish clay. This example with applied roundels made of white clay on reddish clay is from a Dashi 大市 site within the Northern Wei dynasty Luoyang ruins (pl.12a). According to the archaeological report (C.30i), white roundels were applied on the blackish gray body and then the entire body was glazed, so that, with the exception of the white clay roundels, the body reads as a blackish color.
从相州窑遗址的例子中可以看出，有的高足杯有尖锐的设计元素。
已知有两件施绿色铅釉的高足杯，一件收藏于常盘山文库基金会（pl.6），另一件为日本私人收藏（pl.12f）并在2009年展出。两件都是以尖锐的圆锥体为装饰，没有平坦的圆盘。虽然这两件在形状和图案上有很大的不同，但这两种器型都让人联想到其源头的金属器物形态。
大阪东洋陶瓷美术馆收藏的绿釉高足杯（pl.12e）没有尖锐的设计元素，但它确实有小圆盘，与作为常盘山碗上尖锥底座的圆盘类似。整件器物的绿色釉面因深红色的胎土显得暗沉，而浅绿色的圆盘是由白色泥土制成。因此，绿釉在白色胎土上呈现为明亮的颜色，而在深红色胎土则为黑绿色。
另一件在深红色胎土上装饰圆盘的例子来自北魏洛阳遗址中的大市遗址（图12a）。根据考古报告（C.30i），黑灰色的器物表面装饰白色的圆盘，再整体施釉，因此除了白胎圆盘部分，器物呈暗黑色。
As mentioned above, there are two types of sharply pointed applied design elements. One consists solely of a pointed cone; while the other has the cone placed on a flat roundel base, as seen on the Tokiwayama bowl. Several types of applied design elements exist from the period extending from the Northern dynasties to the Sui dynasty, such as the flat roundel design element seen on the Osaka stem cup (pl.12e) and the Northern Wei bowl (pl.12a), the sharply pointed element without flat roundel base seen on the Osaka bowl (pl.12cc) and private collection stem cup (pl.12f) and the sharply pointed design element on a flat roundel base as seen on the Tokiwayama bowl. Some new inspiration seems to have triggered the appearance of the sharply pointed design elements rather than the usual linked roundel to dotting designs. Potters were inventive in their idea to use applied design to make bright roundels, but also to make the applied elements sharply pointed. This design concept may have originated in some media other than ceramics.
如上所述，有两种类型的尖头装饰设计。一种是完全由尖锥体组成；另一种是将尖锥体放在平圆盘上，如常盘山碗上所见。从北朝到隋代期间存在多种类型的贴花设计元素，如大阪高足杯（图12e）和北魏碗（图12a）上的平圆盘设计元素，大阪碗（图12cc）和私人收藏高足杯（图12f）上的无平圆盘尖锥元素，以及常盘山碗上的平圆盘尖锥设计元素。
一些新的灵感似乎引发了尖锥设计元素的出现，而不是通常相连的圆环和点状设计。陶工们别出心裁地利用贴花设计来制作明亮的圆盘，同时也使贴花元素变得尖锐。这种设计理念可能起源于陶瓷以外的一些媒介。
We can readily imagine from the motifs and shapes of these sharply pointed design element examples that they are not originally a ceramic design element, but rather came from other media such as metal or glass. And yet, scholars have yet to find a metal or glass object that has the same shape or type of motif as these ceramic examples, and at present the origin of this motif can only be surmised. Indeed, we should imagine that these works are based on numerous different models rather than on a single model. Given that various objects were brought from the west to northern China in the Northern Wei dynasty, some of these might have been the shape model, while others were design motif and method models. The Compilation (p.128) indicates that various western objects have been found in Northern Wei dynasty tombs, such as glass, bronze, gold and silver accessories with precious stones. And yet, there are no examples of western styled Chinese ceramic wares found in these northern tombs. There are relatively fewer western objects that have been excavated in Northern Qi dynasty sites, while examples of lead glazed, western style wares have been found, albeit without direct source types known. Give the considerable number of western objects accumulated in the Northern Wei dynasty, I surmise that many of their shapes, designs and motifs were assimilated in the Northern Qi dynasty and re-born as ceramic design. Thus we must consider that these ceramics may have been derived from various different media models, such as metalwork or glasswork.
我们很容易从这些尖锐的设计元素例子的图案和形状中想象到，它们原本不是陶瓷设计元素，而是来自其他媒介，如金属或玻璃。然而，学者们还没有找到与这些陶瓷实例具有相同形状或类型的图案的金属或玻璃制品，目前这种图案的来源只能是推测。事实上，我们应该想象这些器物是基于无数不同的模型，而不是一个单一的模型。鉴于北魏时期有各种物品被从西方带到中国北方，其中一些可能成为器物的模型，而另一些则为设计图案和装饰方法的参考。
《汇编》（第128页）指出，在北魏时期的墓葬中发现了各种西方物品，如玻璃、青铜、金银饰品与宝石。而在这些北方墓葬中，却没有发现西方风格的中国陶瓷的例子。在北齐遗址中出土的西域器物相对较少，而发现了西域风格铅釉器物的例子，尽管不知道其所受影响的直接来源类型。鉴于北魏时期积累了相当数量的西方器物，我推测它们中的许多形状、设计和图案在北齐时期被同化，并作为陶瓷设计重生。因此，我们必须考虑这些陶瓷可能参考自各种不同的媒介模型，如金属制品或玻璃制品。
While works that are comparable to the Tokiwayama bowl, or those with related sharply pointed design elements, have been found, none of them stand as clear dating or production location evidence. I date this bowl to the Northern Qi dynasty based on its white clay, base with central hollow and pale yellowish tinged lead glaze. Further, I think the western influence seen in this bowl is indicative of this period. Various techniques were improved during the Northern Qi dynasty and ceramics from this period often adopted western elements and influence. Rather than a straight imitation of western objects, they seem to have taken a more complex approach of integrating diverse elements into a new style. Thus, for example, sharply pointed design elements may have derived from glassware while vessel shape or design motifs may have been borrowed from metalwork. As evidenced by these examples, the Northern Qi dynasty can be considered a time when potters were free to express the charm of the ceramic medium and its design versatility.
虽然已经发现了与常盘山碗相类似的器物，或具有相关尖锐设计元素的器物，但没有一件能作为明确的年代或生产地点的证据。我把这只碗断代为北齐时期，是基于它的白色胎土、有中心挑空的底座和淡黄色的铅质釉面。此外，我认为在这只碗中看到的西方影响是这个时期的标志。
在北齐时期，各种技术都得到了改进，这一时期的陶瓷经常运用西方的元素和影响。他们似乎没有直接模仿西方的物品，而是采取了一种更复杂的方法，将不同的元素整合成一种新的风格。因此，例如，尖锐的设计元素可能来自玻璃器皿，而器型或设计图案可能借鉴自金属制品。从这些例子可以看出，北齐时期可以说是陶艺家自由表达陶瓷媒介的魅力及其设计的多样性的时代。
6. Stem Cup with Beaded Design of Pointed Applied Spots Covered with Copper-Green Lead Glaze
绿釉突起文高足杯
Northern Qi-Sui dynasty 北齐-隋
H. 8.5 cm, MD. 7.5 cm, BD. 4.5 cm, Wt 145g
This cup with beaded design has a trumpet-shaped stem, is completely coated in an uneven copper-green glaze. The inside of the cup reveals clear traces of wheel formation and has oxidized to silvery tone. Prior to restoration work, the oxidized silver effect was also found on the body and other areas, while chipped areas at the mouth rim and stem reveal the very white body clay.
这件有珠子设计的杯子有一个喇叭形的足，完全被涂上了不均匀的铜绿色的釉。杯子的内部显示出明显的轮形痕迹，并且已经氧化成银色调。修复之前，在杯身和其他地方也发现了银色的氧化效果，而口沿和杯足的开裂处则显露出非常白的胎土。
The ring circling the stem and the beaded design on the body are reminiscent of the design’s metalwork origin, in particular, referring to small-scale gold works with their sophisticated golden bead design, rather than works in silver. On the other hand, the cup section that slightly narrows as it rises before flaring out into a rim recalls glass works rather than those in metal. Reference to the Compilation (p.128) for similar examples amongst excavated wares reveals that regardless of shape, only one ceramic stem cup has been excavated from Northern Dynasties to Sui dynasty sites, albeit with a shape completely different from this stem cup (C.88e). Given the popularity of stem cups in Tang dynasty white wares and Sancai wares, it is surprising that only one example has been excavated from tombs datable to the preceding Northern Dynasties to Sui dynasty period. A search for metal ware, on the other hand, reveals a Bactrian gilded bronze stem cup from the Pingcheng 平城 ruin in Northern Wei dynasty (fig.5 p.36) and a gold example from the tomb of Li Jingxun 李静训 in Sui dynasty (C.98i), albeit with a shape completely different from this stem cup. Even in the case of the many examples of Tang Dynasty stem cups, none seem to have this shape that slightly narrows as it rises before flaring out into a rim cup form.
环绕足部的圆环和壶身的珠子设计让人联想到该设计所参考的金属制品，尤其是具有精致的金色珠子设计的小型黄金制品，而不是银制品。另一方面，杯身的部分在上升过程中略微变窄，在口沿向外翻，则让人联想到玻璃制品而不是金属器物。在《汇编》(p.128)中发现无论器型如何，类似的出土器物仅从北朝到隋朝遗址中出土了一件陶瓷高足杯，尽管其形状与此高足杯完全不同(C.88e)。
鉴于唐代白瓷和三彩瓷器中高足杯的流行，令人惊讶的是在可确定为北朝至隋朝时期的墓葬中只出土了一个例子。
另一方面，通过对金属器的搜索，发现北魏平城遗址出土的巴克特里亚铜镀金高足杯（图5第36页）和隋代李静训墓出土的金器（C.98i），尽管其形状与此高足杯完全不同。即使是唐代高足杯有许多例子，似乎也没有这种器型，即在上升时略微变窄，然后口沿外翻的杯型。
The beaded design covered with a light green glaze is an attractive asset of this stem cup. Beaded lines divide the body into fourteen sections, each containing a cone-shaped pointed spot. While each bead is very small and the design is very elaborate, not as much care was spent on the exact arrangement of the spots. The cone-shaped pointed spots are not aligned horizontally, rather forming wavy line. Similarly, the beaded lines dividing the body into fourteen cells are at times straight, at times oblique, rather than strictly vertical or horizontal, and the bead line circling the body that crosses the fourteen beaded lines in not strictly horizontal. Indeed, all of the lines are irregular in placement. The section illustrated in the photograph shows relatively regularly arranged elements, while the beads and spots not included in the photograph are much more irregular in their placement. It is possible that this irregularity was intentional and some original metalwork piece may have been the basis for this type of design.
覆盖着浅绿色釉的珠子设计是这个高足杯的一个吸引人的特点。珠线将杯身分为14个部分，每个部分都有一个圆锥状的尖锥状装饰。虽然每颗珠子都非常小，设计也非常精致，但在尖锥装饰的准确排列上却没有那么多讲究。
尖锥装饰不是水平排列的，而是形成波浪状的线条。同样，把杯身分成14个单元的珠线有时是直的，有时是斜的，而不是严格的垂直或水平，环绕杯身的珠线与14条珠线交叉，也不是严格的水平。事实上，所有的线在位置上都是不规则的。照片中的部分显示了相对有规律的排列元素，而未包括在照片中的珠子和尖锥装饰的位置则更不规则。这种不规则性可能是有意为之，一些原始的金属制品可能是这种类型的设计的基础。
As mentioned above, there are no comparable excavated examples to help in dating this work. While the stem cup shape was popular in the Tang Dynasty, those stem cups, whether ceramic or metal in medium, are completely different from this work. This work’s delicate design with its effective use of tiny beads and pointed spots has never been seen in Tang works. This stem cup seems to be a work created before the standardized stem cup shape in Tang white wares or Tang Sancai that was made in imitation of Tang metalwork. Give the white body clay and light green glaze color, it may date to the Northern Qi to Sui dynasties. In terms of the production locale, one candidate seems to be the Xiangzhou-yao 相州窑 kiln in Anyang 安阳, a site where lead glazed white stem cups have been excavated (pls.12gh) but given that there are no other archaeological reports of Northern Dynasties kiln sites that produced lead glazed wares, the production site of this work remains unknown.
如上所述，没有可比较的出土实例来帮助确定这件器物的年代。虽然高足杯的器型在唐代很流行，但那些高足杯，无论是陶瓷还是金属材质，都与这件作品完全不同。这件作品设计精巧，有效地使用了小珠子和尖锥状装饰，这在唐代的器物中从未见过。
这件高足杯似乎是在唐代白瓷或唐三彩通过模仿金属器而开始标准化高足杯造型之前创作的作品。考虑到白色胎土和浅绿釉色，它可能是北齐至隋朝时期的作品。就生产地点而言，安阳相州窑似乎是一个候选地点，该遗址曾出土过铅白釉高足杯（图12g），但鉴于没有其他考古报告显示北朝窑址生产过铅釉器，这件器物的生产地点仍然未知。
7. Jar with Applied Design Covered with Copper-Green Lead Glaze
绿釉贴花文壶
Sui dynasty 隋
H. 39.8 cm, MD. 12.0-16.7 cm, BD. 18.5 cm, Wt 7,900g
This large jar with green lead glaze has thick, prominently applied decorations which make the jar appear massive. Traces of paddling are apparent on the lower part of the body and the string cut mark appears on the foot, indicating that this jar was built in the coil and paddle method, with finishing on the potter’s wheel. The unglazed base shows a rather reddish body clay (pl.7b). The mouth rim area has a broad and slightly protruding band.
这只施有绿色铅釉的大壶有厚厚的、突出的贴花装饰，使整体看起来壮硕。壶身下部有明显的拉胚痕迹，壶足有割泥线的痕迹，说明此壶是用泥条与泥板的方法制作的，并在陶轮上进行了精加工。未上釉的底部显露出相当红的胎土（pl.7b）。口沿区域有一条宽且略微突出的圈。
The applied decorations seem to be part of a carefully planned arrangement, given the incised lines that circle the body from upper to lower sections, thus marking the position for each applied decorations. The shoulder of the jar is decorated with an alternating application of three thick, flower-like motifs (fig.19 p.55) and three beast faces (fig.26 p.58). The flower-like motifs are composed of eight rounds are surrounded by small beaded dots and are much more massive than any of the other applied decorations on this jar. The beast face motifs seem flat in comparison to these massive flower-like motifs. The second band of decoration is made up of cross motifs composed of five rounds surrounded by beads (pl.7) and flower motifs consisting of six slender petals (fig.20 p.55). The latter motif cannot be found on any of the comparative materials mentioned later in this article. Jewel-like applied decorations and lugs are interspersed among these motifs.
这些贴花装饰似乎是精心策划的一部分，由自上到下环绕壶身的弦纹标明每个贴花的位置。壶肩的贴花装饰是由三个厚重的花形图案（图19第55页）和三个兽面图案（图26第58页）相互交替。花形图案由八个圆形组成，环绕小珠点，比此壶的其他贴花装饰都要大得多。
与这些巨大的花形图案相比，兽面图案显得很平淡。第二条装饰带是由五个圆形珠子组成的十字架图案（pl.7）和由六片细长花瓣组成的花朵图案（fig.20 p.55）组成。后一种图案在本文后面提到的任何对比材料上都没有发现。在这些图案中还穿插有宝石状的贴花装饰及系耳。
Some reddish extraneous material appears on the green glaze at the grooves of these applied decorations. This might be pigment or glue. Chemical analysis indicates that it might be some form of plant sap, but the minute size of the sample precludes specification. A similar reddish extraneous material was found in the hollows on the top of rounds that make up the flower-like motifs. It is not certain whether this material was original to the work, or whether it was some later addition. We might imagine that this material was used to attach jewels, precious stones or gold to the jar at some point during the intervening centuries since its creation. It is interesting to note that a tiny section of gold leaf was found in the jar (pl.7a), though it is not certain whether it is related to the reddish extraneous material.
在这些贴花装饰的凹陷处，绿色的釉面上出现了一些淡红色的外来物质。这可能是颜料或胶。化学分析表明可能是某种形式的植物汁液，但由于样本尺寸很小而无法确定。
在构成花形图案的圆形顶部的空洞中也发现了类似的淡红色外来物质。目前还不能确定这种材料是器物的原始材料，还是后来添加的。我们可以猜想这种材料是在壶完成后的几个世纪中的某个时间点，用来固定珠宝、宝石或黄金的。
值得注意的是，壶内发现了一小段金箔（pl.7a），尽管不能确定它是否与红色的外来物质有关。
Until two recent finds in Hebei, it had been many years since examples like the Tokiwayama jar with its elaborate applied decoration had been excavated. First, in 1988, an unglazed jar with motifs like those found on the Tokiwayama work was reported at a tomb dated to 864 in the late Tang dynasty (fig.22 p.56). The jar has a long flaring neck similar to the vessel shape of a jar in the Freer Gallery (pl.13b) discussed below. The jar has flower-like motifs composed of seven rounds surrounded by beads, a decorative form also seen on the Freer jar and a jar in Boston (pl.13e), but different from the Tokiwayama. Though judging only from the photograph and figure in the excavation report (Wenwu, 1988-4), the motifs on the 864 jar seem to be absolutely flat as compared to the thick and massive motifs of the Tokiwayama jar.
直到最近两次在河北有新发现之前，已经有很多年没有出土过像常盘山壶这样具有精致的贴花装饰的例子了。
首先，1988年在一座年代为864年的晚唐墓中发现了一件素胎壶，上面有类似于常盘山壶的图案（图22第56页）。该壶有一个长长的喇叭口，与下面将讨论的来自弗利尔美术馆的一件壶（pl.13b）器型相似。
壶上的花纹由七个圆形的珠子围绕而成，这种装饰形式也见于弗利尔壶和波士顿的一件壶（pl.13e），但与常盘山壶不同。虽然仅从发掘报告（《文物》，1988年4月）中的照片和数据来看，年代为864年的壶的图案与常盘山壶厚重的图案相比，似乎是绝对的平面图案。
Another example was excavated in 1993 from an undated late Tang dynasty tomb (fig.23 p.56). The shape is the same as the 864 jar from Hebei and the Freer jar. This jar is reported to be green glazed (Kaogu 1993-8), while the 864 jar is unglazed. The applied motifs are arranged in no particular pattern or symmetry. These applied decorations are as flat as those on the 864 jar from Hebei.
另一个例子（图23第56页）是1993年从一个未定日期的晚唐墓中出土。器型与河北的864壶和弗利尔壶相同。据报道，该壶施以绿釉（《考古》，1993年8月），而864罐子是素烧未施釉的。其贴花图案的排列没有特别的模式或对称性。这些贴花装饰和河北864壶上的装饰一样，都是平面的。
Given these excavated materials, scholars have begun to advocate a possible Tang date for the wares with these shared design methods and motifs. And yet, even though I have only seen photographs and report sketches for these excavated works, it seems that these late Tang examples differ from the Tokiwayama jar. The Tokiwayama jar is characterized by massive applied decorations such as the flower-like motifs on the shoulder (fig.19 p.55), while the decorations on the excavated examples are flat. The three-dimensional quality of the Tokiwayama jar decoration is reminiscent of the massive showy decorative style of lead glazed wares from Shanxi province in the Northern Qi dynasty, while the flatness of the excavated examples is akin to the flatness of the mould-applied decoration found on Tang Sancai. Similarly the excavated examples lack of sense of volume in their shape and the tautness found in the Tokiwayama jar’s proportions.
In addition to the excavated materials discussed above, there are several examples which share motifs with the Tokiwayama jar. These examples include a jar in the Nezu Museum in Tokyo (pl.13a), two jars in the Freer Gallery of Art in Washington (pls.14bc), a jar in the Musée Cernuschi in Paris (pl.13d) and a jar in the Museum of Fine Arts, Boston (pl.13e). All of these works are green glazed jars with some common decorative motifs. Their shapes, however, differ, and each has its own distinctive mood and atmosphere. Some are tautly formed, others lack this sense of tension. With the exception of the Nezu jar, I have not yet an opportunity to closely examine these examples, and thus simply work from my observation of their photographs and information provided by their respective museums.
鉴于这些出土材料，学者们开始主张这些具有相同设计方法和图案的器物可能来自唐代。然而，尽管我只看到这些出土器物的照片和报告草图，这些晚唐的例子似乎与常盘山壶不同。
常盘山壶的特点是有大量的贴花装饰，如肩部的花纹（图19，第55页），而出土的例子上的装饰是平面的。常盘山壶装饰的立体感让人联想到山西省出土的北齐时期铅釉器上大量炫耀性装饰风格，而出土例子的平面性则类似于唐三彩上模印装饰的平面性。同样地，出土例子在器型上缺乏体积感，也没有常盘山壶在比例上的紧绷感。
除了上面讨论的出土材料外，还有几个例子与常盘山壶的装饰图案相同。这些例子包括东京根津美术馆的一件壶（pl.13a）、华盛顿弗利尔美术馆的两件壶（pl.14bc）、巴黎亚洲艺术博物馆的一件壶（pl.13d）以及波士顿美术博物馆的一件壶（pl.13e）。
这些器物均为有着相同装饰图案的绿釉壶。然而，它们的器型各不相同，每一件都带有独特的气质和感觉。有的造型紧绷，有的则缺乏这种紧张感。除了根津壶之外，我还没有机会详细观测这些例子，因此仅通过它们的照片和各自博物馆提供的信息进行观察。
Among these other examples, the Nezu jar (pl.13a) seems to be the closest to the Tokiwayama jar, and yet, the whole impression of the Nezu jar’s body is quite different from that of the massive Tokiwayama jar. The Nezu jar does not present such a solid appearance as that of the Tokieayama jar. The Nezu jar also lacks the incised circling lines marking the position of applied decorations on the body, as found on the Tokiwayama jar. Two kinds of flower-like motifs appear on the Nezu jar. The motif type found on the lower part of the body is massive in form and composed of eight rounds surrounded by beads. The motif type found on the upper part of the body are composed of seven rounds each surrounded by beaded dots and these motifs are flatter than those on the lower part of the jar. The former motif is the same as that on the Tokiwayama jar (fig.19 p.55) and the latter is unique among these cited examples. The Nezu jar’s base bears the cutting string mark (fig.24 p.57). The clay is less reddish than that of the Tokiwayama jar. Tiny traces of gold powder were found inside the Nezu jar, though it is not known whether this is linked to the gold found in the Tokiwayama jar. It is fascinating to note, however, that traces of gold — powder in the case of the Nezu jar and leaf in the case of the Tokiwayama jar — were found on these jars.
在这些例子中，根津壶（pl.13a）似乎是最接近常盘山壶的，然而，根津壶壶身的整体印象与巨大的常盘山壶截然不同。根津壶并不像常盘山壶那样呈现出坚实的外观。
根津壶也没有像常盘山壶那样在壶身上刻画弦纹来标明贴花装饰的位置。根津壶上出现了两种花形图案。壶身下部的图案巨大，由八个圆形的珠子环绕而成。壶身上部的图案由七个圆圈组成，每个圆圈周围有珠点，这些图案比壶身下部的图案更平坦。
前者与常盘山壶（图19第55页）上的图案相同，后者是这些例子中独一无二的。根津壶的底部有割泥线的印记（图24 p.57）。
胎土泛红程度相比常盘山壶更少。在根津壶内发现了微小的金粉痕迹，尽管不知道这是否与常盘山壶内发现的黄金有关。然而在这些壶内发现黄金的痕迹十分令人惊叹，其中根津壶是金粉而常盘山壶是金箔。
The jar in the Freer Gallery of Art, which entered the gallery collection in 1930, has a long flaring neck, while the Tokiwayama and Nezu jars have broad bands on their rim and no neck. This long, flaring neck shape is also found on the two excavated examples from Hebei province. According to the photograph supplied by the Freer, there is no string cut mark on the base of the Freer jar (fig.25 p.57). The Freer jar shares the use of a jewel-like motif and lugs with that of the Tokiwaya. The flower-like flat motif composed of seven rounds is also found on another Freer jar, the Museum of Fine Arts, Boston jar and the excavated examples from Hebei. The beast face motif (fig.27 p.58) is quite different from the found on the Tokiwayama jar (fig.26 p.58), as it has a ring in its mouth and is surrounded by beaded dots.
来自弗利尔美术馆的壶是1930年进入其收藏序列的，它有一个长长的喇叭口，而常盘山和根津的壶在其口沿处呈宽带状，没有颈。这种长长的喇叭口形状也出现在河北省出土的两个例子中。根据弗利尔美术馆提供的照片，弗利尔壶的底部没有割泥线的痕迹（图25第57页）。
弗利尔壶与常盘山壶共同使用了类似珠宝的图案和耳。由七个圆形组成的花形平面图案也出现在另一件弗利尔壶、波士顿美术馆的壶和河北出土的例子中。兽面纹（图27，第58页）与常盘山壶（图26，第58页）上的兽面纹截然不同，它的嘴里有一个环，周围有珠状的小点。
Another jar in the Freer Gallery of Art (pl.13c) has the oldest provenance among these examples, namely it was part of the Charles Lang Freer bequest in 1906. The jar is simply decorated with its sole motif decoration flower-like flat motifs on an incised line circling the shoulder. The shape of the mouth also differs from the others mentioned above. According to information provided by the Freer Gallery of Art, the base has a string cut mark.
弗利尔美术馆的另一件壶（pl.13c）在这些例子中出处最为古老，它是1906年查尔斯·朗·弗利尔遗赠的一部分。
此壶的装饰很简单，唯一的图案是环绕肩部的弦纹上的花状平面图案。口沿形状也与上述其他壶不同。根据弗利尔美术馆提供的信息，底座上有割泥线的痕迹。
The jar in the Musée Cernuschi （pl13d) is also simply decorated. The only motif on this jar is the cross-shaped motif also found on the Tokiwayama jar, which is composed of five rounds surrounded by beads. This motif is only found on Tokiwayama jar. We have no information regarding the handling of the base.
来自巴黎亚洲艺术博物馆的壶（pl13d）的装饰也很简单。此壶唯一的图案是在常盘山壶亦有发现的十字形图案，由五个圆形的珠子围成。这个图案仅在常盘山壶上出现过。没有关于此壶底座处理的信息。
The Boston jar (pl.13e) does not have as finished an impression as the other jars. Though each of the applied motifs can also be found on the other examples mentioned above, their arrangement is somewhat rougher in handling. While the motifs are applied to the other jars with some consideration of arrangement, the Boston jar is decorated with various motifs in no particular order. This type of unordered design can also be found on the examples from the late Tang tombs in Hebei province (fig.23 p.56). Flower-like motifs composed of seven rounds surrounded by beaded dots found on the Boston jar are also seen on the other examples, except those at the Nezu and Tokiwayama. The Boston jar displays the jewel-like motifs also found on the Nezu and Tokiwayama jars.
波士顿壶（pl.13e）看起来不像其他壶那样是一件完成品。尽管其每一个贴花图案也可以在上述其他例子上找到，但在布局处理上有些粗糙。其他壶上的图案排列都有一定的考虑，而波士顿壶上的各种图案却没有特定的排列顺序。
这种无序的设计也可以在河北晚唐墓葬的例子中找到（图23，页56）。波士顿壶上发现的由七个圆点包围的花形图案在其他例子中也能看到，除了根津壶和常盘山胡。波士顿壶上同样也发现了根津和常盘山壶类似的宝石状图案。
The several examples with motifs like those found on the Tokiwayama jar all lack uniformity in their handling, clay and vessel shape. Given such differences, it does not seem possible to date all of these examples to the Tang dynasty simply on the basis of the fact that these motifs are the same as those found on works excavated from Tang tombs. Rather, the excavated examples from the late Tang dynasty seem to be the last stage of this type of jar and it seems better to allow a certain latitude in the matter of dating of the other examples mentioned above.
这几件在图案上类似常盘山壶的例子，在排布、胎土和器型上都缺乏统一性。鉴于这些差异，似乎不可能仅凭这些图案与唐代墓葬出土的器物相同，就把所有这些例子的年代均定为唐代。相反，晚唐时期出土的例子似乎是这种类型的壶的最后阶段，在上述其他例子的年代问题上，似乎最好允许一定的自由度。
In terms of the dating of the Tokiwayama Jar, its orderly arrangement of applied motifs and the systematic usage of incised lines to govern that motif distribution, seem to indicate the methodical production of an early design stage. Further, the jar has two types of applied decoration, namely, the thick and massive type of decoration found in the flower-like motifs composed of eight rounds (fig.19 p.55) and cross shaped motifs whose voluminous impression is similar to the decoration of vases from the tomb of Lou Rui 娄叡 (pl.9d), and the flat type as seen in the jewel-like motifs, beast face motifs (fig.26 p.58) and flower shaped motifs with six petals (fig.20 p.55), whose flatness is similar to the decoration of the jars reported from the late Tang dynasty tombs. A logical design progression would seem to suppose first a design with two types of decoration later simplifying into a design with just flat decoration, but current materials do not allow confirmation of this hypothesis.
就常盘山壶的年代而言，其有序排列的贴花图案和系统地使用弦纹来控制图案的分布，似乎表明早期设计时有条不紊的生产。此外，该壶有两种类型的装饰：厚重且巨大的装饰类型，包括由八个圆形组成的花形图案（图19第55页）和十字形图案（其丰满的印象与娄叡墓中发现的花瓶装饰相似，如图9d)；以及扁平的装饰类型则，包括宝石状纹饰、兽面纹(图26第58页)和六瓣花形纹(图20第55页)，其扁平程度与晚唐墓葬中报告的壶装饰相似。从设计的逻辑发展来看，似乎首先是有两种装饰的设计，后来简化为只有平面装饰的设计，但目前的材料不足以证实这一假设。
Given a comparison with the examples listed above, the Sui dynasty might be considered a more concrete date for the Tokiwayama jar. I propose a Sui dynasty date based on the following points. The Tokiwayama jar recalls the massive applied decoration found on lead glazed wares produced in Shanxi province during the Northern Qi dynasty, those large-scale Northern Qi dynasty wares are not deliberately green-glazed wares, but rather were wares with transparent lead glaze with a green or yellow tinge. Similarly, the Norhtern Qi dynasty wares display a very white clay, quite unlike the reddish clay. The green glaze found on small works from the Northern Qi dynasty is light and bright in tone, and thus differs from that on the Tokiwayama jar. Given these factors, it would be difficult to date the Tokiwayama jar to the Northern Qi dynasty. Further, according to the Compilation (p.128), the applied decoration was not yet popular in the Northern Wei dynasty and a survey of datable materials makes it difficult to date the jar to a pre-Northern Qi dynasty period. On the other hand, in spite of the presence of the examples from the late Tang tombs, the taut tension of the Tokiwayama jar makes it hard to date it to Tang Dynasty. I also believe that the voluminous impression of the jar’s applied decoration differs from that produced during the Tang Dynasty. Thus, through a comparison with known extant examples and given present understanding of wares from these periods, a Sui date seems appropriate for the Tokiwayama jar. Hopefully as excavations continue, further material will come to light in the future which will allow a confirmation of this proposed dating.
鉴于与上述例子的比较，常盘山壶更有可能断代为隋代。我根据以下几点提出隋代的判断。常盘山壶让人想起北齐时期山西省生产的铅釉器物上存在的大量贴花装饰，那些大型的北齐时期器物不是刻意的绿釉器物，而是带有绿色或黄色调的透明铅釉器物。
同样，北齐时期的器物也显露出非常白的胎土，与泛红色的胎土完全不同。在北齐时期的小型器物上发现的绿釉是浅色和明亮的色调，因此与常盘山壶的绿釉不同。鉴于这些因素，很难将常盘山壶的年代定为北齐时期。此外，根据《汇编》（p.128），在北魏时期贴花装饰还没有流行起来，对可考证材料进行调查后，很难将该壶断代为北齐之前的时期。
另一方面，尽管有晚唐墓葬的例子存在，但常盘山壶的紧绷感使它很难被定为唐代。我还认为，该壶大量丰满的贴花装饰的印象与唐代的不同。因此，通过与已知的现存例子进行比较，并考虑到目前对这些时期器物的理解，将常盘山壶的年代定为隋朝似乎更为合适。希望随着挖掘工作的继续，将来会有更多的材料被发现，从而确认这一建议的年代。
