本書總結了幾十年來西夏瓷器研究的成果，在儘可能全面地收集占有國內外已知的西夏瓷器資料的基礎上，詳細介紹了多處西夏瓷窯、西夏瓷器的胎釉、器類、裝飾手法和裝燒工藝，縷析了西夏瓷器與唐宋（金）時期中原地區瓷器及遼代陶瓷的淵源關係，由此推斷了西夏瓷器的創燒年代。 本書認為，在當時北方地區的主要瓷器類型中，西夏瓷器是質量僅遜於定窯系和耀州窯系瓷器的高質量產品，其剔劃花產品則是兼具獨創性和高度藝術性的古陶瓷經典作品。 本書公布的資料，絕大多數系首次發表，某些曾被公布過的各地文博部門的藏品，也是首次以清晰的彩色圖片面世。除此而外，本書中還有許多的第一次： 第一次採用考古類型學的方法，以西北地區窯口紀年器及其他標準器為依據，對一些博物館和收藏家手中的某些“西夏瓷”藏品進行詳細的考辨，將名不符實的各種金、元、明、清瓷器產品剔除出去，進一步明確了西夏瓷器的概念； 第一次根據西夏瓷標本尤其是具銘文標本，比較全面深入的地探討西夏“貢瓷”的問題； 第一次創造性地利用西夏瓷窯所產的瓷塑人像，繪製、還原了多種西夏髡髮樣式。 …… 本書兼具學術性、資料性、創新性與可讀性，是目前關於西夏瓷器研究的內容最全面、圖片最豐富、考述最詳實、論證最深入的專著。
基本介紹
- 書名：西夏瓷器
- 作者：杭天
- ISBN：ISBN 978-7-5010-2977-8
- 頁數：374
- 定價：360
- 出版社：文物出版社
- 出版時間：2010年7月第一版
- 裝幀：精裝
作者簡介,序言節選,本書“提要與說明”節選,本書後記,譯文,
作者簡介
本書作者杭天，藝術家，獨立學者，涉獵領域頗廣，近年致力於中國古代陶瓷的研究，對宋、遼、夏、金時期瓷器，特別是磁州窯類型瓷器和西夏瓷器傾力尤多，多次實地考察河南、河北、寧夏、甘肅、內蒙古、青海等地的古窯址和古遺址，並親赴國內外各大博物館、收藏機構研究調查。作者於2007年1月動筆寫作《西夏瓷器》，幾易其稿，最終於2010年5月完成本書。
序言節選
中國社會科學院民族學與人類學研究所研究員、著名西夏學專家白濱先生為本書題寫西夏文字書名：
中國社會科學院考古研究所研究員、寧夏靈武窯發掘者馬文寬先生為《西夏瓷器》撰寫的序言節選：
序
馬文寬
20世紀80年代，中國社會科學院考古研究所對寧夏回族自治區靈武縣磁窯堡窯址的發掘使鮮為人知的西夏瓷得以揭示，是中國瓷窯考古的重要成果之一。這不僅填補了中國陶瓷史的空白，也為西夏王國（1038-1227年）和党項民族的歷史研究提供了豐富的實物資料。發掘後被評定為自治區和全國重點文物保護單位，故被人們譽為“塞上名窯”。
西夏瓷展示出的光輝異彩為生活在西北大地上的純樸人們提供了精神食糧，也吸引了廣大陶瓷愛好者對之關注，甚或迷戀。民間青年陶瓷學者杭天是其中之一，其所著《西夏瓷器》一書總結了近二十年來西夏瓷研究的新成果，並有所創穫，可以說做了一件極為有意義的工作。讀此書後，可使人們對西夏瓷的內涵及其對西北文化史和中國陶瓷史的貢獻有新的認識，對党項民族所創造的物質文明（或稱文化）有更深刻的了解。
資料的收集是一切研究工作的基礎，關係著研究質量的高低，甚或決定著成功與否。杭天是一位民間藝術家，經濟並不寬裕，但他憑著對西夏瓷的酷愛，數次自費從北京到寧夏、甘肅兩省區調查了磁窯堡、回民巷、插旗溝、武威塔兒灣等地窯址，採集了大量第一手資料，並在窯址附近徵集到很多當地居民收藏的重要標本。他也前往西夏瓷出土較多的地方，如鄂爾多斯、青海海東等地進行調查研究。同時他還到西北各省區博物館參觀、研究各館藏西夏瓷。本書中的許多重要資料就是通過作者親身實踐而獲得的，顯得尤為珍貴。他還通過外語文獻廣泛收集了國外各大博物館收藏的西夏瓷，使人們了解了西夏瓷的深遠影響。作者通過這些活動不僅增進了對西夏瓷的認識與理解，且深深地烙印在腦海中，進而更增加了對西夏瓷的摯愛之情。人們不論從事任何一項科研活動，只有為之獻身，進而才能閃爍出絢麗的火花，最終產生出豐碩的成果。
瓷窯考古與研究離不開文獻資料的收集，繼而還需對一些史實進行論述或對某些問題進行考證。作者在這方面下了許多功夫，成為本書的另一亮點。……《西夏瓷器》一書具有較高的科學性，且文字流暢又具有廣泛的可讀性，可稱是西夏瓷研究的一部力作。
本書“提要與說明”節選
在中國社會科學院考古研究所對寧夏靈武磁窯堡窯的發掘、資料整理、成果公布出版之後，以武威為代表，西北地區相繼發現了其他西夏瓷窯和瓷器遺存，而民間更是出現了一些工藝精美的、完整的西夏瓷器代表作品。考古發掘品和其後越來越多的西夏陶瓷製品的出現，證明西夏瓷器無論產量、質量和工藝風格，都可自成體系並在中華民族的陶瓷大家庭中占有重要的地位。然而相較於其他窯口，當下學界和文玩界對於西夏瓷器的了解仍極為有限，關於西夏瓷器的著作也極為匱乏，這與西夏瓷器本身的重要性極不相稱，顯然，需要一本內容全面、圖片豐富、論述翔實準確，並具普及性的著作來系統、深入地闡述西夏瓷器，本書即以此為追求。
本書先簡要介紹了西夏國的主體民族党項族的源流，和西夏國從建立、發展，到滅亡的歷史。
書中，作者參考國內外古陶瓷研究界對宋、金時期中國北方陶瓷，尤其是磁州窯類型陶瓷的研究成果，通過對各種器物的造型、紋飾等工藝風格細緻的類比和縝密分析，並參考當時各國的政經發展和相互關係情況，得出結論，認為“西夏瓷器工藝受晚唐、五代以來，尤其是北宋前期磁州窯系、定窯系陶瓷和遼國陶瓷工藝的影響，約在西夏建國後的西夏前期，形成了自己的裝飾手法、風格和器物種類等整套體系，並在相對封閉的環境下成熟和穩定，伴隨著金代西北地區耀州、渾源等地瓷窯的給養，到西夏中期其中心窯場——靈武窯的燒造逐漸興盛，西夏中晚期其產品質量、裝飾工藝和產量達到最高。帶有某些西夏特徵的瓷器在原西夏窯口一直延燒至元前期。”這一推論是在1986年考古發掘成果基礎上的拓展，力圖進一步從時間上廓清西夏瓷器燒造的全貌。
書中詳細介紹了西夏古遺址、窖藏、墓葬出土西夏瓷器的情況；對西夏瓷窯遺址中的磁窯堡窯、回民巷窯、武威塔兒灣窯作了重點介紹，並對內蒙古伊克昭盟地區可能存在西夏窯口做出推斷分析。
本書對西夏瓷器的分期、燒造工藝、器物種類、裝飾手法等的論述條理清晰，周詳縝密。同時，通過對大量特徵明顯、採集地點明確的西夏陶瓷標本的研究，作者發現了西夏瓷燒造的新工藝，比如“瓷鉤粘燒法”、“支釘墊燒法”等裝燒方法、“青釉繪褐彩”、“青釉鑲嵌”、“鏤貼”等裝飾手法，及瓷塑韋馱天、採用鑲嵌手法的扁壺、採用梅花點裝飾的梅瓶等以前從未發現的品種；也第一次藉助豐富的標本，全方位揭示了回民巷窯仿耀州窯模印花製品的風貌；根據西夏瓷標本，作者第一次比較全面深入地論述了西夏“貢瓷”方面的情況，並創造性地利用靈武窯出土的瓷塑人像，繪製、還原了多種西夏髡髮樣式。而書中對帶有“炭窯峰趙家沉泥硯瓦記”戳記的陶硯的考述，則是對西夏瓷窯的地位和西夏史地的研究做出的新的而有意義的探索。
西夏瓷器的概念提出較晚，曾長期缺失於中國的工藝美術史中，因而了解者甚少，加上學界，尤其是文玩界不健康的風氣，多不求甚解，人云亦云，形成了對西夏瓷器較深的誤解，認為其粗鄙不堪，不登大雅。而甘、寧、青、蒙當地學者又因為對內地、中原地區古代民窯瓷器的不了解而認同了這種片面的認識。作者根據收集的各種古陶瓷資料，選取與西夏瓷器有可比性的宋、金時期北方民窯產品的標本，經過細緻對比分析，證明西夏瓷器的質量，尤其在胎、釉方面，是僅次於定窯、耀州窯，而高於大量磁州窯類型產品的高質量產品；在工藝的豐富性上輸於磁州窯類型，但某種具體工藝比如剔劃花工藝的藝術性卻不在磁州窯類型之下。
大量非西夏瓷器的魚目混珠，也加深了人們對西夏瓷器的偏見。本書以存世的西北窯口紀年器及其他標準器為依據，將長期以來一些博物館或收藏家手中的某些“西夏瓷”藏品進行儘可能詳細的考證，將名不符實的各種金、元、明、清瓷器產品剔除出去，明晰了西夏瓷器的概念。
圖版部分，本書儘可能全面地收集了國內外已知的西夏瓷器，尤其是剔劃花瓷這一西夏最具代表性的產品。書中所收錄西夏瓷產品由四部分組成，其一為國內各博物館及文管部門的藏品，包括經正式考古發掘的出土品、國家權威刊物發表過的各地文管部門的徵集品，及西夏特徵明顯、公認為西夏瓷的傳世品；第二部分是民間藏品中的完整器、可復原殘器。而以供養人為主的各類人物雕塑的殘件，雖然多不可復原，但因較重要並可獨立欣賞，亦列入，第三部分是海外藏品，主要是在20世紀上半葉散落於世界各地博物館、私人收藏家手中的藏品；第四部分為大量珍稀瓷片標本、窯具、模具等。幾乎所有民間藏品、近半數國內館藏品和全部瓷片標本、窯具、模具的照片，都是作者親力親為，赴各地拍攝而得，很多器物照片，包括一些西夏遺址面貌照片，都是第一次公開發表，有較高的文獻價值。博物館藏品中的少量器物，民間藏品、海外藏品中的大部分器物，未在文中述及，在圖版中以大圖列出，是為了幫助讀者更深入、更全面的了解和欣賞西夏瓷器。
在本書體例方面需要說明的是：（略）
本書後記
人生難以預測，縱然做好規劃，其走向，也難免被“偶然”打破。對我來說，興趣與夢想，本來已經夠多了，誰能想到，2005年底的幾個“偶然”下來，偶然認識了幾個人，偶然發生了一些事，又使我一步步扎進古瓷堆里不能自拔，使得接下來的幾年，我又成了一個古陶瓷研究者，並在經歷了一系列的痴迷、興奮、受挫、痛苦和思索之後，最終在“西夏瓷器”上定格。
本不相信宿命，但卻感到似乎有什麼東西早已注定了我和西夏瓷的姻緣。否則，緣何主流都在為各種富麗堂皇的官窯瓷器追捧有加的時候，而我卻偏偏選擇了最為落寞的、最不被人了解的西夏瓷器呢？否則，緣何在人們以妍麗、甚至繁瑣為美的時候，我卻被西夏瓷那簡單、古樸的美感持續的震撼著呢？
黑白的強烈對比，即興意味濃厚的構圖，快速而古拙的線條，道道刀痕的地子……在我看來，西夏瓷之美，是大巧若拙、大智若愚的美的最高境界，宛若水墨中的八大，書法中的楊瘋子，比之於油畫，就是具象卻又埋藏著怪誕、扭曲和痛楚的梵谷的畫作。我也一直相信，在西夏瓷成型之初，在對晚唐、五代、宋、遼各種重要風格的整合時期，西夏瓷窯中一定有一個視覺大師的存在。
閒暇時，我經常把殘瓷破片散落一地，或撿起一塊，呵一口氣，再美美的吸入它散發的土腥味，腦海也隨著它的魔法，浮現出八、九百年前的一幕幕景象：賀蘭高雪，林茂水急，禪鐘緲緲，佛誦幽幽；髡髮男子揚鞭催馬，高髻女子面若桃花；或大漠孤煙，長河落日，祁連山下狗吠，黑水城外駝鳴……瓷器是扇天窗，引誘著你去推開它，去探尋更廣闊的神秘的西夏文化。
抑制不住的衝動，促使我於2007年1月開始動筆寫作《西夏瓷器》，明知道又是一個耗費錢物、截取生命的工程，倒也一步步執拗的走過來了。為了不至於讓自己淪落到“樣樣皆通，樣樣稀鬆”的境地，我希望能給每個愛好都畫上一個漂亮的句號，對於《西夏瓷器》的寫作也是一樣。截止2009年夏，書稿不知道已經被大大小小地修改過幾次；每次出行歸來，斬獲新的標本，偶有新的感悟，便迫不及待的加入排好的書稿，再推翻，再理順，再排序。完美難求，但不管《西夏瓷器》是我古瓷研究領域的句號還是頓號，我都希望畫的足夠漂亮。
在本書寫作過程中，得到了很多幫助。首先感謝我的母親，在我踏入又一個無法預測結果的新領域的時候，她給我的是信任，而不是懷疑和催促；我的妻子馮麗達，也是一貫的忍耐和支持，並為本書部分內容作了英文翻譯；我的兄、弟，忠生、忠舉、愛軍和他們的家人，替我承擔了照顧父母的責任，使我長期在外得以實現，多次遠行得以成行；弟忠舉，為本書部分內容作了日文翻譯。
特別感謝王若林先生所給予的長期的、不計回報的支持和幫助。
感謝梁春茁、王曠、高維鵬、黃英哲、樓剛、杜文、馬平、馮學峰等在本書寫作過程中給予的多方面幫助。
感謝北京青年陶瓷研究社、中國文物保護基金會、中國社會科學院文學研究所劉平先生、寧夏回族自治區博物館哈艷女士、海原縣文管所龐紹蘭女士、美國南卡羅來納大學Tomas Cooper圖書館、南卡華人協會、南卡孔子學院及院長葉坦先生的幫助。
望野先生為本書提出了一些寶貴的修改意見，在此致以特別謝意。
特別感謝中國社會科學院民族學與人類學研究所白濱先生。白濱先生是國際西夏學界著名的西夏學者，在西夏學領域，是為數不多的取得豐碩成果的專家之一。2007年夏，白濱先生身體有恙，但仍為本書校改了第一章，並為本書題寫了西夏文書名。需要說明的是，白濱先生所提西夏文對譯漢文為“大夏器皿”四字，因西夏國人自稱為“大夏”，又西夏字中尚未發現表“瓷”之字。
特別感謝社中國社會科學院考古研究所馬文寬先生。作為西夏瓷窯的發現者和相關研究的奠基人，馬文寬先生主編的《寧夏靈武窯發掘報告》、《寧夏靈武窯》是本書得以寫作的基礎文獻，是本書在器物分期、特徵闡述等多方面資料的根本來源。馬文寬先生治學嚴謹，為後輩楷模。20世紀90年代初在西夏瓷窯考古及相關資料的研究、整理、出版完成之後，馬先生便把主要精力放在對古代伊斯蘭世界與中國文化交流的研究上，故當我第一次拜訪馬先生並面呈書稿時，馬先生一再詢問，近二十年間在其疏於關注的西夏瓷領域，有沒有新的觀點、成果證明其早年研究有某些失誤處，以便校正——馬先生求實的精神，由此可見一斑。馬文寬先生不僅為本書撰寫了序言，為筆者提供參考資料，對書稿提出重要修改意見，而且不辭辛苦，為本書的出版事宜牽線搭橋，表現出對晚輩的極大關愛。
特別感謝本書責任編輯樓宇棟先生、谷艷雪女士和封面設計、版式設計周小瑋女士。作為有著幾十年經驗的老編輯，樓先生豐富的學識、獨到的編輯方法、嚴謹的工作作風，在本書的編校過程中都展露無遺，促使本書能夠合乎文物出版社嚴格的標準，並最終得以付梓。
謹將本書獻給我的初生之子杭烈。Degan,杭烈，字德敢，願你將來具有誠實、正直、善良、勇敢之品質，並快樂的享受人生。
杭天
2009年9月初稿於美國南卡羅來納
2010年6月增補於北京
譯文
序文
馬文寛
20世紀80年代、中國社會科學院考古研究所が寧夏回族自治區霊武県にある磁窯堡窯跡を発掘し、あまり知られていなかった西夏磁器のことを解明しました。それは中國磁器窯考古の重要な成果です。中國陶磁器史の空白を埋めるだけではなく、西夏王國（1038年-1227年）と党項民族の歴史の研究にも豊富な物的資料を提供してくれました。発掘後に、自治區及び全國范囲の重點文物保護単位として認定されたことから、「塞上名窯」とたたえられています。
りっぱな西夏磁器は西北地域に暮らす素樸な人々を精神的にサポートする一方、數多くの陶磁器愛好家をも夢中にさせています。民間青年陶磁器學者の杭天氏はその中の一人です。彼が著した『西夏磁器』は西夏磁器に関するここ20年間近くの新しい研究結果をまとめた上で、新たな見地を切り開いています。極めて有意義なことをしてくれたと思います。同作を読めば、西夏磁器の內包及びそれの西北文化と中國陶磁器歴史に対する貢獻、党項民族が創造した物質文明（或いは文化）をさらに深く理解することができます。
……（下略）
要點と說明
中國社會科學院考古所が寧夏霊武磁窯堡窯に対し発掘、資料整理、研究成果を発表した後、武威を初めとした西北地域では西夏磁窯とその他の殘された磁器が新たに発見されました。民間でも巧みに製作された完全な西夏磁器の代表的な作品が現れました。考古発掘の品とその後にますます多く現れた西夏陶磁器の製品は、數量、品質、製作技術などにおいて、その獨自の風格を呈し、中國陶磁器の歴史で重要な地位を示しています。その他の磁器窯と比較すれば、今現在、學術界と収蔵界で西夏磁器に対する理解は非常に不十分で、西夏磁器についての著作も極めて少ないです。西夏磁器そのものの重要性につり合っていません。そこで、西夏磁器を系統的、全面的に論述し、全體的な內容、豊かな図版、詳細な論述を持つ普及的な著作が必要となります。そのような著作を目指して本書を書きました。
本書は先ず西夏王國の主要民族である党項族の由來、西夏王國の建國、発展、滅亡の歴史について簡単に紹介します。
本書の第二章では、作者は國內と外國の宋、金時代の中國北方磁器、特に磁州窯の磁器に対する研究界の研究成果を參照し、各種の器物の型、模様などを細かく比較、厳密に分析し、さらに當時の各國の政治経済の発展と互いの関系を考えて、次のような結論をまとめました。つまり、西夏磁器は唐時代晩期、五代から特に北宋前期の磁州窯系、定窯系の陶磁器と遼國の陶磁器の焼成技術から影響を受けました。西夏國建國以降の西夏前期に、獨自の裝飾方法、風格、器物の種類などを創作し、比較的閉鎖していた狀況で成長し、安定するようになりました。金時代の西北地區の耀州、渾源などの磁器窯の影響を受けながら、西夏中期になって、その中心窯である霊武窯の焼成は繁盛期に入りました。西夏中晩期の製品は品質であれ裝飾技術であれ生產數であれ最高レベルとなりました。西夏特徴のある磁器は従來の西夏磁器窯で元時代初期まで焼かれ続けていました。この推論は1986年の考古発掘の成果に基づいて展開して得られたもので、時間的に西夏磁器の焼成事情を明らかにするのがその目的です……（下略）
Xixia Ceramics
Author: Hang Tian
Publisher: Cultural Relics Press (July, 2010, Beijing, China)
Language: Chinese, with forward, preface and
contents in English and Japanese.
ISBN: 978-7-5010-2977-8
Size: 8.5 x 11.25 inches (21.6 x 28.5 cm)
Weight: 4 pounds
Paperback
374 pages, over 500 color illustrations and 360 color plates.
About the Author
Hang Tian is an artist and independent scholar with a broad range of interests. Lately he has dedicated his time to the study and collection of ancient Chinese ceramics, doing much research on Song, Liao, Xia and Jin Dynasty ceramics, especially Cizhou type ceramics and Xixia ceramics. He has made numerous field trips to Henan, Hebei, Ningxia, Gansu, Inner Mongolia, Qinghai and other places to survey ancient kiln sites and ancient ruins, and has surveyed the collections of major domestic and international museums, He began work on Xixia Ceramics in January 2007, and the manuscript was published in July, 2010. In addition to his work researching ceramics, he has experience with authentication and pricing of antiques. Hang Tian also pursues his interest in art by teaching Chinese calligraphy and painting for the Confucius Institute at the University of South Carolina.
Abstract
Xixia Ceramics is a reexamination and reevaluation of stoneware from the Xixia Kingdom, in power in what is now Northwest China from 1038 until 1227. Very few artifacts from the Xixia Kingdom survive today; after Genghis Khan died in the Xixia Kingdom in 1227 it was almost completely destroyed by the Mongols. Because it is so rare and perhaps because it comes from the non-Han borderlands, Xixia ware has been undervalued in the Chinese antique world, and Xixia Ceramics attempts to correct many misperceptions about its quality and history.
The book summarizes decades of research into Xixia ceramics, with a large portion given to presenting illustrations. Most of the known examples of Xixia ceramics, both in China and overseas, are collected and displayed in this volume. There is a specific focus on those in the cut-glaze style, the most representative of Xixia decorative artifacts. The book introduces the primary kiln sites of the Xixia, the glaze and the mud of the ceramics, the form, the decoration style and the firing techniques. After a close comparison with ceramics from other northern kilns of the Tang, Song, Liao and Jin Dynasties, Hang Tian dates the beginnings of the creation of Xixia ceramics. He then argues that in terms of the glaze and mud used in its production, the quality of Xixia ceramics is close to Ding and Yaozhou kilns, and superior to many specimens of Cizhou ceramics. In terms of the multiplicity of design Xixia does not reach the level of Cizhou, but in certain artistic areas such as cut-glazed work, Xixia ware is its equal.
Most of the pieces, as well as the photographs of the Xixia sites in this book, are being published for the first time and are a significant contribution to our understanding of Xixia ceramics. In addition, the author presents many breakthroughs in the study of Xixia ceramics, for example: Using dated ceramic ware from Northwestern kilns as evidence, this study corrects many of the errors in classification of poor quality pieces as belonging to Xixia ware, pointing out which of the pieces are actually brown and black glazed ceramics from the Yuan, Ming, and Qing Dynasties, in order to clarify the concept of Xixia ware. Additionally, the book comprehensively presents the use of Xixia ceramics as tribute. Moreover, by studying ceramic figures in the Lingwu kiln site, Hang Tian was also able to creatively reveal many different hairstyles of the Tangut people.
There is clearly a need for a study that systematically develops a new understanding of Xixia ceramics by presenting readers with a comprehensive history, ample illustrations, and detailed argument; this book is an effort to fill the gap.
Forward
After the archaeology department of the Chinese Academy of Social Sciences published a report on their groundbreaking excavation of the Ningxia Lingwu Ciyaopu kiln site some other Xixia kiln sites were discovered in the Northwest, primarily around Wuwei, and people living the region were found to have some carefully crafted, undamaged pieces of Xixia ceramics in their possession. The appearance of ceramics from the excavation and also items in private collections proved that regardless of quantity, quality, or artistic style, Xixia ceramics forms its own system, taking an important position among the many schools of Chinese ceramics. Despite this evidence of excellence, in relation to other kilns the understanding of Xixia ware in both academic and collectors' circles remains extremely shallow, with very few published books on the subject. This situation is out of balance with the importance of Xixia ceramics. There is clearly a need for a study that systematically develops a new understanding of Xixia ceramics by presenting readers with a comprehensive history, ample illustrations, and detailed argument; this book is an effort to fill the gap.
The author begins his study by explaining the origins of the Dangxiang, Xixia's main nationality, and goes on to discuss the history of the kingdom's founding, development, and disappearance.
Chapter two argues that early Xixia ceramics was influenced by Northern kilns such as Cizhou, Ding, and Liao kilns, since the late Tang and Five Dynasties period and especially during the early Northern Song Dynasty, but about half a century after the founding of the Xixia Kingdom Xixia people began to systematically develop their own tradition of decoration, style, and form. Moreover, in the relatively closed society their own ceramic arts developed quickly and steadily, so that in the middle period of the Xixia dynasty, especially with influence of Yaozhou and Hunyuan kilns from the Northwest during the Jin Dynasty, the central kiln site – Lingwu Kiln -- took on its own form, and following this, the craft and style of firing reached its peak. Ceramics with characteristics of the Xixia style continued to be produced at the same kiln sites up until the early Yuan Dynasty. This conclusion is an extension of the results of the 1986 excavation of the Lingwu Ciyaopu kiln site, and an attempt to give a comprehensive periodization of Xixia ceramics.
In chapter three the primary kiln sites of the Xixia are introduced. First the author presents the situation in the Xixia ruins, old storage sites, and graves. Next he explains the different kiln sites at Ciyaopu, Huiminxiang, and Taerwan in Wuwei, as well as entering into a discussion of a possible undiscovered kiln site in Ikh Juu League in Inner Mongolia.
Following the presentation of the history of Xixia ceramics production the author comprehensively analyzes the periodization, firing methods, types, and decoration of Xixia ceramics. By studying numerous different examples of Xixia ceramics, which display the unique qualities of Xixia style, reveal the sites in which they were collected, and contain many different types, the author discovered new techniques the Xixia used in firing, such as the method of firing the ceramic hooks by mounting them on other pieces and the use of multiple point balances in the firing process; in methods of decoration such as brown brushwork on a light green background and incisions under light green glaze, and the “cut and double layered” method; and examples of previously unknown forms of Xixia ceramics such as statues of Veda, compressed circular canteens with incised designs, and meipings with brown blossom designs against a light background. It is also the first time a large number of samples have been used to definitively show the Huiminxiang kiln produced pieces imitating the famous incised thread on green-yellow glaze design style of the Yaozhou kiln. For the first time in such a comprehensive manner the author further discusses the use of Xixia ceramics as tribute. By studying some ceramic figures that were found in the Lingwu kiln site, the author was also able to creatively reveal many different hairstyles of the Tangut people. Through research into carvings on an inkstone the author has discovered that Xixia people also produced high quality inkstones in a place called Tanyaofeng (today it is known as Ciyaopu), as their neighbors in Song China did.
Since the concept of Xixia ceramics was put forward only recently, left out of Chinese art history, few people truly understand it. Additionally, Xixia ceramics has been misrepresented in the unhealthy environment of the collecting world, where items often have value based on word of mouth and reputation rather than intrinsic quality. Because scholars and collectors living in Northwest China lack a deep understanding of ceramics produced in commoners' kilns in other regions of ancient China they accepted the prejudice against Xixia ceramics and therefore feel that the ceramics coming from their local kilns was not comparable to products from those kilns. After a close comparison with ceramics from other northern kilns of the Song and Jin Dynasties, it is evident that in terms of the glaze and mud used in its production, Xixia ceramics is very close to Ding and Yaozhou kilns in terms of quality, and superior to many specimens of Cizhou ceramics. In terms of the multiplicity of design Xixia does not reach the level of Cizhou, but in certain artistic areas such as cut-glazed work, Xixia ware is its equal.
It has become common practice to improperly classify poor quality ceramics as Xixia ware, which has added to the misconceptions of Xixia ceramics. Using dated ceramic wares from Northwestern kilns as evidence, this study corrects many of the errors in classification of those poor quality pieces as belonging to Xixia ware, pointing out which of the pieces are actually brown and black glazed ceramics from the Yuan, Ming, and Qing Dynasties, in order to clarify the concept of Xixia ware.
After making these arguments in the book, a large portion is given to presenting illustrations. Most of the known examples of Xixia ceramics, both in China and overseas, are collected and displayed in this volume. There is a specific focus on those in the cut-glaze style, the most representative of Xixia decorative artifacts. The pieces displayed in this book come primarily from four areas; the first are pieces in the national collection, some of which were acquired from official digs and displayed in museums, some of which were acquired by various regional cultural offices and published in magazines, and some of which had been passed down in families and are now housed in museums. The second source of material for this book is items in private collections, which include pieces in excellent condition and fragments that can be restored to their original form. The only pieces in this section that cannot be restored to their original form are figures of people, primarily Buddhist worshipers, that are included for their importance as well as the fact that they can be independently appreciated. The third area consists of items overseas, particularly those which were taken from China in the first half of the twentieth-century and are now housed in museums or in private collections around the world. The final area is comprised of a large amount of ceramic fragments, kiln instruments, and molds. The photos of all of the pieces in private collections in China and, all of the fragments, kiln instruments, molds, and about half of those in Chinese museums were taken by the author himself. Many of these pieces, as well as the photographs of the Xixia sites in this book, are being published for the first time and are a significant contribution to our understanding of Xixia ceramics.
The tables in this volume are formatted in the following style:
1. The photographs in the body text are marked with T and a number at the lower left corner, and those in the appendix are marked with TB and a number at the lower left corner.
2. When photographs that have been misdated in their original publications are used in this book their dates have been corrected. If the dimensions or place of origin cannot be identified it is not printed with the picture of the piece. Names of styles that differ in various sources have been formatted with the same name here.
3. Some examples of Xixia earthenware and other pottery that is not strictly considered ceramics are also included for their reference value.
4. As we understand today, the main kilns of the Xixia Kingdom are Ciyaopu, Huiminxiang, Chaqigou, and the Taerwan kiln in Wuwei. When the kiln of origin of a piece is known, it is listed in the caption, and the kiln site is not given if it is unknown. If it is unclear whether or not the piece is from Ciyaopu or Huiminxiang it is marked as “Lingwu Kiln” because both of those kiln sites are very close together in the city of Lingwu. Through experience with numerous pieces of Xixia ceramics the author believes there is an undiscovered Xixia kiln in Ikh Juu League, Inner Mongolia. Some of the unidentified pieces are believed to be from that kiln, and are marked as “Probably from kilns in Ikh Juu League, Inner Mongolia”.
