本文以三國吳（222－280）至西晉時期（266－316）浙江省越窯所燒造的青瓷獅形器為例，借由這類獅背負管有時被視為燭台、硯滴、插座或壟統地稱做辟邪之類的器物，省思歷史上的中國陶瓷不乏自燒成出窯之後歷經埋藏入土、發掘出土，經二次入土、二次出土而後傳世的現象，此一現象同時也涉及如何正確評估復古之作的課題。

This article focuses on celadon ceramic vessels in the shape of a lion produced in the Yue kiln in Zhejiang Province of China from Eastern Wu (222-280 A.D.) of the Three Kingdom period to Western Jin (266-316 A.D.). The sprout on top of this type of lion-shaped vessel is sometimes seen as a candle stand, an ink water-dropper, a socket, or generally referred to as a protective talisman to ward against evil. This essay takes the lion-shaped celadon vessels as a departing point to consider the phenomenon that historically Chinese ceramics, after their production, were sometimes buried, excavated, re-buried, re-excavated, then handed down for generations. This phenomenon also deals with issues on accurately evaluating antiquarian objects crafted based on antique models.

越窯青瓷; 獅形器; 傳世; 傳世現象

Yue kiln celadon; ceramics in a lion shape; heirloom; the heirloom phenomenon