本文是嘗試將十五至十六世紀日本從全盤接受中國陶瓷，至將日本國產陶瓷導入鑑賞對象之文物鑑賞觀等文化史課題，置於文化圈中區域比較的視點予以省思。結論認為，所謂的「和樣」只是做為內核的「唐樣」向外緣擴張發展出的區域樣式，而非當時日本地區所刻意營造出的要和中國陶瓷區別或對抗的風格要素。另外，本文還從室町將軍家的裝飾道具與中國皇帝賞賜品內容雷同等情形推測，室町將軍家崇尚唐物之風其實是想借由與明代的冊封體制，來達到其篡奪王權的計劃，也因此包括陶瓷在內的由中國皇帝賜予的中國文物，除了可供鑑賞之外，同時具有象徵威權的功能。

The present essay attempts to address cultural history questions ranging from the reception of Chinese ceramics by fifteenth, sixteenth century Japanese society to emergence of indigenous Japanese ceramics as recipients of connoisseurial attention. The essay looks at the questions from the perspective of intra-cultural regional variation. It concludes that so-called “Japanese style” (Ho-yang) ceramics were a regional variation that developed naturally from “Chinese style” (T’ang-yang) sources, rather than the result of a deliberate attempt by the Japanese to differentiate themselves from China. Furthermore, the similarities between the decorative arts of the Muromachi generals and the gifts bestowed by the Chinese emperor suggest that the military class’s admiration of Chinese style was an effort to borrow the system of noble titles employed by the Ming court and thereby usurp imperial authority. Therefore, the gifts bestowed by the Chinese court, which included ceramics, were not only objects of aesthetic appreciation, but also symbols of authority.

中國陶瓷; 室町時代; 桃山時代; 和樣; 唐樣

Chinese ceramics; Muromachi period; Momoyama period; Japanese style; Chinese style