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钧窑釉红双狮耳六方瓶

发布时间:2019-08-26 17:56来源:
钧窑釉红双狮耳六方瓶 Jun kiln glaze six square vase with red double lion ears 口径:15.5cm 底径:15.7cm 高:42cm CAL:15.5cm Bottom diameter:15.7cm High:42cm 此藏品为钧窑釉红双狮耳六方瓶,六方形制,敞口,束颈

钧窑釉红双狮耳六方瓶

Jun kiln glaze six square vase with red double lion ears

口径:15.5cm 底径:15.7cm 高:42cm

CAL:15.5cm Bottom diameter:15.7cm High:42cm

此藏品为“钧窑釉红双狮耳六方瓶”,六方形制,敞口,束颈,双狮耳,折肩,下收,足部外撇,无款识。颈部两侧饰双狮耳(大狮、小狮),这是道光延续乾隆时期颈部堆贴双耳法所常采用的双狮。耳修长美观,气势庄重。通体施红釉,釉面匀净雅靓之致,整体大气自然。其器身光素不事雕饰,只见双狮相互对望,古趣盎然。瓶口沿釉薄处,隐约能看见露出的胎色,形成“紫口”,窑釉渐变,形成了红紫相互辉映。本品以红柚大气端庄配饰六方硬朗之造型,两者相得益彰,既衬托出造型古朴端庄,又彰显出釉色大气蓬勃,整体格调阳刚大气,使人领悟到古人非凡的审美情趣。

This collection is "Jun kiln glazed red double lion's ear hexagonal bottle", hexagonal system, open, neck, double lion's ear, shoulder folding, lower collection, foot skimming, no money. The double lion ears (big lion and small lion) are ornamented on both sides of the neck. This is the double lion commonly used in the double lion method of stacking double ears on the neck during the reign of the Qianlong Emperor of Daoguang. Long and beautiful ears, dignified momentum. Red glaze is applied to the whole body, the glaze surface is even and elegant, and the whole atmosphere is natural. Its body is not carved, only see the two lions looking at each other, full of ancient interest. Bottle mouth along the thin glaze, can vaguely see the exposed fetal color, forming a "purple mouth", kiln glaze gradually changed, forming a red and purple mutual reflection. This product is decorated with red pomelo atmosphere dignified six hard and bright shape, both complement each other, not only foil the simple and dignified shape, but also highlight the glaze atmosphere vigorous, the overall style of masculinity atmosphere, so that people can understand the extraordinary aesthetic taste of the ancients.

钧窑是中国汉族传统制瓷工艺的珍品,为宋元时期北方瓷窑,为宋五大名窑之一。钧窑在河南省禹县(今禹州市 )。禹州古为夏禹国,禹受封于此为夏伯,境内有钧台,禹之子启大享诸侯于此,正式继位,钧名由此而来。因以钧瓷钧窑着称于世,属北方青瓷系统。创始于唐,兴盛于北宋,以后历代都有仿造。钧窑胎质细腻,釉色华丽夺目、种类之多不胜枚举;有玫瑰紫、海棠红、茄子紫、天蓝、胭脂、朱砂、火 红,还有窑变。器型以碗盘为多,但以花盆最为出色。器物底部刻有一到十的号数,相传一、三、五、单数为红色,二、四、六复数为青色,但也有人说是数字越小器型越大,只是窑工为方便辨认而作的记号罢了。钧窑瓷器历来被人们称之为“国之瑰宝”,在宋代五大名窑中以“釉具五色,艳丽绝伦”而独树一帜。

Jun kiln is a treasure of traditional Chinese Han porcelain making technology. It is one of the five famous kilns in Song Dynasty and Yuan Dynasty. Junyao is located in Yuxian County, Henan Province (now Yuzhou City). Yuzhou was the kingdom of Xia Yu in ancient times, and Yuyu was sealed up as Xia Bo. There was Juntai in Yuzhou. The son of Yuzhou enjoyed a great share of the princes here, and formally succeeded to the throne, from which the name of Jun came. Known for its Jun-porcelain Jun-kiln, it belongs to the celadon system in the north. Founded in the Tang Dynasty and flourished in the Northern Song Dynasty, there have been imitations in successive dynasties. Jun kiln has exquisite texture, gorgeous glaze color and numerous kinds, such as rose purple, crabapple red, eggplant purple, sky blue, carmine, cinnabar, fiery red, and kiln change. Bowls and dishes are the most popular, but flower pots are the best. There are numbers of one to ten inscribed on the bottom of the ware. According to legend, the numbers of one, three, five and odd are red and the numbers of two, four and six are blue. But some people say that the smaller the number, the bigger the size of the ware. It's just a sign made by the kiln workers for easy identification. Jun Kiln Porcelain has always been known as the "treasure of the country", which is unique among the five famous kilns in the Song Dynasty.

钧瓷是中国宋代的五大名窑之一钧窑出产的瓷器,因宋徽宗时期曾在近禹州市内古钧台附近设置官窑专门烧制御用瓷而得名。钧瓷主要贡献在于烧制成艳丽绝伦的红釉钧瓷,从而开创了铜红釉之先河,改变了以前中国高温颜色釉只有黑釉和青釉的局面,开拓了新的艺术境界。钧窑杰出的工艺成就,是在科学配好胎、釉的基础上,烧成过程中合理的控制火焰气氛的变化,利用氧化和还原气氛,由同样的釉料釉色而成为深浅不一的窑变色彩。

钧瓷艺术具有独特的民族风格和独树一帜的艺术特征,体现了中华民族的伟大气魄和瑰丽多姿的民族文化,故蜚声瓷林,名扬中外,虽历经坎坷而经久不衰。钧瓷的艺术美,是通过神奇的窑变工艺而获得的,它不同于人工的绘画雕刻艺术,具有特殊的古典美,使人感到瑰丽、丰富、神奇,给人以诗一般的陶醉和醇美的艺术享受。《中国陶瓷史》在评价钧瓷艺术成就时说:“宋代钧瓷创用铜的氧化物作为着色剂,在还原气氛下烧制成功的铜红釉,为中国陶瓷工艺、陶瓷美学,开辟了一个新的境界……这是一个了不起的伟大成就。”

钧瓷造型古朴端庄,器型规整,胎壁厚薄匀称。制瓷工匠合理地利用各种原料制坯,基本上掌握了原料的烧缩性能,再加上高超的成型工艺,所制器皿规格统一,尺寸一致。原料的使用上,能够合理使用,保证胎釉的烧成温度和膨胀系数的基本一致。釉质玻璃化程度好,促进胎釉间钙长石中间层的形成,使胎釉结合程度高,釉层一般无剥釉现象。釉料配制含磷、钛、铜、锡等元素,为复色窑变花釉的形成提供了内在条件。钧瓷工匠还利用含不同金属氧化物的各种原料,进行多次分层施釉的方法,使产品形成绚丽多彩、自然生动的窑变流纹。陶瓷研究者用仪器观察宋代钧瓷标本,发现钧釉结构异常复杂,大体上分为四层:靠近胎体的第一层和第二层与天青釉的结构相同,蓝色层的上界呈变化幅度很大的波浪状,釉面下有许多气泡;第三层是紫红二色相互交错的不连续层;第四层即表面层,是整齐均匀淡蓝色的铜氧化层。这种釉层结构,对各种光波具有选择性的吸收和选择性反射能力,使釉层含蕴晶莹,优美动人。再加上釉层里的气泡对光线的搅动作用,从而形成特殊的断面结构和绚丽多彩的外观。

Jun Porcelain is simple and dignified in shape, regular in shape and well-proportioned in tire wall thickness. Porcelain craftsmen reasonably use various raw materials to make billets, basically mastering the sintering properties of raw materials, coupled with superb forming technology, the specifications of the utensils are uniform and the size is the same. In the use of raw materials, it can be used reasonably to ensure that the firing temperature and expansion coefficient of the tire glaze are basically the same. Good vitrification of enamel promotes the formation of calcium feldspar interglaze layer, which makes the bonding degree of the enamel high, and the enamel layer generally does not peel off the glaze. The preparation of glaze containing phosphorus, titanium, copper, tin and other elements provides the internal conditions for the formation of variegated glaze in the multicolor kiln. Jun pottery craftsmen also use various raw materials containing different metal oxides to layered glaze several times, so that the products form a colorful, natural and vivid kiln rheology. Ceramic researchers observed Jun porcelain specimens in the Song Dynasty with instruments and found that the structure of Jun glaze was extremely complex, which was generally divided into four layers: the first and second layers near the matrix had the same structure as the celestial glaze, the upper boundaries of the blue layer were wavy, and there were many bubbles under the glaze; the third layer was not interlaced with purple and red. Continuous layer; the fourth layer, namely the surface layer, is a uniform light blue copper oxide layer. This glaze structure can selectively absorb and reflect various light waves, making the glaze crystal and beautiful. With the stirring effect of bubbles in the glaze layer on the light, a special section structure and a colorful appearance are formed.

钧瓷艺术在销声匿迹数百年后的清朝未年开始复苏。清光绪初年,神垕陶瓷工匠受古玩商人高价求购钧瓷的影响,试图恢复钧瓷烧制,但因难度太大,大多一试即止。工匠卢振太及其子孙不惜典卖田产,恢复钧瓷。开始,卢氏家族用当地原料,以氧化钴为着色剂,在氧化焰中烧出孔雀绿和碧蓝相间的仿钧瓷器,后又创烧在天青器上抹红,飞红加彩仿钧制品,在仿钧的基础上,经过反复试验,最后用风箱小窑炉,采用捂火还原的烧成方法,烧制成功窑变钧瓷。至此,钧瓷窑变艺术得以重生。

但是,在钧瓷恢复的五十余年时间里,禹州和全国一样深受自然灾害和战乱之苦,钧瓷作为观赏瓷种,烧成难度又大,其发展命运可想而知。由于钧瓷的艺术价值和历史文化价值,在收藏界一直备受青睐,更是成为人们集藏的重点,市场价格稳步攀升。

Jun Porcelain Art began to recover in the early years of Qing Dynasty after it disappeared for hundreds of years. In the early years of Guangxu in Qing Dynasty, the Shenque ceramic craftsmen, influenced by the high price of Jun porcelain purchased by antique merchants, tried to restore the firing of Jun porcelain, but because of the difficulty, most of them stopped at once. Lu Zhentai, a craftsman, and his descendants spared no expense in pawning their fields and restoring Jun Porcelain. At first, the Lushi family used local raw materials, using cobalt oxide as colorant, fired malachite green and blue Jun-like porcelain in the flame of oxidation, then created and burned celestial ware with red, red and colored Jun-like products. On the basis of Jun-like products, after repeated tests, the final use of small bellows kiln furnace, using the burning method of muffled fire reduction. Successful kiln into Jun porcelain. So far, Jun porcelain kiln art has been reborn.

However, in the fifty years since Jun porcelain was restored, Yuzhou, like the whole country, suffered from natural disasters and war. As an ornamental porcelain, Jun porcelain is difficult to fir, and its development fate can be imagined. Because of the artistic value and historical and cultural value of Jun Porcelain, it has always been favored by the collectors, and has become the focus of people's collection. The market price has steadily risen.


 


 

 

 

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