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特别推荐:宋代汝窑青釉尊

发布时间:2020-04-27 13:57来源:
我国的制瓷工艺发展成熟乃至鼎盛时期当首推北宋,不仅在陶瓷发展史上具有重要的位置,而且在文化史中也占有光辉的篇章。尤其是宋代汝、钧、官、哥、定五大名窑之中的汝窑瓷器

我国的制瓷工艺发展成熟乃至鼎盛时期当首推北宋,不仅在陶瓷发展史上具有重要的位置,而且在文化史中也占有光辉的篇章。尤其是宋代“汝、钧、官、哥、定”五大名窑之中的汝窑瓷器更是工艺精湛,技压群芳。以其古朴典雅的造型,复杂独特的工艺而排列榜首,宋时就享有“汝窑为魁”之誉。汝窑以烧制青瓷闻名,有天青、豆青、粉青诸品。汝窑的青瓷,釉中含有玛瑙,色泽青翠,釉汁莹若堆脂,有“似玉非玉”之美誉。

When the Northern Song Dynasty was the first time to promote the development of China's porcelain making technology, it not only had an important position in the history of ceramic development, but also had a brilliant chapter in the history of culture. Especially in Song Dynasty, "Ru, Jun, Guan, Ge, Ding," the five famous kilns of Ru kiln porcelain is more exquisite technology, pressure group Fang. With its simple and elegant shape, complex and unique technology, it ranked first. In Song Dynasty, it enjoyed the reputation of "Ruyao is the chief". Ruyao is famous for firing celadon, including Tianqing, Douqing and fenqing. The Celadon of Ru kiln contains agate in its glaze, which is green and green in color. The glaze juice is glittering and translucent like a heap of fat. It is reputed as "jade rather than jade".

 

【藏品名称】:宋代汝窑青釉尊

[collection name]: blue glaze statue of Ruyao in Song Dynasty

北宋汝官窑瓷器诞生于宋哲宗元元年(公元1086年)至徽宗崇宁五年(公元1106年)二十年间,时限很短,专为宫廷烧制,产量有限,传世更少,到了南宋时已是“近犹难得”。传至今日,已近千年,经历了沧桑多变的历史长河,存世之量,可想而知。故历来就有“纵有家产万贯,不啻汝瓷一件”的佳话广为流传。我国当代著名艺术大师李苦禅先生也曾挥笔写下了“天下博物馆,无汝(瓷)者,难称尽善尽美也”。

Ru Guan kiln porcelain of Northern Song Dynasty was born in the 20 years from the first year of zhezong (1086 A.D.) to the fifth year of Chongning (1106 A.D.) of Huizong. The time limit is very short. It is specially made for the court. Its production is limited and less handed down. By the time of Southern Song Dynasty, it was "rare". It has been passed on for nearly a thousand years, and has experienced a long and changeable history. It is conceivable that it can survive in the world. Therefore, there has always been a saying that "even if you have a great family fortune, it's like a piece of Ru porcelain". Mr. Li kuchan, a famous contemporary art master in China, once wrote that "the Museum of the world is not perfect without you (porcelain).".

“雨过天青云破处,这般颜色作将来。”这原是形容后周柴世宗命人烧造的宫廷用瓷,世称柴瓷。可惜的是,柴瓷至今都未曾发现实物。人们不舍得让如此美妙的比喻虚掷,便将它赠予汝瓷。似乎唯有汝瓷,可与传说中的柴瓷同场竞技而毫不逊色。南宋周辉《清波杂志》中记载:“汝窑宫中禁烧,内有玛瑙为釉。唯供御拣退方许出卖,近尤难得。”从这份记载中我们可以看出处于汝窑所烧制的瓷器,经宫廷拣退的次货才可以出卖,因此流传到民间的汝官窑瓷器甚为稀少。

"After the rain, blue clouds are everywhere, and this color is the future." It was originally used to describe the Royal Porcelain which was made by the emperor Chai in the Later Zhou Dynasty. It was called Chai porcelain. Unfortunately, firewood porcelain has not been found. People don't want to let such a wonderful metaphor throw in vain, so they give it to Ru porcelain. It seems that only Ru porcelain can compete with the legendary firewood porcelain on the same field. In the Qing Bo magazine of Zhou Hui in the Southern Song Dynasty, it is recorded that "burning is forbidden in Ruyao palace, and there are agates as glazes inside.". It's very rare that the only way to sell is for the emperor to choose and return. " From this record, we can see that the porcelain made in Ru kiln can be sold only after the inferior goods picked by the court. Therefore, the porcelain made in Ru Guan kiln spread to the people is very rare.

 

此宋代汝窑青釉尊,釉面满开细碎纹片,底部满釉,简洁大方,古朴典雅。造型敦实端庄,胎骨雅洁坚致,釉质厚润泛青,制作尤为精美,通体素面无饰,开冰裂纹片。此器型极富凝重古朴之感深得宋器之神韵,于严中见跃,方中见圆,刚柔并济,秀外慧中,传统审美意识浓厚,赏心悦目,整观此器无论造型、工艺、至人文内涵,再至其观赏价值,审美寓意而言都是不可多得的收藏赏玩之优选。

This song dynasty Ru kiln blue glaze respect, the glaze is full of fine pieces, the bottom is full of glaze, simple and elegant, simple and elegant. The model is simple and dignified, the fetal bone is elegant and firm, the enamel is thick, moist and green, and the production is particularly exquisite. The whole body is plain without decoration, and there are cracks in the ice. This kind of ware is rich in the sense of ancient simplicity, which is deeply influenced by the charm of song ware. It can be seen in the strictness, the roundness in the square, the combination of hardness and softness, the beauty in the outside and the wisdom in the middle, the strong traditional aesthetic consciousness, and the pleasing to the eyes. The whole view of this kind of ware, no matter its shape, technology, cultural connotation, and its ornamental value, is a rare choice for collection and enjoyment.

 

 

 

 

 

 

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