均窑挂红梅瓶

钧窑,即钧台窑,是在柴窑和鲁山花瓷的风格基础上综合而成的一种独特风格,受道家思想深刻影响,在宋徽宗时期达到高峰,其工艺科技发挥到极致。无论是呈色和各种纹理的表现,做到窑变可控随心所欲的表现科技,后世无人能仿造。

宋代受理学的影响,反应在瓷器上就是规整对称,无论是造型或纹理都遵循这一原则,特别是北宋官造钧瓷,不论文房用具或大型祭器都严格遵守这一原则。规整对称,高雅大气,宫廷气势,一丝不苟。其势沉重古朴,明亮而深沉

Jun Kiln, also known as Juntai Kiln, is a unique style integrated on the basis of the style of Chai Kiln and Lushan Flower Porcelain. It was deeply influenced by Taoism and reached its peak in the period of Huizong in the Song Dynasty, and its technology and technology reached the extreme.No matter the performance of color and various textures, the performance technology of kiln change is controllable and arbitrary, which can not be imitated by later generations.

The influence of the school of acceptance in the Song Dynasty was reflected in the uniformity and symmetry of the porcelain, which was observed in the shape and texture of the porcelain, especially in the Northern Song Dynasty, when the officials made Jun porcelain, the utensils of the study or large sacrificial vessels were strictly observed in this principle.Regularly symmetrical, elegant atmosphere, palace momentum, meticulous.Its potential is heavy and simple, bright and deep

釉中含铜,所以在高温下呈现出红色。钧窑瓷器的颜色并不是入窑前就已经确定的,而是经过高温后金属离子所呈现的,所以又有"入窑一色出窑万彩"之说,其成品色主要为玫瑰紫、海棠红、茄色紫、梅子青、深紫、米色、天蓝、胭脂红、朱砂红、葱翠青,以及窑变的各种颜色,各色错综相间,绚烂多彩,气韵非凡。相传以胭脂红为最美,釉中有免丝纹与蟹爪纹,华丽而雅致,均瓷釉的调配技法相当独特,而且钧瓷的瓷釉较厚,厚处有7-8毫米,出窑后由于灼烧和干燥使开片与非开片之间的釉形成与众不同的花纹,早期釉上有显著的牛毛纹,盛期则多为离合状态的条纹和粗如滴露的泪痕,以及蟠曲蜿蜒的蚯蚓走泥纹,这也是均瓷的重要特征之一,均瓷造型有尊、钵、洗、炉、花盆、盆托、奁等,主要供宫中陈设和文房使用。梅瓶是传统名瓷,梅瓶是一种小口、短颈、丰肩 、瘦底、圈足的瓶式,以口小只能插梅枝而得名。因瓶体修长,宋时称为"经瓶",作盛酒用器,造型挺秀、俏丽,明朝以后被称为梅瓶。

梅瓶也称"经瓶",最早出现于唐代,宋辽时期较为流行,并且出现了许多新品种。近代许之衡在《饮流斋说瓷》一书中详细地描述了梅瓶的形制、特征及名称由来:"梅瓶口细而颈短,肩极宽博,至胫稍狭,抵于足微丰,口径之小仅与梅之瘦骨相称,故名梅瓶。"关于梅瓶的用途,磁州窑白地黑花梅瓶器腹有"清沽美酒"与"醉乡酒海"的诗句。梅瓶既是酒器,又是一件令人爱不释手的观赏品。因此,这类器多制作精美,不但考虑到贮酒容量,还要注意造型优美。

The glaze contains copper, which gives it a red color at high temperatures.The color of porcelain masterpieces and not into the kiln is established before, but after high temperature of metal ions, so there is "in color than the color from the kiln kiln", the main product color as rose violet, Chinese flowering crabapple red, tomato color purple, plum green, deep purple, cream-colored, sky blue, carmine, cinnabar red, green, blue, and the variable of all sorts of color, colorful and intricate, colorful, artistically.Legend to carmine is best, in the glaze from silking and crab claw pattern, gorgeous and elegant, all porcelain glaze mixing technique is quite unique, and the jun porcelain glaze thick, had 7 to 8 mm thick, because after the kiln burning and drying of glaze the opens the piece with the open form different decorative pattern, with significant early glaze, of ox hair grain stage for stripe and coarse on-off state, such as more tears did, and PanQu winding earthworm clay grain, which is one of the important characters of porcelain, porcelain modelling with honour, the bowl, wash, furnace, flower POTS, POTS, jewelry box, etc., mainly for the use of the palace furnishings and four.Mei bottle is a traditional famous porcelain, Mei bottle is a small mouth, short neck, rich shoulder, thin bottom, circle foot bottle type, to small mouth can only insert plum branch named.Because of its slender body, the bottle was called "jing bottle" in the Song Dynasty. It was used as a vessel for holding wine, and its shape was handsome and pretty. After the Ming Dynasty, it was called plum bottle.

Plum bottles, also known as "jing bottles", first appeared in the Tang Dynasty and became popular in the Song and Liao dynasties, with many new varieties appearing.In modern times, Xu Zhiheng described the shape, characteristics and the origin of the name of the plum bottle in the book Yin Liu Zhai said porcelain in detail :" The mouth of the plum bottle is thin, the neck is short, the shoulder is very wide, the shin is slightly narrow, and the foot is micro abundant, the caliber is small and only the thin bones of the plum, so the name of the plum bottle."About the use of plum bottle, Cizhou kiln white black flower plum bottle belly has "clear wine" and "intoxicated wine sea" poem.The plum bottle is not only a wine vessel, but also an admiring object.Therefore, this kind of device more exquisite production, not only take into account the storage capacity of wine, but also pay attention to beautiful modeling.

梅瓶出现于唐代,盛行在宋代。在宋朝,民间生产了很多梅瓶,一般在大小酒铺里都能见到。宋代的梅瓶,器体一般高且偏瘦,肩部向下斜,足部长而接近于直线,底部比较小,器体的最小直径在肩部之上至口下部,处理手法多样,常有棱角分明的转折。各地瓷窑都有烧制,但以景德镇青花梅瓶最为精湛。到了明清,御窑厂大量制造各式各样的梅瓶,而且造型越来越优美。有的用来装酒,供皇帝使用。有的便成为了宫廷陈设品。

明代的梅瓶造型,比例偏低;口部圆浑厚实,没有明显的线角转折;肩部向上抬起,线条饱满而有力;腹部之下,呈垂直状,有的微向里收;在足部的结束部分,稍向外撇。有的白釉梅瓶肩部有青花楷书"内府"二字,当属宫内用器。

清乾隆的梅瓶肩部特别丰满,几乎成一条直线,腰部以下收得较直。梅瓶讲究图案化,龙纹较死板。清嘉庆年间的梅瓶造型多样,有的向宽短型发展,有的向瘦长型发展,胎体与乾隆时期区别不大,釉色的白度较乾隆时高,而釉的质地较乾隆时有所下降。梅瓶花纹比较多样,但艺术品位较乾隆时期差。如果说宋代的梅瓶造型挺秀、俏丽,富于女性的特征的话,那么明代的梅瓶则是雄健、敦厚,富于男性的特征。至于清代的梅瓶,由于造型比例不当,给人以不谐调和不完整的感觉,不及明代的水平。明清梅瓶在器形上略有区别,明代梅瓶,肩部较丰,胫部肥硕。清代梅瓶,肩丰硕而挺阔,胫部内收,至近底处又微撇。以景德镇窑制品最佳,有各色釉和彩绘装饰。其中,肩部有墨书或青花楷书"内府"二字者,是宫内用器。清人因瓶口小仅能插入梅花枝而叫"梅瓶"。清乾隆的梅瓶肩部特别丰满,几乎成一条直线.腰部以下收得较直.梅瓶讲究图案化,龙纹较死板。嘉庆年间的梅瓶造型多样,有的向宽短型发展,有的向瘦长型发展,胎体与乾隆时期区别不大,釉色的白度较乾隆时高,而釉的质地较乾隆时有所下降。梅瓶花纹比较多样,但艺术品位较乾隆时期差。

Plum bottles appeared in the Tang Dynasty and prevailed in the Song Dynasty.In the Song Dynasty, many plum bottles were produced by the people, which can be seen in wine shops of all sizes.The body of the plum bottle in the Song Dynasty was generally tall and thin, the shoulders were inclined downward, the feet were long and nearly straight, and the bottom was small. The minimum diameter of the body was from the shoulders to the bottom of the mouth, and the processing techniques were varied, often with sharp turns.There are kilns all over the country, but Jingdezhen blue and white plum vase is the most exquisite.In the Ming and Qing Dynasties, the imperial kiln factory produced a large number of various plum bottles, and the shape became more and more beautiful.Some were used to hold wine for the emperor.Some became palace furnishings.

The proportion of plum-bottle in Ming Dynasty was low.The mouth is round and thick, without obvious line Angle turning;The shoulders are lifted up, the lines are full and powerful;Under the abdomen, vertical, and some slightly inward;At the end of the foot, turn slightly outwards.Some white glazed plum bottles have blue and white regular script "inside the house" on their shoulders, which should be used in the palace.

Qing Qianlong's plum bottle shoulder is particularly plump, almost into a straight line, the waist below the more straight.Plum bottles pay attention to patterning, the dragon pattern is rigid.Plum bottles in the Jiaqing period of the Qing Dynasty had various shapes, some developed to short and wide shapes, some to thin and long shapes. There was little difference between the fetal body and the Qianlong period. The whiteness of the glaze was higher than that of the Qianlong period, while the texture of the glaze was lower than that of the Qianlong period.Plum bottle pattern is more diverse, but the artistic taste is worse than that of Qianlong period.If the shape of the plum bottle in the Song Dynasty is straight, beautiful and full of female characteristics, then the plum bottle in the Ming Dynasty is vigorous, honest, full of male characteristics.As for the plum bottles in the Qing Dynasty, due to improper proportion of modelling, it gives people a feeling of disharmony and incomplete, not as good as the level of the Ming Dynasty.The Ming and Qing Dynasties Mei bottles are slightly different in shape. The Ming Dynasty Mei bottles have abundant shoulders and fat shins.The Qing Dynasty plum bottle, shoulder rich and quite wide, tibial ministry, near the bottom and slightly skimmed.Jingdezhen kiln products to the best, with various colors of glaze and painted decoration.Among them, the shoulder with ink or blue and white regular script "inside the house" two words, is the palace.Qing people called the bottle "plum bottle" because it was so small that it could only insert plum blossom branches.Qing Qianlong's plum bottle shoulders are particularly plump, almost a straight line.Straight from the waist down.Plum bottles pay attention to patterning, the dragon pattern is rigid.In Jiaqing period, the shapes of plum bottles were varied, some developed to short and wide, some to thin and long. There was little difference between the fetal body and the Qianlong period. The whiteness of glaze was higher than that of the Qianlong period, while the texture of glaze was lower than that of the Qianlong period.Plum bottle pattern is more diverse, but the artistic taste is worse than that of Qianlong period.