[哲学/历史]广东省博物馆木陶瓷展英文讲解词

[哲学/历史]广东省博物馆木陶瓷展英文讲解词 土火之艺——馆藏历代陶瓷展览 Exhibition of Pottery and Porcelain through Dynasties 2009/11/17 前 言 水、土、火的碰撞～产生了绚丽多彩的陶瓷文化。陶器是全人类共同拥有 的财富。而瓷器是中华民族对世界文明的重要贡献～中国因此而拥有了“瓷之国 度”的美称。 早在新石器时代～我们的祖先就已经学会制造和使用陶器。商周时期出现 了原始瓷。成熟的青釉瓷器烧成于一千八百多年前的东汉时期。经过三国两晋 南北朝的初步发展～到了唐宋时期～我国的制瓷业进入第一个发展高峰。明清 时期～我国陶瓷业发展到了巅峰阶段。 至少在唐代～我国已开始大量出口陶瓷器。此后历经宋、元、明、清各朝～ 日益发展～长久不衰。从东海和南海通向东亚、东南亚、中西亚、非洲、欧洲 以及美洲的各条航线～无不见证了这一辉煌。因此这条海外贸易通道也被称为 “陶瓷之路”。 广东最早的陶器出现在新石器时代早期。晋代开始出现青釉瓷器。唐、宋、 元时期广东的制瓷业飞速发展～并大量输出国外。明、清时期～石湾陶器、广 彩瓷器成为斐声中外的著名品种。 一部中国陶瓷史～反映的不仅仅是整个中国文化史的面貌～而且也书写了 经济贸易史、美术史、航海史、对外贸易史等方面的华彩篇章。 Introduction Collision of water, clay and fire gave rise to colorful pottery and porcelain culture. Pottery is a treasure of humankind. However, porcelain is an important contribution of the Chinese nation to the world civilization. China won its name as "Country of Porcelain". As early as the Neolithic Age, Chinese people had already got to know how to make and use pottery. Proto-porcelain had been made in the Shang Dynasty. Mature green glazed porcelain was made in the Eastern Han Dynasty and had well developed in the Three Kingdoms, the Eastern and Western Jin Dynasties, and the Southern and Northern Song Dynasties. In the Tang and Song Dynasties, Chinese ceramic industry reached its first peak of development. In the Ming and Qing Dynasties, Chinese ceramic industry developed to a summit stage. Porcelain had begun to export in the Tang Dynasty. In the Song, Yuan, Ming and Qing Dynasties, large quantities of pottery and porcelain exported from the East Sea and 1 the South China Sea to East Asia, Central and West Asia, Africa, Europe and America, which witnessed the glory .Therefore the oversea trade line was also named as ―Road of Porcelain‖. Pottery was first made in Guangdong in the early Neolithic Age. In the Jin Dynasty, green glazed porcelain was made. In the Tang, Song and Yuan Dynasties, ceramic industry developed well and exported to foreign countries. In the Ming and Qing Dynasties, Shiwan pottery and Kwon-glazed porcelain had enjoyed a high reputation at home and abroad. A history of Chinese pottery and porcelain reflects not only an overview of cultural history of China, but also shows the history in terms of economy and trade, arts and crafts, maritime, foreign trade and so on 制瓷:瓷器是如何制造出来的 1、采泥:制作瓷器的原料主要有瓷土、瓷石、高岭土、长石等。瓷土指粉碎瓷 石所得之土或人工配制成的制瓷原料～由高岭土、石英、长石等组成～主要 成份是二氧化硅,SiO,和氧化铝,AlO,。瓷石由石英、长石、绢云母、223 高岭石等组成～完全风化后就是常见的瓷土。高岭土是一种以高岭石为主要 成分的黏土～因发现于江西景德镇的高岭村而得名～国际上称为Kaolin。一 般含二氧化硅,SiO,46.5,～氧化铝,AlO,39.54,。因高岭土可塑性差、223 熔点高～所以单纯用高岭土是不能制成瓷器的～须掺入其它原料。长石是以 二氧化硅,SiO,和氧化铝,AlO,为主～并夹杂钠、钾、钙等金属的化合223 物。用含有较多长石的原料制成的瓷器～胎质坚硬～呈半透明状～并具有较 好的化学稳定性。 2、练泥:从矿区采取瓷石或瓷土～经水碓舂细～淘洗～除去杂质～沉淀后制成 砖状的泥块。然后再用水调和泥块～去掉渣质～反复翻扑或敲打踏练～把泥 团中的空气挤压出来～使泥中的水分均匀、组织细密～以改善胎泥的成型性 能。 3、拉坯 :将练好的胎泥臵于辘轳车的转盘中心～随手法的屈伸收放拉制出坯体 的大致模样。 4、修坯:对已干燥,或半干,的坯体～进行外型的修平、磨光、挖底、钻眼等 精修工作。分干修和湿修两种。前者因干燥后的坯体含水分低～修坯时不易 变形～但粉尘较大。后者坯体水分含量较高～修坯时粉尘较小～但掌握不好～ 坯体容易变形。 5、晒坯:将加工成型的坯体摆放在木架上晾干。 6、装饰:美化瓷器的重要工序。一般是在瓷坯入窑前对其进行纹饰加工～以增 2 强器物的审美效果。常见的装饰技法有印花、刻花、划花、镂空、贴花、剔 花、绘画等。工具多为印模,或范,、毛笔、刻刀、划针、剔刀等。除了釉 上彩以外～其他装饰均在施釉前进行。而印花则是在坯体半干湿时进行。 7、施釉:亦称上釉、挂釉、罩釉等。指在陶瓷坯体表面施一层瓷土,或陶土,、 助熔剂加水调和成的釉浆。这层釉浆经焙烧后即成为光亮、坚硬的釉层。古 代施釉的有多种～早期通常为刷釉～汉以后多为蘸釉、荡釉、浇釉。明 清景德镇窑部分瓷器施釉时采用喷釉、吹釉、轮釉等方法～器物釉层厚薄均 匀。 8、烧窑:是陶瓷制作的最后一道工序。分一次烧成和二次烧成,釉上彩瓷器, 两类。将陶瓷坯件装入窑炉中焙烧～时间过程约一昼夜至三昼夜～温度在 1100——1300?左右。焙烧时～陶瓷器的胎、釉发生一系列的物理变化和化 学反应～使产品获得所需要的强度、光泽、釉色和其他性能。 第一部分 初见窑火——陶器的起源与瓷器的滥觞 (新石器—三国两晋南北朝) 陶瓷器的出现～与人们的日常生活有着密切的关系。 我国目前发现最早的陶器碎片～距今已有一万多年。陶器的发明～在人类 发展史上具有划时代的意义——它是人类最早的化学革命～促进了农业的发展～ 以及人类定居生活的更加稳定。 商周时期～在黄河、长江中下游的广大地区出现了原始瓷。最早的成熟瓷 器是青釉瓷～出现在东汉时期的浙江地区。瓷器是我国人民的重要创造之一～ 丰富了人类的物质和文化生活。三国两晋南北朝时期～战乱频仍。江南地区较 之北方相对安定～因而瓷业得以较大发展。北方地区的瓷业则发展相对缓慢。 这一时期的陶瓷器型日渐增多～大量流行随葬用的陶明器～并出现了釉彩装饰 瓷器。 Part One Origin (From the Neolithic Age to the Southern and Northern Dynasties) The emergence of pottery and porcelain had a close relationship with daily life. At present, pottery fragments dating back to more than 10,000 years ago are regarded as the earliest pottery found in China. As a significant epoch-making creation, pottery brought human beings the earliest chemical revolution, which promoted the development of agriculture and made life settlement more stable. Proto-porcelain was first made in the middle and lower reaches of the Yellow and Yangtze Rivers in the Shang and Zhou Dynasties .The earliest green glazed porcelain 3 was first made in the Zhejiang area in the Eastern Han Dynasty. Porcelain is one of important creations of Chinese people. During the Three Kingdoms, Jin, and Southern and Northern Dynasties, in contrast to the frequent wars and turbulence in the north of China, the stable social environment in the south of China helped the ceramic industry develop well. At this time, more shapes of pottery and porcelain were made .Funeral pottery objects were popular .Color glazed porcelain was made. *1、马家窑类型四山字纹彩陶钵 新石器时代(约1万年,4千年前) 马家窑文化是黄河上游地区新石器时代晚期，因最先发现于甘肃临洮马家窑 而得名，主要分马家窑、半山、马厂三期。马家窑文化陶器胎体多为细泥红陶， 其彩陶常见纹饰有弦纹、波纹、旋涡纹、网纹、圆圈纹等。这件展品为马家窑类 型中较为精美的器物，年代约为公元前3300~前2900年。四山字纹在战国至西 汉时期青铜镜上较多见，而在新石器时代陶器上十分罕见。 Painted pottery bowl, Majiayao Culture Neolithic Age (about 4000 to 10000 years ago) The Majiayao Culture, located in the upper reaches of the Yellow River in the late Neolithic Age, is named for its being first unearthed in the Majiayao, Lintao ,Gansu .Most pottery wares of the culture were red clay bodies with bow string pattern, whorl design and running-spiral design ,etc.This fine bowl represents the high workmanship of the culture. 2、马家窑类型双耳彩陶壶 新石器时代(约1万年,4千年前) Painted pottery pot with two ears, Majiayao Culture Neolithic Age (about 4000 to 10000 years ago) #3、半山类型双耳叶纹彩陶壶 新石器时代(约1万年,4千年前) 半山类型陶器为马家窑文化晚期的一个类型，年代约公元前2900~前2350 年。其纹饰较复杂，动感强烈，以红彩和黑彩两色相间的锯齿纹为骨成各种 图案。常见的图案有水波纹、漩涡纹、菱形网纹、方格纹、蛙纹和附加堆纹等。 Painted pottery pot with design of leaves, Banshan Culture Neolithic Age (about 4000 to 10000 years ago) The Banshan Culture is a late phase of the Majiayao Culture at about 2900 to 2350 BC. Pottery of the Culture was designed with complicated patterns, such as wave design, whorl design, running-spiral design, rhomboid mesh design and trellis pattern, etc. *4、半山类型五圆圈纹双耳彩陶罐 新石器时代(约1万年,4千年前) 4 Painted pottery jar with double ears, Banshan Culture Neolithic Age (about 4000 to 10000 years ago) *5、半山类型叶纹双耳长颈壶 新石器时代(约1万年,4千年前) Long-necked pot with double ears, Banshan Culture Neolithic Age (about 4000 to 10000 years ago) 6、半山类型双耳圆圈纹彩陶壶 新石器时代(公元前3300,公元前2050) Painted pottery pot with double ears, Banshan Culture Neolithic Age (3300- 2050 B.C.) 7、马厂类型双耳蛙纹彩陶壶 新石器时代(公元前3300,公元前2050) 马厂类型是马家窑文化最晚期的一个类型，年代约公元前2350~公元前2050 年。其陶器纹饰的特点是用很宽的黑边紫红条带构成圆圈纹、螺旋纹、变体蛙纹、 波折纹等。或用黑色或红色单线画出波折纹、菱形纹、编织纹和变体蛙纹等。马 厂类型的彩陶，是半山类型的继续与发展，品种类型繁多，如提梁罐、鸭形壶、 彩陶鼓、人像彩陶壶等。 Painted pottery pot with double ears, Machang Culture Neolithic Age (3300 - 2050 B.C.) The Machang Culture is the last phase of the Majiayao Culture at about 2350 to 2050 BC. Painted pottery of the Machang Culture was the continue and development of the Banshan Culture. There were many kinds and shapes of pottery wares, such as jar with over-top handle, duck-shaped pot, painted pottery drum, painted pottery pot in shape of figure. 8、山东龙山文化白陶鬲 新石器时代(公元前2500,公元前 2000) White pottery Li (cauldron for cooking meat and cereals), Longshan Culture, Shandong Neolithic Age (2500 - 2000 B.C.) *9、陶爵 商(约公元前16—11世纪) Pottery Jue (goblet) Shang Dynasty (16th – 11th century B.C.) *10、绳纹陶罐 商(约公元前16—11世纪) Pottery jar with rope pattern Shang Dynasty (16th – 11th century B.C.) *11、素陶鬲 西周(约公元前11世纪—前771年) Pottery Li (cauldron for cooking meat and cereals) 5 Western Zhou Dynasty (11th century B.C. – 771 B.C.) 12、原始青瓷双耳兽首鼎 战国(公元前476—221年) 所谓原始青瓷，就是指各方面都接近瓷器的，胎体具备瓷石加高岭土的 成分，经过人工施釉，用1200?高温烧制而成。原始青瓷的出现，是我国陶器 向瓷器飞跃的过渡阶段。 Proto-celadon Ding (tripod for cooking meat and cereals) decorated with animal head Warring States Period (476 B.C. – 221) The so-called proto-celadon approaches to the standards of porcelain in all aspects. It was fired under the temperature of 1200 ? after being glazed. Proto-celadon is the transition from pottery to porcelain in China. 13. 绿釉陶犬 东汉(25-220) Green glazed pottery dog Eastern Han Dynasty (25 – 220) *14、彩绘兽面纹带盖陶钫 东汉(25-220) 古代明器。泥质陶制品，器型仿青铜式样，方腹外鼓，方圈足外侈，方顶盖。 陶钫为战国、西汉年间开始流行，西汉晚期产量增多，东汉以后逐渐消失。 Painted pottery Fang (rectangular pot) Eastern Han Dynasty (25 – 220) This article was a typical funeral object in ancient times in style of bronze ware. It was popular in the Warring States Period and the Western Han Dynasty, made on large scale in the late Western Han Dynasty and had died away gradually since the Eastern Han Dynasty. *15、绿釉凸兽纹陶壶 东汉(25-220) 这是一件汉代的典型器物，因为久埋地下而使绿釉氧化成银色，又称银釉。 汉代发明了低温铅釉工艺，为后代各种低温釉的出现奠定了基础。铅釉以氧化铅 为助溶剂，烧成温度约在700?左右，主要着色剂是铜和铁，铜使釉呈现出美丽 的翠绿色，铁使釉显黄色和棕红色。低温绿釉陶器在全国发现的范围很广，以河 南、河北、山西、陕西、甘肃等省为最多 Green glazed pottery pot with design of animals in relief Eastern Han Dynasty (25 – 220) This pot was a typical pottery made in the Han Dynasty. Green glaze or silver glaze was oxidized into silver because of having been buried for a long time. Thanks to the invention of lower-temperature plumbic-glazed technique in the Han Dynasty, lower-temperature green glazed pottery wares were popular all over China, especially 6 in Henan, Hebei, Shanxi, Shaanxi and Gansu. 16、青褐釉盘口壶 东汉(25 – 220) Bluish brown glazed pot Eastern Han Dynasty (25 – 220) 17、绿釉通花陶熏炉 东汉(25-220) Green glazed pottery incense burner figured on both sides Eastern Han Dynasty (25 – 220) 18、青釉印花盘口壶 西晋 (265-316) Celadon pot with stamped decoration Western Jin Dynasty (265 – 316) 19、青釉虎子 西晋 (265-316) 虎子，古代盛水器，一说是便器，因其形似卧虎而得名。茧形器身，圆筒形 器口，外壁模印虎头，虎背装半环行提梁，器身阴刻虎腿结构，下装四伏卧虎爪。 通体施不均匀的青黄色釉。虎子流行于汉至南北朝时期。该器为西晋典型之物。 Celadon water container Western Jin Dynasty (265 – 316) It is a water container or chamber pot in shape of a lying tiger, popular from the Han Dynasty to the Southern and Northern Dynasties. This is a typical one made in the Western Jin Dynasty. 20、青釉鸡头壶 西晋 (265-316) 鸡首壶，西晋时壶颈低矮，鸡头小而无流，后端为一小鸡尾;东晋时壶身、 壶颈都比西晋的略高，鸡头高起可做流水使用，后端可为执，使用性明显高于前 朝;南北朝时期，鸡头壶壶身、壶颈明显高于前朝，鸡头高高昂起，似正在打鸣 的公鸡，鸡冠美丽，后端的执高于壶口，为龙柄形。 Celadon chicken-spout ewer Western Jin Dynasty (265 – 316) Chicken-spout ewer made in the Western Jin Dynasty is lower at spout with small chicken head and tail. The body and spout of a chicken-spout ewer made in the Eastern Jin Dynasty are higher and more practical than the ones made in the Western Jin Dynasty. The body and spout of chicken-spout ewer made in the Southern and Northern Dynasties are higher than the ones made in the prior dynasties. *21、青灰釉印方格纹洗 西晋 (265-316) Bluish gray glazed basin Western Jin Dynasty (265 – 316) 7 22、青釉蛙形水注 东晋(317-420) Celadon water dropper in shape of frog Eastern Jin Dynasty (317 – 420) *23、青釉卧兽水注 东晋(317-420) Celadon water dropper Eastern Jin Dynasty (317 – 420) *24、青釉点褐彩双耳罐 东晋(317-420) Celadon jar with brown splashes Eastern Jin Dynasty (317 – 420) 25、釉堆贴人物鸟兽谷仓 东晋(317-420) 谷仓又称魂瓶，流行于三国、两晋至唐代的器物，由东汉五连罐演变而来。 五连罐是中间有一大罐，四周四个小罐，腹间互不连通。西晋的谷仓堆塑，顶部 楼阁，器身堆塑各种人物、瑞兽、飞禽。腹壁贴塑不同造型的人物。通体施青釉，底无釉，浅灰胎。该件谷仓具有典型的西晋风格。 Model of granary with embossed decoration of figures, birds and beasts Eastern Jin Dynasty (317 – 420) Pottery granary was a funeral object, which was popular in the Three Kingdoms, the Western and Eastern Jin Dynasties, and the Tang Dynasty. This model was typical in the Jin Dynasty, 26、青釉鸡首壶 东晋(317-420) Celadon chicken-spout ewer Eastern Jin Dynasty (317 – 420) *27、青釉划花大圆盘 南朝(420-589) Celadon plate with incised floral design Southern Dynasties (420 – 589) *28、青釉点彩单把钵 南朝(420-589) Celadon bowl with colored splashes Southern Dynasties (420 – 589) *29、黄釉划花两系水丞 南朝(420-589) Yellow glazed water container with incised floral design Southern Dynasties (420 – 589) *30、黄釉陶盘 南朝(420-589) Yellow glazed pottery plate Southern Dynasties (420 – 589) 8 *31、黄釉三足洗 南朝(420-589) Yellow glazed basin Southern Dynasties (420 – 589) *32、青釉瓶 南朝(420-589) Celadon vase Southern Dynasties (420 – 589) *33、青釉虎子 南朝(420-589) Celadon water container Southern Dynasties (420 – 589) *34、青釉灯 南朝(420-589) Celadon lamp Southern Dynasties (420 – 589) *35、青釉格型洗 南朝(420-589) Celadon basin with check design Southern Dynasties (420 – 589) 陶与瓷:陶与瓷的区别 陶的烧成温度一般在1000?以下～制作原料除了普通黏土外～亦有瓷土、高岭土和特殊黏土。陶的吸水率较高～通常在0.5,以上。表面通常不施釉或施低温釉。因坯胎烧结度低～故击之声音不清脆。 瓷器的烧成温度一般在1200?以上～制作原料主要是瓷土或瓷石～表面 2通常施有高温釉～烧成后具有较高的机械强度～抗弯强度达到700公斤/以上。吸水率多在0.5,以下。由于坯胎已基本烧结～所以击之声如金石～薄胎者具有透光性。 瓷之用: 陶瓷器因成本低、耐冷热等优点～成为了我国古代人们喜爱的用品～从而促进了制瓷业的迅猛发展。相对而言～我国的古玻璃器因原料造成其成份是铅钡或钾等元素为主～而且是低温烧成。这种玻璃与西方的钠钙玻璃相比～质松、易碎、不耐冷和热～因而不为大众所普遍接受。而金、银、玉等质材的器皿～又因其昂贵而无法普及。因此作为日用品～陶瓷器以其经济、耐用的优点而大受欢迎。 彩陶: 装饰着彩绘图案的陶器～是我国新石器时代文化遗存中一种精美的陶器。主 9 要特征是在陶胎上描画红、黑、赭、白等色的彩绘～经过压磨～然后用火烧结～ 为新石器时代人们的日常用具。北方生产彩陶最早的是距今约7000年的河北磁 山文化～南方最早的是浙江河姆渡文化。其它比较著名的有:中原地区的仰韶文 化、龙山文化～长江下游地区的马家浜文化、崧泽文化、良渚文化～长江中上游 地区的大溪文化、屈家岭文化、青龙泉三期文化～黄河中上游地区的马家窑文化、 齐家文化～黄河下游地区的大汶口文化等等。常见器物有饮食器、盛储器、汲水 器等。纹饰图案主要包括植物花纹和几何形线条。 第二部分 瓷国崛起——陶瓷的发展期 (隋唐五代宋辽金) 唐宋时期迎来了我国陶瓷业的第一个发展高峰。 隋唐的统一～促进了经济的繁荣、民族的融合和中外经济文化的交流～也 带来了制瓷业的迅猛发展。除了以越窑青瓷与邢窑白瓷为代表的“南青北白”以 外～三彩陶器、绞胎瓷器和彩绘瓷器～以及黄、黑、绿、花等釉色瓷也有所发 展。在工艺上～匣缽的广泛应用～大大提高了产品的质量。 宋代是我国陶瓷业突飞猛进的发展时期。如脂似玉的青釉瓷器～在釉色方 面为陶瓷美学开辟了一个新的境界。著名的汝、官、哥、定、钧五大名窑体系～ 与磁州窑系、景德镇窑系～龙泉青瓷系、辽金陶瓷等等～共同构成了这一时期 瓷业的繁荣。 从九世纪起～我国陶瓷大量输出国外～远销至东亚、东南亚、非洲东海岸 等地区。 Part Two Development (From the Sui to the Jin Dynasties) In the Tang and Song Dynasties, the Chinese ceramic industry reached its first peak. In the Sui and Tang Dynasties, unity promoted prosperity of economy, national integration and foreign economic and cultural exchanges as well as rapid development of ceramic industry. Besides celadon wares made in the Yue Kiln ,white porcelain made in the Xing Kiln ,which were representatives of ―green in the south and white in the north‖, tricolor pottery , twisted glazed porcelain and painted porcelain as well as yellow ,black, green and painted glazed porcelain had well developed. Technique had greatly been enhanced. 10 In the Song Dynasty, ceramic industry developed rapidly, opening up a new realm for ceramic aesthetics in pained glaze. Five famous kilns systems, such as the Ru Kiln, official kilns, the Ge Kiln, the Ding Kiln and the Jun Kiln, as well as systems of the Cizhou Kiln, Jingdezhen Kiln, Longquan Kiln, and porcelain made in the Liao and Jin Dynasties, etc. formed the prosperity of ceramic industry in the period. Since the 9th century, Chinese ceramics has exported on a large scale to East Asia, Southeast Asia and the east coast of Africa. 1、青釉三兽足龙柄鐎斗 隋(581—619) 板沿口，折腰，扁圆腹，平底，三兽蹄足，足较高长。龙首为提梁，全器满 施青釉，造型美观，制作精细。鐎斗又称―刁斗‖，盛行于汉、晋，与同期的青铜 器形制相同。出土时多伴有火盆并搁置于火盆中，说明用途为温食炊具，军旅多 用之。唐诗有―行人刁斗风沙暗‖之句。 Celadon cooking utensil Sui Dynasty (581 – 619) This kind of utensil was popular in the Han and Jin Dynasties, used for warming food in the army. 2、青釉四耳盖罐 隋(581—619) Celadon covered jar with four ears Sui Dynasty (581 – 619) #3、青釉四耳罐 隋(581—619) Celadon jar with four ears Sui Dynasty (581 – 619) 4、巩县窑绞胎釉陶小方枕 唐(618-907) 枕作方形，抹角，前低后高，后壁有一小孔，通体用绿、黑两色胎泥绞出装 饰纹饰，施绿色釉。绞胎是唐代出现的新的装饰技法，是借鉴于漆器犀毗工艺而 来，宋以后不多见。此类器物以杯、碗、三足小盘、长方形小枕等为常见。烧制 的窑口有唐代河南巩县窑、宋代河南修武当阳峪、宝丰清凉寺等。 Pottery pillow with the twisted colored body, Gongxian ware Tang Dynasty (618 – 907) Twisted colored body was a new decorated technique in the Tang Dynasty and had seldom been seen since the Song Dynasty. Cups, bowls, small plates with three legs and rectangular pillows were usually decorated with twisted colored body in the Gongxian Kiln in the Tang Dynasty and the Dangyangyu Kiln and the Qingliangsi 11 Kiln in the Song Dynasty. 5、越窑青釉葵瓣口碗 唐(618-907) 碗浅腹，花瓣口，玉璧底。里外施青釉，有细小开片。底足露胎，见残留垫 饼痕。胎灰白，碗心刻花卉，此器物为典型唐代越窑茶盏之一。越窑是我国烧瓷 历史最早的瓷窑之一，窑址在浙江余姚、上虞、绍兴一带，烧瓷时间为汉至宋。 唐、五代时越窑形成独特的风格，成为南方最著名的青瓷窑。 Celadon bowl, Yue ware Tang Dynasty (618 – 907) This is one of typical tea bowls made in the Yue Kiln in the Tang Dynasty. The Yue Kiln, located in Yuyao, Shangyu and Shaoxing of Zhejiang Province, is one of the earliest porcelain kilns in China. The kiln was used to make porcelain from the Han Dynasty to the Song Dynasty. During the Tang and Five Dynasties, it formed a unique feature and became the most famous celadon kiln in the south of China. #6、越窑葵瓣口碗 唐(618—907) Bowl, Yue ware Tang Dynasty (618 – 907) 7、河南登丰曲河窑绿釉绞胎小方枕 唐(618-907) Green glazed pillow with the twisted colored body, Quhe ware, Henan Tang Dynasty (618 – 907) 8、三彩镇墓兽 唐(618—907) Tricolor pottery tomb animal Tang Dynasty (618 – 907) 9、三彩文立俑 唐(618—907) Tricolor pottery tomb figurine Tang Dynasty (618 – 907) 10、三彩武士俑 唐(618—907) 俑头戴盔，身穿武士甲，锁眉睁目，高鼻阔口，满脸胡须，右手握拳于胸前， 左手叉腰，双脚踏卧牛，三彩武士俑是唐代贵族墓中的陪葬品，用以显示死者生 前的显赫地位。 Tricolor pottery figurine of warrior Tang Dynasty (618 – 907) Ttricolor pottery figurine of warrior was a funeral object of noble tombs of the Tang Dynasty, representing the celebrated position of the deceased. 11、三彩釜 唐(618—907) 12 Tricolor pottery cauldron Tang Dynasty (618 – 907) 12、河南黄道窑黑釉双耳罐 唐(618—907) 口外卷，短颈，平底。肩间两侧贴拱形耳内外施黑釉，外釉不到底，釉色匀 净温润，有细小黄点。底露灰黄胎，露胎处见批削痕，此罐为唐代河南郏县黄道 窑器物。黄道窑为唐至元代瓷窑，唐代生产黑釉、黄釉、黑釉花瓷等品种;宋代 有白釉绿彩器;元代器物有磁州窑风格的白地黑花、钧釉器等。 Black glazed jar with two ears, Huangdao ware, Henan Tang Dynasty (618 – 907) Huangdao Kiln had been used to make porcelain from the Tang Dynasty to the Yuan Dynasty. Black and yellow glazed porcelain was made in it in the Tang Dynasty. Porcelain in green family was made in it in the Song Dynasty. Porcelain with decoration in style of the Cizhou Kiln or the Jun Kiln was made in it in the Yuan Dynasty. 13、河南鲁山窑黑釉加彩罐 唐(618—907) Black glazed jar with added color, Lushan ware, Henan Tang Dynasty (618 – 907) 14、长沙窑褐绿瓜棱壶 唐(618—907) 壶的腹部贴胡服杂技人物纹及武士人物纹，上覆盖大片斑状褐彩，突出堆贴 图案装饰效果。灰白胎，质较细腻，通体施青黄色釉，釉不及足，有冰裂纹开片。 贴塑装饰是长沙窑瓷器的特色之一，出现在中唐偏晚期，题材有人物、鸟兽、花 叶、椰枣、双鱼等。 Brownish green glazed pot, Changsha ware, Hunan Tang Dynasty (618 – 907) Applied floral design was one of features of the Changsha Kiln in the middle and late Tang Dynasty with design of figure, bird and beast, flower leaves, date palm and double-fish, etc. 15、河南西关窑绿釉双耳葫芦瓶 唐(618—907) 小口，葫芦身，饼形足，腰间装三并条拱形耳，上部和中部印双弦纹一周， 通体施绿釉稍泛黄，底无釉，胎呈灰黄色。为唐代河南密县西关窑产品。西关窑 创烧于唐、终于宋，烧制白釉、黄釉、青釉、黑釉及珍珠地划花等品种。 Green glazed gourd-shaped vase, Xiguan ware, Henan Tang Dynasty (618 – 907) Xiguan Kiln was used to make porcelain from the Tang Dynasty to the Song Dynasty. 13 White, yellow, celadon, black glazed porcelain and porcelain with incised floral design over a pearl-pattern ground were made in it. 16、邢窑白釉罐 唐(618—907) White glazed jar, Xing ware Tang Dynasty (618 – 907) 17、邢窑白釉碗 唐(618—907) 碗撇口，浅腹，玉璧底，通体施白釉至足。外壁施白釉不均处，似流趟的泪 痕，此物是唐代河北邢窑典型白瓷产品。邢窑是唐代重要瓷窑，所产白瓷被誉为 ―类银‖、―类雪‖，不仅广销国内，还远销至埃及、西亚等地。 White glazed bowl, Xing ware Tang Dynasty (618 – 907) This type of bowl was typical made in the Xing Kiln. The Xing Kiln was a main porcelain kiln in the Tang Dynasty. White glazed porcelain made in the kiln was regarded to be ―as white as silver‖ or ―as white as snow‖, which not only was sold well in China, but also exported to Egypt and West Asia. 18、白釉兽头壶 唐(618—907) 盘口，颈细长，上饰凸眩纹三道，丰肩鼓腹，下腹渐收，平底。盘口和肩部 两侧塑衔瓶龙柄一对。龙卷角，竖耳，睁圆眼。胎白细腻，胎骨坚硬，厚重，外 壁施白釉不到底，器形高大，端正，反映唐代大瓶制作的高超技术，为唐代典型 器物。 White glazed pot Tang Dynasty (618 – 907) It was a typical ware made in the Tang Dynasty, reflecting the exquisite craftsmanship of large vase made in the Tang Dynasty. 19、定窑白釉葵瓣口碗 五代(907—960) White glazed bowl, Ding ware Five Dynasties (907 – 960) 20、邢窑瓣口碗 五代(907—960) Bowl, Xing ware Five Dynasties (907 – 960) 21、河南西关窑白釉执壶 五代(907—960) White glazed pot with handle at side, Xiguan ware, Henan Five Dynasties (907 – 960) 22、寿州窑酱黄釉腰形枕 五代(907—960) 14 Dark reddish yellow glazed pillow, Shouzhou ware Five Dynasties (907 – 960) 23、黑釉双广口罐 五代(907—960) Black glazed jar Five Dynasties (907 – 960) 24、岳州窑青釉莲瓣纹小口瓶 五代(907—960) 小直口，高颈，丰肩，鼓腹渐收，圈组内敛，肩部刻莲瓣纹，通体施绿色釉， 开细小开片纹。此物为五代湖南岳州窑精品。岳州窑即湘阴窑(湘阴窑历汉至明， 在唐、五代时称岳州窑)，唐代陆羽《茶经》中从饮茶的角度把岳州窑青瓷排在 第四位，可见其地位的重要。 Celadon vase with lotus-petal design, Yuezhou ware Five Dynasties (907 – 960) It is a fine ware made in the Yuezhou Kiln, Hunan in the Five Dynasties. 25、河南段店窑黑釉画彩小罐 宋(960—1279) Black glazed jar, Duandian ware, Henan Song Dynasty (960 – 1279) 26、河南段店窑黑釉罐 宋(960—1279) Black glazed jar, Duandian ware, Henan Song Dynasty (960 – 1279) 27、景德镇窑影青云水纹碗 宋(960—1279) Bluish white glazed bowl with design of clouds and water, Jingdezhen ware Song Dynasty (960 – 1279) 28、景德镇窑影青划花葵瓣口碗 宋(960—1279) Bluish white glazed bowl with incised floral design, Jingdezhen ware Song Dynasty (960 – 1279) 29、景德镇窑影青釉瓣口碟 宋(960—1279) Bluish white glazed dish, Jingdezhen ware Song Dynasty (960 – 1279) 30、景德镇窑影青印花八角带盖梅瓶 宋(960—1279) 瓶带盖，小口，丰肩，瓜棱腹，肩和底上各刻弦纹两周，满身刻缠枝牡丹花， 里外施青白釉，釉色明亮，莹润如玉，积釉处呈湖水绿色。灰白色胎，质坚、细 腻，此物是宋代江西景德镇窑难得的精品。青白釉又称影青，是介于青白二色之 间的一种釉色，创烧于北宋前期，以景德镇窑为代表。 Bluish white glazed covered octagon prunus vase, Jingdezhen ware 15 Song Dynasty (960 – 1279) Bluish white glaze is a kind of glaze between white and glaucous, first made in the early Northern Song Dynasty. This fine work was made in the Jingdezhen Kiln. 31、景德镇窑影青带盖小茶壶 宋(960—1279) Bluish white glazed teapot, Jingdezhen ware Song Dynasty (960 – 1279) 32、景德镇窑影青褐彩葫芦壶 宋(960—1279) Bluish white glazed gourd-shaped pot, Jingdezhen ware Song Dynasty (960 – 1279) 33、景德镇窑影青刻花碗 宋(960—1279) Bluish white glazed bowl with incised floral design, Jingdezhen ware Song Dynasty (960 – 1279) 34、龙泉窑青釉盘口双耳壶 宋(960—1279) 盘口，长颈，筒形腹，圈足。颈部两侧装双凤耳。这种器形是宋代龙泉窑的 典型器物之一。器物通体施梅子青釉，凸棱地方釉较薄，颜色较淡，积釉处呈半 透明的青绿色。梅子青釉是浙江龙泉窑最佳釉色之一。 Celadon pot, Longquan ware Song Dynasty (960 – 1279) This was typical made in the Longquan Kiln in the Song Dynasty. Plum green glaze was one of the best glazes made in the Longquan Kiln. 35、龙泉窑刻花带盖五管瓶 北宋(960—1127) Covered vase with incised floral design, Longquan ware Northern Song Dynasty (960 – 1127) 36、龙泉窑莲瓣纹碗 宋(960—1279) Bowl with lotus-petal design, Longquan ware Song Dynasty (960 – 1279) 37、龙泉窑八角暗花碟 宋(960—1279) Octagon dish with veiled decoration, Longquan ware Song Dynasty (960 – 1279) 38、河南修武窑绞胎小碗 宋(960—1279) Bowl with twisted colored body, Xiuwu ware, Henan Song Dynasty (960 – 1279) 39、青釉刻花梅瓶 北宋(960—1127) Celadon prunus vase with incised floral design 16 Northern Song Dynasty (960 – 1127) 40、吉州窑黑釉剔花‖天庆观‖胆瓶 宋(960—1279) 直口，长颈，胆形腹，圈足。通体施黑釉，腹部一面刻天庆观四圣台铭文， 另一面刻梅花纹，均剔去花纹外的黑釉，突出花纹的艺术效果。吉州窑是宋代著 名民间瓷窑，窑址在江西吉安永和镇，故又称永和窑，烧瓷时间是唐至元。 Black glazed gall-bladder vase, Jizhou ware Song Dynasty (960 – 1279) Jizhou Kiln or Yonghe Kiln was a famous civilian kiln in the Song Dynasty. 41、建窑黑釉小碗 宋(960—1279) Black glazed bowl, Jian ware Song Dynasty (960 – 1279) 42、吉州窑黑釉木叶纹小盏 宋(960—1279) Black glazed cup, Jizhou ware Song Dynasty (960 – 1279) 43、吉州窑玳瑁纹小碗 宋(960—1279) 唇口，弧形腹，小圈足。里外施黑釉，在黑釉中满布黄褐色玳瑁斑纹，胎灰 白，较疏松。该类器物的坯体用含铁量较低的瓷土做成，生坯挂釉，入釉焙烧后 再挂一次膨胀系数不同的釉，二次烧成。由于釉层的龟裂、流动、密集、填缝， 便在黑色中形成玳瑁状的斑纹。玳瑁斑始见于宋代，以江西吉安永和窑制品为代 表，器型以盏为主。 Bowl with tortoise-shell marking, Jizhou ware Song Dynasty (960 – 1279) Tortoise-shell marking design first appeared in the Song Dynasty, which was widely used on wares, especially on cups made in the Yonghe Kiln. 44、吉州窑双凤梅花纹碗 宋(960—1279) Bowl with the design of double phoenixes and prunus blossom, Jizhou ware Song Dynasty (960 – 1279) 45、定窑白釉刻花盘 北宋(960—1127) 敞口，小折沿，浅圈足。盘内刻莲花纹，线条清晰流畅。通体施白釉，稍泛 黄色。此物为北宋时期河北曲阳定窑烧造。定窑创烧于唐，发展于宋，延续至金、元时期，以烧制白釉器为特色。尤其在宋代，以划花、刻花、印花为装饰手段， 形成独特的风格。 White glazed plate with incised floral design, Ding ware Northern Song Dynasty (960 – 1127) 17 Porcelain was first made in the Tang Dynasty, developed well in the Song, Jin and Yuan Dynasties. White glazed porcelain was typical wares made in the Ding Kiln. Incised, carved and stamped designs were unique decorations of the kiln. 46、磁州窑三彩刻花枕 宋(960—1279) 枕呈腰形，前低后高，枕的后壁饰一小孔，枕面刻缠枝牡丹花卉，施黄褐釉 和绿釉，枕的四周及底部施绿色釉，釉面有小开片，胎土稍泛红，胎较松，磁州 窑窑址位于河北邯郸市磁县，产品多充满民间生活气息，以白地黑花装饰最具特 色，兼烧白釉红绿彩、绿釉黑彩、珍珠地划花、三彩等品种。 Tricolor pillow with incised floral design, Cizhou ware Song Dynasty (960 – 1279) Cizhou Kiln was located in Cixian County, Hebei Province. Wares made in this kiln were usually lively, full of flavor of folk life, famous for the decoration of black floral design over a white ground. White glazed porcelain with red and green color, green glazed porcelain with black color, porcelain with incised design over a pearl-pattern ground were also made in it.. 47、绿釉印花小方枕 宋(960—1279) Green glazed pillow with stamped decoration Song Dynasty (960 – 1279) 48、磁州窑白地黑花鱼纹枕 宋(960—1279) Pillow with floral design over a white ground, Cizhou ware Song Dynasty (960 – 1279) 49、河南登封窑珍珠地牡丹枕 宋(960—1279) Pillow with design of peony over a pearl-pattern ground, Dengfeng ware, Henan Song Dynasty (960 – 1279) 50、磁州窑三彩花凤枕 宋(960—1279) Tricolor pillow with design of flower and phoenix, Cizhou ware Song Dynasty (960 – 1279) 51、磁州窑―酒色才气‖四系壶 宋(960—1279) Pot with four loops, Cizhou ware Song Dynasty (960 – 1279) 52、扒村窑黑花玉壶春瓶 宋(960—1279) Pear-shaped vase with flaring lip with black floral design, Pacun ware Song Dynasty (960 – 1279) 53、钧窑碗 宋(960—1279) 18 口微敛，弧形腹，圈足。器身里外施天蓝色釉，泛起玫瑰紫斑釉层肥厚，釉 色明亮。足底和足边露胎，胎呈灰白。钧窑窑址位于河南禹县，烧瓷时间是从唐 至元，器物釉色以天蓝、月白、玫瑰紫、海棠红等为主。 Bowl, Jun ware Song Dynasty (960 – 1279) Porcelain was made in the Jun Kiln, Yuxian County, Henan Province, used to make porcelain from the Tang Dynasty to the Yuan Dynasty. 54、钧窑盘 宋(960—1279) Plate, Jun ware 1279) Song Dynasty (960 – 55、官窑小碗 北宋(960—1127) Bowl, official ware Northern Song Dynasty (960 – 1127) 56、南宋官窑长颈瓶 南宋(1127—1279) Long-necked vase, official ware Southern Song Dynasty (1127 – 1279) 57、定窑刻双鱼葵口碗 宋(960—1279) Bowl with incised double-fish design, Ding ware Song Dynasty (960 – 1279) 58、定窑印花大碗 宋(960—1279) Bowl with stamped decoration, Ding ware Song Dynasty (960 – 1279) 59、耀州窑莲瓣纹碗 宋(960—1279) 敞口，浅腹，圈足，碗内印缠枝花卉，外壁满刻莲瓣纹到底足。施青釉，釉 色青中带绿，釉薄均匀，灰胎，胎薄，坚硬。造型秀丽，印纹清晰，此器物是宋 代陕西耀州窑的典型佳作。耀州窑的烧瓷时间是唐至元，五代至宋以烧制青瓷为 主，以刻花、印花装饰最具特色。 Bowl with lotus-petal design, Yaozhou ware Song Dynasty (960 – 1279) This was typical ware made in the Yaozhou Kiln in the Song Dynasty. Porcelain had been made in the kiln from the Tang to the Yuan Dynasties. Celadon porcelain had mainly been made in it from the Five Dynasties to the Song Dynasty. Incised and stamped decorations were the main feature of the kiln. 60、临汝窑青釉盘 宋(960—1279) 19 Celadon glaze plate, Linru ware Song Dynasty (960 – 1279) 61、临汝青釉莲瓣纹碗 宋(960—1279) 敛口，浅腹，圈足。盘通体施青釉，有开片。临汝窑位于河南临汝县，是宋 代重要的民间瓷窑，烧制品种有北方常见的白釉绿彩、白地黑花、黑釉、绿釉等， 以及受耀州窑影响而生产的青釉器。 Celadon bowl with lotus-petal design, Linru ware Song Dynasty (960 – 1279) Linru Kiln, located in Linru, Henan Province, was a famous civilian kiln in the Song Dynasty. Common porcelain made in the north, such as white glazed porcelain with green colors, ―black on white‖ ware, black glazed porcelain and green glazed porcelain as well as celadon ware influenced by the Yaozhou Kiln had been made in the kiln. 62、辽绿釉渣斗 辽(916—1125) 喇叭口，弧形腹，高圈足，圈呈琮形。器物里外施绿釉不到底，胎土泛灰， 胎质较松。辽瓷是指辽政权(947--1125)控制范围内生产的陶瓷器，其生产工 艺多受宋朝的影响，生产区域在东北和华北的部分地区。在东北地区各瓷窑生产 许多带有浓郁北方草原民族特点的器物，如皮囊壶、鸡冠壶等。 Green glazed refuse-vessel Liao Dynasty (916 – 1125) Most porcelain wares made in the Liao Dynasty were influenced by the ones made in the Song Dynasty, which were mainly made in the north of China with strong characteristics of the steppe nomads in the north of China. 63、辽黄釉鸡冠皮囊壶 辽(916—1125) Yellow glazed cockscomb pot Liao Dynasty (916 – 1125) 64、辽白釉瓣口盘(对) 辽(916—1125) White glazed petal-shaped plate Liao Dynasty (916 – 1125) 65、黑釉油滴碗 金(1115—1234) Black glazed bowl Jin Dynasty (1115 – 1234) 66、黑釉剔花罐 金(1115—1234) 唇口，短颈，鼓腹往下渐收至足，玉璧底。腹部主题纹饰为黑釉剔花缠枝牡 20 丹花卉，足无釉，呈灰色。此罐属山西窑口产品。此类黑釉剔花器，在宋、金时 期北方的山西、河北、宁夏等地多有烧造。 Carved black glazed jar Jin Dynasty (1115 – 1234) This jar was made in Shanxi. This kind of carved black glazed ware was made in Shanxi, Hebei and Ningxia in the Song and Jin Dynasties. 67、河南观台窑黑釉划纹碗 金(1115—1234) Black glazed bowl, Guantai ware, Henan Jin Dynasty (1115 – 1234) 68、登封曲河窑素三彩牡丹刻花小碟 金(1115—1234) Plain tricolor dish with design of carved peony, Quhe ware, Henan Jin Dynasty (1115 – 1234) 69、黑釉刻花小口瓶 金(1115—1234) Black glazed bottle with incised floral design Jin Dynasty (1115 – 1234) 70、耀州窑刻花犀牛望月纹碗 金(1115—1234) 犀牛望月又称为吴牛喘月，其典故出自《世说新语》:―今之水牛唯生 江淮间，故谓之吴牛也。南方多暑，而此牛畏热，见月疑是日，所以见月 则喘。‖宋元瓷器中的此类图案，反映了北方金人统治下的汉族人民对战乱 引发的沉重生活压力深感畏惧的心理。 Bowl with incised design of rhinoceros looking at the moon, Yaozhou ware Jin Dynasty (1115 – 1234) Porcelain with design of rhinoceros looking at the moon made in the Song and Yuan Dynasties reflects the fear psychology and heavy pressure of the Han people caused by the war under the rule of the Northern Jin Dynasty. 唐三彩: 唐代生产的彩色低温铅釉。用白色粘土作胎～用含铜、铁、钴、锰等元素的 矿物作釉料着色剂～并在釉里加入大量炼铅熔渣和铅灰作助熔剂～经过约800? 高温烧制而成。釉面呈现深绿、浅绿、翠绿、蓝、黄、白、赭、褐等多种颜色～ 但以黄、绿、白三彩为主。迄今为止发现烧造唐三彩的窑址有河南巩县、陕西铜 川、河北内邱。唐三彩色釉制作的高度成就～对宋、辽三彩及明、清景德镇釉上 彩的发展有着重要影响。 绞胎和绞釉: 21 或作―搅胎‖、―绞泥‖。系用白、褐两色,或多色,泥料相间揉合在一起～然 后按照需要切成泥片贴于制成的坯胎上～或者全部利用绞泥做坯胎～再施釉烧成 呈绞纹的器物。按泥料绞合方式的不同～绞纹有木理纹、野鸡翅、羽毛纹等。这 是唐代出现的新的装饰技法～是借鉴于漆器犀毗工艺而来～宋以后不多见。此类 器物以杯、碗、三足小盘、长方形小枕等为常见。烧制的窑口有唐代河南巩县窑、 宋代河南修武当阳峪、宝丰清凉寺等。 绞釉是陶瓷装饰工艺技法之一。系在釉料中加入着色料～经适当搅动再施于 坯体上烧成。 第三部分 各领风骚——陶瓷的鼎盛期 (元、明、清) 明清时期～我国陶瓷业发展到了鼎峰阶段。 元代景德镇窑在制瓷工艺上有了新的突破:制胎上采用瓷石加高岭土的“二 元配方”法～提高了烧成温度～减少了器物变形～因而能烧造气势宏大的大型器, 成熟青花、釉里红的烧成～使中国绘画技巧与制瓷工艺的结合更趋成熟,高温 颜色釉瓷的烧造成功～是熟练掌握各种呈色剂的标志。明清时期的景德镇瓷业 进一步发展～并在此设臵了官窑烧制御用瓷器。斗彩、五彩、珐琅彩、粉彩等 釉上彩绘瓷器～以及日益丰富的颜色釉瓷多姿多彩、各具魅力。景德镇成为斐 声中外的瓷业中心。 江苏宜兴紫砂陶、福建德化窑白瓷等也取得了突出的成就。 这个时期的瓷器输出也达到了空前的繁荣～中国瓷器的足迹遍及世界各地。 Heyday (From the Yuan to the Qing Dynasties) In the Ming and Qing Dynasties, ceramic industry developed to its heyday in China. The kilns in Jingdezhen made an innovation in techniques in the Yuan Dynasty so that large porcelain wares could be made there. Blue and white glazed porcelain and porcelain in underglaze red made the technique, which combined Chinese painting with porcelain making technique, more mature. The success of high temperature glazed porcelain was a sign that various coloring agents were mastered skillfully. In the Ming and Qing Dynasties, ceramic industry in Jingdezhen had further development. Official kilns were set up there. Porcelain in strongly contrasting colors, polychrome colors, cloisonné enamel and pink family and so on was made.Jingdezhen became a well-known center of ceramic industry at home and abroad. Purple stoneware teapot made in Yixing, Jiangsu and white porcelain and white 22 porcelain made in Dehua, Fujian, had also made outstanding achievements. Porcelain export in this period had reached an unprecedented prosperity, Chinese porcelain exported to all over the world. 1.龙泉窑暗花瓣口盘 元(1260—1368) Plate with veiled decoration, Longquan ware Yuan Dynasty (1260 – 1368) 2.龙泉窑刻花罐 元(1260—1368) Jar with incised floral design，Longquan ware Yuan Dynasty (1260 – 1368) 3.磁州窑《西游记》故事图枕 元(1260—1368) 这件器物是典型的元代瓷枕造型，正面绘唐僧取经图，底有楷书印款―张家 造‖。《西游记》成书于明代中期，而相关内容的画面在元代瓷器上已出现。说明 在《西游记》成书前，有关的故事已通过戏剧、说书等形式在民间广为流传。 Pillow with the decoration of A Record of Pilgrims to the West, Cizhou ware Yuan Dynasty (1260 – 1368) This was a typical shape of pillow made in the Yuan Dynasty. A Record of Pilgrims to the West was usually regarded to be written in the middle Ming Dynasty. Picture in terms of the story appeared on the pillow of the Yuan Dynasty, which meant that this legendary story had been told in the form of drama or storytelling before the book was written. 4.磁州窑孔雀绿釉人物纹梅瓶 元(1260—1368) Peacock green glazed prunus vase with design of figures, Cizhou ware Yuan Dynasty (1260 – 1368) 5.德化窑树头杯 明(1368—1644) Cup, Dehua ware Ming Dynasty (1368 – 1644) 6.德化窑牺首纹鼎式炉 明(1368—1644) Incense burner, Dehua ware Ming Dynasty (1368 – 1644) 7.德化窑夔纹三足炉 明(1368—1644) Incense burner, Dehua ware Ming Dynasty (1368 – 1644) 8.德化窑花瓣口吸管杯 清(1644—1911) 23 Cup, Dehua ware Qing Dynasty (1644 – 1911) 9.德化窑―博及渔人‖铭暗花持莲佛像 清(1644—1911) Buddha with lotus, Dehua ware Qing Dynasty (1644 – 1911) 10.德化窑―张寿山‖款负书罗汉像 明(1368—1644) Arhat with books, Dehua ware Ming Dynasty (1368 – 1644 ) 11.德化窑贴花双兽耳桃纽盖罐 清(1644—1911) Covered jar, Dehua ware Qing Dynasty (1644 – 1911) 12.德化窑童子观音像 清(1644—1911) 观音菩萨传入中国大约是魏晋时期，当时社会的动乱使这种信仰迅速盛行。 明清德化窑瓷器尤以佛道人物著称，当中又以观音像最多、最美。德化窑观音像 通常身穿长袍，衣纹呈放射线状，双目低垂，表情和善，颈部刻三道折痕，胸前 堆塑璎珞纹。其艺术特点，可以追溯至古印度佛教造像艺术最早的杰出代表—— 健陀罗艺术和笈多艺术.' Guanyin (Mother of Mercy) with a child, Dehua ware Qing Dynasty (1644 – 1911) Guanyin was introduced into China in the Wei and Jin Dynasties. Instable society made the belief popular. Dehua Kiln was famous for Buddhist or Taoist statue. Among them, Guanyin was made most and the most beautiful in the Ming and Qing Dynasties. Guanyin made in the Dehua Kiln was usually dressed in gown with radiating lines, eyes drooping, facial expressions, three folds on the neck and jeweled necklaces and strings of ornaments on the chest. The artistic characteristic can be traced to the earliest outstanding representatives of ancient Indian Buddhist arts - Gandhara Art and Gupta Art. ' 13.宜兴均釉凤尾瓶 清(1644—1911) Phoenix-tail-shaped vase, Yixing ware Qing Dynasty (1644 – 1911) 14.宜兴紫砂刻花提梁茶壶 清?乾隆(1736—1795) Purple stoneware teapot with over-top handle, Yixing ware Qing Qianlong Period (1736 – 1795) 15.宜兴紫砂象生瓜形茶壶 清(1644—1911) 24 该器物以瓜形为壶身，以莲藕为流，以桃为把，以核桃、菱角、荔枝为足， 壶盖为反扣的蘑菇，上粘瓜子、蚕豆作纽。壶身再衬以白果、茨菇、红枣、花生、 苹果。腹部刻楷书―仙家瓜果四时同‖，后书―鹤邨‖，钤阳文篆书―陈‖、―鸣远‖一 圆一方二印。清初宜兴紫砂陶开创了象生陶瓷的制作先河，以瓜果的形象逼真而 著称。陈鸣远号鹤峰，清康熙、雍正间人，善制紫砂茶具，款字有晋、唐风格。 Purple stoneware melon-shaped teapot, Yixing ware Qing Dynasty (1644 – 1911) Purple stoneware was made in Yixing in the early Qing Dynasty, famous for the one in shape of melon. Chen Minyuan, a famous artist in the Kangxi and Yongzheng Periods of the Qing Dynasty, was good at making purple stoneware in type of the one made in the Jin Dynasty or Tang Dynasty. 16.三彩浮雕花卉四足方鼎 明(1368—1644) 山西窑口 Tricolor tripod with floral design in relief Ming Dynasty (1368 – 1644) 17.珐华三彩瓶 明(1368—1644) 山西窑口 珐华器指施珐华釉的低温彩釉陶器，萌芽于元、盛行于明，主要在北方窑口 生产。陶胎珐华多为山西所烧。珐华釉是陶瓷器源于琉璃的一种低温色釉。明代 宣德时，景德镇开始效仿山西珐华的工艺生产瓷胎珐华，并兴盛于明代中期，但 胎质、彩料及装饰更为丰富和考究，艺术效果更为雅致。 Tricolor vase with contour-raised design Ming Dynasty (1368 – 1644) Porcelain with contour-raised design was first made in the Yuan Dynasty and became popular in the Ming Dynasty. It was mainly made in the north of China. 18.景德镇窑―东卫‖卵白釉印花盘 元(1260—1368) 卵白釉是元代景德镇创烧的一种青白色釉，色泽白中微泛青，釉面透明度低 甚至呈失透状，恰似鹅蛋壳，故名―卵白‖。这种釉色的成功创烧，为明永乐甜白 釉的烧制成功奠定了基础。又因这种釉色的瓷器多为元代枢密院定烧，印有―枢 府‖铭文，故又称―枢府釉‖。这件器物上印的是―东卫‖铭。 Egg -white glazed plate with stamped decoration, Jingdezhen ware Yuan Dynasty (1260 – 1368) Egg-white glaze was a kind of bluish white glazes first made in Jingdezhen in the Yuan Dynasty, which laid the foundation of sweet white glaze made in the Yongle Period of the Ming Dynasty. 19.景德镇窑青花人物纹玉壶春瓶 元(1260—1368) 25 据说玉壶春瓶因苏东坡诗句―玉壶先春，冰心可鉴‖而得名，造型为撇口、细 颈、圆腹、圈足。宋代定窑、汝窑、耀州窑、磁州窑普遍烧造。元至明、清历代 也多见。景德镇元青花的纹饰最大特点是构图丰满，层次多而不乱。除玉壶春底 足荡釉外，其它器物多砂底无釉，见火石红。这件器物在瓶底釉下书写了青花―又‖ 字。 Blue- and -white glazed pear-shaped vase with flaring lip, Jingdezhen ware Yuan Dynasty (1260 – 1368) Pear-shaped vase with flaring lip was normally made in the Ding Kiln, the Ru Kiln, the Yaozhou Kiln and the Cizhou Kiln in the Song Dynasty and popular from the Yuan to the Ming and Qing Dynasties. 20.景德镇窑青花菱口单凤纹茶碟 元(1260—1368) Blue-and-white glazed tea dish with design of phoenix, Jingdezhen ware Yuan Dynasty (1260 – 1368) 21.景德镇窑卵白釉梅花双耳瓶 元(1260—1368) Egg-white glazed vase with design of prunus blossom, Jingdezhen ware Yuan Dynasty (1260 – 1368) 22.景德镇官窑釉里红菊花纹大盘 明?洪武(1368—1398) 釉里红是以铜红料为着色剂在瓷胎上绘画纹饰，罩以透明釉，在高温还原气 氛中烧成，使釉下纹饰呈现红色。釉里红创烧于元代景德镇，由于铜红料对窑室 气氛要求十分严格，因此烧成难度大，成品率低。元、明釉里红器因传世品少而 尤为珍贵。明初洪武釉里红器很大程度上延续了元器的特征，红色晕散，不太鲜 艳;白釉泛青有棕眼;纹饰层次多而不乱。 Plate with design of chrysanthemum in underglaze red, official ware, Jingdezhen Hongwu Period, Ming Dynasty (1368 – 1398) Porcelain in underglaze red was first made in Jingdezhen in the Yuan Dynasty. Wares in underglaze red made in the Yuan and Ming Dynasties were seldom seen, for they were hard to be made. Ware in underglaze red made in the Hongwu Period of the Ming Dynasty had the nature of the one made in Yuan Dynasty. Red color was not bright. White glaze was bluish white with brown dots. Multilayer decoration was not messy. 23.景德镇官窑青花缠枝莲纹八角烛台 明?永乐(1403—1424) Blue-and-white glazed octagon candlestick with design of interlocking lotus, official ware, Jingdezhen 26 Yongle Period, Ming Dynasty (1403 – 1424) 24.景德镇官窑青花带盖梅瓶 明?永乐(1403—1424) Covered blue-and-white glazed prunus vase, official ware, Jingdezhen Yongle Period ，Ming Dynasty(1403 – 1424 ) 25.景德镇官窑白釉玉壶春瓶 明?永乐(1403—1424) 甜白釉是明永乐时期景德镇御器厂烧制的一种白瓷釉色，因呈木光状、具有 白糖色泽，故称甜白。永乐、宣德时御器厂的白釉瓷器大量掺入高岭土，而高岭 土中三氧化二铝的含量较高，这对增强瓷釉的白度起到了很大的作用，并把瓷釉 泛青的现象降到最低的限度。 White glazed pear-shaped vase with flaring lip, official ware, Jingdezhen Yongle Period, Ming Dynasty (1403 – 1424) Sweet white glaze is a kind of white glazes first made in the official kiln in Jingdezhen in the Yongle Period of the Ming Dynasty. It is as white as white sugar, so it is called sweet white. 26.景德镇官窑白釉高足碗 明?宣德(1426—1435) White glazed stem bowl, official ware, Jingdezhen Xuande Period, Ming Dynasty (1426 – 1435) 27.景德镇官窑青花缠枝莲纹盘 明?宣德(1426—1435) Blue-and-white glazed plate with design of interlocking lotus, official ware, Jingdezhen Xuande Period, Ming Dynasty (1426 – 1435) 28.景德镇官窑蓝地白花盘 明?宣德(1426—1435) 蓝釉白花就是以宝石蓝釉作地，留出空白作纹饰图案，以刻、堆、镶嵌等方 法使白色花纹具有立体感。这种装饰方法始于元代，明代宣德、成化、万历和清 代雍正均有少量烧造。其中以明宣德时的制品最为精美、最为珍贵。 ―White on blue‖ plate with design of flowers, official ware, Jingdezhen Xuande Period, Ming Dynasty (1426 – 1435) ―White on blue‖ decoration was first made in the Yuan Dynasty and made on small scale in the Xuande, Chenghua and Wanli Periods of the Ming Dynasty and the Yongzheng Period of the Qing Dynasty. Among them, the one made in the Xuede Period was the most exquisite and valuable. 29.景德镇官窑宣德款红釉盘 明?宣德(1426—1435) Red glazed plate, official ware Xuande Period, Ming Dynasty (1426 – 1435) 27 30.景德镇窑青花花卉纹双兽耳瓶 明?天顺(1457—1464) Blue-and-white glazed vase, Jingdezhen ware Tianshun Period, Ming Dynasty (1457 – 1464) 31.景德镇窑青花人物纹梅瓶 明?天顺(1457—1464) 明代正统、景泰、天顺(1436~1464)这三十年间，由于战争频繁、饥荒不 断、皇室内部因争夺皇位而屡发冲突，因而景德镇官窑生产的瓷器较少、而且多 不写年款，致使人们对这一时期的瓷器认识不清。陶瓷史上称这一时期为―空白 期‖或―黑暗期‖。随着对窑址和墓葬出土物的研究，空白期瓷器的面目才日渐明 朗。梅瓶的颈部上窄下宽呈梯形状，正是空白期瓷器的典型特征之一。 Blue-and-white glazed prunus vase, Jingdezhen ware Tianshun Period, Ming Dynasty (1457 – 1464) Few porcelain wares were made in the official kilns in Jingdezhen in the Zhengtong, Jingtai and Tianshun Periods of the Ming Dynasty (1436-1464) due to frequent wars. The period was named as the ―Blank Period‖ or ―Dark Period‖. Trapezoid neck was a unique feature of prunus vase made in this period. 32.景德镇窑青花缠枝花八宝纹盘 明?成化(1465—1487) Blue-and-white glazed plate with design of interlocking flowers and the Eight Auspicious Symbols, Jingdezhen ware Chenghua Period, Ming Dynasty (1465 – 1487) 33.景德镇窑哥釉印坭池 明?成化(1465—1487) Chinese vermilion seal paste container, Jingdezhen ware Chenghua Period, Ming Dynasty (1465 – 1487) 34.景德镇窑蓝釉双狮头罐 明?成化(1465—1487) Blue glazed jar with design of double-lion heads, Jingdezhen ware Chenghua Period, Ming Dynasty (1465 – 1487) 35.景德镇窑五彩人物花卉纹瓶 明?成化(1465—1487) Polychrome vase with design of figures and flowers, Jingdezhen ware Chenghua Period, Ming Dynasty (1465 – 1487) 36.景德镇官窑黄釉碗 明?弘治(1488—1505) 低温黄釉的烧造成功是弘治瓷器的最大成就。弘治黄釉均匀光润，含蓄深沉， 由此成为明清两代皇家专用的瓷器颜色。 Yellow glazed bowl, official ware, Jingdezhen Hongzhi Period, Ming Dynasty (1488 – 1505) Low temperature yellow glaze was a greatest achievement made in the Hongzhi 28 Period. It was well distributed, bright and smooth, special for the imperial family in the Ming and Qing Dynasties. 37.景德镇官窑白釉暗刻海水龙纹盘 明?弘治(1488—1505) White glazed plate with design of dragon above the sea, official ware, Jingdezhen Hongzhi Period, Ming Dynasty (1488 – 1505) 38.景德镇窑青花缠枝花纹盖罐 明?弘治(1488—1505) Covered blue-and-white glazed jar with design of interlocking flowers, Jingdezhen ware Hongzhi Period, Ming Dynasty (1488 – 1505) 39.景德镇窑黄釉绿龙纹揸斗 明?正德(1506—1521) Yellow glazed refuse-vessel with design of green dragon, Jingdezhen ware Zhengde Period, Ming Dynasty (1506 – 1521) 40.景德镇官窑白釉绿龙纹碗 明?正德(1506—1521) White glazed bowl with design of green dragon, official ware, Jingdezhen Zhengde Period, Ming Dynasty (1506 – 1521) 41.景德镇窑青花山水人物纹罐 明?正德(1506—1521) Blue-and-white glazed jar with design of landscape and figures, Jingdezhen ware Zhengde Period, Ming Dynasty (1506 – 1521) 42.景德镇窑蓝釉鱼纹罐 明?正德(1506—1521) Blue glazed jar with design of fish, Jingdezhen ware Zhengde Period, Ming Dynasty (1506 – 1521) 43.景德镇官窑青花婴戏纹大罐 明?嘉靖(1522—1566) Big blue-and-white glazed jar with design of children at play, official ware, Jingdezhen Jiajing Period, Ming Dynasty (1522 – 1566) 44.景德镇窑青花龙纹大碗 明?嘉靖(1522—1566) Big blue-and-white glazed bowl with design of dragon, Jingdezhen ware Jiajing Period, Ming Dynasty (1522 – 1566) 45.景德镇窑青花凤纹盘 明?嘉靖(1522—1566) Blue-and-white glazed plate with design of phoenix, Jingdezhen ware Jiajing Period, Ming Dynasty (1522 – 1566) 46.景德镇官窑斗彩灵芝纹盘 明?嘉靖(1522—1566) Plate with design of mythic fungus in strongly contrasting colors, official ware, Jingdezhen 29 Jiajing Period, Ming Dynasty (1522 – 1566) 47.景德镇窑黄地青花勾莲龙纹大盘 明?嘉靖(1522—1566) Blue-and-white glazed plate over a yellow ground, Jingdezhen ware Jiajing Period, Ming Dynasty (1522 – 1566) 48.景德镇官窑矾红彩五鱼纹盘 明?嘉靖(1522—1566) Plate with design of five fish in red color, official ware, Jingdezhen Jiajing Period, Ming Dynasty (1522 – 1566) 49.景德镇窑青花嫦娥奔月图盘 明?隆庆(1567—1572) Blue-and-white glazed plate with decoration of Chinese Legend of Chang E Who Ascended the Moon after Secretly Eating Her Husband‘s Elixir of Life, Jingdezhen ware Longqing Period, Ming Dynasty (1567 – 1572) 50.景德镇窑青花开光花卉纹盖罐 明?万历(1573—1620) Covered blue-and-white glazed jar with design of flowers in reserved panel, Jingdezhen ware Wanli Period, Ming Dynasty (1573 – 1620) 51.景德镇窑荆桂款青花海水纹小碗 明?万历(1573—1620) Blue-and-white glazed bowl with design of wave, Jingdezhen ware Wanli Period, Ming Dynasty (1573 – 1620) 52.景德镇窑成化款斗彩鱼藻纹小碟 明?万历(1573—1620) Small dish with design of fish and waterweed in strongly contrasting colors, Jingdezhen ware Wanli Period, Ming Dynasty (1573 – 1620) 53.景德镇窑五彩花卉纹罐 明?万历(1573—162 Polychrome jar with design of flowers, Jingdezhen ware Wanli Period, Ming Dynasty (1573 – 1620) 54.景德镇官窑黄地五彩葡萄龙纹盘 明?万历(1573—1620) Polychrome plate with design of grape and dragon over a yellow ground, official ware, Jingdezhen Wanli Period, Ming Dynasty (1573 – 1620) 55.景德镇窑青花山水人物纹瓶 明?天启(1621—1627) Blue-and-white glazed vase with design of landscape and figures, Jingdezhen ware Tianqi Period, Ming Dynasty (1621 – 1627) 56.景德镇窑青花人物纹罐 明?天启(1621—1627) 30 Blue-and-white glazed jar with design of figures, Jingdezhen ware Tianqi Period, Ming Dynasty (1621 – 1627) 57.景德镇窑青花人物纹象腿瓶 明?崇祯(1628—1644) Blue-and-white glazed vase in shape of elephant leg, Jingdezhen ware Chongzhen Period, Ming Dynasty (1628 – 1644) 58.景德镇官窑崇祯款青花罗汉纹炉 明?崇祯(1628—1644) 该器物为突出主题纹饰，口沿和圈足的边饰分别为暗刻带状勾连菊花纹和水 波纹一圈。腹部为主题纹饰，绘罗汉、山石、太阳。外底中部书双直行楷书款―大 明崇祯年制‖，这在明末瓷器中最为难得。足跟外墙削釉一刀，底足有粘砂;白 釉稍泛青，青花发色明丽而淡雅;纹饰以突出主题为主，淡化了辅助边饰。这些 都是明末清初瓷器的共同特点。 Blue-and-white glazed incense burner with design of arhat, official ware, Jingdezhen Chongzhen Period, Ming Dynasty (1628 – 1644) This design was common in the late Ming and the early Qing Dynasties. 59. 景德镇窑青花人物纹莲子罐 明?崇祯(1628—1644) Blue-and-white glazed jar with design of figures Chongzhen Period, Ming Dynasty (1628 – 1644) 60.景德镇窑青花双兽耳花兽纹墩 清?顺治(1644—1661) Blue-and-white glazed barrel stool, Jingdezhen ware Shunzhi Period, Qing Dynasty (1644 – 1661) 61.景德镇窑青花双兽耳龙纹瓶 清?顺治(1644—1661) 这种器型为顺治时期特有，仅见青花品种，因极象西藏喇嘛教所用的号筒， 故又称为―号筒尊‖。这类器物为佛前供器。该器胎体厚重，釉白中闪青，青花翠 蓝浓艳但有晕散现象。画面以渲染平涂画法为主，笔画随意有力，画面较丰满。 Blue-and-white glazed vase, Jingdezhen ware Qing Shunzhi Period (1644 – 1661) This shape was unique in the Shunzhi Period. Only blue-and-white glazed ware was made in this shape. This kind of utensil was a particular sacrificial ware, also named as ―horn vase‖, for it looks like Tibetan Buddhist horn. 62.景德镇窑青花博古纹炉 清?顺治(1644—1661) Blue-and-white glazed incense burner with design of antiques, Jingdezhen ware Shunzhi Period, Qing Dynasty (1644 – 1661) 63.景德镇窑青花竹林七贤图大碗 清?康熙(1662—1722) Big blue-and-white glazed bowl with design of the Seven Wise Men of the Bamboo 31 Grove, Jingdezhen ware Kangxi Period, Qing Dynasty (1662 – 1722) 64.景德镇窑青花云凤纹鱼尾瓶 清?康熙(1662—1722) Blue-and-white glazed vase with design of clouds and phoenix, Jingdezhen ware Kangxi Period, Qing Dynasty (1662 – 1722) 65.景德镇窑仿成化青花荷塘纹盘 清?康熙(1662—1722) Blue-and-white glazed plate in style of Chenghua ware, Jingdezhen ware Kangxi Period, Qing Dynasty (1662 – 1722) 66.景德镇窑青花缠枝莲纹将军罐 清?康熙(1662—1722) Blue-and-white glazed jar with design of interlocking lotus, Jingdezhen ware Kangxi Period, Qing Dynasty (1662 – 1722) 67.景德镇窑釉下三彩八骏图觚 清?康熙(1662—1722) 该器物敞口、长颈、细长身，鼓腹，二层台平底，无底款。画面由八匹骏马 和树木、山石、花草、云纹等构成。釉下三彩创烧于清康熙时期，是集青花、釉 里红、豆青三种色彩于一器的釉下彩品种。其着色剂分别为氧化钴、氧化铜、氧 化铁。由于这三种元素对温度的要求不同，因此要烧造成功很不容易，当时的烧 造量并不多。此品种民国时也有仿造，但与康熙的差别明显。 Underglazed tricolor Gu (a slender beaker with trumpet-shaped mouth and spreading foot), Jingdezhen ware Kangxi Period, Qing Dynasty (1662 – 1722) Underglazed tricolor porcelain was first made in the Kangxi Period, Qing Dynasty. It was rare, for it was hard to be made. The kind of porcelain was also made in the Republic of China with distinct differences from the one made in the Kangxi Period. 68.景德镇官窑珐琅彩碗(对) 清?康熙(1662—1722) Bowls (a pair) in cloisonné enamel, official ware, Jingdezhen Kangxi Period, Qing Dynasty (1662 – 1722) 69.景德镇官窑瓜皮绿釉碗 清?康熙(1662—1722) Cucumber green glazed bowl, official ware, Jingdezhen Kangxi Period, Qing Dynasty (1662 – 1722) 70.景德镇官窑茄皮紫釉暗龙纹盘 清?康熙(1662—1722) Aubergine glazed plate with veiled dragon pattern, official ware, Jingdezhen Kangxi Period, Qing Dynasty (1662 – 1722) 71.景德镇窑郎窑红观音瓶 清?康熙(1662—1722) 郎窑红釉是清康熙时仿明宣德宝石红釉所烧的一种红釉。因康熙时郎廷极督 32 理景德镇窑务时烧造成功，故名。郎窑红以铜为着色剂，对烧成的气氛、温度等 技术指数要求很高，故烧成难度大。其特点是色泽浓艳。越往器体下部红色越浓 艳，这是由于釉在高温下自然流淌、聚集器下之故，但底足旋削工艺高超，流釉 不过足，故有―脱口垂足郎不流‖之称。 Langyao red glazed Guanyin vase, Jingdezhen ware Kangxi Period, Qing Dynasty (1662 – 1722 ) Langyao red glaze a kind of red glaze, which was made in the Kangxi Period in the style of the gem red made in the Xuande Period of the Ming Dynasty. It was named after Lang Tingji, a government official, for the glaze was first made when he was in the charge of the kilns in Jingdezhen. Copper was used as coloring agent .Technical indicators, such as the firing atmosphere, temperature and so on had to be accurate. Therefore, it was hard to be made and very precious. 72.景德镇官窑洒蓝釉描金山水盘口瓶 清?康熙(1662—1722) Snowflake blue glazed vase, official ware, Jingdezhen Kangxi Period, Qing Dynasty (1662 – 1722) 73.景德镇窑五彩瑞兽纹大盘 清?康熙(1662—1722) Polychrome plate with design of auspicious animal, Jingdezhen ware Kangxi Period, Qing Dynasty (1662 – 1722) 74.景德镇官窑黄釉大碗 清?康熙(1662—1722) 黄釉碗是明、清时期每朝官窑的必烧品种。康熙朝黄釉碗的规格最多，不下 十种。如此大口径的黄釉碗仅康熙朝有见，用于祭祀时盛酒。这种大碗体形硕大， 胎体轻薄，釉色匀润。是祭祀中用以代替青铜酒器的器物。 Yellow glazed bowl, official ware, Jingdezhen Kangxi Period, Qing Dynasty (1662 – 1722) Yellow glazed bowl was the essential type made in official kilns during the Ming and Qing Dynasties. There were more than ten sizes of yellow glazed bowls in the Kangxi Period. Such a big mouth yellow glazed bowl was only seen in the Kangxi Period. It could take the place of a bronze wine container in the ritual ceremony. 75.景德镇官窑胭脂红釉罐 清?雍正(1723—1735) 胭脂红釉是以黄金为着色剂的低温粉红色釉的一种(含金量大约在万分之 二，较浅色的称―胭脂水‖，含金量大约万分之一)，清康熙末年从西方国家传入 我国，故又称洋红。康熙时只见在珐琅彩瓷器上使用金红彩，极少见单色釉器。 胭脂红釉器全部是官窑制品，至清末一直都有生产，但以雍正、乾隆两朝最精。 Rouge red glazed jar, official ware, Jingdezhen 33 Yongzheng Period, Qing Dynasty (1723 – 1735) Rouge red glaze is one type of lower-fired pink glazes, which takes gold as coloring agent. It was introduced into China from the West in late Kangxi Period of the Qing Dynasty. Rouge red glazed wares were all made in official kilns until the late Qing Dynasty .Among them, the ones made in the Yongzheng and Qianlong Periods are the most exquisite. 76.景德镇官窑天蓝釉小碟 清?雍正(1723—1735) Small sky blue glazed dish, official ware, Jingdezhen Yongzheng Period, Qing Dynasty (1723 – 1735) 77.景德镇官窑祭蓝釉大缸 清?雍正(1723—1735) Big sacrificial blue glazed urn, official ware, Jingdezhen Yongzheng Period, Qing Dynasty (1723 – 1735) 78.景德镇官窑青花缠枝莲纹罐 清?雍正(1723—1735) Blue-and-white glazed jar with design of interlocking lotus, official ware, Jingdezhen Yongzheng Period, Qing Dynasty (1723 – 1735) 79.景德镇窑哥釉青花洗口瓶 清?雍正(1723—1735) Blue-and-white glazed vase in style of Ge ware, Jingdezhen ware Yongzheng Period, Qing Dynasty (1723 – 1735) 80.景德镇窑粉彩仕女图大盘 清?雍正(1723—1735) Big plate with design of classical lady in famille rose, Jingdezhen ware Yongzheng Period, Qing Dynasty (1723 – 1735) 81.景德镇官窑釉里红折枝花果纹天球瓶 清?雍正(1723—1735) Vault-of-Heaven vase with design of flowers and fruits in underglaze red, official ware, Jingdezhen Qing Yongzheng Period (1723 – 1735) 82.景德镇官窑矾红彩八宝团龙纹盘 清?雍正(1723—1735) Plate with design of the Eight Auspicious Symbols and dragon roundels in red color, official ware, Jingdezhen Yongzheng Period, Qing Dynasty (1723 – 1735) 83.景德镇官窑粉青釉瓶 清?雍正(1723—1735) Light greenish blue glazed vase, official ware, Jingdezhen Yongzheng Period, Qing Dynasty (1723 – 1735) 84.景德镇窑粉彩花蝶纹笔筒 清?雍正(1723—1735) Brush holder with design of flowers and butterflies in famille rose, Jingdezhen ware 34 Qing Yongzheng Period (1723 – 1735) 85.景德镇窑墨彩山水纹盘 清?雍正(1723—1735) Plate with design of landscape in famille noire, Jingdezhen ware Yongzheng Period, Qing Dynasty (1723 – 1735) 86.景德镇官窑青花缠枝莲纹贯耳尊 清?乾隆(1736—1795) Blue-and-white glazed vase with pierced handles, official ware, Jingdezhen Qianlong Period, Qing Dynasty (1736 – 1795) 87.景德镇窑青花釉里红云龙纹天球瓶 清?乾隆(1736—1795) Blue-and-white glazed vault- of-Heaven vase in underglaze red, Jingdezhen ware 1795) Qianlong Period, Qing Dynasty (1736 – 88.景德镇官窑黄地青花云龙福寿纹碗 清?乾隆(1736—1795) Blue-and-white glazed bowl with design of dragons and clouds over a yellow ground, official ware, Jingdezhen Qianlong Period, Qing Dynasty (1736 – 1795) 89.景德镇窑松石绿地粉彩花卉纹唾盆 清?乾隆(1736—1795 Spittoon with design of flowers in famille rose over a green ground, Jingdezhen ware Qianlong Period, Qing Dynasty (1736 – 1795) 90.景德镇窑粉彩瓷佛像 清?乾隆(1736—1795) 这是一尊藏传佛教的佛像。乾隆时期曾下旨烧造了一批藏传佛教的佛像和法 器，用于赏赐。该佛像宽肩束腰，发盘高髻，头带五叶冠，身穿短袈裟，袒胸露 腹，手结禅定印，结跏趺坐于仰覆莲座上。五叶冠上的宝石是以红、绿、蓝釉装 饰而成，效果逼真。裸露皮肤的部位饰以纯金粉制作的金釉。袈纱饰以粉彩。座 底有小圆盖。 Buddha in famille rose, Jingdezhen ware Qianlong Period, Qing Dynasty (1736 – 1795) This is a Tibetan Buddhist Buddha. In the Qianlong period, a large numbers of Buddha statues and ritual implements were made according to the imperial edict. 91.景德镇窑大理石釉葫芦瓶 清?乾隆(1736—1795) Marble gourd-shaped vase, Jingdezhen ware Qianlong Period, Qing Dynasty (1736 – 1795) 92.景德镇官窑斗彩八吉祥纹大盘 清?乾隆(1736—1795) Big plate with design of the Eight Buddhist Emblems in strongly contrasting colors, official ware, Jingdezhen Qianlong Period, Qing Dynasty (1736 – 1795) 35 93.景德镇窑炉均釉八卦纹斜方瓶 清?乾隆(1736—1795) Lavender-blue glazed vase with design of the Eight Divinatory Trigrams, Jingdezhen ware Qianlong Period, Qing Dynasty (1736 – 1795) 94.景德镇官窑窑变釉敞口瓶 清?乾隆(1736—1795) Flambé glazed vase, official ware, Jingdezhen Qianlong Period, Qing Dynasty (1736 – 1795) 95.景德镇窑粉彩玲珑花果纹小碗 清?乾隆(1736—1795) 所谓玲珑瓷，即在坯体花纹透雕后，通体施釉，使洞眼被釉汁漫平，在光照 下洞眼呈半透明状，俗称玲珑眼、芝麻眼或米通。明清景德镇玲珑瓷最早出现于 明永乐官窑，清乾隆后官窑、民窑均有制作，并从单釉色发展为多彩色玲珑瓷。 Fine openwork carving bowl with design of flowers and fruits in famille rose, Jingdezhen ware Qianlong Period, Qing Dynasty (1736 – 1795) Fine openwork carving porcelain was first made in the official kilns at Jingdezhen in the Xuande Period of the Ming Dynasty and had been made and developed from one color to multicolor glaze in both the official kilns and civilian kilns since the Qianlong Period of the Qing Dynasty. 96.景德镇官窑黄地粉彩开光花卉纹茶壶 清?嘉庆(1796—1820) 该器物圆球形腹、弯耳形柄、S形曲流、穹形盖、珠纽。施草绿釉为地，上 绘粉彩缠枝花卉，纹饰层次分明有序。底施松石绿釉，书矾红彩―大清嘉庆年制‖ 篆书款。壶腹部开光，白地墨彩题诗:―佳茗头纲贡，浇诗必月团。竹炉添活火， 石铫沸惊湍。鱼蟹眼徐扬，旗枪影细攒。一瓯清兴足，春盎避轻寒。‖署款 ―嘉 庆丁已小春月之中瀚御制‖，钤―嘉‖―庆‖两印。 Teapot with floral design in famille rose over a yellow ground in the reserved panels, official ware, Jingdezhen Jiaqing Period, Qing Dynasty (1796 – 1820) The design of interlocking flowers in famille rose is over a grass green ground. Chinese characters ―Made in the Jiaqing Period of the Qing Dynasty‖ in red color are written over a green ground. Black inscribed poem is written over a white ground in the reserved panel. 97.景德镇官窑粉彩花果蝶纹盘 清?嘉庆(1796—1820) Plate with design of flowers, fruits and butterflies in famille rose, official ware, Jingdezhen 36 Jiaqing Period, Qing Dynasty (1796 – 1820) 98.景德镇窑青花八宝纹双耳三足炉 清?嘉庆(1796—1820) Blue-and-white glazed incense burner with design of the Eight Auspicious Symbols, Jingdezhen ware Jiaqing Period, Qing Dynasty (1796 – 1820) 99.景德镇官窑黄地绿龙纹盘 清?嘉庆(1796—1820) 黄地绿龙瓷器是清代后宫日用瓷的品种之一。清《国朝宫史》卷十七―经费 一‖中，记载有清代皇宫内日用黄釉瓷器使用的等级制度，规定里外全黄色为皇 太后、皇后使用;里白外黄色为皇贵妃使用;黄地绿龙为贵妃、妃使用;蓝地黄 龙为嫔使用;绿地紫龙为贵人使用;五彩红龙为常在使用。 Plate with green with design of dragon over a yellow ground, official ware, Jingdezhen Jiaqing Period, Qing Dynasty (1796 – 1820) Plate with green dragon pattern over a yellow ground was a kind of household utensils specially made for the imperial concubines in the Qing Dynasty. According to the historical record of the Qing Dynasty, household utensils were used according to the social stratum in the imperial palace. Only the empress dowager or empress could use the one glazed yellow both inside and outside. The high-ranking imperial concubine could use the one glazed white inside and yellow outside. The one glazed green dragon over a yellow ground was made for the imperial concubine of the second rank or the imperial concubine of the third rank. The one glazed yellow dragon over a blue ground was made for the imperial concubines of the fourth rank. The one glazed dragon design over a green ground was made for the imperial concubine of the fifth rank .The polychrome one with red dragon design was made for the lady-in-waiting. 100.景德镇官窑粉彩过墙花果纹盖碗 清?道光(1821—1850) Covered bowl with design of flowers and fruits in famille rose, official ware, Jingdezhen Daoguang Period, Qing Dynasty (1821 – 1850) 101.景德镇官窑粉彩花卉纹方形套杯 清?道光(1821—1850) A set of cups with floral design in famille rose, official ware, Jingdezhen Daoguang Period, Qing Dynasty (1821 – 1850) 102.景德镇官窑红彩团花小杯 清?道光(1821—1850) Small cup with design of floral medallions in red family, official ware, Jingdezhen Daoguang Period, Qing Dynasty (1821 – 1850) 37 103.景德镇官窑青花折枝花果纹蒜头瓶 清?道光(1821—1850) Blue-and-white glazed garlic-head vase, official ware, Jingdezhen Daoguang Period, Qing Dynasty (1821 – 1850) 104. 景德镇窑青花―镀匣‖铭文瓷板 清?道光(1821—1850) 其铭文内容为:―镀匣:瓷坯入窑必装匣烧，方不粘裂，且能免风火冲突。 坯有黄黑之患，匣钵亦土作。土出景德镇马鞍山、里村、官庄等处，有黑、红、 白三色，更以宝石地所产砂土配合，则入火经烧。其造法用轮车以拉坯同。土不 必过细，匣成阴干，略旋平正，先入窑空烧一次，再装坯烧。名曰?镀匣‘。若造 作，则有厂居，幅中从略。‖这段文字介绍了在烧制瓷器的过程中，匣钵的功能、 原料和制法。 Blue-and-white glazed porcelain panel with inscription Daoguang Period, Qing Dynasty (1821 – 1850) The inscription introduces the process of making porcelain, especially the function, material and method. 105.景德镇官窑青花缠枝莲纹碗 清?咸丰(1851—1861) Blue-and-white glazed bowl with design of interlocking lotus, official ware, Jingdezhen Xianfeng Period, Qing Dynasty (1851 – 1861) 106.景德镇官窑青花玉壶春瓶 清?同治(1862—1874) Blue-and-white glazed pear-shaped vase, official ware, Jingdezhen Tongzhi Period, Qing Dynasty (1862 – 1874) 107.景德镇窑粉彩荷花纹碗 清?同治(1862—1874) Bowl with design of lotus in famille rose, Jingdezhen ware Tongzhi Period, Qing Dynasty (1862 – 1874) 108.景德镇官窑青釉如意云纹大碗 清?光绪(1875—1908) Celadon bowl with S-shaped cloud design, official ware, Jingdezhen Guangxu Period, Qing Dynasty (1875 – 1908) 109.景德镇官窑黄釉盖豆 清?光绪(1875—1908) Covered yellow glazed Dou (a high-stemmed saucer), official ware, Jingdezhen Guangxu Period, Qing Dynasty (1875 – 1908) 110.景德镇官窑青花粉彩三洋开泰纹碗 清?光绪(1875—1908) Blue-and-white glazed bowl with design of Three Rams Symbolizing the Auspicious Beginning of a New Year in famille rose, official ware, Jingdezhen Guangxu Period, Qing Dynasty (1875 – 1908) 38 111.景德镇官窑青花缠枝莲纹赏瓶 清?光绪(1875—1908) Blue-and-white glazed vase with design of interlocking lotus, official ware, Jingdezhen Guangxu Period, Qing Dynasty (1875 – 1908) 112.景德镇官窑蓝釉双象耳瓶 清?光绪(1875—1908) Blue blazed vase with double elephant-shaped ears, official ware, Jingdezhen Guangxu Period, Qing Dynasty (1875 – 1908) 113.景德镇官窑粉彩花蝶纹水仙盆 清?光绪(1875—1908) 器物呈弯月形，紫蓝釉作地，绘粉彩花卉蝴蝶纹。盆壁背面书红彩楷书款―大 雅斋‖，款右侧书红彩椭圆形篆书印章附款―天地一家春‖;底书红彩楷书款―永庆 长春‖。大雅斋款瓷器是清景德镇官窑瓷器品种之一，为光绪时慈禧太后御用。 Narcissus pot with design of flowers and butterflies in famille rose, official ware, Jingdezhen Guangxu Period, Qing Dynasty (1875 – 1908) The crescent moon shaped pot is designed with flowers and butterflies in famille rose over a purplish blue ground. Chinese characters ―Da Ya Zhai‖ in red family are written at the back of the vase. Porcelain with inscription of ―Da Ya Zhai‖ was specially made for Empress Dowager Cixi in the Guangxu Period, 114.景德镇窑青花花卉纹卧足小碗 清?宣统(1909—1911) Blue-and-white glazed bowl, Jingdezhen ware Xuantong Period, Qing Dynasty (1909 – 1911) 115.景德镇窑粉彩山水纹大碗 清?宣统(1909—1911) Big bowl with design of landscape in famille rose, Jingdezhen ware Xuantong Period, Qing Dynasty (1909 – 1911) 青花:是白地青花瓷器的专称。用含氧化钴的钴矿为原料～在瓷器胎体上描绘纹 饰～再罩上一层透明釉～经高温还原焰一次烧成。钴料烧成后呈蓝色～具有着色 力强、发色鲜艳、烧成率高、呈色稳定的特点。目前发现最早的青花瓷标本是唐 代的,但成熟的青花瓷器出现在元代,明代青花成为瓷器的主流,清康熙时发展 到了鼎峰。明清时期～还创烧了青花红彩、孔雀绿釉青花、豆青釉青花、青花红 彩、黄地青花、哥釉青花等品种。 釉里红:以铜红料为着色剂在瓷胎上绘画纹饰～罩以透明釉～在高温还原气氛中 39 烧成～使釉下呈现红色花纹。铜只有在还原气氛中才呈红色～因此釉里红瓷器的烧制对窑室气氛的要求十分严格～烧成难度大～成品率低。元代景德镇窑开始烧制釉里红器～但质量和产量都不高,明宣德时釉里红烧制很成功,清雍正时发展至最高峰。乾隆时的釉里红有深浅不同的层次～除白地外～尚有豆青地、天蓝地、黄地、浅绿地等品种。 斗彩:亦称―逗彩‖～釉下青花和釉上彩色相结合的一种彩瓷装饰工艺。用青花在胎上勾描出完整构图的纹饰轮廓～然后罩以透明釉入窑高温烧成～再于釉上青花轮廓线内填各种彩料完成彩色图案～复入彩炉低温二次烧成。明宣德时出现了最早的斗彩工艺,成化时才发展成熟～成为独立的彩瓷品种,嘉靖、万历和清康熙时斗彩制作也较发达～但均无法与成化斗彩相比,雍正时粉彩盛行～出现了釉下青花和釉上粉彩相结合的斗彩工艺。 五彩:俗称―古彩‖、―硬彩‖等。五彩的主要着色剂是铜、铁、锰等金属盐类。基本色调以红、黄、绿、蓝、紫等彩料为主。按纹饰需要施于釉上～再在770?-800?彩炉中二次焙烧而成。五彩是景德镇窑在宋、元时期釉上加彩的基础上发展起来的。明宣德时已有五彩～以红、绿、黄三色为主,嘉靖、万历时期～五彩极盛一时,清康熙时发明了蓝彩和黑彩～使釉上五彩取代了青花五彩～成为彩瓷的主流。雍正时粉彩流行～五彩制作趋于衰落。 珐琅彩:珐琅彩瓷是清宫廷御用器～康熙晚期创烧～乾隆时极为盛行。雍正六年,1728,以前均用进口的西洋珐琅彩料～之后清宫自制～色彩多至十几种。珐琅彩瓷的制作方法是先由景德镇官窑选用最好的原料制成素胎～烧好后～送到清宫内务府造办处珐琅作彩绘烧成。珐琅彩瓷专作宫廷玩赏器和宗教、祭祀的供器～制作考究～成本高而产量低～传世品很少～且多为小件器。 粉彩:清康熙末期出现的一种瓷器低温釉上彩～是五彩进一步发展与升华的结果。至雍正时盛行。又称―洋彩‖与―软彩‖。其工序是先在高温烧成的白瓷上用墨线起稿～然后在图 案内填上一层可作熔剂又可作白彩的玻璃白～彩料施于玻璃白之上～再经过画、填、洗、 扒、吹、点等技法将颜色依深浅的不同需要晕开～使纹饰有浓淡明暗层次～经720?—750?的低温烧成。粉彩器由于掺入粉质～吸收了中国绘画的表现方法～使画面风格近于写实～立体感强。 矾红彩:以三氧化二铁悬浊体着色的低温红釉和红彩。因用青矾为原料～经煅烧、 40 漂洗制得生矾～故称矾红。亦称铁红和抹红。在氧化气氛中以900?烤烧而成。矾红釉上彩在宋定窑、磁州窑系均已出现～是我国最早的釉上彩。这种低温铁红釉彩自明嘉靖朝开始替代高温铜红釉以来获得极大的发展。 墨彩:以黑色为主～兼用矾红、本金等彩料～在瓷器上绘画～经彩炉烘烤而成。墨彩始见于康熙时期～是五彩、珐琅彩、粉彩瓷器中常见的色彩。浓黑的彩料在似雪的白釉下装饰绘画～深浅浓淡相宜～与水墨画的效果相似～所以又称之为―彩水墨画‖。 釉下三彩:清代康熙时期创烧～是以氧化铜、氧化钴、氧化铁3种元素为着色剂～集青花、釉里红、豆青三种色彩于一器的釉下彩品种。三种对温度要求不同的高温彩集于一器～使釉下彩工艺更进了一步。 颜色釉:瓷釉的一个种类。在瓷器基础釉料中分别加入铁、铜、锰、钴等氧化金属着色剂～在相应的烧成条件下～釉面就会呈现出青、褐、红、蓝等某种色泽。古陶瓷的颜色釉种类繁多～仅青釉就有豆青、粉青、天青、梅子青等等～多达20余种。关于古代陶瓷釉色的分类～如按温度划分～颜色釉可分为高温釉,1250?以上,、中温釉,1100~1250?,、低温釉,1100?以下,。如按颜色划分～可分为纯色釉、结晶釉、花色釉、纹片釉。 第四部分 南国明珠——广东陶瓷的发展历程 (新石器时代至清) 广东地区的陶瓷业～同样有着悠久的历史～并且逐渐形成了鲜明的地域特点。 广东在新石器时代早期已出现了夹砂粗陶器～在新石器时代晚期出现了轮制技术。春秋战国时期～出现了早期龙窑。釉陶和几何印纹陶的出现～成为青铜时代区别于新石器时代的重要标志之一。 秦汉时期广东制陶工艺更有显著的进步。除日用器外～随葬明器和建筑用陶也大量生产。东汉至晋代越式陶器式微～反映出越文化被中原文化融合的过程。 晋代开始～广东已能制作青釉瓷器～并通过南海出口国外。唐、宋时期广东陶瓷生产遍及各地～匣钵装烧和龙窑的普及标志着工艺技术的空前进步。梅县水车窑、潮州笔架山窑、广州西村窑、雷州窑等是当时较有影响的本土窑场～产品也大量外销到东南亚、中西亚等地。 41 明清时期～石湾陶器和广彩瓷器以质优物美而名扬海内外～成为我国陶瓷 百花园中的两朵奇葩。 History of Guangdong Pottery and Porcelain (From the Neolithic Age to the Qing Dynasty) Guangdong ceramic industry has a long history, gradually forming its distinct local characteristics. Coarse sandy clay ware had been made in the early Neolithic Age. Wheel and axle technique had been used in the late Neolithic Age. There has been early dragon kiln in the Spring and Autumn Period. Glazed pottery and pottery with geometric design became the important mark, which differs the Bronze Age from the Neolithic Age. Guangdong had made a great progress in pottery making technique in the Qin and Han Dynasties. Besides household utensils, a large number of ritual and construction objects were made. The Yue-style pottery had become less since the Eastern Han and Jin Dynasties, reflecting the process of the Yue Culture integrated by the culture of the Central Plains. Since the Jin Dynasty, green glazed porcelain had been made in Guangdong and exported to the outside from the South China Sea. In the Tang and Song Dynasties, ceramic production was all over the province. Guangdong made a great progress in ceramic craft. The Shuiche Kiln in Meixian, the Bijiashan Kiln in Chaozhou, the Xicun Kiln in Guangzhou and the Leizhou Kiln were famous kilns in Guangdong. Products of these kilns exported on large scale to Southeast Asia, Central and West Asia, etc. In the Ming and Qing Dynasties, Shiwan pottery and Kwon-glazed porcelain were well known at home and abroad, becoming the two exotic flowers in the garden of Chinese ceramics. 1、陶豆 商(公元前16-11世纪) 饶平出土 Pottery Dou (a high-stemmed saucer), unearthed in Raoping Shang Dynasty (16th – 11th century B.C.) *2、褐釉陶尊 商(公元前16-11世纪) 饶平出土 Brown glazed pottery cup, unearthed in Raoping Shang Dynasty (16th – 11th century B.C.) 3、环底陶罐 西周(约公元前11世纪—前771年) 博罗横岭山出土 Pottery jar, unearthed in Boluo Western Zhou Dynasty (11th century B.C. – 771 B.C.) 42 4、环底陶罐 西周(约公元前11世纪—前771年) 博罗横岭山出土 Pottery jar, unearthed in Boluo Western Zhou Dynasty (11th century B.C. – 771 B.C.) 5、陶簋 西周(约公元前11世纪—前771年) 博罗横岭山出土 Pottery Gui (a container for grain and other foodstuffs), unearthed in Boluo Western Zhou Dynasty (11th century B.C. – 771 B.C.) 6、原始瓷豆 春秋(公元前770-476年) 博罗横岭山出土 Proto-porcelain Dou (a high-stemmed saucer), unearthed in Boluo Spring and Autumn Period (770 – 476 B.C.) 7、、双耳罐 西周(约公元前11世纪—前771年) 博罗横岭山出土 Double-eared jar, unearthed in Boluo Western Zhou Dynasty (11th century B.C. – 771 B.C.) 8、原始瓷盘 春秋 (公元前770-476年)韶关出土 Proto-porcelain plate, unearthed in Shaoguan Spring and Autumn Period (770 – 476 B.C.) 9、 三耳陶罐 春秋(公元前770-476年) 珠海出土 Pottery jar with three ears, unearthed in Zhuhai Spring and Autumn Period (770 – 476 B.C.) 10、陶罐 战国,公元前475-221年, 肇庆出土 Pottery jar, unearthed in Zhaoqing Warring States Period (475 – 221 B.C.) 11.青瓷瓿 战国,公元前475-221年, 肇庆出土 Celadon Bu (a container for water or wine), unearthed in Zhaoqing Warring States Period (475 – 221 B.C.) *12、酱黄釉划花陶温壶 东汉(25-220 ) 佛山澜石出土 Dark yellow glazed pottery pot with incised floral design, unearthed in Foshan Eastern Han Dynasty (25 – 220) 13、陶猪 东汉(25-220) 佛山澜石出土 Pottery pig, unearthed in Foshan Eastern Han Dynasty (25 – 220) #14、红陶母鸡 东汉(25-220) 佛山澜石出土 Red pottery hen, unearthed in Foshan Eastern Han Dynasty (25 – 220) 15、楼阁式陶屋 东汉(25-220) 南海平洲出土 43 Pottery miniature house, unearthed in Nanhai Eastern Han Dynasty (25 – 220) #16、青褐釉盘口壶 东汉 (25-220) Bluish brown vase Eastern Han Dynasty (25 – 220) 17、青釉鸡首壶 东晋,317-420, 高要披云楼一号墓出土 Celadon chicken-spout pot, unearthed in Gaoyao Eastern Jin Dynasty (317 – 420) #18、青黄釉碗 南朝(420-589) 韶关出土 Greenish yellow glazed bowl, unearthed in Shaoguan Southern Dynasties (420 – 589) 19、堆塑人物陶罐 唐(618-907) 佛山出土 Pottery jar, unearthed in Foshan Tang Dynasty (618 – 907) 20、青釉六耳盖罐 南朝(420-589) 韶关出土 Covered celadon jar with six ears, unearthed in Shaoguan Southern Dynasties (420 – 589) *21、水车窑青釉双耳大口罐 唐(618-907) 梅县出土 该器物于1981年在梅县畲坑唐墓出土，属梅县水车窑产品。窑址有青釉碗、 杯、碟、四耳罐、钵等。器物胎体厚重，胎为灰色或灰白色。罐有高、矮两种形 式，从口、肩、腹至足曲线变化平稳，地方特色浓厚。早期器物青釉色泽较淡， 青中泛黄，器外多施半釉，并有剥釉现象。晚期器物釉色较深，釉层略厚，胎质 坚硬，器外一般满釉支烧。 Celadon jar with double ears, Shuiche ware, unearthed in Meixian Tang Dynasty (618 -907) This jar, Shuiche ware, was unearthed in Meixian in 1981. Green glazed bowl, cups, dish, four ears jar and so on were also unearthed in it. The body of pottery was thick in gray or grayish white. Green glaze in the early times was light in dark green tinted with yellow. Glazed wares made in the later times were dark in color with thick and hard body. 22、青釉六耳罐 南汉(917-971) 广州石马村出土 Celadon jar with six ears, unearthed in Guangzhou Southern Han Dynasty (917 – 971) 23、青釉夹梁盖罐 南汉(917---971) 广州番禺石马 44 村出土 Covered celadon jar, unearthed in Guangzhou Southern Han Dynasty (917 – 971) 24、潮州窑青白釉佛像 北宋(960-1127) 潮州出土 该佛像于20世纪20年代出土，有北宋纪年铭文。铭文内容为:―潮州水东 中窑甲女弟子陈十五娘同男刘育发心塑造释迦牟尼佛散施永充供养，奉为刘弟七 郎早超生界，延愿合家男女乞保平安。熙宁二年已酉岁正月十八日题。匠人周明。‖ 佛像通体施青白釉，头、眼、须部位以黑褐色釉彩描绘。这是北宋时期东南沿海 地区比较流行的一种瓷器装饰方法。潮州窑唐、宋、元窑址有多处，其中笔架山 窑址规模最大，堆积最丰富，当地村民称为―百窑村‖。 Bluish white glazed Buddha, Chaozhou ware, unearthed in Chaozhou Northern Song Dynasty (960 – 1127) This Buddha was unearthed in 1920s. The decoration was popular in the southeast seashore regions in the Northern Song Dynasty. There are many kilns of the Tang, Song and Yuan Dynasties in Chaozhou. Among them, Bijiashan Kiln is the largest one, which was named as ―the Hundred-Kiln Village‖ by the local villagers. #25、潮州窑青白釉莲瓣炉 北宋(960-1127) 潮州出土 Bluish white glazed incense burner, Chaozhou ware, unearthed in Chaozhou Northern Song Dynasty (960 – 1127) 26潮州窑白釉鱼篓形四耳小罐 北宋(960-1127) 征集 White glazed jar with four ears, Chaozhou ware, collected Northern Song Dynasty (960 – 1127) 27、潮州窑堆贴花瓜形壶 明(1368—1644) Melon-shaped pot with embossed and applied floral design, Chaozhou ware Ming Dynasty (1368 – 1644) 28、潮州窑白釉观音立像 明(1368—1644) White glazed Guanyin (Mother of Mercy), Chaozhou ware Ming Dynasty (1368 – 1644) *29、潮州窑白釉刻花芭蕉觚(中陶59) 清(1644—1911) White glazed Gu (a slender beaker with trumpet-shaped mouth and spreading foot) with incised design, Chaozhou ware Qing Dynasty (1644 – 1911) #*30、潮州窑白釉瓜棱扁壶 (中陶64) 清(1644—1911) White glazed flask, Chaozhou ware 45 Qing Dynasty (1644 – 1911) 31、西村窑青釉刻花盘 北宋(960,1127) 1989菲律宾棉兰岛布土湾出土 范迪士夫人捐赠 该盘内外施青釉，纹饰自然流畅，为西村窑的典型器物。西村窑为北宋广东 重要瓷窑，窑址在广州西北，产品大多外销。有青白釉、青釉、黑釉、褐釉及低 温绿釉等。器形有凤头壶、折沿盆、碗、杯、炉、瓶、罐、拍鼓、盘、盒、枕等。 装饰有刻花、划花、刻划花、印花、彩绘、点彩、浮雕、捏塑等手法。产品在东 南亚一些国家有出土，常见的有凤头壶、划花点彩盘、盆等。 Celadon plate with incised floral design, Xicun ware, unearthed in Medan, the Philippines in 1898 Northern Song (960 – 1127) Xicun Kiln, located in the northwest of Guangzhou, was an important kiln in Guangdong in the Northern Song Dynasty. Most products made in the kiln exported abroad. Bluish white glazed porcelain, green glazed porcelain, black glazed porcelain, brown glazed porcelain and low-temperature glazed porcelain were made here. Phoenix head, foliated edged vase, bowl, cup, incense burner jar, drum, plate, box and pillows were made with incised floral design, coloring decoration, stippling decoration, relief, sculpture and so on. Some products, such as phoenix head pot, stippling plate or basin with incised floral design were unearthed in Southeast Asian. *32、廉江窑青釉瓷坛 (中陶27) 宋(960,1280) 廉江出土 Celadon jug, Lianjiang ware, unearthed in Lianjiang Song Dynasty (960 – 1280) 33、廉江窑彩绘陶罐 (中陶23) 宋(960,1280) 廉江出土 Painted pottery jar, Lianjiang ware, unearthed in Lianjiang Song Dynasty (960 – 1280) 34、雷州窑釉下褐彩凤鸟纹荷叶盖罐 元(1260--1368) 该器物纹饰层次丰富，线条活泼流畅，构图严谨，相互呼应，是件精美之作。 1957年于雷州市雷城西湖水库区墓葬出土。 Covered jar with design of phoenix in underglaze brown, Leizhou ware Yuan Dynasty (1260 – 1368) This elegant piece was rich in decoration, smooth and lively in lines with compact composition. It was unearthed in the tombs of the West Lake Reservoir, Leizhou in 1957. 35、石湾窑翠毛釉梅瓶 明(1368—1644) 商承祚捐赠 46 翠毛釉是石湾窑仿宋钧釉的主要釉色之一，运用窑变的原理，在蓝釉中隐现 浅色丝状的纹理，美似翠鸟的羽毛，故名。该件梅瓶是石湾窑早期的佳品。梅瓶 因口径之小仅与梅之瘦骨相称而得名。宋代梅瓶瓶体修长，为盛酒用具。元代开 始肩部逐渐丰满。明、清时演变为肥矮丰硕，并由日用瓷转变为陈设瓷。 Emerald green glazed prunus vase, Shiwan ware, donated by Shang Chengzuo Ming Dynasty (1368 – 1644) Emerald green glaze was one of the glazes in type of the Jun ware made in the Shiwan Kiln. It was named, for it was as beautiful as kingfisher‘s feather. This prunus vase was a fine piece made in the Shiwan kiln in the early times. Prunus vase was named, for its mouth was small as thin as prunus blossom. The body prunus vase made in the Song Dynasty was long and thin, used as a wine container. Prunus vase had gradually become shorter and fatter since the Yuan Dynasty. In the Ming and Qing Dynasty, prunus vase had changed from household utensil into furnishings. 36、石湾窑钧蓝釉蟠螭纹瓶 明(1368—1644) Blue vase in type of Jun ware glaze, Shiwan ware Ming Dynasty (1368 – 1644) 37、石湾窑月白釉―粤彩正记‖款挂壁 明(1368—1644) Bluish white glazed wall vase, Shiwan ware Ming Dynasty (1368 – 1644) #38、石湾窑―祖堂居‖ 款黄釉鼓型三足炉 明(1368—1644) Yellow glazed incense burner in shape of drum, Shiwan ware Ming Dynasty (1368 – 1644) 39、石湾窑黄炳塑素胎金丝猫 清?嘉庆-光绪(1815—1894) 该作品采用胎毛技法，利用泥胎烧成后的自然色呈现金丝猫的毛色，把猫擒 鼠前的瞬间神态雕塑得活灵活现、栩栩如生。黄炳是清代中后期石湾陶塑名家， 字云渠，别号云屿，又号云渔，约生于嘉庆二十年(1816)，光绪二十年逝世(1895)， 享年八十岁。擅长制作鸟兽和人物，尤精于塑造鸭、猫和猴子。 Golden cat by Huang Bing, Shiwan ware Jiajing and Guangxu Periods, Qing Dynasty (1815 – 1894) Huang Bing, an artist in the middle and late Qing Dynasty, was good at making figures and animals, especially duck, cat and monkey. 40、石湾窑古珍彩绘百福迎祥挂壁 清?道光-光绪(1821—1908) Coloring wall vase, Shiwan ware Daoguang and Guangxu Periods, Qing Dynasty (1821 – 1908) 47 41、石湾窑仿哥釉米佛拜石像 清末(1875—1911) Mi Fu prostrating himself before a stone in style of Ge ware glaze, Shiwan ware End Qing Dynasty (1875 – 1911) 42、石湾窑―陈渭岩‖孩童像 清?光绪—民国(18,—1926) 孩童持蛤立于石台上，喜笑颜开，活泼可爱。座左方留一长方空白上书―广 州石湾陈渭岩塑‖楷书款。陈渭岩是清光绪至民国年间陶塑名家，号养云居士， 别号诚一道人，又名惠南。偷师于黄炳，善作人物和动物。曾偕徒弟潘玉书应邀 去江西景德镇交流雕塑技术，仿景德镇瓷塑技法，用瓷土塑造一批作品。 Boy by Chen Weiyan, Shiwan ware Guangxu Period of the Qing Dynasty and the Republic of China (18? – 1926) A boy with a toad is standing on a stone smiling, lovely and vivid. Chinese characters inscribed in the blank space on the left. Chen Weiyan was a famous sculptor in the Guangxu Period of the Qing Dynasty and the Republic of China. He learned secretly from Huang Bing and was good at making figures and animals. He and Pan Yushu, his disciple, were invited to Jingdezhen to communicate the sculpture technique. He made a number of porcelain sculptures in style of Jingdezhen ware. 43、石湾窑―佐朝作‖款蓝釉老人读书像 清?光绪—民国(18,—1933) Reading old man with inscription of ―Zuo Chaozuo‖, Shiwan ware Guangxu Period, Qing Dynasty and the Republic of China ( 18? – 1926 ) 44、石湾窑潘玉书塑老人像 清末—民国(1889—1936) 老人坐在石座上，双目凝视，沉思的神情刻划得甚为传神。衣衫施青白色釉。 褐色石座上钤篆书―潘玉书制‖方形印章。潘玉书是清光绪至民国年间石湾陶塑名 家，善作人物塑像，尤长于人物性格感情的塑造。他的作品对后世影响很大。 Old man by Pan Yushu , Shiwan ware Late Qing Dynasty and the Republic of China (1889 – 1936) An old man is sitting on a stone, staring and meditating with vivid expression. His clothing is glazed white. The seal mark ―by Pan Yushu‖ is inscribed on the brown glazed base .Pan Yushu was a famous pottery sculptor in the Guangxu Period of the Qing Dynasty and the Republic of China. He was good at expressing figure‘s character and feelings. His work had a great impact on the later generations. 45、石湾窑―梁南隆制‖青白釉卧狮 清末--民国初期(1911—) Blue white glazed lion, Shiwan ware Late Qing Dynasty and the early Republic of China (1911 - ) 46、广彩开光人物瓶 清?雍正(1723—1735) 48 Kwon-glazed vase with design of figures in reserved panels, Yongzheng Period, Qing Dynasty(1723 - 1735 ) 该器物纹饰留白较多，金彩使用较少，只在口沿处的锦带中配以五瓣金花， 这是初期广彩的瓷画特征。广彩即广州织金彩瓷的简称，因大量用于外销，因而 纹饰更多地模仿西方的艺术形式。早期色彩以红绿为主，金彩较少。嘉庆以后色 彩增多，大量使用金彩。 Kwon-glazed porcelain, Guangdong-decorated export ware, or the waving gold polychrome porcelain from Guangzhou, is famous for its brilliant and luxuriant color. A large number of Kwon-glazed porcelain exported abroad. Therefore, most designs are in style of Western form of art. Red and green were the main colors. Since the Jiaqing Period, more colors, especially gold color have been used. 47、广彩山水人物纹盘 清?雍正(1723—1735) Kwon-glazed plate with design of landscape and figures Yongzheng Period, Qing Dynasty(1723 - 1735 ) #48、广彩人物大碟 清?雍正(1723—1735) Kwon-glazed dish with design of figures Yongzheng Period, Qing Dynasty (1723 - 1735 ) 49、广彩浆胎奖杯扁瓶 清?乾隆(1736—1795) Kwon-glazed mud matrix flask Qianlong Period ,Qing Dynasty(1736 - 1795 ) 50、广彩风景人物纹带盖执壶 清?乾隆(1736—1795) Kwon-glazed covered vase with handle at the side Qianlong Period ,Qing Dynasty(1736 - 1795 ) 51、广彩西洋风景纹大碗 清?嘉庆(1796—1820) Kwon-glazed bowl with design of Western landscape Jiaqing Period, Qing Dynasty(1796 - 1820 ) 52、广彩花卉纹瓣口盆 清?嘉庆(1796—1820) Kwon-glazed pot with design of flowers Jiaqing Period, Qing Dynasty(1796 - 1820 ) #53、广彩山水风景图盘 清?嘉庆(1796—1820) Kwon-glazed plate with design of landscape(1796 - 1820 ) Jiaqing Period, Qing Dynasty 54、广彩通花花卉纹盘 清中期 (1796—1862) Kwon-glazed plate with design of flowers figured on both sides 49 Middle Qing (1796 - 1862) 55、广彩人物图盘 清?道光(1821—1850) Kwon-glazed plate with design of figures Qing, Daoguang Period (1821-1850) 56、广彩人物图碟 清?道光(1821—1850) Kwon-glazed dish with design of figures Qing, Daoguang Period(1821 - 1850 ) 57、广彩开光人物纹双鹤耳花口瓶 清?同治(1862—1874) Kwon-glazed vase with design of figures and double cranes in reserved panel 1862 - 1874 ) Tongzhi Period, Qing Dynasty( 58、广彩开光人物故事图大碗 清?同治(1862—1874) Kwon-glazed bowl with design of figures in reserved panels Tongzhi Period, Qing Dynasty (1862 - 1874) #59、广彩带盖长颈瓶 清?同治(1862—1874) Kwon-glazed covered long-necked vase Tongzhi Period, Qing Dynasty(1862 - 1874 ) 60、广彩群鹿图瓷板 清?光绪(1875—1908) Kwon-glazed porcelain engraving with design of deer Guangxu Period, Qing Dynasty(1875 - 1908 ) 61、广彩花鸟蝴蝶纹天球瓶 清?光绪(1875—1908) Kwon-glazed vault-of-Heaven vase with design of flowers, birds and butterflies Guangxu Period, Qing Dynasty(1875 - 1908 ) 62、广彩八方形双耳花插 清?光绪(1875—1908) Kwon-glazed octagon flower holder Guangxu Period, Qing Dynasty(1875 - 1908 ) 该器物造型独特，从凸雕到绘画，工艺十分精致，为光绪时期典型作品之一。 清道光至光绪时期，广彩达到了成熟阶段，完全形成了自己的独特风格，其特点 是绚彩华丽、金碧辉煌、构图丰满、繁而不乱，犹如万缕金丝织白玉的―织金彩 瓷‖。颜料从初期的几种增加到十几种，花式由零碎、分散、独立的纹样发 展为组合纹样。中心夹金圈内可以画花、鸟、石，也可以绘外国商标或徽章。 It was a unique and typical work made in the Guangxu Period. From the Daoguang to the Guangxu Periods, Kwon-glazed porcelain had well developed and formed its unique style, brilliant and luxuriant. The composition was quite plump as the weaving gold polychrome porcelain. Its design developed from independent design to 50 combined design. Flowers, birds, stones as well as foreign badges or brands are painted in the center, which is circled by golden lines. #63、广彩蒜头口花卉纹瓶 清(1644—1911) Kwon-glazed garlic-head vase Qing Dynasty (1644 - 1911) 石湾陶与石湾窑: 石湾窑亦称―广窑‖～特指广东佛山石湾窑～极盛于明、清两代。石湾窑生产的产品通称石湾陶。其产品胎质厚重～胎骨暗灰～釉厚而光润。因善于仿钧釉～ ‖。又因其胎为陶胎～故亦称―泥钧‖。广钧釉以蓝色、玫瑰紫、墨彩、俗称―广钧 翠毛等色为佳。其釉色窑变的原理～是先后施两种不同的釉汁～在焙烧过程中互相交融而形成。产品主要有日用器、文房用具、仿古器皿和陈设品～此外还生产大量的瓦脊等建筑用陶～以及以―渔、樵、耕、读‖或佛道内容为主题的人物陶塑和各种动物陶塑。明清时期的产品往往带有陶瓷店号名、制品作者名等印章款。明、清石湾陶产品大量出口到东南亚等地。 广彩: 即广州织金彩瓷的简称。是吸收传统的古彩技艺～仿照西洋表现手法～经彩绘、烘烧制成的彩瓷～盛行于清代雍正、乾隆时期。当时为适应外销的需要～将景德镇所烧的素瓷坯运到广州后～根据外商的需求～加以彩绘～再经700?—750?烘烤而成。因大量用于外销～因而纹饰更多地模仿西方的艺术形式。早期色彩以红绿为主～金彩较少。嘉庆以后色彩增多～大量使用金彩。 英文翻译和说明牌制作的具体要求: 毎件文物展品前面的阿拉伯数字标号取消。例如: #58、广彩蒜头口花卉纹瓶 清(1644—1911) 只需翻译的内容为: 广彩蒜头口花卉纹瓶 清(1644—1911) 新增两件: 1.磁州窑虎形花卉纹枕 金(1115--1234) Tiger-shaped pillow with design of flowers, Cizhou ware Jin Dynasty (1115--1234) 51 2.景德镇官窑成化款斗彩鸡缸杯 明成化(1465—1487) Cup in strongly contrasting colors, official ware, Jingdezhen Chenghua Period, Ming Dynasty(1465—1487) 3.石湾窑蓝釉鼠柄瓜形盖壶 清(1644—1911) Blue glazed covered pot, Shiwan ware Qing Dynasty(1644—1911) 52