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A Story of Porcelain
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A Story of Porcelain
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Author:
Qin Wei
;
Language:
Chinese
Format:
24.2 x 18.2 x 1.6 cm
Page:
206
Publication Date:
04/2013
ISBN:
9787513404044
Publisher:
Forbidden City Publishing House
Details
<span style="line-height: 20.8px;">《瓷器的故事》共分为四章,具体内容包括:安土敦仁,初现文明曙光;一泓春水,文人雅士独好;华音汇奏,彰显帝王追求;陶瓷文明,萦纡不绝春梦;瓷器与中外文化交流;从山阴道上行,如在镜中游——三国两晋等。</span><br style="line-height: 20.8px;"/>
<br style="line-height: 20.8px;"/>
<b style="line-height: 20.8px;">Editor's Recommendation</b>
<p style="line-height: 20.8px;">《瓷器的故事》由故宫出版社出版。</p>
Table of Contents
第一章安土敦仁,初现文明曙光
第一节神农耕而作陶
第二节瓷器的发明
第三节墨笔符号
第二章一泓春水,文人雅士独好
第一节从山阴道上行,如在镜中游——三国两晋
第二节佛光仙境的投射——南北朝
第三章华音汇奏,彰显帝王追求
第一节雍容富丽的唐代瓷器
第二节精巧秀雅的宋代瓷器
第三节浑厚质朴的元代瓷器
第四节浓墨重彩的明清瓷器
第四章陶瓷文明,萦纡不绝春梦
第一节瓷器与复古帝梦
第二节瓷器与翰墨新象
第三节瓷器与中外文化交流
Sample Pages Preview
(三)碧空流霞——钧窑瓷
北宋钧窑以瑰丽异常的铜红窑变釉而闻名天下。在高温烧制中,釉料交融,自然流变,故烧成后,形成如梦如幻的千姿美景,如高山飞瀑、火山喷薄;如水天氤氲、碧云流霞……如同国画中的泼墨写意,墨趣浓郁,意境无穷,引人入胜。所以才有“入窑一色,出窑万彩”之说。或许是被钧窑瓷器独特的美丽所吸引,当时的达官贵人都想拥有一件,从民间流传的“黄金有价,钧无价”一言中,就可看出钧窑在当时人们心中已拥有极高价值。也因此,同样受到艺术修养极高的北宋徽宗皇帝的喜爱。
在河南禹县城北八卦洞一带建立官窑窑场,并抽集民间窑场优秀工匠,专门为宫廷烧造用具。宋以前,烧造官用与民用瓷器的窑场,并没有严格划分。二者只是在器物质量与瓷器风格上有所区别。早期的钧窑,其实也仅是烧造民用瓷的普通窑场。当它被徽宗皇帝看中,就变成专为宫用烧造的窑场了。因而受到宫廷严格控制,所需产品,都要经过反复挑选,合格者才能送往皇宫,落选者砸碎后就地深埋,不准流散民间,故宋钧瓷精品一直秘藏皇宫,世代辗转相传,所以民间有“传世钧窑”之说。
在钧窑窑址和清宫旧藏中,钧瓷以各式花盆、盆奁居多。因为作花器使用,所以盆、奁造型多仿大自然中的花卉,如莲瓣形、葵瓣形、菱花形、海棠花形等。花器造型、器上窑变与盆景三者气象和谐,风情一致,浑然一体。它们带给人的是一种回归自然的美的享受。徽宗擅长画花鸟,更喜欢道气弥漫的山水奇境。政和七年,昏庸荒唐的徽宗听信方士所言,就曾命人仿余杭凤凰山的地势,建在皇宫内城,由人工堆起一座高山,取名“艮岳”,取其寿比南山和祈仙求道之意。现藏于台北故宫博物院的《溪山秋色图》,相传就是徽宗为艮岳所绘。后世的乾隆皇帝,还为此画御题诗一首。据说,山上筑有亭馆楼台,山下开凿池沼洲渚,另有竹石奇禽点缀。钧瓷之美,不仅非常符合徽宗审美观,也正好迎合徽宗所求的道境之气象。因此,清宫旧藏许多工艺精美的钧瓷盆、奁,不排除是当时作为妆点艮岳之用的。那些盆、奁底部刻有一至十的不同数字标号,这些标号与器物大小有关, “—”为最大号, “十”为最小号。这样就能做到配套洧序地使用了。故宫博物院至今完整保存一件底部印有“力石假山用”字样的宋钧窑花盆,应属同类用器。至今,《溪山秋色图》中的景致依然很美。可是徽宗皇帝为自己打造的人间仙境——艮岳,自建成之日到被夷为平地不过四年时间,在1125年,随同徽宗的升仙之梦,一起被攻入汴京的金人所毁。
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