宋代宋代湖田窑影青暗刻娃娃碗: 拍品尺寸：口径:21cm, 高度:7cm. 拍品来源：加拿大西人资深藏家私家珍藏. 此碗器型为斗笠，小圈足，釉色青雅，釉水莹润。薄胎，透光，敲击时声音悦耳，持续数十秒。在光线照射下可以清晰看到碗内壁暗刻娃娃纹饰，刀法娴熟流畅，为开门的宋代湖田窑影青瓷藏品。参考资料：宋代景德镇窑产品以民间生活日用品为大宗,饮食具酒具最为多见,其刻花、划花技法均于简练流动中颇见功力。瓷的品种以青白瓷为主,独具一格,青白瓷胎质洁白细腻,击之声音清脆悦耳,釉色介于青白两色之间,青中闪白,白中泛青,釉质清澈似湖水莹润如玉,习称影青,又有饶玉之誉。湖田窑在五代时烧造青瓷和白瓷,青瓷胎色青灰,白瓷洁白,产品以盘、碗为主。北宋早期普遍使用仰烧法,烧造青白瓷唇口、葵口碗。多光素无纹饰。北 宋中晚期,选用表层风化最佳的瓷石原料,淘洗澄湛工艺逐渐完善,拉坯成型技艺日趋成熟。尤其采用旋坯工艺,用铁刀在阴干的毛坯上旋削修整,使瓷胎薄腻至极,造型规整秀美,其实大批量烧造的斗笠碗,口径20厘米有余,面碗壁厚度尚不足0.2厘米。如此大口径薄胎器,即便明、清两朝造瓷技艺发展至巅峰,也无法大规模再造。这一时期,釉料中釉灰用量较多,釉熔融较透,透明度特别好。釉层中气泡、析晶以及其他残留物较少。刻花、划花、模印花纹的凹痕宽度、深度不同,釉层堆积厚度和块面大小多有变化,釉色由淡淡青白色向天青、湖绿渐次演变。纯净明澈并富于色调变化的硬青釉,大大强化了纹饰的艺术效果,给人以音乐旋律绎如心灵的美感。棕眼是影青瓷釉面的一个重要特征。坯胎用的是生料,高温烧结产生大量气泡,气泡通过釉面逸出,有 些釉表面未被及时填平,而形成大小不同的棕眼。棕眼不光凹馅面大小不一、深浅不同,形态也有差异。多数只是釉表面的凹痕,一些却有针管样细孔穿透釉层,连通瓷胎。经近千年土浸,釉层下的胎上,形成大小不一的放射状扇型土浸斑。影青瓷造型美,装饰技 艺更是独步青云,特别是刻花、划花技法。娃娃纹、莲纹、水波纹等等,构图饱满,线条流畅,洋溢着浓郁的生活气息。粗线条先垂直刻一刀,再沿线斜刻一刀。这 不由得让人联想到汉代玉雕之汉八刀工艺。匠师根据构图需要,刻痕深浅、斜线坡度、斜面宽窄等等都富于变化。每根线条都明显起顿,犹如中国书法之提、 按、顿、捺。细线条则以深浅宽窄变化,表现花、叶、水波、娃娃等范围轮廓。流畅有力,有韵律美感。线条的起顿衔接,准确而自然。匠师专业而有自信,手法娴 熟,正可谓庖丁解牛。通过手腕的提按顿捺,划出长短不一、粗细变化的同心水波纹。这些同心 水波纹,自然而有序地排布在粗线条的轮廓内,与复刀主线、单刀轮廓线共同构成一幅完整图案。律动的线条变化,赋予莲花荷叶风中翩然,莲子荷包欲出:近看湖面水波涟漪,远眺江水激流翻滚,寥寥数刀轮廓线勾勒出的娃娃,头大体腴,生灵活泼,嬉戏于河塘水际看似纷繁的画面,其实自然有趣。整个画面根本找不出一根可有可无的线条,仅此一点,足以想像当时匠师是何等胸有成竹之高人。纵观出土实物,北宋中晚期至南宋,优质湖田窑产品,多用匣钵 垫块仰烧法烧成。当时已经普遍推广使用的多数垫钵匣钵内覆烧技术,以及定窑发明并广为运用的垫圈组合式窑具装烧芒口碗盘的技法,虽然生产效率极大提高,但优质湖田窑产品却很少采用,最重要的原因是芒口影响品质。匣钵垫烧产量虽受制约,但可以最大限度保持产品的优良品质。其实最突出的成就就是窑工能娴熟掌控 强还原焰,使瓷胎烧结致密,透光度愈加良好。釉熔融透彻,焕发出影青釉白里带青、温润如玉的迷人魅力,而且,胎釉结合极紧密,透明度和硬度都达到近代硬质瓷器的标准。-------------------------------------------------------------------------------------- Hutian kiln Song Dynasty dark shadow carved doll bowl Song. Dimensions: Caliber: 21cm, Height: 7cm Origin of the item: Canada's Western Senior Collector's Private Collection. This bowl type is a bucket, a small circle foot, glazed green, glazed and shiny. Thin tires, translucent, and pleasing to the ears, last for tens of seconds. Under the illumination of the light, it is possible to clearly see the dark-engraved doll decoration on the inner wall of the bowl, and the knife method is familiar and smooth. References: Jingdezhen kiln products in the Song Dynasty are dominated by daily necessities for daily use, and drinking utensils are the most common. The techniques of carving and drawing are all well-known in the concise flow. The porcelain variety is mainly composed of blue and white porcelain. It has a unique style. The green and white porcelain has a delicate white finish. The sound of the shot is crisp and sweet. The glaze is between white and blue, green and white, white and blue, and the enamel is clear. Ying Runruyu, Xiqing Yingqing, also has a reputation of Rao Yu. Hutian Kiln burned celadon and white porcelain in the Five Dynasties, celadon fetal green and gray, white porcelain white, products mainly in plates and bowls. In the early Northern Song Dynasty, Yang Yang's method of burning was commonly used to burn the blue and white porcelain lips and the Kwai Kou bowl. Polyphotos without ornamentation. In the middle and late Song Dynasty, the best porcelain materials for surface weathering were selected, and the techniques of scouring and improving were gradually perfected, and the forming technology of castings gradually matured. In particular, the rotary billet process uses an iron knife to shave and dry on the dried blanks, making the porcelain tires extremely delicate and beautifully shaped. In fact, a large batch of bowls with a diameter of more than 20 cm is used, and the thickness of the bowl wall is less than 0.2 cm. . Such a large-calibre thin tire device cannot be reconstructed on a large scale even if the Ming and Qing dynasties made ceramic art development to its peak. During this period, the amount of glaze used in the glaze was more, the glaze was more transparent and the transparency was particularly good. There are fewer bubbles, crystals, and other residues in the glaze. The widths and depths of the dents in the engraved, stenciled, and stamped patterns are different. The thickness of the enamel layer and the size of the block surface are changed. The glaze color gradually changes from light blue to white and green. Pure and clear cyan glaze, rich in changes in color tone, greatly enhances the artistic effect of ornamentation, giving people a musical melody, such as the beauty of the soul. Brown eyes are an important feature of shadow celadon glaze. The raw material for the green tire is raw material. A large number of bubbles are generated during high-temperature sintering. Bubbles escape through the glaze. Some glaze surfaces are not filled in time, and brown eyes of different sizes are formed. Brown eyes are not only different in size and depth, but also in shape and depth. Most of them are just dents on the glaze surface. Some of them have needle-like pores that penetrate the glaze and communicate with porcelain. After nearly a thousand years of earth immersion, the radii below the glaze layer formed radial fan-shaped soil dip spots of different sizes. The shadow celadon styling is beautiful, and the decorative arts are unique, especially carving and flowering techniques. Doll patterns, lotus patterns, water ripples, etc., full composition, smooth lines, filled with rich flavor of life. Thick lines first engrave a knife, and then along the line oblique knife. This can not help but reminiscent of Han Dynasty jade carving Han eight knife process. According to the composition needs of the craftsmen, the depth of the nicks, the gradient of the sloping lines, the width of the slopes, etc., are all varied. Each line is clearly set off, as if it were Chinese calligraphy. Thin lines vary in depth and width to express the contours of flowers, leaves, water waves, and dolls. Smooth and powerful, with rhythmic beauty. The line of convergence is accurate and natural. The craftsman is professional and self-confident, and he is familiar with his skills. By pressing the wrists, we draw out concentric ripples of varying lengths and thicknesses. These concentric water ripples are naturally and orderly arranged within the outline of the thick lines, and together with the main lines of the knife and the outline of the single knife form a complete pattern. The rhythmical lines change, giving the lotus lotus leaves in the air, and the lotus seeds purse: look at the waves of the lake, look at the rapids of the river and roll, and draw out the figures outlined by the number of knives. The head is rough, flexible and playful. The seemingly intricate picture of Tang Shui is naturally interesting. The whole picture simply cannot find a dispensable line. This alone is enough to imagine how the craftsman at that time was confident. Through unearthed physical objects, during the middle and late Song Dynasty to the Southern Song Dynasty, high-quality Hutian kiln products were burned using the Yang block kiln firing method. At that time, most of the techniques used in the use of overlying mattresses, as well as the technique of installing and burning the cupboard with washers invented and widely used in fixed kilns, have greatly improved the production efficiency, but the quality of Hutian Kiln However, products are rarely used. The most important reason is that Mangou affects the quality. Although the production of mat burning is restricted, it can maintain the excellent quality of the product. In fact, the most outstanding achievement is that the kiln workers can master and control the strong reduction flames, making the porcelain tires dense and dense, and the transmittance is even better. The glaze melts thoroughly, glows with a glamorous cyan, white and green brilliance. The feminine glaze is extremely compact, with transparency and hardness all meeting the standards of modern hard porcelain.