鈞窯，即鈞臺(tái)窯，是在柴窯和魯山花瓷的風(fēng)格基礎(chǔ)上綜合而成的一種獨(dú)特風(fēng)格，受道家思想深刻影響，在宋徽宗時(shí)期達(dá)到高峰，其工藝技術(shù)發(fā)揮到極致。無(wú)論是呈色和各種紋理的表現(xiàn)，做到窯變可控隨心所欲的表現(xiàn)技術(shù)，至今無(wú)人能仿造。宋代受理學(xué)的影響，反應(yīng)在瓷器上就是規(guī)整對(duì)稱，無(wú)論是造型或紋理都遵循這一原則，特別是北宋官造鈞瓷，不論文房用具或大型祭器都嚴(yán)格遵守這一原則。規(guī)整對(duì)稱，高雅大氣，宮廷氣勢(shì)，一絲不茍。其勢(shì)沉重古樸，明亮而深沉。建窯，耀州窯，鈞窯，作為中國(guó)傳統(tǒng)瓷文化正宗，歷史悠久的風(fēng)格傳承至今。
Jun Kiln, namely Juntai Kiln, is a unique style based on the style of Chai Kiln and Lushan Flower Porcelain. Influenced by Taoism, it reached its peak in the Song Huizong period, and its technology was brought into full play. Up to now, no one can imitate the performance technology of rendering color and various textures, so that the kiln change can be controlled at will. The influence of Reception Theory in Song Dynasty is reflected in the regularity and symmetry of porcelain, which is followed in both shape and texture, especially the official Jun porcelain made in Northern Song Dynasty, which strictly abides by this principle. Regular symmetry, elegant atmosphere, court momentum, meticulous. Its potential is heavy and simple, bright and deep. Jianyao Kiln, Yaozhou Kiln and Jun Kiln, as authentic and long-standing styles of Chinese traditional porcelain culture, have been passed down to this day.
放大鏡觀察，蚯蚓走泥紋，用氣泡一個(gè)個(gè)串連一體呈立體的爬行狀，青蛙卵紋包裹卵核一摞摞正欲孵化而出。還有牛血紋，血色深紅暗沉殺氣騰騰，莊重威嚴(yán)等等，難以一一敘述。北宋官窯鈞瓷的發(fā)色和紋理大小和分布，都難以做到人為控制而恰到好處，是北宋瓷藝的最高工藝水平的體現(xiàn)。這批鈞瓷工藝早已失傳，而窯址也隨冰凍積水而下沉。"縱有家財(cái)萬(wàn)貫，不如鈞瓷一片"。可見當(dāng)時(shí)鈞瓷產(chǎn)生的轟動(dòng)效應(yīng)。于是各地群相仿效，窯口林立，但至今仍然不得要領(lǐng)。至今，研究文章汗牛充棟，考古窯口不計(jì)其數(shù)，因都未見過(guò)這批北宋官造鈞瓷，也只能是管中窺豹了。1955年，禹縣(今禹州)陶瓷廠開始研制、探索湮沒已久的鈞瓷胎釉的基本配方與燒成技術(shù)，不僅燒制出玫瑰紫，海棠紅、天青、月白等傳統(tǒng)色釉，還發(fā)展了十多種花釉，并增加了現(xiàn)代日用器皿、藝術(shù)陳設(shè)瓷等新品種。
Observed by a magnifying glass, earthworms walk through mud patterns, and connect with bubbles one by one to form a three-dimensional crawling shape. Frog egg patterns wrap egg cores and are about to hatch. There are also cow blood lines, which are bloody, dark and combative, solemn and dignified, etc., which are difficult to describe one by one. The hair color, texture size and distribution of Jun porcelain in official kilns in Northern Song Dynasty are difficult to be controlled by people and just right, which is the embodiment of the highest technological level of porcelain art in Northern Song Dynasty. This batch of Jun porcelain technology has long been lost, and the kiln site sinks with frozen water. "A piece of Jun porcelain is better than a piece of Jun porcelain". It can be seen that Jun porcelain had a sensational effect at that time. As a result, groups around the country imitated each other, and there were many kiln mouths, but it is still beside the point. Up to now, there are numerous research articles, and there are countless archaeological kiln mouths. Because they have never seen this batch of Jun porcelain made by the Northern Song Dynasty officials, they can only see the leopard in the tube. In 1955, Yuxian (now Yuzhou) Ceramics Factory began to develop and explore the basic formula and firing technology of Jun porcelain glaze, which had been lost for a long time. It not only fired the traditional glaze such as rose purple, Haitang red, azure and moon white, but also developed more than ten kinds of flower glaze, and added new varieties such as modern daily utensils and artistic display porcelain.
此藏品造型規(guī)整，端莊典雅，器宇軒昂，釉質(zhì)凝潤(rùn)如玉，釉色過(guò)度自然，呈現(xiàn)出豐富的窯變意境，在爐火高溫的氣氛下所形成的迸紋清晰可見，開片如麟，具有極高的藝術(shù)欣賞價(jià)值，還有相當(dāng)大的升值空間。
This collection is regular in shape, dignified and elegant, elegant in appearance, rich in artistic conception due to its condensed enamel and excessive natural glaze color. The blend lines formed in the high temperature atmosphere of the fire are clearly visible, and it has high artistic appreciation value and considerable appreciation space.
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