【藏品名稱】：宋代耀州窯刻花膽瓶
[collection name]: carved gall bottles in Yaozhou Kiln of Song Dynasty
【藏品類別】：瓷器
[collection type]: porcelain
【藏品數(shù)量】：一件
[collection quantity]: one piece
【藏品起拍價】：28.7萬
[collection starting price]: 287000
從陶瓷文化剛興起的時候，我們的祖先已經(jīng)通過在陶瓷上刻劃紋飾，來增強陶瓷的美觀度。到了宋朝，陶瓷的發(fā)展迎來了一個高峰，在宋代出現(xiàn)了六大窯系，而耀州窯便是其中之一。耀州窯以燒制青瓷而聞名，耀州窯青瓷受人追捧，除了有好的釉色，還有各種紋飾工藝，其中最受歡迎的是刻花技法。
From the beginning of ceramic culture, our ancestors have already enhanced the beauty of ceramics by carving patterns on ceramics. In the Song Dynasty, the development of ceramics ushered in a peak. In the Song Dynasty, there were six kiln systems, and Yaozhou Kiln was one of them. Yaozhou Kiln is famous for its celadon firing, and its celadon is sought after. Besides its good glaze color, it also has various decorative techniques, among which the most popular is the carving technique.
宋代耀州窯的刻花技法，用專業(yè)術(shù)語來講屬于胎裝飾，即現(xiàn)在泥胎上刻出各種花紋，然后再施以釉色燒制。因為在刻花過程中會造成胎面高低起伏，進(jìn)而釉色也會出現(xiàn)深淺層次的變化，顯現(xiàn)的花紋會起到很好的裝飾作用，宋人究竟如何刻花我們無法現(xiàn)場目睹，但通過宋代耀州窯流傳下來的作品來看，瓷器花紋線條優(yōu)美、結(jié)構(gòu)精細(xì)、顏色深淺恰當(dāng)具有層次感，給人一種空間立體的效果。宋代耀州窯青瓷的刻花技藝雖不說空前絕后，但在那個時期已經(jīng)到了非常成熟的地步。
The carving technique of Yaozhou Kiln in Song Dynasty belongs to tire decoration in terms of technical terms, that is, various patterns are carved on clay molds and then fired with glaze color. Because in the process of engraving, the tread will fluctuate, and the glaze color will change in depth. The patterns will play a very good decorative role. We can't see how the people of Song Dynasty carved patterns on site. However, according to the works handed down from Yaozhou Kiln in Song Dynasty, the porcelain patterns are beautiful in lines, fine in structure, appropriate in color, and have a sense of hierarchy, which gives people a sense of emptiness Three dimensional effect. Although the celadon carving technique of Yaozhou Kiln in Song Dynasty is not unprecedented, it has reached a very mature stage in that period.
這件宋代耀州窯刻花膽瓶造型為小口、短頸、豐肩，肩部以下漸收斂，圈足。器身刻劃紋飾一組，肩腹部為纏枝牡丹紋，在肩部及腹下各飾有雙弦紋。器表施青綠色釉，微泛黃，胎質(zhì)細(xì)白瓶身以精湛的刻花技法滿飾纏枝牡丹，布局極為嚴(yán)整，刀法流暢，一氣呵成，顯得犀利而灑脫。該瓶體態(tài)秀長，是宋代瓷瓶的標(biāo)準(zhǔn)樣式。瓶身細(xì)長，雙肩瘦削，猶如古代苗條的少女亭亭玉立。刻花線條活潑流暢，使造型與裝飾完美結(jié)合，相輔相成，相得益彰，相得益彰，體現(xiàn)了宋代耀州瓷高超的制坯工藝和精湛嫻熟的刻花技巧，是一件令人百看不厭的佳作，在中國陶瓷史上留下濃墨重彩的一筆，具有非常高的收藏價值和升值空間！
The shape is small mouth, short neck, rich shoulder, gradually converging below the shoulder, circle foot. There are a group of carved patterns on the body of the instrument. The peony pattern is on the shoulder and abdomen, and the double string pattern is on the shoulder and under the abdomen. It is decorated with green glaze, yellowing and white. The vase is decorated with peony with exquisite carving techniques. The layout is very strict, and the sabre technique is smooth. It is sharp and free. The vase is long and elegant, and is the standard style of porcelain vase in Song Dynasty. The bottle has a slender body and thin shoulders, just like a slender girl in ancient times. The lively and smooth lines make the perfect combination of modeling and decoration, complement each other, complement each other, and complement each other. It reflects the superb blank making technology and exquisite flower carving skills of Yaozhou porcelain of Song Dynasty. It is a masterpiece that can never be tired of. It leaves a heavy ink and heavy color in the history of Chinese ceramics, and has a very high collection value and appreciation space!
