越窯是中國古代最為著名的青瓷窯系,其釉色類玉、類冰,造型精美,器物眾多。越窯的發(fā)展歷史,可以追溯到商周時期的原始瓷生產(chǎn),東漢時,越窯燒造出成熟的青瓷,嗣后,經(jīng)歷了三國、兩晉、南北朝的大發(fā)展時期，隋、唐、五代的全盛期,至北宋中期漸趨衰落。
Yue Kiln is the most famous celadon kiln system in ancient China. It has jade like glaze, ice like glaze, exquisite shape and numerous artifacts. The development history of Yue Kiln can be traced back to the primitive porcelain production in Shang and Zhou dynasties. In the Eastern Han Dynasty, Yue Kiln Produced mature celadon. Later, it experienced the great development period of Three Kingdoms, two Jin Dynasties, southern and Northern Dynasties, the heyday of Sui, Tang and Five Dynasties, and gradually declined to the middle of Northern Song Dynasty.
西晉時期的瓷器仍以越窯為代表,但胎體比三國時的略厚,且通常為褐色胎或灰白胎,瓷化程度相對較高、器身沉實。
Yue Kiln is still the representative of porcelain in the Western Jin Dynasty, but the carcass is slightly thicker than that in the Three Kingdoms, and it is usually brown or gray white, with relatively high degree of porcelain and solid body.
兩晉后期出現(xiàn)了不規(guī)則的褐色斑點,后到東晉時普遍使用, -般是有規(guī)律地點在器物的口沿、器蓋，或者獸眼、雞冠、羊角等部位上。
There were irregular brown spots in the Late Jin Dynasty, which were commonly used in the Eastern Jin Dynasty. Generally, they were located at the mouth edge of the utensils, the lid of the utensils, or the animal's eyes, the crowns of chickens, the horns of sheep, etc.
東晉的青瓷與西晉的情況基本上相近,但存裝飾上卻大不一樣。 西晉紋飾追求華麗而東晉趨于簡樸,光素?zé)o紋器很多,有的只有幾道凸弦紋或梳蓖水波紋。
The situation of celadon in the Eastern Jin Dynasty is basically similar to that in the Western Jin Dynasty, but its decoration is quite different. The pattern of the Western Jin Dynasty pursues luxuriance while that of the Eastern Jin Dynasty tends to be simple. There are many plain and plain wares, some of which have only a few convex string patterns or comb water ripples.
這只兩晉越窯青釉四系罐，施釉不及底，釉汁勻凈，色呈淺青綠。口部及肩的橋形四系上，飾有褐色斑塊，這類點彩，東晉時風(fēng)行，遂成時代特征。平底微凹，灰胎堅致。
This four series blue glaze pot of Yue Kiln in the two Jin Dynasties is not as good as the bottom. The glaze juice is even and pure, and the color is light green. The bridge shaped four systems of mouth and shoulder are decorated with brown patches, which are popular in the Eastern Jin Dynasty and thus become the characteristics of the times. The flat bottom is slightly concave, and the gray tire is firm.
器外施釉不過底，為東漢至宋元瓷器上的常見現(xiàn)象，是當(dāng)時為了避免釉汁掛淌造成粘窯，而特意留置的一段過渡空間。 這塊空間，不單便于大件器上釉后的搬下搬上，亦使小件器有了可以捏著刷釉的空檔，同時又利于刷釉時的快速高效(上釉時無須小心翼翼了)。現(xiàn)代仿制品上，由于沒有弄明白釉不及底的原因，往往近底的一圈釉層刷得很整齊、很勻稱，這是一個破綻。
It is a common phenomenon on the porcelain from the Eastern Han Dynasty to the song and Yuan dynasties that the glaze can not be applied to the bottom of the ware. It was a transitional space reserved specially to avoid the glaze juice from hanging and flowing and causing sticking to the kiln. This space is not only convenient for the removal of large pieces after glazing, but also for the opening of small pieces to hold the glaze, which is also conducive to the rapid and efficient application of glaze (no need to be careful when glazing). In modern imitations, because the reason why the glaze is not as good as the bottom is not clear, a circle of glaze near the bottom is often brushed neatly and evenly, which is a flaw.
