唐代魯山窯魚紋花釉執壺
唐代魯山窯魚紋花釉執壺
唐代魯山窯魚紋花釉執壺
唐代魯山窯魚紋花釉執壺
唐代魯山窯為古代陶瓷窯，在今河南魯山段店村，故名，唐代以生產花瓷著名。縱觀此件執壺，為唐代魯山窯魚紋花釉執壺，此藏品盡顯唐代瓷器的風采，飽滿的圓腹，豐潤、圓滿、渾實，憨態可掬，是典型的唐代器物。整體器型完整，老化痕跡明顯，胎釉交接自然疏朗，釉面自然剝化自然，紋飾清晰可辨。其釉色斑斕，底色釉為瑩潤的醬黑褐色，近足部及底部不施釉，露出胎體，色斑釉口沿稍薄，至腹部，厚釉處呈自然流淌之勢，通過釉色的差異，打破了黑底釉的沉悶、乏味，使整體跳躍、明快，自有一種自然率意的美感，也與唐人追求浪漫雄偉的審美觀相適應。
這種以白色斑釉作裝飾的瓷器，稱為“花釉瓷，唐代陶瓷的褐釉白彩工藝的裝飾手法，多施展在胎體上，用刻花、劃花、印花、模印堆貼等手法，刻劃、塑造出魚形紋，網格紋等紋飾，以此表現陶瓷的整體美感，表面多施單色釉。
此件花釉瓷是在單一的釉色上增加另一種色釉，即在黑釉褐釉底釉上，用點、繪、淋、塗等方法，裝飾斑釉，燒造時，彩斑和底釉收縮率不同，兩種釉料熔融、流動、浸漫，故而成器的斑釉在底釉上自然流淌，釉面交融浸潤，有唐代審美特徵，釉色流淌紋理明顯，具觀賞以及收藏價值。
中國古代瓷器征服世界人心的力量，不是它所特具的某一方面的特長，而是它的內在胎質與外在裝飾渾然一體所呈現出來的風韻。這種風韻不僅具有賞心悅目而又陶冶性靈的濃郁的東方格調的魅力，更重要的是它凝聚了中華民族審美心理的歷程，體現了中華民族的素質、文化水平和歷史面貌。從這個意義上來說，它代表了中國文化乃至東方文化的先進思想和高度創造性，因而具有更深刻更廣博的美學內涵。
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Lushan kiln in Tang Dynasty is an ancient ceramic kiln. It is named after duandian village in Lushan, Henan Province. It is famous for producing flower porcelain in Tang Dynasty. Looking at this holding pot, it is a fish pattern and flower glaze holding pot of Lushan kiln in Tang Dynasty. This collection shows the style of porcelain in Tang Dynasty. It is full of round belly, plump, complete, solid and charming. It is a typical utensil of Tang Dynasty. The overall shape of the device is complete, the aging trace is obvious, the connection between the tire and glaze is natural and sparse, the glaze surface is naturally peeled and natural, and the decorative pattern is clear and distinguishable. The glaze color is gorgeous. The base color glaze is a bright black brown sauce. No glaze is applied near the foot and the bottom. The carcass is exposed. The mouth of the colored glaze is slightly thin. To the abdomen, the thick glaze flows naturally. Through the difference of the glaze color, the dull and boring of the black base glaze is broken, making the whole jump and bright. It has a natural sense of beauty. It also adapts to the Tang people's pursuit of romantic and majestic aesthetics.
This kind of porcelain decorated with white mottled glaze is called "flower glaze porcelain. The decoration technique of brown glaze and white color technology of Tang dynasty ceramics is mostly applied on the carcass. The fish shaped pattern, grid pattern and other patterns are engraved and shaped by the techniques of carving, scribing, printing, and die printing, so as to show the overall aesthetic feeling of the ceramics. The surface of the porcelain is mostly covered with monochromatic glaze.
This flower glaze porcelain is to add another kind of color glaze on a single glaze color, that is, on the black glaze and brown glaze bottom glaze, using the methods of point, drawing, pouring, coating, etc., to decorate the spot glaze. When firing, the shrinkage rate of the color spot and bottom glaze are different. The two kinds of glaze materials melt, flow, and soak. Therefore, the spot glaze naturally flows on the bottom glaze, and the glaze surface blends and infiltrates. It has the aesthetic characteristics of Tang Dynasty, and the glaze color flow and texture is obvious, With ornamental and collection value.
The power of ancient Chinese porcelain to conquer the hearts of the world is not one of its specialties, but the charm of its inner quality and outer decoration. This charm not only has the charm of the Oriental style, which is pleasing to the eyes and edifying the spirit, but also embodies the course of the aesthetic psychology of the Chinese nation, which embodies the quality, cultural level and historical outlook of the Chinese nation. In this sense, it represents the advanced thought and high creativity of Chinese culture and even oriental culture, so it has a deeper and broader aesthetic connotation.
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