宋代耀州窑婴戏缠枝莲纹葫芦瓶

宋代耀州窑刻花这缠枝莲纹婴戏纹葫芦瓶。
宋代耀州窑刻花瓷器，先采用直刀深刻出纹样大轮廓，再于花纹轮廓外，采用斜刀广削刻去纹样外的部分背衬，使花纹清晰凸起于坯胎之上。特点是，行刀手法犀利、圆活、流畅，浮雕感强。宋代早期偏晚时候出现，北宋中期盛行，北宋晚至金代仍大量生产，但主导地位为同风格的印花装饰取代。
北宋早期。装饰以刻花为主，花纹大部分装饰于器物的外壁。花纹局部不加以任何修饰，图案简朴，其中刻两层莲瓣碗的浅浮雕效果明显，是五代越窑装饰影响的结果。说明处于初期的北宋耀州窑刻花很大程度上吸取了越窑装饰中的技法与题材。
北宋中期。装饰技法为刻花为主，同时也使用印花装饰。耀州窑刻花进入了它的成熟阶段，刻花技术得到了飞速的发展，无论装饰题材还是技法，均较早期有了明显的提高。首先，花纹的装饰部位开始增多，由早期的外壁转向内壁，出现了内外壁同时进行装饰的现象。炉、罐、缸、瓶类器物因受形体的局限，装饰仍在外壁，但装饰面积却相应增加。如早期的外壁刻花仅限于部分部位，中期则流行满饰。其次，纹饰中刻划并用，改变了早期刻花制品只刻不划的做法。这种综合手法的运用对局部的花纹进行进一步装饰，增加了层次，使图案的立体效果进一步加强。再次，纹饰内容增加，技术越发娴熟。这个时期刻花制品中大量流行的缠枝、折枝花卉，而印模上的把莲、水波三鱼、水波双鸭、鸳鸯戏莲纹、双鸭戏莲纹等动物纹饰题材和婴戏莲纹题材的广泛流行。这些纹饰具有构图繁密、线条纤细活泼的特点，创作难度大，所需水平高。耀州窑刻花纹样大多具有线条细腻、刀锋犀利和一气呵成的特点。刻花水平的提高带动了印模纹饰的的发展，印花制品的大量出现，使得耀州窑印花纹饰在北宋中晚期取得了飞速的发展，这是和中期刻花水平的高度发展与成熟分不开的。
北宋晚期。装饰以印花为特色，此期耀州窑印花工艺达到其顶峰，可用“巧如范金，精比琢玉”来形容其艺术水平。 装饰题材在上一期的基础上此期进一步增多，又相继出现了婴戏、梅竹、松竹、把莲、连环牡丹、水波五鱼、把莲六鱼、开光鱼鸭、凤戏牡丹、双鹤、群蛾、六格花卉、群鹤博古等图案；画中藏字也成为一大特点出现于装饰之中。
宋耀州窑青瓷胎骨较薄、胎色深灰。因当时施釉工艺尚有不够，故器物背面接近足部同底部经常涌现漏施釉的状况。这些漏釉的露胎处，显示出一些酱色的氧化铁所致小斑块。由于胎土中所含铁的成分较高，在器身之外的下部釉薄处，也时常隐隐透出一些淡褐色。这些特征都是后仿品无法仿出的。

This Song Yaozhou Lotus Scroll carved gourd bottle of children at play pattern. 
Song Yaozhou carved porcelain, first using a straight knife deep pattern big picture, and then outline the pattern, the wide use of oblique knife to cut patterns carved outside part of the backing, so that a clear pattern in the mold and raised above. Feature is the sharp line of knife techniques, round live, smooth, strong sense of relief. Partial early evening when the Song Dynasty, Song medium prevalence of late Northern Song to Jin Dynasty are still a lot of production, but the dominant style of printing the same decoration replaced. 
The early Northern Song Dynasty. Decorated with carved-based, most decorative patterns on the objects of the wall. Not to be any pattern of local modification, simple design, in which two layers of lotus petals carved bas-relief effect of the bowl obviously, is the result of the Five Dynasties Yue decorative effect. That in the early Northern Song Yue Yaozhou draws largely carved decoration techniques and subject matter. 
North Song Dynasty. Decorative Techniques for the carved mainly, but also use the printed decoration. Yaozhou carved into its mature stage, engraving technology has been rapid development, both decorative themes, or techniques, has been significantly improved compared with earlier. First, the pattern began to increase the decorative parts, steering outer wall by the early emergence of both inner and outer walls are decorated phenomenon. Stove, pots, jars, bottles due to physical limitations of objects, decorative wall still, but the decoration area has increased accordingly. If engraving is limited to the early part of the outer wall area, popular with full decorative medium. Second, the ornamentation of carved and used to change the moment of early engraving products are not only planning approach. This integrated approach to the partial use of decorative patterns further increased the level to further enhance the stereo effect pattern. Again, decoration content increases, more and more skilled technology. During this period a large number of popular products in carved scrolls, flowers, broken branches, and die on the lotus, water three fish, water double ducks, mandarin ducks play Lotus, two ducks and other game animals Lotus Lotus decoration themes and children at play a wide range of popular subjects. The decoration has a dense composition, lively features delicate lines, creating difficult, required a high level. Most Yaozhou carved with delicate lines pattern, the characteristics of the blade sharp and coherent.Raising the level of carved decoration impression led to the development, printing products, large numbers, making the stamp decoration Yaozhou made in the late Northern Song in the rapid development, which is the high level and mid-carved inseparable from development and maturity The. 
The late Northern Song Dynasty. Features decorated with printing, printing of this period reached its peak Yaozhou, use "clever, such as Pham, refined than the Jade carving" to describe the artistic level. In the last decorative themes on the basis of a further increase in this period, they have appeared in children at play, Mei Zhu, Shochiku, the lotus, a chain peony, water five fish, six fish, the lotus, the opening of fish duck, chicken opera Peony, doubleCrane, group moths, six cells of flowers, Preached Bo Gu and other patterns; painting in the possession of the word has become a major feature of being seen in the decoration. 
Song celadon Taigu Yaozhou thin, dark gray color tires. There was not enough for glazing techniques, so objects on the back near the bottom of the foot often emerge with the status of missing glazing.The leakage at the enamel of the exposed child, show some dark reddish brown due to the small patches of iron oxide. Since tire iron in the composition of soil high in the lower part of the body of the glaze thin at the outside, but also often revealed a number of faint light brown. These features are not fake after fake goods out. 

明代青花釉里黑凤尾尊

传世品明早期青花釉里黑凤尾尊。
一般元明清官窑的釉下彩通常为发青色钴料和红色的铜料釉里红，但是在发色不正常时，二者都有变化，釉里红发色偏暗红，青花发色则由艳丽偏灰，偏黑，甚至漆黑。二者发色有很大区别，肉眼能简单辨别。慢慢，黑色青花形成了“釉里黑”这个名词，也可以说是黑青花，都是个人习惯。由于“釉里黑”传世品的稀少，不少瓷器爱好者甚至是研究者对釉里黑的认识并不深，甚至闻所未闻。其实，“釉里黑”在元代已经出现，随着景德镇的明代官窑不断发掘，也出现大量类似发色残瓷，尤以洪武时最多，现在展望洪武瓷器，不论是传世品还是发掘品，类似发色不在少数，甚至可以说十有七八为“釉里黑”，主要与当时烧制技术有关。永乐朝烧造水平有所提高，发黑产品相对少了些，宣德朝的釉里黑产品也可以说屡见不鲜，只有到了成化，正德朝，由于使用了高锰低铁的国产青料时，才没有以上的黑褐色等铁锈斑以及通体呈黑色的釉里黑现象。因为在当时毕竟还认为“釉里黑”为青花发色不正所致，是一种瑕疵，类似于“璺”，但是釉里黑发色对于习惯了通常青花的玩瓷者来说，别有韵味。并且它的制作工艺是完全按照青花的标准来制作的，自然其制作工艺，绘画水平与同时代青花器同属一辙。

Handed down in early Ming Dynasty blue and white glazed in black Pteris respect.
Yuan Ming Qing general kiln underglaze cobalt blue is usually made of copper material and red underglaze red, but hair color is not normal, both have changes, and Red hair color cast dark red, blue and white Gray hair color from bright side, partial black and even dark. Two very different hair color, eye to simple identification. Slowly, forming a blue-black "in black enamel," the term can also be said to be black and blue, are personal habits. As the "glazed in black" handed down scarce, many fans and even porcelain enamel in black researchers understand not deep, or even unheard of. In fact, "the glaze in black" has emerged in the Yuan Dynasty, Ming Dynasty, Jingdezhen kilns as continue to explore, but also a large number of similar residues ceramic hair color, especially when Hongwu up, now look Hongwu porcelain, whether handed down or identify products , similar to hair color a few, say ten or even seven or eight as "enamel in black," was mainly technology-related firing. Yongle level towards the firing has increased, relatively less of black products, black Xuande toward the enamel products can also be said in common, and only to a fully integrated, Masanori North Korea, due to the use of high manganese green material made of low iron when dark brown above and it did not rust and the whole body such as iron black glaze in black phenomenon. Because after all that time that "glazed in black" is not correct for the blue and white hair color caused by a defect similar to "璺", but the glaze in the color black is usually used for playing with blue and white porcelain are concerned, Do not have the charm. And its production process is in full accordance with the standard blue and white made before, its production process, drawing level with contemporary blue and white devices belong to the same rut.

宋官窑鳝血纹双耳瓶

宋代官窑鳝血纹双耳瓶，胎质细腻，烧造工艺精细，器型古气浓厚。
宋代官窑器釉质肥厚，酥光宝晕，有玉质感。釉下气泡颗粒大而明亮，并累叠密集，如史料“聚沫攒珠”之述。釉色以粉青、天青、炒米黄等色为多。宋代官窑器釉下气泡颗粒大而明亮，并累叠密集，如史料“聚沫攒珠”之述。釉色以粉青、天青、炒米黄等色为多。薄胎厚釉者多采用垫饼烧，厚胎薄釉者多采用支钉烧，通体满釉，圈足无釉，底部留有三到四个或更多支钉痕。圈足一般都不太规则。
今天我给大家所见的这个精品其釉厚如凝脂般光润，特别是其呈现出的如玉似腊的酥光宝晕效果，是后世仿品无法做到的。

大清康熙年制款青花开光梅兰竹菊四方瓶

康熙年款青花梅兰竹菊开光四方瓶，釉色鲜艳造型独特，是康熙青花的典范。
康熙青花瓷器以胎釉精细，青花鲜艳，造型多样，纹饰优美而久负盛名。造型硬挺、爽利、饱满有力，大件器皿更是气魄雄伟。造型多用单纯挺拔的弧线、圆线和有力的直线相结合，外轮廓线各部分的组合变化乃至形体的整个比例也很协调。因此，康熙时期的青花瓷器能给人以深厚含蓄、耐人寻味的美感。康熙青花瓷器的釉色特点是色泽鲜明青翠，浓淡相间，层次分明。
　 康熙早期青花瓷胎体厚重，釉面肥润呈青白色，有缩釉和黑色小棕眼。器物口沿往往刷一层酱釉，底足处理不是很细腻，有粘砂、不光滑的现象，足内露胎处常见放射状跳刀痕。许多大盘及琢器的底足出现台阶，俗称“二层台”。双圈足大量流行，尤以大盘居多，里圈都较外圈矮，两圈间无釉。这时青花使
用浙料，呈色灰蓝，个别发色较灰暗，与顺治青花接近。
　　康熙中期青花胎体洁白坚硬，很少有杂质，有“糯米胎”之称。胎体薄厚均匀，修胎仔细。釉面有粉白和浆白两种。粉白釉面硬度高，浆白釉面略疏松，偶有细小开片。底足露胎处光滑细致，多“泥鳅背”状，少见火石红，瓷器的质量比早期制品有明显提高，胎釉结合紧密，器内外壁及底足釉色基本一致。当时还出现用淘洗精细的浆泥制成的“浆胎”，分量偏轻。使用云南出产的“珠明料”，色料提炼精纯，呈色鲜蓝青翠，与明代嘉靖青花蓝中泛紫有很大区别。它明净艳丽，清朗不浑，艳而不俗，有的呈宝石蓝色，鲜艳而无火气，直到现在它还是我国青花的标准色调。人们往往称康熙青花为“康熙五彩”“墨分五彩”，这种色阶变化完全在于分色层次的熟练掌握，康熙青花有五个层次的色阶，“头浓、正浓、二浓、正淡、影淡”之分。不同层次的渲染是由于工匠们运用了“分水皴”的方法，其装饰效果上富有层次的节奏感、立体感，结合晕染法的使用，使青花更接近和达到国画的艺术效果，这也是康熙青花备受世人推崇的重要原因之一。
　　康熙晚期青花胎体薄厚兼有，底足普遍平切，切削整齐，釉面多数是青花釉、亮青釉。这时青花呈色趋于淡雅，有的泛晕散。

宋代钧窑鼓钉瓶

宋代钧瓷鼓钉瓶,瓶身开片棕眼自然，手感坚质，窑变紫红，器底酱釉阴刻数字八。
宋代钧瓷釉质肥厚，晶莹匀润。基本釉色是各种浓淡不一的蓝色乳光釉，因为首创以氧化铜、钴等金属矿物质为着色剂，在还原气氛中成功烧制了铜红、天蓝、月白等色釉。釉面往往有黑斑点和棕眼，一般多有“蚯蚓走泥纹”（像蚯蚓在釉面上走过留下的痕迹），但未必都有，口沿及边棱凸起的薄釉处多呈米黄色。外底均施以芝麻酱色釉。主要装饰为鼓钉。北宋后期主要是刻“一”到“十”的数字，器物越大，数字越小，器物越小，数字越大。　钧瓷真品釉面上的块状窑变斑为紫红色；仿品的窑变斑不是偏浅就是过深。胎色较之真品稍浅。看其制作工艺。钧窑瓷器从初创伊始的“唐钧”，历经宋、金、元，直至民国时期的仿钧都采用的是手拉坯工艺。这种工艺特征是器物的底部较厚，然后向上逐渐趋薄，器物的口沿处胎体最薄。由于古代胎泥淘练的工序繁复，所以胎质细腻致密，而现代钧瓷的胎泥淘练较为简单，胎质断面有时有杂质或产生孔隙。

爽爷的精品收藏

宋代哥窑八棱扁瓶，釉色如玉，金丝铁线明显，铁足。是宋代哥窑的绝佳瓷器。
宋代哥窑从色泽区分，有月白、灰黄、粉青、灰青、油灰、深浅米黄等种类。哥窑瓷最显著的特征，是釉色沉厚细腻，光泽莹润，如同凝脂；若置之于显微镜下，可见瓷釉中蕴含的气泡如同聚沫串珠，凝腻的釉面间迸裂有大小不一，或密匝或疏落的冰裂状网纹，其网纹之色浅黄者宛若金丝，细黑者如铁线，二者互相交织，因而被名之为 “ 金丝 ” 、 “ 铁线 ” 。宋代哥窑胎质坚细，瓷器口沿尖窄，厚釉在瓷器口沿不能存留，垂釉多在口沿边稍下处形成略微凸出之环形带，因口沿处胎骨略黯而被称之为 “ 紫口 ” ，此为宋哥窑瓷之一绝，尽管以后历代有许多仿宋哥窑，但在烧制上皆未能臻此绝艺。