宋瓷，是通過純凈的釉色，如玉的釉質和簡素的造型直指人內心，和自然之美產生共鳴。它所表現的美，更本質，更深入，也更長久。宋代制瓷技術尚有很多局限，但由于商貿發達，政策寬松，社會文化底蘊深厚，藝術創作環境自由，羅立在大江南北的眾多民間窯場蓬勃發展，各個窯場就地取材，研發技術，自由創作，整個社會政治文化經濟和意識形態成為宋瓷創作的肥沃土壤，使宋瓷名窯名品迭出，民窯百花齊放，競相爭艷。
Song porcelain, through its pure glaze color, jade-like enamel and simple design, points directly to the human heart and resonates with the beauty of nature. The beauty it represents is more essential, deeper and longer-lasting. There are still many limitations in the porcelain making technology of the Song Dynasty. However, due to the development of commerce and trade, loose policies, profound social and cultural heritage and free artistic creation environment, Luo Li flourished in many folk kilns in the north and south of the great river. Each kiln uses local materials, develops technology and creates freely. The whole society, politics, culture, economy and ideology have become fertile soil for the creation of the Song porcelain, making the famous kilns of the Song Dynasty numerous and the folk kilns flourishing and competing for glory.
瓷器由于施加釉料中的成分不同，最終燒制出的顏色會有很大差異，如有些釉里面含有特定比例的鐵元素，這種釉燒制后一般變為青色，被稱為青釉瓷器。有些釉里面含有特定比例的銅元素，這種釉燒制后一般呈現出紅色，被稱為紅釉瓷器。釉大致可分為高溫釉和低溫釉兩大類，但無論是高溫釉還是低溫釉，它們所呈現的色彩都是取決于釉中所含的金屬礦物質，如鐵、銅、鈷、錳、金、銻、錫等著色劑。而釉中其他的成分，如石英、石灰、長石、硼砂、土、植物灰、溶劑等不同配料中所含的氧化矽、三氧化二鋁以及坯土的成分，決定釉的亮度、透明度、濃度、耐高溫度、膨脹收縮度等特性。理想的釉色除了制作和配方外，還取決于火的燒制過程，在燒制瓷器器物中，常常一個配方成分相同的釉，因為受到燒制溫度、氧化氣氛、燃料、氣候以及放置位置等因素的影響，也會使器物表面產生不同的顏色。
Due to the different compositions in the glaze applied to porcelain, the final fired color will vary greatly. For example, some glazes contain a specific proportion of iron, and this glaze will generally turn cyan after firing, which is called green glazed porcelain. Some glazes contain a specific proportion of copper, and this glaze is generally red after firing and is called red glazed porcelain. Glazes can be roughly divided into two categories: high-temperature glaze and low-temperature glaze, but whether they are high-temperature glaze or low-temperature glaze, the color they present depends on the metallic minerals contained in the glaze, such as iron, copper, cobalt, manganese, gold, antimony, tin and other colorants. Other components in the glaze, such as silica, aluminum oxide and green soil contained in different ingredients such as Shi Ying, lime, feldspar, borax, soil, plant ash and solvent, determine the brightness, transparency, concentration, high temperature resistance, expansion and contraction of the glaze. The ideal glaze color depends on the firing process of the fire in addition to the making and formulation. In firing porcelain ware, a glaze with the same formulation composition is often used, because the surface of the ware will also produce different colors under the influence of factors such as firing temperature, oxidizing atmosphere, fuel, climate and placement location.
此件長頸膽瓶高46.2CM，口徑10.8CM，肚徑20CM，底足13CM，為單色釉豆青色，細長頸，豐肩，圓腹，圈足，器形優美，線條流暢，輕巧俊秀，精工細作，瓶體上刻有開光文學描金字體，十分珍貴。底足刻官字款，整器色澤鮮亮，胎質細膩，積釉處尤顯濃麗，保存完整，它經歷了歲月的滄桑，演繹過時 代的傳奇。能夠保存到現在實屬難得。讓世人發現它本身散發出的藝術魅力。這就是它的價值所在。
This long-necked gallbladder bottle is 46.2CM high, 10.8CM in diameter, 20CM in belly diameter and 13CM in sole. It has a single-color glazed pea green color, a slender neck, ample shoulders, a round abdomen, and a round foot. It is graceful in shape, smooth in line, light and handsome, and elaborately crafted. The body of the bottle is engraved with gold lettering of open-light literature, which is very precious. The bottom foot is engraved with official characters, the whole device is bright in color and luster, fine in embryo quality, especially rich in glaze, and well preserved. It has gone through the vicissitudes of life and has become a legend of the past generation. It is really rare to be able to save it till now. Let the world discover its artistic charm. This is its value.
在國際收藏市場中，單色釉符合西方現代美學中的極簡主義、色塊理論等對造型和色彩的純粹追求，備受海外藏家喜愛。據了解，單色釉瓷器的收藏在晚清民國就已經成為潮流，來自歐美、日本等地的藏家在上世紀七八十年代 開始，就已完成從青花、彩瓷到單色釉的完整的審美體系過渡。
In the international collection market, monochromatic glaze conforms to the pure pursuit of modelling and color in western modern aesthetics, such as minimalism and color block theory, and is loved by overseas collectors. It is understood that the collection of monochrome glazed porcelain became a trend in the late Qing Dynasty and the Republic of China. Tibetans from Europe, America, Japan and other places have completed the transition from blue and white porcelain and colored porcelain to monochrome glazed porcelain in the 1970s and 1980s.
從審美角度與藝術品位來看，單色釉瓷器的美學高度，比起青花或者彩瓷，更能獲得全球學者和高端收藏家們的青睞。中國國內的拍賣與收藏，從開始的初級階段走到今天的越來越成熟、越來越與國際市場接軌的情況下，一些藏家和行家的欣賞能力也在不斷地提高。以前一些粉彩青花價格會賣得比較高，單色釉作品會比較便宜，主要原因是那時候的藏家會認為單色釉比粉彩的燒制難度要低。但是近幾年，明顯感受得到一些藏家的審美取向有所改變。在各大拍賣場上，藏家和買家見慣了彩瓷的色彩斑斕，單色釉瓷則以其天然去雕飾的自然之美，為陶瓷收藏帶來一股清新之風。
From the aesthetic point of view and artistic taste, the aesthetic height of monochrome glazed porcelain is more attractive to scholars and high-end collectors around the world than blue and white porcelain or colored porcelain. With China's domestic auction and collection going from the initial stage to today's more mature and more in line with the international market, the appreciation ability of some collectors and connoisseurs is also continuously improving. In the past, some blue-and-white pastel products were sold at a higher price and monochrome glaze products were cheaper. The main reason was that Tibetans at that time believed that monochrome glaze was less difficult to fire than pastel. However, in recent years, the aesthetic orientation of some Tibetans has obviously changed. In major auction sites, collectors and buyers are accustomed to the colorful color of colored porcelain, while single-color glazed porcelain brings a fresh wind to ceramic collection with its natural beauty of carving.
古玩行 400 686 3616
