我國的制瓷工藝發展成熟乃至鼎盛時期當首推北宋，不僅在陶瓷發展史上具有重要的位置，而且在文化史中也占有光輝的篇章。尤其是宋代“汝、鈞、官、哥、定”五大名窯之中的汝窯瓷器更是工藝精湛，技壓群芳。以其古樸典雅的造型，復雜獨特的工藝而排列榜首，宋時就享有“汝窯為魁”之譽。汝窯以燒制青瓷聞名，有天青、豆青、粉青諸品。汝窯的青瓷，釉中含有瑪瑙，色澤青翠，釉汁瑩若堆脂，有“似玉非玉”之美譽。
When the Northern Song Dynasty was the first time to promote the development of China's porcelain making technology, it not only had an important position in the history of ceramic development, but also had a brilliant chapter in the history of culture. Especially in Song Dynasty, "Ru, Jun, Guan, Ge, Ding," the five famous kilns of Ru kiln porcelain is more exquisite technology, pressure group Fang. With its simple and elegant shape, complex and unique technology, it ranked first. In Song Dynasty, it enjoyed the reputation of "Ruyao is the chief". Ruyao is famous for firing celadon, including Tianqing, Douqing and fenqing. The Celadon of Ru kiln contains agate in its glaze, which is green and green in color. The glaze juice is glittering and translucent like a heap of fat. It is reputed as "jade rather than jade".
【藏品名稱】：宋代汝窯青釉尊
[collection name]: blue glaze statue of Ruyao in Song Dynasty
北宋汝官窯瓷器誕生于宋哲宗元元年(公元1086年)至徽宗崇寧五年(公元1106年)二十年間，時限很短，專為宮廷燒制，產量有限，傳世更少，到了南宋時已是“近猶難得”。傳至今日，已近千年，經歷了滄桑多變的歷史長河，存世之量，可想而知。故歷來就有“縱有家產萬貫，不啻汝瓷一件”的佳話廣為流傳。我國當代著名藝術大師李苦禪先生也曾揮筆寫下了“天下博物館，無汝(瓷)者，難稱盡善盡美也”。
Ru Guan kiln porcelain of Northern Song Dynasty was born in the 20 years from the first year of zhezong (1086 A.D.) to the fifth year of Chongning (1106 A.D.) of Huizong. The time limit is very short. It is specially made for the court. Its production is limited and less handed down. By the time of Southern Song Dynasty, it was "rare". It has been passed on for nearly a thousand years, and has experienced a long and changeable history. It is conceivable that it can survive in the world. Therefore, there has always been a saying that "even if you have a great family fortune, it's like a piece of Ru porcelain". Mr. Li kuchan, a famous contemporary art master in China, once wrote that "the Museum of the world is not perfect without you (porcelain).".
“雨過天青云破處，這般顏色作將來。”這原是形容后周柴世宗命人燒造的宮廷用瓷，世稱柴瓷。可惜的是，柴瓷至今都未曾發現實物。人們不舍得讓如此美妙的比喻虛擲，便將它贈予汝瓷。似乎唯有汝瓷，可與傳說中的柴瓷同場競技而毫不遜色。南宋周輝《清波雜志》中記載：“汝窯宮中禁燒，內有瑪瑙為釉。唯供御揀退方許出賣，近尤難得。”從這份記載中我們可以看出處于汝窯所燒制的瓷器，經宮廷揀退的次貨才可以出賣，因此流傳到民間的汝官窯瓷器甚為稀少。
"After the rain, blue clouds are everywhere, and this color is the future." It was originally used to describe the Royal Porcelain which was made by the emperor Chai in the Later Zhou Dynasty. It was called Chai porcelain. Unfortunately, firewood porcelain has not been found. People don't want to let such a wonderful metaphor throw in vain, so they give it to Ru porcelain. It seems that only Ru porcelain can compete with the legendary firewood porcelain on the same field. In the Qing Bo magazine of Zhou Hui in the Southern Song Dynasty, it is recorded that "burning is forbidden in Ruyao palace, and there are agates as glazes inside.". It's very rare that the only way to sell is for the emperor to choose and return. " From this record, we can see that the porcelain made in Ru kiln can be sold only after the inferior goods picked by the court. Therefore, the porcelain made in Ru Guan kiln spread to the people is very rare.
此宋代汝窯青釉尊，釉面滿開細碎紋片，底部滿釉，簡潔大方，古樸典雅。造型敦實端莊，胎骨雅潔堅致，釉質厚潤泛青，制作尤為精美，通體素面無飾，開冰裂紋片。此器型極富凝重古樸之感深得宋器之神韻，于嚴中見躍，方中見圓，剛柔并濟，秀外慧中，傳統審美意識濃厚，賞心悅目，整觀此器無論造型、工藝、至人文內涵，再至其觀賞價值，審美寓意而言都是不可多得的收藏賞玩之優選。
This song dynasty Ru kiln blue glaze respect, the glaze is full of fine pieces, the bottom is full of glaze, simple and elegant, simple and elegant. The model is simple and dignified, the fetal bone is elegant and firm, the enamel is thick, moist and green, and the production is particularly exquisite. The whole body is plain without decoration, and there are cracks in the ice. This kind of ware is rich in the sense of ancient simplicity, which is deeply influenced by the charm of song ware. It can be seen in the strictness, the roundness in the square, the combination of hardness and softness, the beauty in the outside and the wisdom in the middle, the strong traditional aesthetic consciousness, and the pleasing to the eyes. The whole view of this kind of ware, no matter its shape, technology, cultural connotation, and its ornamental value, is a rare choice for collection and enjoyment.
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