爐是古代焚香燒炭之器，有熏爐、香爐、手腳爐之分。多用做生活燃香用具或佛前供器。陶瓷爐器的出現與其他常見陶瓷器型相比較晚，一般相信始于漢代。兩晉南北朝時佛教傳入中國，爐這種器型作為佛教禮器亦大大地流行起來。宋代爐的式樣更為繁多，器物制作也更為明清時期爐體則趨向大形化。
鬲式爐一名系由仿周代銅鬲樣式而來?！吨袊盘沾蓤D典》鬲式爐條說：鬲式爐，爐式之一，流行于宋至明。宋代重視國家朝廷的祭祀禮儀，并將此視為鞏固國家政權，維護和宣示中央權威的一項國策來推動與執行。當時燒制的鬲式爐，是根據朝廷官樣《宣和博古圖》等所規定的商、周青銅器鬲的款式標準燒制，提供給朝廷官府及貴族士大夫使用——文化積淀的名爐重器。
在兩宋瓷器中鬲式香爐是一個比較少見的品種。流傳至今、時代最早的見諸文獻的宋代陶瓷鬲式香爐是一件標注為“北宋官窯粉青鬲式爐”的瓷器，收錄于臺灣地區早年出版的《宋元陶瓷大全》一書中。在我國歷史上，趙佶是一位極具藝術天賦且勤于創作的帝王。他自命風雅，能詩善畫，并組織仿制商周秦漢青銅器，好古成癖。因此，北宋官窯首創本于三代銅器造型的鬲式香爐也是在情理之中的，這一藝術形式的移植或許正是趙佶的獨創。
爐斜盤口，圓唇，短直頸，鼓腹較扁，口徑與腹徑相若，三錐形足。肩部有一周淺凸棱，腹部與三足相對處有三道明顯的三角形凸棱，略有彎曲和起伏，從肩部延伸到足部。足部與腹部可見接痕一圈，足端平。內底可見螺旋紋。
龍泉窯，宋代六大窯系之一。在今浙江龍泉縣，故名，屬我國南方青瓷系統。它開創于三國兩晉，結束于清代，生產瓷器的歷史長達1600多年，是中國制瓷歷史上最長的一個瓷窯系，它的產品暢銷于亞洲、非洲、歐洲的許多國家和地區，影響十分深遠。
在宋代名窯窯系中，龍泉青瓷窯系形式最晚，但它的成就卻達到了中國青瓷燒造工藝的高峰。龍泉青瓷，以釉色美麗至極的粉青和梅子青釉聞名于世。粉青釉釉面光澤，柔和淡雅，滋潤如玉;橡子青釉釉層厚而透明，蒼翠欲滴，色調可與翡翠媲美。這兩種釉色，被譽為“青瓷釉色與質地之美的頂峰”。特別是梅子青品種，僅在南宋一朝燒造，存世極少，又多為仿古銅器和玉器造型的古雅之品，彌足珍貴
龍泉窯早期燒造的青瓷，胎體厚重，原料淘煉不純，釉層很薄，釉色多青中泛黃。在造型和紋飾方面，受越窯的影響較深。器物造型多模擬自然界物象，如瓜棱壺。尤其是在胎面上的刻劃花裝飾，變化多端，生動自然。進入南宋，以釉色取勝，釉層肥厚如凝脂，純如美玉，以無紋片者為貴。北宋時以碗、盤、壺器為大宗，有少量的缽、盆、罐、瓶等器物。青瓷制作規整，器底旋削平滑。南宋晚期的器物種類更加豐富，除了日用器皿外，還增添了文房使用的硯、筆筒、筆架、水注、滴、模子和佛前供用的各式香爐及八仙塑像等。還有一批仿古銅器和玉器式樣的觶、觚、鬲、投壺、琮等，具有鮮明的時代特色。這時期紋飾也發生了變化，早期那種刻劃花裝飾已消失，代之而起為堆點、浮雕裝飾。
宋代盛行復古，即所謂“追三代于鼎彝之間”，效仿青銅器的造型，鬲式爐受到了宮廷及文人士大夫的喜好及鑒賞，成為宋人“四般閑事”中不可或缺的器具。在詩作中有廣泛的吟詠，如宋代鄭剛中《焚香》詩作中曰：“五月黃梅爛，書潤幽齋濕。柏子探枯花，松脂得明粒。覆火紙灰深，古鼎孤煙立。偷然便假寐，萬慮無相及。” 晚明鑒賞名家文震亨《長物志》卷四·器具—香爐條載：“三代，秦、漢鼎彝，及官、哥、定窯、龍泉、宣窯，皆以備賞鑒，非日用所宜。”
藝緣有幸征集此件宋鬲式香爐。宋人仿古尚美，宋器美在古意盎然，此件龍泉窯三足爐，高：13.5cm，外口徑：15.5cm，內口徑：11.5cm,腹寬：23cm,三足間距：3.6cm，墜手感極強明顯區別于一般窯系藏品的墜手感。折沿，短頸，扁圓腹，下承以三足。通體施青釉，三足底部顯露醬黃色,龍泉窯鬲式爐之裝燒工藝，與同期其他產品一樣采用匣缽墊餅裝燒工藝燒制而成。為了保證產品質量，同時也使產品與墊餅在燃燒高溫的窯內收縮率保持一致，墊餅亦采用同質瓷土燒制而成。由于采用墊餅墊燒法，使用時墊餅墊放在龍泉窯鬲式爐三乳足足底，所以三乳足足底之釉必須刮去露胎，因此由于二次氧化的作用，其三乳足足底與青釉結合處均露出醬黃色。爐身金絲環繞，開片清晰可見，爐內側底部死泡異常明顯。龍泉青瓷素來是以如青玉一般的質感贏得世人稱贊，龍泉窯釉色蒼翠，北宋時多粉青色，南宋時呈蔥青色，沒有開片在器皿轉折處 ，往往露胎呈現胎色，瓷釉厚潤，裝飾上很少刻花、劃花，而流行用貼花、浮雕，例如在盤中常堆貼出雙魚圖案，在瓶身上貼出纏枝牡丹圖案。此龍泉窯三足爐，器型古雅清秀，曲線流暢，器身施滿釉，釉色青翠，宛若春水，極得素雅勻凈之美，為宋龍泉青瓷之佳品。乃上乘佳作，極具收藏及投資價值。
The furnace is an ancient incense burning charcoal, and it is divided into a smoke furnace, a incense furnace, and a hand-foot furnace. Use it as a living incense appliance or a pre-Buddha donor. The appearance of ceramic furnaces is later than other common ceramics, and it is generally believed that it began in the Han Dynasty. Buddhism was introduced into China during the Northern and Southern Dynasties, and this type of furnace was also greatly popular as a Buddhist ritual. The style of the furnace in the Song Dynasty was more numerous, and the production of artifacts was also more extensive in the Ming and Qing dynasties.
One of the furnace types came from the style of imitation of the Zhou Dynasty. The "Chinese Ancient Ceramic Code" furnace bar said: "The furnace furnace, one of the furnace styles, is popular in Song Zhiming. The Song Dynasty attached importance to the ritual rituals of the national court and regarded this as a national policy to consolidate the state power and maintain and declare the central authority to promote and implement it. The furnace that was burned at that time was fired according to the style standards of the Shang and Zhou bronze wares stipulated in the official sample of the court, such as Xuanhe Bogu, and was provided to the officials of the imperial court and the noble scholars. The famous furnace weight.
In the two Song Dynasty porcelain, the furnace is a relatively rare species. The earliest ceramic censer in the Song Dynasty, which has been circulated so far and the earliest in the times, is a porcelain labeled as "Northern Song Dynasty official kiln powder green furnace" and is included in the book "Song Yuan Ceramic Encyclopedia" published in Taiwan in the early years. In the history of our country, Zhao Kuo is an emperor who has great artistic talent and is diligent in his creation. He pretends to be elegant, able to paint poetry, and organizes imitation of Shangzhouqinhan bronze wares. Therefore, the Northern Song Dynasty official kiln was the first in the three generations of bronze style of the furnace is also in the case, this art form of transplantation may be Zhao Kuo's original creation.
Furnace inclined plate mouth, round lip, short straight neck, flat belly, caliber and abdominal diameter, tri-cone foot. The shoulders are slightly convex for a week, and there are three distinct triangular convex edges opposite the abdomen and tripods, slightly curved and undulating, extending from the shoulders to the feet. The foot and abdomen can be seen in a circle and the foot is flat. Spiral patterns can be seen on the inner bottom.
Longquan Kiln, one of the six major kiln systems in the Song Dynasty. In this Zhejiang Longquan County, hence the name, belongs to China's Southern celadon system. It was founded in the Three Kingdoms and the Jin Dynasty and ended in the Qing Dynasty. The history of porcelain production lasted for more than 1,600 years. It is the longest porcelain kiln system in the history of porcelain made in China. Its products are popular in many countries and regions in Asia, Africa, and Europe. The impact is very far-reaching.
In the famous kiln system of the Song Dynasty, Longquan Qing porcelain kiln system was the latest, but its achievements reached the peak of the Chinese celadon firing process. Longquan celadon is famous for its beautiful pastel and plum glaze. Pink glaze glaze luster, soft and elegant, moistening such as jade; The acorn green glaze layer is thick and transparent, and the green color wants to drop. The tone can be comparable to the emerald. These two glazes are known as "the peak of the beauty of celadon glaze and texture." In particular, the variety of plum green, which was burned only in the Southern Song Dynasty, was rare, and it was mostly an ancient and elegant product of imitation bronze and jade.
Longquan kiln early fired celadon, the fetal body is heavy, raw materials are not pure, the glaze layer is very thin, glaze color is green and yellowish. In terms of shape and decoration, it is deeply influenced by the kiln. The shape of artifacts simulates natural objects, such as melon pots. Especially on the tread of the carved flower decoration, varied, vivid and natural. Into the Southern Song Dynasty, to win the glaze color, glaze layer hypertrophy such as coagulation, pure as the United States jade, with no grain film is expensive. In the Northern Song Dynasty, bowls, plates, and pots were used as the bulk, and there were a small amount of utensils such as pots, pots, pots, and bottles. Celadon production is regular and the bottom of the device is smooth. The variety of artifacts in the late Southern Song Dynasty was even more abundant. In addition to daily utensils, various kinds of censer and Eight Immortals used in the room were added. There are also a number of imitation bronzes and jade styles of <UNK>, <UNK>, <UNK>, <UNK>, <UNK>, etc., with distinctive characteristics of the times. The decoration of this period has also changed. The early type of carved flower decoration has disappeared and replaced it as a pile point and relief decoration.
The Song Dynasty prevailed in retro, that is, the so-called "chasing three generations between Dingyi and Dingyi", emulating the shape of bronze wares. The furnace was favored and appreciated by the court and literary scholars and became an indispensable instrument in the Song Dynasty. There are a wide range of poems in the poems, such as Songdaizhenggang's "Incense" poem: "May Huangmeilan, Shu Run Youzhai wet. The cypress probes the dead flowers and the turpentine gets clear grains. Covered with paper ash, Gu Ding stood alone. Indulge in sleep, never worry about the phase. "In the late Ming Dynasty, the famous master Wen Zhenheng's" Long Things "volume 4: Appliances-Incense article contains:" Three generations, Qin, Han Dingyi, and officials, brothers, Dingyao, Longquan, Xuanyao, are all prepared for appreciation, not for daily use. appropriate. "
Art margin is lucky to collect this piece of song yi-style censer. Song people are antique and beautiful, Songqimei in the ancient meaning, this piece of Longquan kiln three-foot furnace, height: 13.5 cm, external diameter: 15.5 cm, internal diameter: 11.5 cm, abdominal width: 23cm, three-foot spacing: 3.6 cm, falling hand feel very strong distinct from the general kiln collection of the pendant feel. Fold, short neck, flat round abdomen, under the three feet. Through the body to apply green glaze, the bottom of the three-legged yellow sauce, Longquan kiln furnace firing process, and the same as other products in the same period, using the casserole cake firing process fired. In order to ensure the quality of the product, the product is also consistent with the shrinkage rate of the cake in the kiln where the high temperature is burned. The cake is also made of homogeneous porcelain. Due to the use of pad cake pad firing method, when used, pad cake pads are placed on the bottom of the three milk feet of the Longquan Kiln <UNK> type furnace. Therefore, the glaze on the bottom of the three milk feet must be scratched off. Therefore, due to the effect of secondary oxidation, the three milk feet The bottom and the green glaze combine to expose the yellow sauce. The furnace body is surrounded by gold wire, the film is clearly visible, and the dead bubble at the bottom of the furnace is unusually obvious. Longquan celadon has always won the praise of the world with its general texture like turquoise. Longquan kiln is green in glaze, pink and blue in the Northern Song Dynasty, and green in the Southern Song Dynasty. There is no open film at the turning point of the vessel, and the tire is often exposed. Thick glaze, rarely engraved, cut flowers, Popular use of stickers, reliefs, for example, in the plate often pile posted Pisces pattern, on the bottle to post twig Peony pattern. This Longquan Kiln three-foot furnace, the type of ancient elegant show, smooth curve, full of glaze, glaze green, like spring water, extremely elegant and uniform beauty, is the best product of Songlongquan. It is a masterpiece and has great collection and investment value.
