網(wǎng)上古玩商城精品推薦19年第八期 青花魚藻紋洗
明代正統(tǒng)、景泰、天順三朝歷時近三十年，正值景德鎮(zhèn)御窯場生產(chǎn)低落時期，迄今尚未發(fā)現(xiàn)署有明確紀(jì)年款識的官窯瓷器，因此這一時期的瓷器生產(chǎn)面貌始終撲朔迷離，一向被稱作明代陶瓷史上的“空白期”。究其原因，景德鎮(zhèn)官窯曾一度在正統(tǒng)初罷，并且朝廷又三令五申禁止民間窯口私燒各種彩瓷，而正統(tǒng)至天順年間景德鎮(zhèn)又有過三次較大的饑荒，經(jīng)濟困難。正如文獻資料《明實錄·英宗實錄》所載：“宣德十年春正月，英宗初即位……燒造瓷器……悉皆停罷，其差去內(nèi)外官員人等即便回京”。
The orthodox, Jingtai and Tianshun dynasties of the Ming dynasty lasted for nearly 30 years, which coincided with the period of low production in Jingdezhen imperial kiln. no official kiln porcelain with a clear date has been found so far. therefore, the porcelain production in this period has always been uncertain and has always been called the "blank period" in the ceramic history of the Ming dynasty. The reason for this is that Jingdezhen's official kilns were once closed at the beginning of the orthodox period, and the government banned private burning of all kinds of colored porcelain at folk kilns for several times. During the period from the orthodox to Tianshun, Jingdezhen experienced three more famines, which caused economic difficulties. As the document "Ming Shi Lu-ying zong Shi Lu" contains: "in the first month of the spring of the 10th year of Xuande, the beginning of the reign of the English emperor ... the burning of porcelain ... stop, even if they are sent to officials inside and outside Beijing".
然而這一時期的官窯瓷器其實從未禁燒，僅是減燒而已，文獻當(dāng)中有著多次記錄。據(jù)《明實錄·英宗實錄》載：“正統(tǒng)元年浮梁民陸子順，一次向北京宮廷進貢瓷器五萬余件”，“正統(tǒng)六年五月已亥行在光祿寺奏……其金龍、金鳳白瓷罐等件，令江西饒州府造”，“正統(tǒng)九年五月庚戌，江西饒州府造青龍白地花缸瑕瑩不堪，太監(jiān)王振言于上，遣錦衣衛(wèi)指揮仗其督官，仍敕內(nèi)官齊樣赴饒州更造之”。由此可見，空白期尤其是正統(tǒng)時期，景德鎮(zhèn)御窯場仍為宮廷燒造御窯瓷器。
However, the official kiln porcelain of this period was never forbidden to burn, but only reduced. There are many records in the literature. According to "Ming Shi Lu-ying zong Shi Lu," Liu zishun, a member of the floating Liang people of the first year of orthodoxy, paid more than 50,000 pieces of porcelain to the Beijing court at one time. "in may of the sixth year of orthodoxy, he went to guanglu temple to play ... his golden dragon and golden phoenix white porcelain jars were made in Raozhou prefecture, Jiangxi province." in may of the ninth year of orthodoxy, Gengxu county, Jiangxi province, made the green dragon white ground flower jar, which was extremely flawed. eunuch Wang zhenyin went up and sent royal guards to command its overseers. he still ordered his officers to make it even more in Raozhou. It can be seen that in the blank period, especially in the orthodox period, Jingdezhen Imperial Kiln still made imperial kiln porcelain for the palace.
明代正統(tǒng)朝，瓷器的制作無論是造型、紋飾，還是青花色澤，所體現(xiàn)的時代風(fēng)格均與宣德晚期署款的官窯器接近，是宣德制瓷風(fēng)格的延續(xù)，但在生產(chǎn)中又有所演變和創(chuàng)新。正統(tǒng)青花瓷器所用青料有兩種，一種為永樂、宣德時期使用的進口青料，青花色澤濃艷;另一種為國產(chǎn)青料，呈色較淡，為灰藍色，這一時期使用國產(chǎn)青料開始居多。造型則直接繼承宣德器物，器形飽滿，瓶、罐類大形器與宣德時期相比差異不大，只是器物口部在正統(tǒng)時期略收，與宣德時器口部外撇稍有不同;器身線條方面，正統(tǒng)時線條變化比較平緩，宣德時線條起伏明顯。紋飾布局方面，正統(tǒng)器青花亦是宣德青花的延續(xù)，瓶、罐多采用三段式布局方法：即肩、腹、足三部分。永樂、宣德時瓷器上出現(xiàn)的云氣紋在正統(tǒng)朝被廣泛使用 ，一般亦采用外粗線、里細線的畫法。
In the orthodox dynasty of the Ming dynasty, the style of porcelain production, whether modeling, ornamentation or blue and white color, was similar to that of the official kiln made by Xuande in the late period. it was a continuation of Xuande's porcelain making style, but it was also changed and innovated in production. There are two kinds of green materials used in orthodox blue-and-white porcelain. One is imported green materials used in Yongle and Xuande periods, and blue-and-white porcelain is rich in color. The other is domestic green material, which is light in color and gray blue. The use of domestic green materials began to predominate during this period. The shape directly inherits the Xuande wares, and the shape of the vessels is full. Compared with the Xuande period, the large vessels like bottles and jars have little difference, except that the mouth of the vessels is slightly closed in the orthodox period, which is slightly different from that of the Xuande period. In terms of body lines, the changes of lines are relatively gentle in orthodoxy and obvious in Xuande. In terms of decoration layout, the orthodox blue-and-white ware is also a continuation of Xuande blue-and-white ware. Bottles and jars are mostly arranged in a three-stage layout method: shoulder, abdomen and foot. The cloud pattern on porcelain in Yongle and Xuande dynasties was widely used in the orthodox dynasty, and the painting method of thick lines on the outside and thin lines on the inside was generally adopted.
以這件正統(tǒng)朝的青花魚藻紋洗。通體以青花為飾，構(gòu)圖典雅，釉彩明凈，繪畫精美，層次豐富。內(nèi)壁外層繪纏枝蓮花紋，盤心中央圓形繪魚藻紋，水草輕搖，水流潺潺，青萍漂浮，游魚穿梭其間，一幅靈動變化的池塘景色。外壁裝飾纏枝蓮花紋。內(nèi)圈足繪“大明正統(tǒng)年制”青花六字二行款。繪魚在中國傳統(tǒng)文化中有著相當(dāng)重要的象征意義，魚是道教吉祥物，象征自由自在。并且“魚”與“余”同音，是“富貴有余”、“連年有余”的意思。魚藻紋使整個盤面既生動又不失莊重典雅，雙層花口、雙圈足裝飾性強，極具藝術(shù)觀賞性。
Wash with this orthodox blue and white fish algae. The whole body is decorated with blue and white, the composition is elegant, the glaze is bright and clean, the painting is exquisite, and the level is rich. The outer layer of the inner wall is painted with lotus flower patterns, the center of the plate is round with fish and algae patterns, the aquatic plants are swaying gently, the water is rippling, the duckweed floats, and the swimming fish shuttles between them, creating a lively and changing pond landscape. The outer wall is decorated with lotus flower patterns. The inner ring is full of blue-and-white six-character and two-line blue-and-white designs of "Daming Orthodox Year System". Painting fish is of great symbolic significance in traditional Chinese culture. Fish is the mascot of Taoism and symbolizes freedom. And "fish" and "Yu" are homophones, meaning "more than riches and honour" and "more than years". The fish and algae lines make the whole disk surface lively, solemn and elegant, with double-layer flower openings and double-loop feet, which are highly decorative and artistic.
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