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撒播于世的“哥窯”經典器大多源自清宮舊藏，由于這批器物與古文獻中的紀錄的“哥窯”特征不符，而且沒有考古資料佐證，因而造成了中國陶瓷史上的懸疑。為區別于明、清文獻中所紀錄得哥窯(龍泉章生一窯)，宮中名為“哥窯”的傳世品，后世鑒賞家稱其為“傳世哥窯”。“金絲鐵線”的紋樣，哥窯釉面有網狀開片，或重疊猶如冰裂紋，或成細密小開片(“俗成百圾碎”或“龜子紋”)，以“金絲鐵線”為典型，即較粗琉的玄色裂紋交織著細密的紅、黃色裂紋。明代《格古要論》中有這樣的形貌："哥窯紋取冰裂、鱔血為上，梅花片墨紋次之。細碎紋，紋之下也。"
哥窯雙耳瓶，哥釉瓷的主要特征是釉面開片，這是發生在釉面上的一種自然開裂征象。開裂原本是瓷器燒制中的缺陷，厥后人們掌握了開裂的紀律，有意識地讓它發生開片，從而發生了一種奇異的美感。宋代哥釉瓷釉質瑩潤，通體釉面被粗深或者細淺的兩種紋線交織切割，術語叫作“冰裂紋”，俗稱“金絲鐵線”。哥窯瓷土脈微紫，質薄，有油灰色、米色、粉青色三種瓷釉彩，外貌滿裂紋。
Most of the "Geyao" classical implements sown in the world originated from the old collection of the Qing Dynasty. Because these implements do not match the characteristics of "Geyao" recorded in ancient documents, and there is no archaeological evidence to support them, they have caused doubts in the history of Chinese ceramics. In order to distinguish it from the dege kiln (Longquan Zhangsheng Yiyao) recorded in the Ming and Qing dynasties, the palace is named "Geyao" hereditary product, and later connoisseurs call it "heirloom Geyao". The pattern of "golden wire" is that the glaze surface of Geyao kiln has reticulated slices, or overlaps like ice cracks, or thin slices ("vulgar into a hundred rubbish" or "turtle pattern").
藏品名稱：哥窯雙耳瓶
類別; 清仿宋瓷器
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