劉凡力

龍泉窯始于西晉，北宋時已初具規(guī)模，至南宋中晚期進(jìn)入鼎盛時期，制瓷技藝登峰造極。傳統(tǒng)龍泉窯中的哥窯與官窯、汝窯、定窯、鈞窯等并稱為宋代五大名窯。

龍泉青瓷傳統(tǒng)上分“哥窯”與“弟窯”。哥、弟窯之說來自明代記載：“宋處州龍泉縣人章氏兄弟均善治瓷器。章生二所陶名章龍泉，又名弟窯。章生一之哥窯其兄也?！笔欠裾嬗行值芏耍褵o可考，但說明了兩種不同的龍泉青瓷產(chǎn)品：一種是白胎和朱砂胎青瓷，稱“弟窯”或“龍泉窯”，另一種是釉面開片的黑胎青瓷，稱“哥窯”。

“哥窯”出現(xiàn)于南宋中晚期，特點是“胎薄如紙，釉厚如玉，釉面布滿紋片，紫口鐵足，胎色灰黑”。“哥窯”以瑰麗、古樸的紋片為裝飾手段，如冰裂紋、蟹爪紋、牛毛紋、流水紋、魚子紋、膳血紋、百圾碎等，加之其釉層飽滿、瑩潔，與釉面紋片相映，更顯古樸典雅。此類產(chǎn)品以造型、釉色及釉面開片取勝，因開片難以人為控制，裂紋無意而自然，天工造就，更符合自然樸實、古色古香的審美。

“弟窯”胎白釉青，釉色以粉青、梅子青為最，豆青次之，被譽(yù)為民窯之巨擘。弟窯青瓷釉層豐潤，釉色青碧，光澤柔和，晶瑩滋潤，勝似翡翠。青翠的釉色，配以橙紅底足或露胎圖形，產(chǎn)生賞心悅目的視覺效果。南宋中晚期起，尤其是在元代，運(yùn)用露胎的作品大量出現(xiàn)，人物塑像的臉、手、足等，盤類器物內(nèi)底的云、龍、花卉等，裝飾獨具神韻。

現(xiàn)代的龍泉青瓷忠實地繼承了中國傳統(tǒng)的藝術(shù)風(fēng)格，在繼承和仿古的基礎(chǔ)上更有新的突破，研究成功紫銅色釉、高溫黑色釉、虎斑色釉、赫色釉、茶葉未色釉、烏金釉和天青釉等。觀龍泉青瓷藝術(shù)，清純洗練，溫潤凝神，既印證著大千自然的本真淳樸，又透溢出人文歷史的情懷內(nèi)涵，正所謂“空谷清音”“會意傳神”。匠人們將自己的思想和情感融入青瓷燒造技藝之中，用心靈感悟中華五千年文明精華之所在。

（浙江省非物質(zhì)文化遺產(chǎn)保護(hù)中心為本欄目提供支持）

Longquan Celadon： Elegant Simplicity

By Liu Fanli

First built in Western Jin dynasty （265-317）， it was not until Northern Song dynasty （960-1127） that large-production of celadon in the kilns of Longquan in southwestern Zhejiang province began. In the middle and late Southern Song dynasty （1127-1279）， porcelain-making reached its peak. Ge Kiln （of Longquan）， Guan （Official） Kiln， Ru Kiln， Ding Kiln and Jun Kiln were known as the five most famous kilns of the Song. Longquan celadon is unique in terms of its raw material selection， glaze preparation， and molding and kiln temperature control， and the finished products have unique aesthetic value. And to a large extent， Longquan celadon is the microcosm of traditional Chinese culture， which is elegant， reserved， honest and quiet， and is the expression of Chinese classical aesthetic taste. In September 2009， the traditional technique of firing Longquan celadon was officially listed in UNESCOs Representative List of Intangible Cultural Heritage of Humanity.

Born in the town of Baoxi， Longquan city， Zhao Shaobing came from a long line of celadon-making masters. In fact， Zhang began practicing the skills of pottery and ceramic-making when he was very young. In 2003， Zhang was himself named a China Ceramic Art Master in 2003， one of the first group to win the title. Over the years， Zhang has conducted in-depth and systematic experimentation and research on the body glaze characteristics of Longquan celadon， which helped considerably improve its glaze color， and successfully recovered traditional celadon-making techniques such as thin body and thick glaze. He also succeeded in developing a new beige hue for the Ge kiln porcelain， which is another major glaze invention for the Longquan celadon. Indeed， thanks to his unremitting efforts， Zhang has been able to make a thin-body-thick glaze Ge kiln bowel whose diameter is larger than 40 centimeters， breaking away from the tradition that thin-body celadon with thick glaze cannot be made into large-piece ceramics. Zhangs celadon works include Asking the Heaven， A Bamboo Rain Hat on a Clear Day， The Golden Monkey Teasing the Turtle， among others.

The making of Longquan celadon is in itself an art， the appreciation of which is akin to a process of purification and spiritual cleansing. It not only testifies to the simplicity of nature， but also overflows with humanistic and historic significance. Those masters over the generations have already instilled their thoughts and feelings into the craft of celadon-making， and have touched the 5，000-year-old Chinese civilization with their souls.