从一只隋代青花釉陶罐看青花的起源

《中国民族》杂志英文版关于庄一龙收藏的介绍:            

    2005年12月20日出版的《中国民族》杂志英文版登载了关于庄一龙从收藏的一只青花釉陶罐的研究中，初步认为“青花”的起源首先是在釉陶器上实现的。从而有可能把我国的“青花”起源提高到南北朝至隋代时期,并且为这一段“青花”历史的衔接填补了实物空白。

Article by Zhuang Yilong

 Zhuang Yilong is a professor working in a college in shanghai. His ancestors were officials in the imperial government. They were all interested in collecting antiques. Mast of their   collections are rare old treasures. Zhuang's love of collection stems from his infamily's influence, as well as from his love of Chinese culture. His main interests are jade and porcelain objects.

译文：
庄一龙，上海某高校教授，祖辈做官，俱爱好收藏，家中不少传世珍品，他的收藏情结源于家庭的影响，源于对中国文化的热爱。主藏玉器、瓷器等。

从一只隋代青花釉陶罐看青花的起源

Blue and white glazed pottery jar ,Sui Dynasty(581-618)

This blue and white glazed pottery jar  is 12 cm high with the largest diameter of 19.5 centimeters (see attached figure and picture ).Its surface is bluish white, and covered entirely with ice cracks. There are two areas blue and white design on the shell, which were directly outlined with  thick lines. One is "fish algae", and the other is a "lotus".  Judging from the design and decoration technique, it is a typical product of the period stretching from the Southern and Northern Dynasties to the Sui Dynasty.

The story told by a blue and white glazed pottery jar

The origin of China’s blue and white porcelain has always been a hot topic in ceramic circles.

  Recently, via research on a blue and white glazed pottery jar I’ve collected, I have come to the initial conclusion that the blue and white objects were based on glazed pottery. So it is possible to connect the origin of the blue and white pottery with objects made during the Southern and Northern Dynasties (420-589) to the Sui Dynasty (581-618).

  According to the present research material on blue and white porcelain, the porcelain of making blue and white porcelain was to apply cobalt blue directly onto the fired white base, then cover the painted base with transparent glaze, and fire it again at about 1,300^。C, to form colorful underglazed chinaware. Higher temperatures were needed to make blue and white porcelain than to make celadon or overglazed porcelain.

  However, the underglazed blue and white patterns on this glazed pottery jar were not painted directly onto the white porcelain base, but onto the white covering of make-up earth on the ceramic base. Then the jar was fired twice. Its color is bright, translucent, and rich, with a dispersed corona. But there is no iron flash film layer under the thick blue area. That shows that the dyestuff was very good cobalt blue, with little iron in it. It had the same characteristics as the cobalt blue used to make the three-color glazed pottery (sancai) of the Tang Dynasty, but the color is different from that of the blue and white porcelain of the Song , Yuan, Ming, and Qing Dynasties.

   This glazed pottery jar has great value for research into the history of ceramics: First, it sheds light on the origin of blue and white porcelain. It is evidence that the blue and originated in that of glazed pottery, connecting the development of former with the latter, Second, It confirms that China’s blue and white porcelain not only existed in the Tang Dynasty, but the technique of making glazed pottery had already reached a very high level by the Sui Dynasty. This blue and white glazed pottery jar fills a gap which has long existed in the history of Chinese ceramics. Third, it is weighty evidence that the technique of making blue and white porcelain originated in China.

译文：
青花陶瓷的起源问题，一直是陶瓷界争论的热点问题，这主要是因为青花瓷到元代中后期好像从天而降，突然大量出现。而在这之前唐宋时期的一段很长时期内，青花瓷几乎没有流传开来，除了不久前发现的几件青花瓷及其少量的碎片外,唐宋两代遗留下来的青花瓷实物极为稀少，以至于有些学者对唐代青花瓷是否存在都产生了怀疑。

最近，笔者从收藏的一只青花釉陶罐的研究中，初步认为“青花”的起源是在釉陶器上实现的。从而有可能把我国的“青花”起源提高到南北朝至隋代时期。

收藏的此青釉白瓷青花罐高12厘米，瓷器最大直径19.5厘米，（见附图和照片），表青白色，布满了冰裂纹，罐身绘有青花图案二幅，用粗线条直接勾画出。其中一幅为鱼藻图，另一幅为荷花图。罐的内壁、足部和底部露胎，陶胎灰白色，很粗糙，胎壁厚约0.5厘米，胎体较轻，微孔隙多，吸水率大。器底浅红褐色，罐底足直径为12厘米，略大于口径10.5厘米，玉环形的圈足，环宽2厘米，环内还有两圈同心圆凸起花纹线。器身由底向上，有上仰的14片莲花瓣。罐身从颈向下十字对称有四组纵向凸起的印花纹线。线的宽度约1厘米。每组纹线为三条，延伸到器身的中部。从印纹的图案及装饰手法看，具有典型的南北朝至隋代时期的器物装饰特点。

根据目前对青花瓷的研究资料，青花瓷是在烧成的白色胎上直接用钴蓝原料着色，然后涂施透明釉，再经过1300℃左右的高温复烧而成的釉下彩瓷器。所以，青花瓷烧成的温度比青瓷和釉上彩瓷要高。

然而，该釉陶罐的釉下彩青花图案不是直接绘制在白瓷胎上的，而是绘制在一层白色的化妆土上，再经过两次复烧而成。其青花蓝色鲜艳透亮，纯蓝色，浓郁而有晕散，而在蓝色浓处的釉下却没有一层闪光的薄膜层，也不见含铁杂质颗粒混杂其中。说明这是一种含铁量较少，质量相当好的钴蓝原料，同唐三彩里所用的钴蓝原料特征是一致的。而同宋、元、明、清各时期的青花色料发色都不相同。该器物多处出现的釉下水痕印以及胎釉“脱壳”现象，胎釉层之间的结合不牢固，因当时烧制的温度不超过1,200℃，因此必定在高温白瓷器出现之前。故在涂化妆土瓷胎上生产青花瓷应该出现在南北朝至隋代时期。

根据釉陶罐的造型，胎泥结构和瓷化的程度，釉料的颜色和化妆土的结晶状况以及制作工艺特点，还有青花的颜色特征和器物底部形态结构，印纹图案特点等，可以把此釉陶罐的制造年代确定在南北朝至隋代时期，以隋代为下限。

该釉陶罐对陶瓷研究会很有价值，第一，它有助于解决青花的起源问题，表明瓷器的青花工艺来自釉陶器的青花工艺，把青花的发展同釉陶器的发展联系起来了。第二，证实了中国的青花瓷器不仅在唐代存在，而且在隋代之前的釉陶器生产中就已经达到了相当高的水平，此青花釉陶罐为这一段历史的衔接填补了实物空白。第三，它有力地证明了中国是世界上最早首创青花工艺的国家。

C-dragom, Hongshan Culture, gray jade
 C形龙 红山文化   透青玉  高宽 6.3×5.4cm

Luminous topaz child's pillow, Song Dynasty (960-1279), 114×5.0cm. The pillow gives out a faint yellow-green light in a dark environment. The light will intensify after it's case, it will glow for seven to eight hours. That shows that the topaz contains a fluorescent mineral, traditionally called "the legendary luminous pearl".
夜光黄玉孩儿枕 宋 长高 11.4×5.0cm ，在暗处会发出微弱的黄绿色光，经过光照后会使发光大增，可维持7~8小时。说明这种玉含有发荧光矿物成分，此物即传说中的”夜明珠”。

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