宋徽宗御用汝官窯天青釉龍紋盤 Song Dynasty Emperor Huizong's Ru imperial kiln sky-green glazed dragon pattern plate скачать в хорошем качестве

宋徽宗御用汝官窯天青釉龍紋盤 Song Dynasty Emperor Huizong's Ru imperial kiln sky-green glazed dragon pattern plate

北宋宋徽宗御用汝官窯天青釉刻劃花三爪龍紋六蓮瓣花口盤    • 宋徽宗御用汝官窯天青釉龍紋盤 Song Dynasty Emperor H...      • 宋徽宗御用汝官窯天青釉龍紋盤 Song Dynasty Emperor H...      • 宋徽宗御用汝官窯天青釉龍紋盤 Song Dynasty Emperor H...      • 宋徽宗御用汝官窯天青釉龍紋盤 Song Dynasty Emperor H...      • 宋徽宗御用汝官窯天青釉龍紋盤 Song Dynasty Emperor H...      • 宋徽宗御用汝官窯天青釉龍紋盤 Song Dynasty Emperor H...      • 宋徽宗御用汝官窯天青釉龍紋盤 Song Dynasty Emperor H...     / 3252064515115929   重量：1065 grams 公克 高度：4.1～4.2 cm 厘米 圓盤盤口直徑：25.4～25.5 cm 厘米 圈足直徑：15.0～15.1 cm 厘米 本瓷盤為滿釉支燒，七支釘痕，香灰土黃灰色胎，天青釉，無冰裂紋片為汝窯極品，潤之如玉。 本瓷盤具備「瑪瑙入釉」釉面的「變色效應」。瑪瑙呈蠟狀光澤，具雙折射性質，折射率高，必定對釉面的天青色、乳濁性、玉質感有著非常重要的影響。在陽光下，此汝窯瓷器釉面的「變色效應」，正是瑪瑙粉末具備雙折射特性而反射光線的結果。 綜上所述，瑪瑙入釉的主要原因，第一是為了得到天青色的釉面，第二是降低釉面的玻化程度，也降低了釉的燒制溫度，有利於得到乳濁性的玉質感釉質。第三是可促進析晶分相釉面的玉質感。 瓷盤上有數處「黑點、白點、縮釉點、棕眼之古瓷瑕疵」，亦具備古瓷應有之「千年蛤蜊光」、龍紋刻劃線條「皆是手工製作、亦顯左右不對稱，大小、間隙、寬度、深度皆不相同，明顯是由手工刻劃形成」，底部圈足中央分水嶺直線上及兩側壁足緣有「瑪瑙入釉及聚釉痕跡」，刻劃陰線溝內有古代柴燒氣泡，底部圈足略為外撇。 古時汝窯窯工的修胎是很有特點的，為了追求時效，熟練窯工往往就在快速的幾刀之中完成了修坯的工作，因此，在此器物外壁上及器底圈足內可見到修坯時所留下的明顯「轉輪製痕」。 器底圈足線邊緣等薄釉處露出醬柿泛紫色如「紫線邊緣」。瓷盤內外壁面上及底足圈足內支燒釘旁有「數處刮傷痕的古瓷瑕疵」及「黏窯砂、粘渣底」。 另外，器底於光線下呈現略為凹凸不平，是由於泥坯中間的部位水份未乾，成型泥胎在掙脫粘連的泥范（模）時，由北宋窯工左右輕微轉動脫模操作所形成。現代仿製品完全無法製作器底略為凹凸不平現象。 來源： 屬擊敗蒙古元朝歐亞大帝國的明朝皇帝朱元璋所分封為軍事大元帥的「陳秀甫」(陳秀甫亦為明代開國功臣光祿大夫《光祿大夫為皇帝開國及軍事作戰的出糧出資金錢財主》) 家族傳世的祖傳傳世品。 Northern Song Dynasty Emperor Huizong's imperial use Ru imperial kiln sky-green glazed engraving and incising decoration carved three-clawed dragon pattern six lotus petal flower mouth plate Weight: 1065 g Height: 4.1~4.2 cm Plate mouth diameter: 25.4~25.5 cm Ring foot diameter: 15.0~15.1 cm This porcelain plate was full-glazed and burned with supporting-nails, seven supporting-nail marks, incense-ash-like-earth-yellow-greyish porcelain body, sky-green glaze, without any broken-ice-cracking-like cracking-pattern as the best exquisite ru kiln ware, jade-like smoothness. This porcelain plate has the "color-changing discoloration effect" of the "agate-in-glazed" glaze. Agate has a waxy luster, birefringence and high refractive index, which must have a very important influence on the sky-green glazed color, milky opacity and jade texture of the glaze. Under the sunlight, the "color-changing discoloration effect" of the glaze of this Ru kiln ware is the result of the birefringence of agate powder and the reflection of light. To sum up, the main reasons why agate is in-glazed are, firstly, to obtain a sky-green colored glaze, and secondly, to reduce the degree of vitrification of the glaze, and also reduce the firing temperature of the glaze, which is beneficial to obtain opaque milky jade-like glaze. The third is to obtain the jade-like texture that can be promoted by the crystallization and phase-splitting of the glaze. There are several "black, white, shrinking glaze spots, brown-eye-small-hole of ancient porcelain flaws" on the porcelain plate, and it also has the "millennium clam light" that ancient porcelain should have. The engraving and incising decoration carved lines of dragon pattern "are all handmade and also show asymmetry between the left and right and are different in size, gap, width, and depth, which were obviously formed by hand-carving". There are "marks of agate mixed in the glaze and polyglaze" on the straight line of the central watershed at the bottom inside the bottom ring foot, and at the bottom of both side walls of the bottom ring foot". There are ancient wood-fired air bubbles in the concave ditches of the engraving and incising decoration carved lines, and the bottom foot ring is slightly slanted outward. In ancient times, kiln workers in Ru kilns were very characteristic in trimming the porcelain body. In order to pursue timing, skilled kiln workers often completed the work of trimming the porcelain body in a few quick cuts. Therefore, the outer wall of this ware and the bottom of the ware inside the foot ring, the obvious "rotating-wheel-making marks" left by the trimming can be seen. At the thin glaze, such as the edge of the foot line of the bottom ring foot, all reveal the color of sauce-persimmon which was turned purple, such as the "purple line edge". On the inner and outer walls of the porcelain plate and beside the supporting-nails on the inner bottom of the bottom ring foot, there are "several scratched marks of ancient porcelain flaws" and "pasted kiln sands, sticky slag bottom". In addition, the bottom of the utensil is slightly uneven under the light. Because when the water in the middle of the porcelain mud body was not dry yet and meanwhile the molded mud body was slightly turned left and right to be broken away from the sticking mud mold. So long as the porcelain kiln workers in the Northern Song Dynasty took the above procedure, then the uneven bottom would have been formed. Modern imitations are completely unable to produce slightly uneven bottoms. Provenance: The handed down collection from the family ancestor of Chen Xiufu, a military marshal who was assigned by the Ming Emperor Zhu Yuanzhang (Chen Xiufu was also the founding hero of the Ming Dynasty, whose official name was Guangludafu.). http://myfatebook.com