中国陶瓷艺术的内容简介

北宋官窑瓷之我见（中国文物鉴赏论文）2009-04-27 00:36

提要：中国地大物博，拥有着灿烂文明的五千年历史，出土的文物数不胜数。其中北宋官窑瓷器款识多达数种，因为专门为宫廷用瓷而制造的，所以产量很少，因而流传至今的瓷款也极少。

关键词：北宋 官窑 五大名窑 特点 造型 釉色 烧制 支钉

一．揭秘北宋官窑

中国陶瓷的发展源远流长，瓷都景德镇更是名扬中外，到了宋代，瓷器的发展到达了黄金鼎盛时期，其中五大名瓷汝、官、哥、钧、定更是争奇斗艳，各领风骚，其中由官窑烧造的贡御瓷器更是工艺先进，制作精良，达到了登峰造极的境界。

在北宋，瓷器可分为官窑和民窑。首先简单说下民窑，当时生产者看重的是实用、使用价值，生产者考虑了成本，所以工料就不是很讲究。但官窑却不同，官窑是为宫廷而制作的，制作时不计成本，精益求精，窑址的地和生产技术也是严格保密，工艺精美绝伦，因而流传下来的瓷器很多都是稀世珍品。

很多人就产生疑问，北宋制作的官窑的地方在哪？是景德镇吗？随着时代的变迁，当时的京师即汴京（今开封），因宋代汴京遗址已沉入地底，至今日为止，尚未发掘出北宋官窑遗址，对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，时至今日，关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在①。至今官窑到底在何处是一个谜团，等待后人的探索与发现。

二．北宋官窑瓷款的特点②

1.造型别致制作精巧

以这张图为例子进行简单分析，可以看出，此制品的上下两端都好似喇叭一样，上端略微比下端要大些，中间鼓出且上面有等距离排列的四根齿状的棱角，中间鼓出的地方下面有条凹槽，底部随着四根棱角的地方有淡淡不明显的三角形突起。这样的造型对于瓷器的制作是一种挑战，像一般的瓷器，我们常见常见的都是类似与家中装饰的花瓶一样，造型上很单一，而北宋官窑瓷器就造型精致，气度不凡，给人眼前一亮，别致新颖的感觉。

2.釉色美丽烧制精湛

上图是北宋徽宗朝的官窑汝窑制作的天青无纹椭圆水仙壶，釉色是淡淡的情色，像一面镜子一样，晶莹光亮，无论你从哪个角度看过去，都光泽闪亮。此青色釉彩是天青釉，又被成为雨过天青，是一种幽淡隽永的高温兰色釉。给人的感觉虽朴素但却高雅清新，给人以脱俗之感。此天青釉因为其价格昂贵，所以只有官窑会使用，一般民窑不会以此作为原材料。和一般的瓷器相比，其烧制水平也高超，瓷器表面光滑，没有半点瑕疵，光亮照人，内部也没有小的气泡。

试问现在我们现在还能见到这样美丽的釉色精湛的烤制技术吗？即使在景德镇也很难再见到这样的珍物了。

3.釉层厚度极为薄

从以上两图的断面，我们可以看到，北宋官窑瓷器的釉层的厚度很薄，这在一般的瓷器上是很难遇见的，并且想要模仿也是难。并且断处呈现的是流畅的线状，这也是其独有的特点（赝品呈现的是不连续的齿状）。

现今有些人为了赚取不义之财，制作假的文物变卖，如果这样我们完全可以根据瓷器釉色的厚度和断处的裂缝来判断它是不是北宋官窑的真品。

4．底部的支钉痕迹

北宋官窑的制作采用烧钉制作，器底留有细小的支钉痕；支钉烧大多为3个、5个或6个。

并且从图上可以清晰的看出，支钉痕小，形如芝麻，呈白色。因此我们可以认为凡传世的北宋汝窑瓷器物的器底都有支钉痕迹，无一例外。

三．总结

这学期通过在复旦大学选修《中国文物鉴赏》，我对文物这一方面更感兴趣，尤其是北宋官窑及其瓷器。

历史传承，在对北宋官窑瓷的了解研究中，同时对北宋宫廷生活有了一些推测和估计，可以联想到当时宫中歌舞升平奢华的生活。也透过瓷器看到古代工匠的精湛技艺和智慧，相信有些是在科技迅速发展生活的我们也无法想到，无法达到的。

① 参见于百度百科“北宋官窑”

② 参见于“景德镇陶瓷网”——“北宋官窑瓷款鉴别”（非图和分析

景德镇制瓷的历史悠久。我们从文献记载，制陶，新平冶陶,始于汉世。从考古资料看，从唐代中后期到现在一直做瓷器，有窑可考的，它的制瓷历史一千多年，从来没有中断过，这是世界上乃至全世界、全中国仅有的一个城市。

它从宋代开始，一直为皇家宫廷生产瓷器，景德镇这个名字来源就是宋代生产了如许似玉的影青瓷，有“假玉器”之称，宋徽宗就把景德年号赐给了景德镇，过去的昌南镇从此就是景德镇，1004-1007年，已经一千多年的制镇历史。

元代、明代、清代乃至民国时期的宫廷用瓷、皇家用瓷，我们现在政府的国家用瓷都是景德镇生产的。所以，景德镇这些御窑的瓷器，在全世界各大博物馆都珍藏，而且视为世界瑰宝。所以，这也是形成景德镇瓷都的根本原因。

扩展资料：

景德镇瓷器造型优美，品种繁多，装饰丰富，风格独特。瓷质“白如玉、明如镜、薄如纸、声如磬”，景德镇陶瓷艺术是中国文化宝库中的重要财富。景德镇瓷雕制作可以追溯到一千四百多年前，远在隋代就有“狮”、“象”、大曾的制作。

当代的景德镇，瓷雕工艺精湛，工艺种类齐全，有园雕、捏雕、镂雕、浮雕等；千姿百态、栩栩如生；装饰丰富，有高温色温、釉下五彩、青花斗彩、新花粉彩等；

艺术表现力强，有的庄重浑厚，有的典雅清新，有的富丽堂煌，鲜艳夺目。　青花、玲珑、粉彩、颜色釉，合称景德镇四大传统名瓷，薄胎瓷称神奇珍品，雕塑瓷为我国传统工艺美术品。

参考资料来源：人民网-景德镇陶瓷大师揭示陶瓷的秘密

中国是世界上制造瓷器最早的国家

在中华民族发明创造的百花丛中，还有一朵绚艳夺目的花朵，那就是瓷器之“花”。瓷器是我国重大的发明之一，远在夏商时已有原始素烧的瓷器，后经我国劳动人民历代的研究、改进，制瓷技术逐渐有了提高，到唐代已发展到相当高的水平，特别是到明代已发展到了一个顶盛阶段，得到国内外的称赞。在世界上，中国是最早发明瓷器的国家，比意大利威尼斯开设的第一家瓷器工场早二千多年，素有“瓷器之国”之称。

瓷器是由高岭土、长石和石英等作为原料，经过混合、成形和烧制等步骤而制成的成品。瓷器的发展也有一个由低到高、由简到繁的发展过程。最早为青瓷，进而发展到白瓷，后又发展为彩瓷。据专家考证，青瓷最早产于浙江的绍兴、上虞一带；白瓷据现有资料证实，最早是北齐武平六年（公元575年）范椊墓出土的一批白瓷；彩瓷发明于唐代，最称著的为“唐三彩”。所谓“唐三彩”就是在无色釉的白地胎上，用铅黄、绿、青等色画成花纹图案，烧制而成的瓷器，因始创于唐代，故称“唐三彩”。唐三彩的发明，标志着唐代制瓷业者，对化学特性的认识，对釉色的精细调配，烧炼时火候的掌握和控制已发展到较高的水平。这是唐代制瓷业的新发展。

唐代瓷器的改进，标志着瓷器已从陶器中分化出来，成为独立的手工业。当时瓷窑几乎遍布全国各地。北起河北、陕西，南至广东、福建、江西，到处都有瓷窑。当时最盛行的是白瓷、青瓷二大类。白瓷以邢州（今河北邢台）邢瓷产品为代表，还有河南巩县、汤阴，江西的景德镇及四川的大邑等地。白瓷特点是：坯体坚细，釉色洁白。唐代大诗人杜甫曾写诗赞曰：“大邑烧瓷轻上坚，相如哀玉锦城传。君子白碗肿霜雪，急送茅斋也可怜。”

唐青瓷以越州（今浙江余杭）的产品为代表，主要产地尚有新州（今湖南常德）、婺州（今浙江金华）、兴州（今安徽淮南）、洪州（今江西南昌）等地。其特点是：瓷土细腻，胎质薄，瓷化程度高，釉色晶莹润泽。陆龟蒙诗曰：“九秋风路越窑开，夺得千峰翠色来。”

到五代时，制瓷技术及品种又有提高。据史书记载，吴越国贡品有秘色（即青蓝色）瓷器，成为当时的佳品。周世宗在北方郑州还特设了柴窑。其产品据史书记载：青如天，明如镜，薄如纸，声如磬。技术精湛，堪称诸窑之首。在品种上，除生产日常生活用品及建筑上用的瓷砖、瓦外，还发展了“瓷版”和“瓷刻”的新工艺，说明我国当时的制瓷技术已很高。

中国产瓷称著的地方还要数景德镇。景德镇在唐代隶属于铙州新平县，唐玄宗时改称为新昌县，后又改为浮梁县。据浮梁县志称：“唐高宗时，昌南镇（即景德镇）民陶玉献瓷器，称为假玉器，从此昌南镇的瓷器名闻天下。天宝年间，韦坚献南方诸郡特产，豫章郡（即洪州）船戴名瓷。由此可见，洪州（今南昌）瓷一向称著。到北宋乃至明代时，景德镇瓷器成为瓷业的中心，各种釉色和彩绘瓷器不断有所创新。景德镇瓷器所以遐迩中外，是有悠久的历史传统的。清代朱琰对景德镇瓷器盛况曾有比较全面的专著。

从唐以后，我国的瓷器已出口东西方各国。从有关文献记载和已发现的实物证明，我国的瓷器及其制作技术已传到东南亚、日本和阿拉伯等国家。这从1854年在印度发掘的邢窑白瓷和越窑青瓷的残碗及1910年在伊朗发现的“唐三彩”的陶瓷残片以及从阿拉伯国家发现的仿造中国瓷器的仿制品中得到验证。这是我国人民对人类社会的发展和科学进步的又一重要贡献。

参考资料：http://www.nhyz.org/yxx/jxzy/zgdmzj/zgdm4.htm

从传统文化继承创新角度剖析“青花热”作者：郁虎妹时间：2009-4-3 17:02:00来源：论文天下论文网摘要：北京奥运的青花系列的礼服，把人们对青花瓷宠爱推向极致。对传统文化瑰宝的爱慕，值得欣喜，但是其推崇方式，从传统文化的量变式和质变式的继承创新角度分析，值得担忧。下文，笔者对此提出自己的看法。关键词：传统文化继承创新 量变式 质变式 青花瓷 正文：对中华传统文化的继承与创新发展一直是炎黄子孙的华夏情结，政府及学术界都很关注这个问题，从非物质文化遗产的保护条例的实施可见一斑。然而，如何继承创新却是个争论的话题。一般意义上来说，艺术的创新是指艺术在原有的基础上有了新的发展、新的突破，它在艺术生命中起着变化、促进、增长、更新的作用。艺术的创新和发展从性质上来说，可以分为量变式的创新与质变式的创新两个方面。量变式的创新主要是指在一种艺术范围里其发展只是一些量的变化，而没有质的变化。质变式的创新则是指突破了原有艺术的性质和范围，创作出了完全新的艺术作品。笔者认为这两者关系可以理解为形似和神似的关系。保护、收藏、修缮、翻新、展览只是一种保存标本的方式，就像把熊猫放到保护区精心喂养以供参观是一样的，物种的苟延残喘而已，不是继承，更不是创新发展。目前的演绎的“青花热”潮流，足以窥见我们的方式深值疑问。青花瓷，作为中国瓷（China）中魁冠，其瓷胎骨细腻晶莹柔润，花色清新明丽幽静雅致，釉色光亮洁净白中泛青，气质典雅清新，极具中国传统墨画之神韵。其对于中国文化的阐述，在国际上颇具影响力。我们希望青花瓷作为民族的骄傲，以其独特的艺术手法影响世界对中华民族文化的敬仰，并能在现代工艺、现代文明的环境下传播并创造一定的经济文化效益。青花瓷是艺术殿堂的瑰宝，是文人艺术家手中的爱物，是收藏家的猎物，是博物馆的珍品，是东方中国的传统文化标签。从荧屏热播赵雅芝主演的《青花》到风靡大江南北的周杰伦演唱的《青花瓷》，从奥运会水上项目的“青花瓷”系列颁奖礼服到北京地铁10号线北土城站的“青花瓷”立柱，“青花瓷”已更多地成为彰显中国文化的载体，担负着传播中国文化的责任。青花瓷如飓风卷入寻常人的听觉视觉甚至触觉，掀起一股“青花热”潮流。随着大量“中国元素”在北京奥运会上的亮相，以“青花瓷”这一闻名世界、充满中国文化元素的设计正越来越多地走进人们的视野。以下，取几个代表性的实例来展开分析：一、量变式创新，即形的简单模仿。1、直接对传统青花瓷产品形态的现代翻版。下面四个例子是对传统青花瓷工艺品或日用品的直接拿来利用。其中图一是以王步为代表的文人画风格的青花，仍属于量变式的创新。具有青花瓷本身的大致形态，只是做了基本的形态的突破和装饰图案的创新。

2、直接借用青花瓷具象的形态纹饰进行二次创作。以下图例依次为青花瓷地毯、扬帆青岛的广告招贴、相机制造商Lomography 合作推出Diana 青花图案相机、北京10号线的北土城站与奥运支线相交入口、座椅及手枪纹饰、DVD的包装设计、惠普的青花瓷打印机。不禁惊叹从家具用品到电子产品、从宣传招贴到公共设施、从服装品牌到手枪纹饰，虽材料造型功能各异，但皆采用青花瓷的原本具象图案。不可否认的是，即便你第一次或单独看到他们时是多么的振奋与欣赏，可是在此处当它们聚集在一起的时候，我敢说“豪无创意”反似小儿科的贴图。让蕴含深厚文化的古典隽永高雅的青花瓷，变得象一阵流行的时尚风。 二、质变式创新，即神的提炼升华。下图依次为：坐落在“绿色家园媒体村”的“青花瓷”ATM自动提款机、奥运礼仪服装和瓷质便筏概念设计。脱离了传统青花瓷的造型图案，现代视觉中多了份宁静、大气与优雅，透出的仅仅是青花的经典气质，然而每个设计却又明确告诉人们自己的功能与特色，透过自身设计展示自己的魅力，而不是借助青花瓷形态。我们不会感叹这种对传统文化艺术的神的提炼，因为在传统文化分析中前辈早已对青花瓷的风格气质做了最凝练的叙述，但是我们赞赏设计师们能在理解吸收，并在现实的设计中把这些灵魂结合产品功能诉求用设计的形态视觉语言表达出来。在这里不得不提到出生于苏州的国际建筑大师贝律铭先生设计的苏州博物馆——很现代，很中国，很苏州的古老的现代建筑。他以绝妙的艺术手段用现代手法展示了苏州园林及建筑的景致小巧、移步换景、假山池沼、动静虚实等典型气质。传承并升华了我们的传统文化，这是用现代清新的空气水分滋养的生长于传统文化沃土上的艺术形式，是可持续的。 结语：诚然，在青花瓷的传承创新中，只有量变式的模仿只能在一定的程度上保存古人的文明，实属拿来主义的做法，但是我们并不能为此全盘否定之，其存在是传统文化继承的最原始最基础的方式。质变式的创新升华，是传统文化的实质性的传承，是根植于文化土壤的民族文化史的进步，在该项实践中，可以挖掘现代人的文化潜质，从而为民族文化的可持续性发展留下至深的脚印。所以，青花瓷艺术的真正生命力不可能在于天价的收藏更不在于时尚的简单模仿，这些浮浅而泛滥模仿的“青花热”只能是给古雅的青花瓷艺术本身蒙上污点。青花瓷的文化的传承发展要依靠质变式的创新，用现代科学的设计思维去传达凝练的文化神韵。参考文献：[1]熊廖．中国陶瓷美术史．紫禁城出版社，1993[2]杨永善．中国传统工艺全集-陶瓷[M]．北京：大象出版社．2004：6-7．[3]景德镇的青花瓷．江西人民出版社，1984[4]中国民族民间文化保护工程·普查工作手册[M]．北京：文化艺术出版社，2005．

Despite their ostensible crumbling , flaking ,sagging or wilting ,the diminutive ceramic sculptures of Chinese artist Bai Ming are inspired less by fascination with the visual effects of decay than by respect for forms that resist the destructive influences of time .In these minimalist works ,time seems the agent in a process of abstraction that seizes the essence of endurance ,and compresses that quality into dense masses of clay scarcely larger than a person’s heart . This vague allusion to the heart ----both as a vital organ and as the symbolic locus of sentiment - provides a key to the integral relationship between time and humanity that Ming’s works are intended to express.

These simple sculptures, simultaneously melancholic and majestic, are in their ambivalence characteristically human, blending a lamentation over the effects of time with a kind of apologia for it. “I am,” say Ming, “very sensitive to the significance of time for human life .In my work, I strongly emphasize transformation. It is a serious theme ,because time changes people form young to old .However ,I am also acutely aware of the value of time , since it can leave behind an elite body of cultural knowledge.”

Once a student and now a faculty member at the Central Academy of Art and Design at Tsing-Hua University in Beijing , Ming could hardly have been indoctrinated into a more “elite body of cultural knowledge ” than that of Jingdezhen porcelain production . The utilitarian works through which he established his reputation as a ceramist in the early 1990s clearly the influence of this venerable tradition, not only in terms of materials and techniques but also through incorporation of such distinctive features as the glazed foot, a Jingdezhen innovation once reserved exclusively for wares commissioned by the imperial household.

Technically flawless and serenely elegant , Ming’s porcelain vessels are all the more impressive for the knowledge that ,over the past decade ,only part of his time has been devoted to his career as a potter .Truly multifaceted ,he has authored three books on contemporary ceramics ,and achieved important stature as a painter whose somber textural compositions recall European postwar abstractionists such as Alberto Burri and Antoni Tapies ,while elaborating a distinctly Chinese perspective on nature.

Four pieces the "sit in meditation-The Forms and Process" series ,to approximately 8 inches(20 centimeters) in high, porcelain

Despite the material and stylistic distinctions between his pottery and paintings, he has always maintained a conceptual unity to his creative activity .The long -standing Jingdezhen tradition -into which new forms have been periodically introduced while the porcelain itself and the technology used to produce it have remained remarkably constant over the centuries-is analogous, for Ming, to the eternal essence of nature, which perseveres despite the convolutions of history.

Perhaps it was inevitable that he would consider bringing his work in clay stylistically more in line with the nature symbolism of his paintings .This would entail a move into the realm of sculpture -where conceptual concerns would be solely responsible for dictating form and content--- without compromising the knowledge of convention gained form his background as a potter.

Working in Jingdezhen porcelain, Ming decided to develop a series of abstract sculptures that would simultaneously emphasize the characteristics of tradition and transformation, perseverance and natural decay .Although the softness of the clay body initially hindered his efforts, it would ultimately lead to the fortuitous discovery of the simple, compact stele form to which he subsequently adhered for the majority of his sculptures.

“I frequently failed in my early sculptures,” he recalls, “because the clay was just not stiff enough, and the form that I constructed collapsed. But after one such unsuccessful attempt ,I massed the clay in the traditional Jingdezhen way and was preparing to discard it ,when I realized that its shape was reminiscent of a meditative position in yoga .Form the time I was ten years old ,I have worked while sitting in a similar fashion cross-legged on the floor . I can sit in that position comfortably for five or six hours at a time .Something about the piece that I had made by accident suggested this position .Obviously, it wasn’t literal. It had something to do with the motion, the feeling of being both compact and slightly twisted around.”

Drawing inspiration from this impression, Ming set about producing a series of unobtrusive 8-inch sculptures intended to suggest contemplative states, Entitled “Sit in Meditation-The Forms and Process,” the series reflects Ming’s general affinity for meditative practices rather than a specifically religious dedication. “I’m not a devout follower of Zen,” he explains, “but I have always been involved in cultural practices that derive from it.

Untitled ,from the "sit in meditation-The Forms and Process" series ,to approximately 8 inches(20 centimeters) in high, porcelain

“My way of stretching or positioning myself when I work is very much related to Zen .The works themselves reflect upon this kind of motion ,which in turn is a way of ordering the mind .My work is simple and pure ,a reflection of my lifestyle. I’m accustomed to spending time drinking tea, writing and meditating .They’re peaceful activities, and that’s the sense that I want to convey through my work.”

The early works in the “Sit in Meditation” series ,consisting of porcelain accentuated by sparing applications of blue and white glazes ,are closely linked ,materially and conceptually , to Jingdezhen pottery .Their is enhanced by the balance between incised rectangular forms and more spontaneous punctuate patterns. In addition, a quiet dialogue is established between smoothly glazed surfaces and irregularly dimpled and fissured expanses.

Often the individual sculptures appear similar to one another in form but are unique in the traces of process on their surfaces, a point that Ming emphasizes in relation to the dynamic between the one and the many in Zen. “The position of meditation is the form,” he explains, “not the content , which is process .This process involves achieving levels of understanding .The sculptures could be compared to a group of people sitting together in the same meditative position ,but each achieving a different state of understanding .”

In the spring of 2001, his work entered a new and more openly expressive phase when he began a residency at the Clay Studio in Philadelphia .Although he continued to emphasize the serene ,concentrated mass characteristic of his “Sit in Meditation” series , he temporarily abandoned porcelain for stoneware ,and began exploring a slightly brighter and more varied palette.

“In Philadelphia, I began to exaggerate the color,” he explains. “It was a natural response to my experiences in America. There were so many things that were different in my daily life. I heard a lot of jazz music, for instance, and I was trying a lot of new foods. My new lifestyle began to affect my work in important ways. ”

Equally significant was the availability of a variety of commercial glazes. Unaccustomed to such a broad selection, Ming enthusiastically explored new and more dynamic color combinations.

Although the works that Ming produced in Philadelphia, he is quick to assert that their underlying inspiration remained essentially Chinese. For example , in addition to works for the “Sit in Meditation” series , he produced several low ,horizontal sculptures that allude both to the narrow ,rectangular format of traditional Chinese scrolls and to the mountain ranges that are a recurring theme in classical literati painting .

"scenery No.1,"from the "Mountains and Rivers with Time " series,26 inches(66 centimeters) in length ,glazed stoneware

"scenery No.2,"from the "Mountains and Rivers with Time " series,26 inches(66 centimeters) in length ,glazed stoneware ,by Bai Ming, Beijing, China

The overall form shared by the sculptures of the “Mountains and Rivers with Time” series suggests a literal expanse of peaks, and the rough textures of the pieces are reminiscent of eroded stone. At the same time, the surfaces are articulated in a loose brushwork that emphasizes the nature of the mountains as representations. “I like to develop two principles in my work,” Ming explains. “One is clearly that of the ceramic artist, a three-dimensional orientation toward real space, but there is also the conceptual sensitivity of a painter.”

The integral relationship between the material and the conceptual in the work of art became particularly significant to Ming several years ago during a visit to the famous Yungang Buddhist caves at the foot of Wuzhou Mountain in China’s Shanxi Province .The 53 chambers of this historic site contain dozens of sculptures hewn from the living rock, but the most imposing feature is the colossal Buddha carved from the face of the mountain itself ,an insinuation of the human body into the immortal substance of nature .While Ming made no attempt to represent the specific attributes of the site in his own sculptures ,the caves and their carving held important implications for him regarding the integration of human art and ingenuity with a form and material that are literally as old as the hills.

If there is melancholy in the reflection that the cave reliefs are the work of ancient hands that left no other trace of their brief existence in the world, there is something equally inspirational about the perseverance of the sculptures themselves. For Ming, time is the greatest abstracter of all, and what survives its relentless negation is not only awe inspiring, but the purest form of truth.

“I am interested in the motion of time and the traces of meaning that it leaves behind in things that seem eternal,” he explains. “For that reason ,inorganic objects touch me more than living things .The carvings in the Yungang caves ,for example ,affect me more than grass or birds ,the kind of nature that doesn’t endure for thousands of years .The region where the caves are located is a dry expanse under a vast sky ,but somehow in those conditions a great culture left its traces for the ages . That is what excites me, and that is what inspires my sculpture.”

叶喆民，字丹枫，1924年生于北京，满族。北京大学文学院毕业，清华大学美术学院教授。

自幼随父麟趾教授学习陶瓷，后在故宫博物院师从陈万里、孙瀛洲二位先生，赴全国各大窑址考察，鉴定博物馆藏瓷。1977—1985年首先发现并认定汝窑窑址。现受聘为故宫博物馆客座研究员，首都师范大学美术学院特聘教授，中国硅酸盐学会古陶瓷委员会顾问，中国古陶瓷学会顾问等。

著有《中国古陶瓷科学浅说》、《中国陶瓷史纲要》、《中国古陶瓷文献备考》、《寻瓷访古漫记（上篇）》、《汝窑聚珍》、《隋唐宋元陶瓷通论》、《中国书法史通论》、《饮流斋说瓷译注》等，以及有关论文百余篇。

1.

Ceramic

Ware

（统称）陶瓷

2.

Porcelain

Ware

/

china

瓷器

3.

Craft

Porcelain

工艺瓷

4.

Bowl

/Plate

/

Dish

碗/盘/碟

5.

Vase

花瓶

6.

Microwave

Porcelain

微波陶瓷

7.

Ceramic

Flower

Pot

陶瓷花盆

8.

Porcelain

Dolls

瓷公仔

9.

saucer

碟

10.

cup

杯

11.

tea

pot

茶壶

12.

lid

盖子

13.

base

14.

handle

柄

15.

spout

壶嘴

16.

crease

折痕、纹

17.

the

finish

is

flawed

18.

handle

should

curve

more

19.

there

is

a

scratch

here

有刮伤

20.

water

proof

21.

the

rim

is

ridged

圆形的边缘，有脊状线

陶瓷是陶器和瓷器的总称。人们早在约8000年前的新石器时代就发明了陶器。远在九千多年前，中国先民在从事渔猎、农业生产活动的同时，不但开始可以进行最原始的建筑活动。

并且随着火的发明和使用，在改造大自然的长期劳动实践中，伴随着无数次时间与成功的体验，开始制造和使用成为中国古文化之一的艺术创造物陶器，并揭开了人类发展史上的“新石器时代”。

陶瓷的发展史是中华文明史的一个重要的组成部分，中国作为四大文明古国之一，为人类社会的进步和发展做出了卓越的贡献。

其中陶瓷的发明和发展更具有独特的意义，中国历史上各朝各代有着不同艺术风格和不同技术特点。英文中的"china"既有中国的意思，又有陶瓷的意思，清楚地表明了中国就是"陶瓷的故乡"。

扩展资料：

特性

陶质材料：与瓷相比，陶的质地相对松散，颗粒也较粗，烧制温度一般在900℃—1500℃之间，温度较低，烧成后色泽自然成趣，古朴大方，成为许多艺术家所喜爱的造型表现材料之一。

瓷质材料：与陶相比，瓷的质地坚硬、细密、严禁、耐高温、釉色丰富等特点，烧制温度一般在1300℃左右，常有人形容瓷器“声如磬、明如镜、颜如玉、薄如纸”，瓷多给人感觉是高贵华丽，和陶的那种朴实正好相反。

分类

陶与瓷的区别在于原料土的不同和温度的不同。在制陶的温度基础上再添火加温，陶就变成了瓷。陶器的烧制温度在800-1000度，瓷器则是用高岭土在1300-1400度的温度下烧制而成。

陶瓷制品的品种繁多，它们之间的化学成分。矿物组成，物理性质，以及制造方法，常常互相接近交错，无明显的界限，而在应用上却有很大的区别。

参考资料来源：百度百科——陶瓷