宋代钧瓷艺术
| 一、宋代钧瓷序曲——柴世宗与钧瓷 1. Preface of Jun Porcelain of Song Dynasty---Emperor Chai Shizong & Jun Porcelain 在中国陶瓷发展史上，钧瓷一直是伴着君王的情感而存在发展着的。如果说宋代钧瓷以“清纯谈雅”的优秀风格卓立于世，那么鼓舞着这种作品闻世的，当推奠定大宋王朝基业的一代霸主后的柴世宗。柴世宗酷爱瓷器，常御旨征求精品力作，“雨过天晴云破处 ，诸般颜色自然来”，便是典型一例。  In the development history of Chinese porcelain, Jun porcelain has been always accompanied the emperors’ emotion. If the Jun porcelain of Song Dynasty distinguishes itself with its outstanding style of purity and elegance, it was Emperor Chai Shizong, the overlord who laid the foundation for Song Dynasty, that encouraged the popularity of this works. Emperor Chai Shizong reveled in the porcelains and often solicited exquisite works with his royal command. There is a typical example, going that “all colors come forth naturally where the clouds are broken when the sun shines again after rain”. 据考证：“雨过天晴云破处”是一种复合色，以白云悠悠的背境，衬托出一片空澄的蓝天。其高远、悠静、空澄、恬美、优雅、畅怀、悦目、舒心、旷达的审美感受，不只是停留在审美体验上，而是一种动态的理性感悟，有一种渴望，征服者的欲望，而这种美，决不是臆测的当今柴窑瓷器所能达到的，只有神垕的钧瓷时稳时现地放射出这种美丽的光芒。那种天青天蓝的优雅审美折射出极尽天涯归路的思辩和感悟，鼓舞着宋代钧瓷的诞生和发展。实际上，柴世宗所理想的瓷器就是钧窑瓷器。 According to the textual research, the color, described as “where the clouds are broken when the sun shines again after rain” , is a complex, with the remote white clouds in background to set off a clean and vacant blue sky. Its remoteness, quietness, vacancy, pleasantness, elegance, coziness, enjoyment, comfort and broad-mindedness, not only stay on the aesthetic experience, but also maintain as a dynamic and rational comprehension, embodying a kind of desire which is the conqueror’s ambition; however, such a beauty can never be obtained by the current p |
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