宋代钧瓷艺术
| 蚯蚓走泥纹的形成，诡密难解，又极其独特，而其它名瓷均不具备，被看作是唯吾独尊，王者气魄，于是通玄通灵地抹上了皇王帝君的色彩，成为至上珍品。 Secondly, the forming of earthworm-trilling-through-mud lines is mysterious and difficult to understand, and very unique, which is not available for other famous porcelains, thus being regarded as exclusive and magnificent. Therefore, it carries on the imperial hue in a mysterious way, and becomes a super-class treasure. 其三，蚯蚓走泥纹——特殊的审美特征，将缺陷上升为美，化腐朽为神奇，柳暗花明，别开艺术境界，也启迪丹青妙手宋徽宗在绘画上另辟溪径，再入境界。富有的哲理，使之上升为珍品成为可能。 Thirdly, the earthworm-trilling-through-mud lines, a special aesthetic feature, sublime the defect to beauty and transfer the decay to a marvelous thing. A unique artistic world is created by showing a new way, which has also enlightened Emperor Song Huizong, who is a marvelous painter, to find a unique method and get his world. The rich philosophy makes it possible to become a treasure. 六、宋钧补遗之三，钧不随葬 VI. Addendum III for Jun Porcelain of Song Dynasty: non-funerary Jun porcelain 据说唐玄宗李隆基御览了神钧宝瓷后，亲书立令“钧不随葬”。 钧瓷的地位到宋徽宗时，已经不是普通地御用品和一般的文化艺术品了。它被赋予了“王室”的尊贵、“儒家”的治世、“佛家”的大气、“道家”的通玄。时有“儒门释户道相能，三教从来一祖风”之说，一祖便是最高统治者皇帝的祖宗。在宋理学思想的支持下，最高的王室权力象征——钧瓷，便自然而然地雄踞朝廷，不能入土随葬，自取灭亡了。这是一种美好的愿望也是基于一种民俗心态。统治者想当然地期望，江山如此，只要倍加呵护，倍加珍惜它，便能万世流长。 It says that Emperor Tang Xuanzong, named Li Longji, issued a decree that Jun porcelain is not allowed to be used as an funeral object after he reviewed a piece of exquisite and mysterious Jun porcelain. The position of Jun porcelain was no longer a common imperial object and artistic works but it was gifted the dignity of royal family, Confucian ruling, Buddhist |
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