摘要
为明确长沙窑彩瓷的工艺属性,作者在窑址发掘标本内挑选了具有代表性的4件彩瓷片,由北京大学考古文博学院无机材料实验室就其成分与显微结构进行检测分析。人物花鸟类的精细彩绘瓷是长沙窑彩瓷最具代表性的产品,已有学者指出此类彩瓷采用了"类似于釉下彩的工艺",是"不典型的釉下彩",但其非典型性普遍被忽略了,以致此种彩瓷被视为长沙窑釉下彩的典型代表。检测表明:长沙窑的一件精细彩绘瓷标本采用了高温釉上彩工艺,其余的青釉诗文、白釉绿彩、青釉褐绿点彩三件为常见的彩瓷标本,经检测四件都属于高温釉上彩瓷。由此作者认为:高温釉上彩是长沙窑彩瓷的主流工艺,长沙窑是否存在釉下彩瓷以及釉下彩技术的真正起源等问题,都有必要在系统科技检测数据的支持下重新进行讨论。
The composition and microstructure of four selected sherds were scientifically tested by the Archaeometry Laboratory of School of Archaeology and Museology, Peking University that intends to figure out the craftsmanship of the Changsha polychrome ceramics with figures, flowers and birds motifs. The type of Changsha ware is thought to be ‘untypical under-glazed’ because of its artistic processing alike, but the test results indicate: The four shards are all high-temperature over-glazed. One piece bears the delicate painted motif while the other three have the common decoration such as the green-glazed with poems, the white-glazed with green pattern, and the green-glazed with brown and blue dots as well. It is therefore studied based on the cases above that the Changsha polychrome ceramics is typically of high-temperature over-glazed craftsmanship. It is significant to review the issues of whether under-glazed ware was fired in Changsha kiln and when under-glazing techniques came out with the support from systematic and scientific data.
作者
张兴国
姜晓晨阳
崔剑锋
吕竑树
邱玥
Zhang Xingguo;Jiang Xiaochenyang;Cui Jianfeng;Lv Hongshu;Qiu Yue
出处
《故宫博物院院刊》
CSSCI
北大核心
2020年第5期71-85,110,共16页
Palace Museum Journal
基金
2017年度国家社会科学基金青年项目“长沙铜官窑遗址考古资料的整理与研究(2010-2016)”(项目批准号:17CKG012)的阶段性成果。
关键词
长沙窑
高温釉上彩
釉下彩
彩瓷
Changsha polychrome ceramics
high temperature over-glazed decoration
underglaze decors
polychrome ceramics
