丹花卉，足无釉，呈灰色。此罐属山西窑口产品。此类黑釉剔花器，在宋、金时期北方的山西、河北、宁夏等地多有烧造。 Carved black glazed jar Jin Dynasty (1115 – 1234)

This jar was made in Shanxi. This kind of carved black glazed ware was made in Shanxi, Hebei and Ningxia in the Song and Jin Dynasties.

67、河南观台窑黑釉划纹碗 金（1115—1234） Black glazed bowl, Guantai ware, Henan Jin Dynasty (1115 – 1234)

68、登封曲河窑素三彩牡丹刻花小碟 金（1115—1234） Plain tricolor dish with design of carved peony, Quhe ware, Henan Jin Dynasty (1115 – 1234)

69、黑釉刻花小口瓶 金（1115—1234） Black glazed bottle with incised floral design Jin Dynasty (1115 – 1234)

70、耀州窑刻花犀牛望月纹碗 金（1115—1234）

犀牛望月又称为吴牛喘月，其典故出自《世说新语》：―今之水牛唯生江淮间，故谓之吴牛也。南方多暑，而此牛畏热，见月疑是日，所以见月则喘。‖宋元瓷器中的此类图案，反映了北方金人统治下的汉族人民对战乱引发的沉重生活压力深感畏惧的心理。

Bowl with incised design of rhinoceros looking at the moon, Yaozhou ware Jin Dynasty (1115 – 1234)

Porcelain with design of rhinoceros looking at the moon made in the Song and Yuan Dynasties reflects the fear psychology and heavy pressure of the Han people caused by the war under the rule of the Northern Jin Dynasty. 唐三彩：

唐代生产的彩色低温铅釉。用白色粘土作胎，用含铜、铁、钴、锰等元素的矿物作釉料着色剂，并在釉里加入大量炼铅熔渣和铅灰作助熔剂，经过约800℃高温烧制而成。釉面呈现深绿、浅绿、翠绿、蓝、黄、白、赭、褐等多种颜色，但以黄、绿、白三彩为主。迄今为止发现烧造唐三彩的窑址有河南巩县、陕西铜川、河北内邱。唐三彩色釉制作的高度成就，对宋、辽三彩及明、清景德镇釉上彩的发展有着重要影响。

绞胎和绞釉：

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或作―搅胎‖、―绞泥‖。系用白、褐两色（或多色）泥料相间揉合在一起，然后按照需要切成泥片贴于制成的坯胎上，或者全部利用绞泥做坯胎，再施釉烧成呈绞纹的器物。按泥料绞合方式的不同，绞纹有木理纹、野鸡翅、羽毛纹等。这是唐代出现的新的装饰技法，是借鉴于漆器犀毗工艺而来，宋以后不多见。此类器物以杯、碗、三足小盘、长方形小枕等为常见。烧制的窑口有唐代河南巩县窑、宋代河南修武当阳峪、宝丰清凉寺等。

绞釉是陶瓷装饰工艺技法之一。系在釉料中加入着色料，经适当搅动再施于坯体上烧成。

第三部分 各领风骚——陶瓷的鼎盛期

（元、明、清）

明清时期，我国陶瓷业发展到了鼎峰阶段。

元代景德镇窑在制瓷工艺上有了新的突破：制胎上采用瓷石加高岭土的“二元配方”法，提高了烧成温度，减少了器物变形，因而能烧造气势宏大的大型器；成熟青花、釉里红的烧成，使中国绘画技巧与制瓷工艺的结合更趋成熟；高温颜色釉瓷的烧造成功，是熟练掌握各种呈色剂的标志。明清时期的景德镇瓷业进一步发展，并在此设臵了官窑烧制御用瓷器。斗彩、五彩、珐琅彩、粉彩等釉上彩绘瓷器，以及日益丰富的颜色釉瓷多姿多彩、各具魅力。景德镇成为斐声中外的瓷业中心。

江苏宜兴紫砂陶、福建德化窑白瓷等也取得了突出的成就。

这个时期的瓷器输出也达到了空前的繁荣，中国瓷器的足迹遍及世界各地。

Heyday

(From the Yuan to the Qing Dynasties)

In the Ming and Qing Dynasties, ceramic industry developed to its heyday in China. The kilns in Jingdezhen made an innovation in techniques in the Yuan Dynasty so that large porcelain wares could be made there. Blue and white glazed porcelain and porcelain in underglaze red made the technique, which combined Chinese painting with porcelain making technique, more mature. The success of high temperature glazed porcelain was a sign that various coloring agents were mastered skillfully. In the Ming and Qing Dynasties, ceramic industry in Jingdezhen had further development. Official kilns were set up there. Porcelain in strongly contrasting colors, polychrome colors, cloisonné enamel and pink family and so on was made.Jingdezhen became a well-known center of ceramic industry at home and abroad.

Purple stoneware teapot made in Yixing, Jiangsu and white porcelain and white

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porcelain made in Dehua, Fujian, had also made outstanding achievements. Porcelain export in this period had reached an unprecedented prosperity, Chinese porcelain exported to all over the world.

1.龙泉窑暗花瓣口盘 元(1260—1368) Plate with veiled decoration, Longquan ware Yuan Dynasty (1260 – 1368)

2.龙泉窑刻花罐 元(1260—1368) Jar with incised floral design，Longquan ware Yuan Dynasty (1260 – 1368)

3.磁州窑《西游记》故事图枕 元(1260—1368)

这件器物是典型的元代瓷枕造型，正面绘唐僧取经图，底有楷书印款―张家造‖。《西游记》成书于明代中期，而相关内容的画面在元代瓷器上已出现。说明在《西游记》成书前，有关的故事已通过戏剧、说书等形式在民间广为流传。 Pillow with the decoration of A Record of Pilgrims to the West, Cizhou ware Yuan Dynasty (1260 – 1368)

This was a typical shape of pillow made in the Yuan Dynasty. A Record of Pilgrims to the West was usually regarded to be written in the middle Ming Dynasty. Picture in terms of the story appeared on the pillow of the Yuan Dynasty, which meant that this legendary story had been told in the form of drama or storytelling before the book was written.

4.磁州窑孔雀绿釉人物纹梅瓶 元(1260—1368) Peacock green glazed prunus vase with design of figures, Cizhou ware Yuan Dynasty (1260 – 1368)

5.德化窑树头杯 明(1368—1644) Cup, Dehua ware

Ming Dynasty (1368 – 1644)

6.德化窑牺首纹鼎式炉 明(1368—1644) Incense burner, Dehua ware Ming Dynasty (1368 – 1644)

7.德化窑夔纹三足炉 明(1368—1644) Incense burner, Dehua ware Ming Dynasty (1368 – 1644)

8.德化窑花瓣口吸管杯 清(1644—1911)

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Cup, Dehua ware

Qing Dynasty (1644 – 1911)

9.德化窑―博及渔人‖铭暗花持莲佛像 清(1644—1911) Buddha with lotus, Dehua ware Qing Dynasty (1644 – 1911)

10.德化窑―张寿山‖款负书罗汉像 明(1368—1644) Arhat with books, Dehua ware Ming Dynasty (1368 – 1644 )

11.德化窑贴花双兽耳桃纽盖罐 清(1644—1911) Covered jar, Dehua ware Qing Dynasty (1644 – 1911)

12.德化窑童子观音像 清(1644—1911)

观音菩萨传入中国大约是魏晋时期，当时社会的动乱使这种信仰迅速盛行。明清德化窑瓷器尤以佛道人物著称，当中又以观音像最多、最美。德化窑观音像通常身穿长袍，衣纹呈放射线状，双目低垂，表情和善，颈部刻三道折痕，胸前堆塑璎珞纹。其艺术特点，可以追溯至古印度佛教造像艺术最早的杰出代表——健陀罗艺术和笈多艺术.'

Guanyin (Mother of Mercy) with a child, Dehua ware Qing Dynasty (1644 – 1911)

Guanyin was introduced into China in the Wei and Jin Dynasties. Instable society made the belief popular. Dehua Kiln was famous for Buddhist or Taoist statue. Among them, Guanyin was made most and the most beautiful in the Ming and Qing Dynasties. Guanyin made in the Dehua Kiln was usually dressed in gown with radiating lines, eyes drooping, facial expressions, three folds on the neck and jeweled necklaces and strings of ornaments on the chest. The artistic characteristic can be traced to the earliest outstanding representatives of ancient Indian Buddhist arts - Gandhara Art and Gupta Art. '

13.宜兴均釉凤尾瓶 清(1644—1911) Phoenix-tail-shaped vase, Yixing ware Qing Dynasty (1644 – 1911)

14.宜兴紫砂刻花提梁茶壶 清·乾隆(1736—1795) Purple stoneware teapot with over-top handle, Yixing ware Qing Qianlong Period (1736 – 1795)

15.宜兴紫砂象生瓜形茶壶 清(1644—1911)

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