窑变与清乾隆窑变釉杏元贯耳方瓶

窑变釉是清代御窑厂仿钧又不似钧的新色釉。钧窑是宋代名瓷窑之一,以生产青中带红,灿如红霞的瓷器驰名于当时,与汝、定、官、哥并称宋代五大名窑。钧窑以烧青瓷为主,但与一般青瓷相比,有其独特之处。其一,钧釉是一种蓝光乳浊釉,改变了汉唐以来历朝青瓷那种一览无余的玻璃质感。虽然它的色泽深浅不一,但多近于蓝色,人们根据其颜色深浅,分别称其为天青、天蓝、月白,它们都具有莹光般的蓝色光泽,晶莹温润,凝厚深沉。     

简论钧窑系形成的过程

河南省禹州市是钧窑的故乡，在北宋创烧的深浅不一的蓝色乳浊釉瓷器即钧窑瓷器，以其优美的造型和鲜艳的色彩而博得世人的喜爱。北宋末到金代，周围的一些瓷窑开始仿烧。金代晚期至元代，河北、山西、内蒙古的部分瓷窑也相继仿烧，从而在北方形成了一个以钩窑为中心的瓷窑体系。     

钧瓷天蓝、天青釉色中氧化铁的呈色作用

氧化铁在钧瓷天蓝、天青系列釉色中的着色作用以及乳光蓝色问题,一直是学术界争论的焦点。本研究通过放大氧化铁含量的实验验证方法,通过SEM(scanning electron microscope-扫描电子显微镜)、EDS(Energy Dispersive Spectrometer-能谱仪)、XRD(X-ray diffraction-X射线衍射)等分析方法,重点研究了基础组成和分相结构对釉中氧化铁呈色的影响。同时,作者通过验证研究得出,钧瓷天蓝、天青系列釉色中,真正起呈色作用的是釉中的氧化铁等着色剂,第二相微粒散射呈色并非钧釉的普遍现象,或只是辅助呈色作用。     

钧窑瓷

乳光釉和窑变是钧窑的两大特点,蓝、红是钧窑瓷的两大瓷色,胎体不净、胎色不纯是钩窑资的两大缺憾。     

河北博物院收藏的几件钧窑瓷器

钧窑与哥、官、汝、定窑齐名,被后人称为宋代五大名窑之一。钧瓷青中带红的釉色,兔毫丝缕般的釉面肌理,以及表面呈现的大片不规则红紫色彩斑,在中国古陶瓷中独树一帜,构成其无可比拟的独有特色。河北博物院藏有部分北宋、金、元时期的钧窑瓷器,具有钧窑各个历史时期的代表性艺术特点。此文介绍了其中的4件精品,为北宋钧窑天蓝釉唇口盘、北宋钧窑天蓝釉梅瓶、金代天蓝釉红斑碗、元代钧窑天青釉大盆。     

五代耀州窑天青瓷的研究

为揭示五代天青瓷釉的呈色机理以及胎体的透光机理,本研究以五代耀州窑天青瓷为主要对象,分别采用EDXRF、XRD、XPS和SEM/EDS等测试方法,分析了化学组成、物相、着色元素的化学状态及微观结构对瓷釉的呈色及瓷胎透光性的影响。结果表明,天青瓷釉为复合呈色方式,釉中Fe_2O_3产生的化学着色作用和釉层中物理结构(残余晶体和分相液滴)对入射光的散射作用产生的结构色,或加深或淡化了呈色,且对釉面的色饱和度和乳浊度也有一定的影响。天青瓷胎的透光性主要与着色氧化物对入射光的吸收以及晶界、气泡对入射光的散射有关。低含量的Fe_2O_3和铁钛固溶体,大大减少了其对入射光的吸收。同时,较少的晶界也减弱了对入射光的散射。因此,天青瓷的透光性良好。     

浙江金华铁店村瓷窑的调查

北方钧窑是宋代五大名窑之一,驰名中外。其独特之处在于烧出的釉色青中带红,有如蓝天中的彩霞,是一种乳光釉。北宋晚期是其鼎盛时期。几年前金华地区已经发现金华铁店村有类钧瓷的窑址,由于窑包杂木丛生,地表采     

宋代汝官窑釉面冰裂纹的特征观察及机理探析

本文以河南汝州宝丰清凉寺出土的宋代汝官窑瓷片釉面冰裂纹为研究对象,采用能量色散x射线荧光光谱分析(EDXRF)、光学显微镜(OM)、扫描电子显微镜(SEM)等方法对汝官窑瓷片釉面进行元素分析、表观形貌及显微结构观察。通过对冰裂纹釉与直裂纹釉的对比分析,发现宋代汝官窑冰裂纹釉与直裂纹釉在化学组成上差别不大;直裂纹釉的胎釉结合处比较致密,而冰裂纹瓷片胎釉结合处为一条使胎釉之间发生分层断裂的晶体簇带;冰裂纹的偏转除受气泡影响外,裂纹萌发时在胎釉结合处受到应力方向和大小也是影响因素之一。     

陕西、河南地区出土唐代釉陶器釉层剥离原因分析

釉陶器在埋藏过程中,受物理及化学等因素的影响,会产生各种病害,釉层剥离是常见的病害之一。为了更深入地了解唐代釉陶器釉层剥离的原因并为以后的保护提供科学依据,对陕西、河南地区四个遗址出土的唐代釉陶器样品进行了显微观察、成分检测、热膨胀系数分析和吸水率测试。结果显示,四个遗址中,釉面保存相对完整且剥离现象较少的是巩县黄冶窑,而铜川黄堡窑、西安醴泉坊窑和乾县懿德太子墓釉陶器釉层剥离较为严重。进一步研究表明,釉陶器胎釉热膨胀系数不匹配和胎体烧结程度过低(因此造成吸水率过高)是影响釉陶器釉层剥离的主要内在因素。研究结果可为釉陶器的后续保护工作奠定基础。     

形如流云 灿若晚霞——瓷中奇葩之窑变釉瓷

<正>窑变釉,也称窑变花釉,是清雍正时仿钧窑釉色所繁衍出来的新品种。它是指瓷器在窑内烧成时,由于所施釉料中除铜之外,还含有铁、锰、钴、钛等微量金属元素,在烧成过程中,这些金属元素自然结合,使釉面呈现出不同的色调、花纹或斑点,色彩斑斓。其中,釉色偏红的称为"火焰红",偏蓝的称为"火焰青"。本文所说窑变釉,是指雍正时期开始出现的,窑工摸索出窑变     

汝州东沟窑金元时期青瓷与钧瓷原料和工艺特征的比较研究

金元时期在豫西中部地区多个窑址同时生产青瓷和钧瓷,发掘于2005年的汝州东沟窑遗址即是该类窑址典型代表之一。为系统了解东沟窑青瓷和钧瓷的胎釉元素组成特征和工艺特点、揭示两类瓷器各自随时代变化的规律,本项研究采用EDXRF和OM对东沟窑遗址出土且地层明确的43件金、元时期青瓷与钧瓷标本胎、釉化学组成和工艺性能进行测试分析,探讨了胎、釉的原料配比、釉层厚度和胎釉反应层厚度等工艺特征随时代和标本类型的变化规律。研究结果表明:东沟窑同时期青瓷和钧瓷胎体元素组成较接近,而两者釉的元素组成差异明显,金元钧瓷釉的SiO2/Al2O3摩尔比值都明显高于同时代青瓷的相应比值,呈现钧瓷釉典型的高硅低铝组成特征。从金代到元代,东沟窑青瓷和钧瓷釉都呈现从钙釉向钙-碱釉的转变。本项研究还观察到金元钧瓷的釉层和反应层厚度均高于同时代的青瓷;而从金过渡到元,两类瓷片的釉层和反应层厚度均趋厚。本项研究对揭示金元时期豫西中部地区青瓷和钧瓷间的传承和演化关系提供了有意义的科技数据。     

Microstructural analysis of the color-generating mechanism in Ru ware,modern copies and its differentiation with Jun ware

Ru ware and Jun ware belong to the five most famous porcelains of the Song dynasty (AD 960–AD 1276), China. Their relationship is one of the focuses of research in ancient ceramic circle. In this article, some shards of Ru ware, its modern copies and Jun ware were analyzed by using SEM, UV–VIS spectrometer. Under SEM, Ru ware has different micromorphological structure to Jun ware, and Ru modern copies are more similar to Jun ware. These differences could explain the reflectance spectrum difference between Ru modern copies, Jun ware and Ru ware. So the UV–VIS method has the potential to answer Ru–Jun confusion problem and be a reference in nondestructive authentication of Ru ware. Special optical phenomena may illuminate that the glaze color of Ru ware is the combined result of physical and chemical effects. However, more determinate conclusions need more samples.     

中国古代高温铁釉瓷的呈色研究

中国是最早烧制高温陶瓷的国家,从原始瓷开始,含铁原料制作的颜色釉瓷贯穿了整个中国制瓷的历史,从而产生了呈色各异、品种繁多的铁釉瓷.为研究影响铁釉瓷呈色的各类因素,本工作综合应用成分分析方法,对一些典型的铁釉瓷品种进行定量测定.研究表明:高温铁釉中Fe2O3的含量范围从1％至高达约18％,铁的含量对釉的呈色起着决定性的作用;同时窑炉的烧成气氛和原料中的TiO2含量变化会影响Fe2+、Fe3+的生成比例,从而使釉色发生改变;另外,原料中MnO的含量、施釉工艺等也会对釉色产生影响.研究结果将对我国高温铁釉瓷制作技术的产生、发展有一个更好的诠释.     

Evaluation of Quantitative XRF Analysis Applied to Determine Cobalt Sources in Chinese Blue‐and‐White Porcelain

A method using the ratios between MnO, Fe₂O₃ and CoO to differentiate the cobalt sources for Chinese blue‐and‐white porcelain was developed in Oxford in the 1950s using X‐ray fluorescence (XRF) analysis directly on the glaze. In this paper, six blue‐and‐white porcelain sherds from the Luomaqiao kiln were analysed by XRF on the glaze and by scanning electron microscopy with energy‐dispersive spectrometry (SEM‐EDS) in cross‐section. The ratios between MnO, Fe₂O₃ and CoO calculated by quantitative XRF and EDS analyses are different. The analysis depths for MnO, Fe₂O₃ and CoO are < 60 μm by XRF analysis. However, the average glaze thickness of samples is > 400 μm, and the MnO, Fe₂O₃ and CoO mainly remain in the lower layer of the glaze, which is beyond the analysis depths of XRF analysis. The limitations of major and minor quantitative analyses for differentiating cobalt sources are discussed.     

汝官瓷和钧官瓷主量化学组成的多元统计分析

为了研究多种釉色汝官瓷和钧官瓷的原料来源、成分和分类关系,正确鉴别两窑瓷器,应用质子激发X荧光分析(PIXE)技术测定了一组清凉寺窑汝官瓷片和一组钧台窑钧官瓷片的主量化学组成,应用多元统计分析方法对测试数据进行了分析,结果表明:多数汝官瓷胎、钧官瓷胎样品的原料产地和成分接近但有所不同;汝官瓷釉和钧官瓷釉的原料产地和配方则明显不同;从主量化学组成上可以较好地区分汝官瓷釉和钧官瓷釉样品。分析结果可为深入研究汝官瓷和钩官瓷的原料产地、起源关系、真伪鉴别和提高仿古瓷器的质量等方面提供可借鉴的科学依据。     

Pottery technology in the Tang dynasty (ninth century ad): archaeometric analyses of a Gongyi sherd found at Siraf,Iran

In 1969–70, a single Tang dynasty blue‐spotted Gongyi sherd was found at Siraf, Iran, the main trading port on the Persian Gulf in the early Islamic period. This is the only known example of Chinese blue‐and‐white ware, whether low‐ or high‐fired, found in the Middle East from such an early date. The sherd provides direct archaeological evidence for the Indian Ocean trade between China and the Middle East in the ninth century ad . The body paste, clear glaze and blue glaze or pigment were analysed by thin‐section petrography, scanning electron microscopy with energy‐dispersive X‐ray spectrometry (SEM‐EDX) and X‐ray fluorescence (XRF). The technological analysis reveals the different steps of the chaîne opératoire: clay mixing, slip and glaze application, and decoration with the cobalt blue glaze before high‐temperature firing. These steps are characteristic of Tang stoneware production at Gongyi in Henan province, China. The use of cobalt blue pigment as part of a simple spotted decoration scheme on the Gongyi sherd, and its find context within the Middle East, provides evidence for the complex interplay and influence occurring between Chinese and Middle East ceramic industries at this time. Closely comparable examples of contemporary low‐fired earthenware ceramics with cobalt blue decoration on a white tin glaze manufactured within the Middle East also occur within the same assemblage from Siraf.     

Mössbauer Spectroscopic and Chromaticity Analysis on the Colourative Mechanism of Ancient Goryeo Celadon from GangJin and Buan

In ancient Goryeo celadon excavated from the kiln sites in the GangJin and Buan areas, the effect of the chemical composition and ionic state of Fe on the colour was evaluated by Mössbauer spectroscopy and chromaticity analysis. According to chromaticity analysis, the L* value (brightness) of the glaze was shown to be affected more by TiO₂ and MnO than by Fe₂O₃, and the body was affected more by Fe₂O₃ than by TiO₂. The a* value was found to be affected by Fe₂O₃ and TiO₂ in the glaze, whereas there was hardly any change in the body according to the composition. As for the b* value, changes due to the composition were shown to be smaller than those for the L* and a* values. According to the Mössbauer spectroscopy results, as the quantities of TiO₂ and Fe₂O₃ are increased, Fe²⁺/Fe³⁺ decreases; while the changes in Fe²⁺/Fe³⁺ with MnO and P₂O₅ are negligible. As the quantity of Fe²⁺/Fe³⁺ increases, the a* and b* values decrease, which results in the change of colour from red–yellow to blue–green. The characteristic green colour can be attributed to increased L* (brightness) and decreased a* and b* values (blue–green shift) due to the reduced Fe ion, which is mainly determined by the TiO₂ and Fe₂O₃ contents.     

钧窑三问——论钧窑研究中的几个问题

本文结合古代文献对钧窑研究中的三个问题进行了考证。第一,今人多将钧窑视为宋代的“五大名窑”之一,实际上钧窑在宋至明初大体默默无闻,明后期的文献中始对其记载,但直到民国时期仍未能列入“五大名窑”,20世纪后半叶钧窑才名列“五大名窑”,前提是“钧官窑”概念的确立,是建立在某些推论基础上的产物。第二,古代文献中所指的钧窑,除了指今之钧窑的一些特殊产品外,还可能指古钧州境内其他窑场的产品,现所称的钧釉瓷可能是某些文献所记之汝窑器。第三,《清波杂志》中关于窑变朱砂红瓷的记载,应指北宋末钧窑生产的红釉瓷。     

Study on the Material and Manufacturing Technology of Different Types of Longquan Ware Imitations from Dapu Kiln of Guangdong Province in the Ming Dynasty of China (ad 1368–1644)

Research on ancient Longquan wares and their imitations has attracted considerable attention. Using a series of experimental methods, including micro X‐ray fluorescence spectroscopy (μ‐XRF), X‐ray diffractometry (XRD), optical microscopy (OM), polarizing microscopy (PLM), dilatometry (DIL) and spectrophotometery, different samples of Longquan imitations from Dapu in Guangdong Province were collected and analysed. The study of different types of celadon from the Dapu kiln factories shows that the pale yellow body had a higher TFe₂O₃ content, and the body material must therefore have been treated differently or have come from a different source. The SiO₂ and Al₂O₃ contents in the body can be used as auxiliary parameters to identify Longquan wares and its imitations. The study also found that both kinds of glaze recipe—including calcium–alkali glaze and alkali–calcium glaze—existed in the Dapu products, which suggested that while imitating Longquan ware, the potters in Dapu also showed innovation in the recipe for the glaze material. Moreover, there were some differences in the TFe₂O₃ content, as well as the size, number and distribution of bubbles in the different types of glaze. Finally, the study revealed that the material of both the saggars and separators were composed of another porcelain clay, different from that of the celadon body. In addition, the white and compact body of the celadon had a higher firing temperature, of 1140–1187 °C, compared with other types of wares, which had a lower firing temperature of 1050–1080 °C.