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宋代哥窑的葵口碗很能使人产生一番赏心悦目的感受。它普通,有着一般瓷器中常见的釉色清亮、造型宽敞、质地莹泽的特性,却没有一般瓷器中常见的图案纹样。鲜艳明丽的色彩和被纤的花鸟虫鱼在这里一一不见,清雅的山水风景也杳无踪迹,唯一的装饰是布满浅灰碗面的深灰裂纹。人们难道不知裂纹是瓷器不兆的象征吗?因为器物中出现裂纹常常是伴着器皿的破损。这里谈的裂纹不是器皿被打坏的情况下出现的,而是烧制在易碎的瓷器上。布满裂纹的碗并不使人觉得四分五裂,相反能产生新颖的美感。裂纹之所以能产生美感,形式美也起了很大的作用。如疏密有致的布局,长短曲直的参差等都符合统一与变化、节奏与韵律等艺术规律。
Song Kweil’s Kui mouth bowl can make people have a pleasing experience. It is common, with glaze color common in ordinary porcelain clear, spacious shape, the texture of the characteristics of Yingze, but not the usual patterns of porcelain patterns. Fresh and bright colors and flowers and insects were insectivorous fish here one by one, elegant landscape scenery without trace, the only decoration is covered with light gray bowl of dark gray crack. Do people not know whether the crack is a symbol of porcelain? Because cracks in the utensils are often accompanied by damage to the utensils. The cracks here are not the ones that have broken the utensils, but are fired on brittle porcelain. Cracked bowl does not make people feel fragmented, on the contrary can produce a new beauty. The reason why cracks can produce beauty and form beauty also play a big role. Such as the density of the layout of the layout, the length of the straight and so uneven are in line with unity and change, rhythm and rhythm and other art laws.