论文部分内容阅读
说起人类的发明，也许最早的就应该是制陶了。我这里说的是人类，不专指哪个民族或国家。
能永恒留下色彩的恐怕也只有陶上的彩和瓷上的釉，即便它成了残器、碎片。
“这里蕴藏着几千年前人类文明的讯息，想靠近他们吗?远古彩陶让现代人捕捉到了一点可能。”(郭艺语)五千年的中华文明，正是由这些瓶瓶罐罐作为印记，碎瓷、陶片铸就了漫漫人类文明长链的环环扣扣。
我曾在东南亚国家华裔家庭的居室里见到，他们用藤条围编的青花盘悬挂在客厅的正墙。这是他们先祖从“唐山”带来的信物，难道不能说这是维系祖国母亲的脐带吗?
“CHINA(瓷)·中国”，用某种物件称谓一个国家的世上不多见，也许只有对中国。
随“丝绸之路”远行异国的织物在时空折磨中已烟消云散，而陶瓷仍在里斯本桑托斯宫的天棚上；在欧洲某国整座门楼的镶嵌中；CHINA将永远在世界各国的博物馆展框里熠熠生辉。
很难再让人找到第二件类似陶瓷品质的东西，它能让历史真切地镶嵌在碎片中、文化浸润在釉彩里、精神附着在器皿中。古老与现代，传统与时代，时空在它面前显得那么无力……。
《陶色釉惑》以咏叹调般地吟唱，向我们叙述了华夏祖先如何将釉彩接生到人间：汉子们外出狩猎找鱼，婆姨们围坐在火塘边用炭灰、岩粉捏就的盆罐泥坯上描绘着自己的生活、理想和祈祷。就是这些彩陶刻录了人类文明初始的胎动，凝聚人类的信仰与希冀，人类文化最重要的元素——文字，也由此起源。可以说，人类文明的演进因劳作而富裕，因瓷釉的祥和而美丽。
釉彩从哪里来?它不是天上的云彩，它就在我们的身边。植物和矿物精灵的千变万化组合，再加上一方水土，这就是变幻无穷的釉。
釉彩是一面历史的镜子。我们看到盛唐时，人们因富庶、自信、开朗生发出来的畅快淋漓的“唐三彩”，是何等放纵而洋溢着人性的斑斓色彩，这里是唐诗和三彩的欢乐唱和。温文尔雅善书会画的宋皇帝与之相配的当然是官窑、龙泉窑的“青瓷”和定窑的白瓷。如玉青瓷“嫩荷含露”、“千峰翠色”、“雨过天青”，这正是宋人寻求“五大名窑”釉色的自然意境。
釉彩是人文演进的印记。来自莽莽草原的元朝统治者崇尚青、白两色，连器皿造型都带有草原的气息。而今价值连城的扁壶，原型就是骑士便于携带的皮囊，不过青、白两色是否与蓝天白云、大草原有关尚不得而知。明、清两代之前期，国力强盛，外交频繁、商贸通达，此时，瓷品造型、绘制精细规整，发色鲜亮，异邦瓷器的精品大都在此时流出，龙泉的“梅子青”到了法国居然变成了带有爱情象征的“雪拉同”。
釉彩是一种民族情结。儒道思想占主导地位的漫漫中华史，人们找到了释放情感的“玉”，从而由此发明了与玉有类似品质的釉瓷，“滋润、鲜明、活泼三者为贵。”这是一种审美情趣，也是一种民族精神，华丽浪漫的“唐三彩”、绿如春水般的梅子青、似银类雪的“天下第一白”、绚丽的“宝石红”等等不一而足。喜庆吉祥的红色在中华传统文化中有着特殊地位，《雅》描述：“红有百余种。”女童跳窑祭瓷，用鲜血换得的“祭红釉”是那么的凄美而神圣。瓷器的型、色、音或许就是华夏民族的人文精神。
令人迷幻的釉彩，使人神魂颠倒的瓷，这是永恒美的经典。瓷与礼、瓷与祭、瓷与酒、瓷与茶、瓷与生、瓷与死、瓷与人类息息相关。能体会到吗?!那些瓷片应该有体温……
窑工粗砺的手和着釉彩，这无伴奏的和声飘浮在时空。我看见一个出生于陶艺世家的小女孩赤着脚，不是在海边而是在古窑址,在河床边虔诚地捡拾起一片陶或一片瓷，而后对着阳光眯缝着眼睛仿佛想看透什么，然后为我们写下了《陶色釉惑》。
(本文系作者为郭艺所著的《陶色釉惑》一书撰写的序言，本刊发表时略有改动。作者为著名画家，浙江画院院长)
Ode to Pottery and Porcelain
By Zhang Huasheng
Editor’s Note: this is an abbreviated version of a foreword to Charms of Ceramic Glaze, a book by Guo Yi. Zhang Huasheng is a celebrated painter and director of Zhejiang Arts Academy.
The earliest human invention is probably pottery. The only color that lasts is probably pottery tints and porcelain glaze, even if the very ancient pottery and porcelain utensils made by our earliest ancestors have long since been broken to shards.
Ancient painted pottery enables the modern people to get a glimpse of the dawning civilizations. The 5,000-year-old Chinese culture is marked by pottery utensils. I once visited households of Chinese descendants in Southeast Asian countries. They had blue-white porcelain encircled with rattans hung on the main wall of their sitting rooms. Their ancestors brought these porcelains from China as identity keepsakes.
Charms of Ceramic Glaze paints such a story about Chinese ancestors: men hunted in the wilderness while women worked at home. One of the house chores they did was to make pottery and painted their life, hope and prayer on these earthen pieces. Written language originated from this practice.
One can hardly find another variety that comes close to pottery in historical significance. It captures history in its shards, embodies culture in paints and glazes, and signifies human spirit in utensils.
Ceramic glaze mirrors history.
In the golden days of the Tang Dynasty (618-907), its famed trio-color glazed pottery signified the central empire’s affluence, confidence, and optimistic outlook.
Several emperors in the Song Dynasty (960-1279) were outstanding artists and calligraphers. Government-operated kilns and other prominent kilns made celadon and white porcelains, which captured the spirit of aligning one’s mind to nature.
The Yuan-dynasty (1271-1368) rulers preferred blue and white for their porcelains. Even shapes of the porcelains in the period suggested their roots in the northern prairies.
China in the earlier periods of the Ming (1368-1644) and Qing (1644-1911) Dynasties was powerful and affluent. Delicate porcelains in refined colors and shapes were exported to foreign countries.
Glazes reflect the dominant position of Confucianism in the Chinese society. Jade is one of the most ideal pieces with which people expressed themselves. And porcelain was made to resemble jade. Porcelain embodies the national aesthetics and spirit. In Chinese tradition, red is an auspicious and happy color. There are hundreds of reds used to express different themes in the life of Chinese.
Ceramic glaze represents an eternity in classic beauty. Porcelain relates to rites, memorial ceremonies, wine, tea, life, and death.
Charms of Ceramic Glaze gives me such a picture: A little girl from a family of pottery makers picks up porcelain or pottery shards at an ancient kiln site. She is barefooted. She examines the pieces piously with her eyes narrowed against the bright sunshine. She writes down what she sees in these pieces with ancient glazes.
(Translated by David)
能永恒留下色彩的恐怕也只有陶上的彩和瓷上的釉，即便它成了残器、碎片。
“这里蕴藏着几千年前人类文明的讯息，想靠近他们吗?远古彩陶让现代人捕捉到了一点可能。”(郭艺语)五千年的中华文明，正是由这些瓶瓶罐罐作为印记，碎瓷、陶片铸就了漫漫人类文明长链的环环扣扣。
我曾在东南亚国家华裔家庭的居室里见到，他们用藤条围编的青花盘悬挂在客厅的正墙。这是他们先祖从“唐山”带来的信物，难道不能说这是维系祖国母亲的脐带吗?
“CHINA(瓷)·中国”，用某种物件称谓一个国家的世上不多见，也许只有对中国。
随“丝绸之路”远行异国的织物在时空折磨中已烟消云散，而陶瓷仍在里斯本桑托斯宫的天棚上；在欧洲某国整座门楼的镶嵌中；CHINA将永远在世界各国的博物馆展框里熠熠生辉。
很难再让人找到第二件类似陶瓷品质的东西，它能让历史真切地镶嵌在碎片中、文化浸润在釉彩里、精神附着在器皿中。古老与现代，传统与时代，时空在它面前显得那么无力……。
《陶色釉惑》以咏叹调般地吟唱，向我们叙述了华夏祖先如何将釉彩接生到人间：汉子们外出狩猎找鱼，婆姨们围坐在火塘边用炭灰、岩粉捏就的盆罐泥坯上描绘着自己的生活、理想和祈祷。就是这些彩陶刻录了人类文明初始的胎动，凝聚人类的信仰与希冀，人类文化最重要的元素——文字，也由此起源。可以说，人类文明的演进因劳作而富裕，因瓷釉的祥和而美丽。
釉彩从哪里来?它不是天上的云彩，它就在我们的身边。植物和矿物精灵的千变万化组合，再加上一方水土，这就是变幻无穷的釉。
釉彩是一面历史的镜子。我们看到盛唐时，人们因富庶、自信、开朗生发出来的畅快淋漓的“唐三彩”，是何等放纵而洋溢着人性的斑斓色彩，这里是唐诗和三彩的欢乐唱和。温文尔雅善书会画的宋皇帝与之相配的当然是官窑、龙泉窑的“青瓷”和定窑的白瓷。如玉青瓷“嫩荷含露”、“千峰翠色”、“雨过天青”，这正是宋人寻求“五大名窑”釉色的自然意境。
釉彩是人文演进的印记。来自莽莽草原的元朝统治者崇尚青、白两色，连器皿造型都带有草原的气息。而今价值连城的扁壶，原型就是骑士便于携带的皮囊，不过青、白两色是否与蓝天白云、大草原有关尚不得而知。明、清两代之前期，国力强盛，外交频繁、商贸通达，此时，瓷品造型、绘制精细规整，发色鲜亮，异邦瓷器的精品大都在此时流出，龙泉的“梅子青”到了法国居然变成了带有爱情象征的“雪拉同”。
釉彩是一种民族情结。儒道思想占主导地位的漫漫中华史，人们找到了释放情感的“玉”，从而由此发明了与玉有类似品质的釉瓷，“滋润、鲜明、活泼三者为贵。”这是一种审美情趣，也是一种民族精神，华丽浪漫的“唐三彩”、绿如春水般的梅子青、似银类雪的“天下第一白”、绚丽的“宝石红”等等不一而足。喜庆吉祥的红色在中华传统文化中有着特殊地位，《雅》描述：“红有百余种。”女童跳窑祭瓷，用鲜血换得的“祭红釉”是那么的凄美而神圣。瓷器的型、色、音或许就是华夏民族的人文精神。
令人迷幻的釉彩，使人神魂颠倒的瓷，这是永恒美的经典。瓷与礼、瓷与祭、瓷与酒、瓷与茶、瓷与生、瓷与死、瓷与人类息息相关。能体会到吗?!那些瓷片应该有体温……
窑工粗砺的手和着釉彩，这无伴奏的和声飘浮在时空。我看见一个出生于陶艺世家的小女孩赤着脚，不是在海边而是在古窑址,在河床边虔诚地捡拾起一片陶或一片瓷，而后对着阳光眯缝着眼睛仿佛想看透什么，然后为我们写下了《陶色釉惑》。
(本文系作者为郭艺所著的《陶色釉惑》一书撰写的序言，本刊发表时略有改动。作者为著名画家，浙江画院院长)
Ode to Pottery and Porcelain
By Zhang Huasheng
Editor’s Note: this is an abbreviated version of a foreword to Charms of Ceramic Glaze, a book by Guo Yi. Zhang Huasheng is a celebrated painter and director of Zhejiang Arts Academy.
The earliest human invention is probably pottery. The only color that lasts is probably pottery tints and porcelain glaze, even if the very ancient pottery and porcelain utensils made by our earliest ancestors have long since been broken to shards.
Ancient painted pottery enables the modern people to get a glimpse of the dawning civilizations. The 5,000-year-old Chinese culture is marked by pottery utensils. I once visited households of Chinese descendants in Southeast Asian countries. They had blue-white porcelain encircled with rattans hung on the main wall of their sitting rooms. Their ancestors brought these porcelains from China as identity keepsakes.
Charms of Ceramic Glaze paints such a story about Chinese ancestors: men hunted in the wilderness while women worked at home. One of the house chores they did was to make pottery and painted their life, hope and prayer on these earthen pieces. Written language originated from this practice.
One can hardly find another variety that comes close to pottery in historical significance. It captures history in its shards, embodies culture in paints and glazes, and signifies human spirit in utensils.
Ceramic glaze mirrors history.
In the golden days of the Tang Dynasty (618-907), its famed trio-color glazed pottery signified the central empire’s affluence, confidence, and optimistic outlook.
Several emperors in the Song Dynasty (960-1279) were outstanding artists and calligraphers. Government-operated kilns and other prominent kilns made celadon and white porcelains, which captured the spirit of aligning one’s mind to nature.
The Yuan-dynasty (1271-1368) rulers preferred blue and white for their porcelains. Even shapes of the porcelains in the period suggested their roots in the northern prairies.
China in the earlier periods of the Ming (1368-1644) and Qing (1644-1911) Dynasties was powerful and affluent. Delicate porcelains in refined colors and shapes were exported to foreign countries.
Glazes reflect the dominant position of Confucianism in the Chinese society. Jade is one of the most ideal pieces with which people expressed themselves. And porcelain was made to resemble jade. Porcelain embodies the national aesthetics and spirit. In Chinese tradition, red is an auspicious and happy color. There are hundreds of reds used to express different themes in the life of Chinese.
Ceramic glaze represents an eternity in classic beauty. Porcelain relates to rites, memorial ceremonies, wine, tea, life, and death.
Charms of Ceramic Glaze gives me such a picture: A little girl from a family of pottery makers picks up porcelain or pottery shards at an ancient kiln site. She is barefooted. She examines the pieces piously with her eyes narrowed against the bright sunshine. She writes down what she sees in these pieces with ancient glazes.
(Translated by David)