唐耀州窑素胎黑彩瓷的工艺特点及其渊源、影响

Origin of the Technique of Porcelain with Black Drawings from the Yaozhou Kiln during the Tang Period and Its Influence

唐代耀州窑的素胎黑彩瓷始于盛唐,终于唐末五代之际,是唐代耀州窑最主要的彩绘瓷类。其工艺是以黑釉彩直接在素胎或施化妆土的胎体上点绘、描抹构图,有的还进行蘸釉构图。笔者认为,素胎黑彩的工艺渊源是在耀州窑制瓷的基础上借鉴了唐三彩、长沙窑彩瓷的某些工艺技法。素胎黑彩瓷以其特有的艺术魅力,感染了周边窑场,宋代河南宝丰、登封等窑,河北观台磁州窑及山西宋元时期窑场皆有仿制。宋末金初,位于长沙窑近旁的白梅窑烧制的"粉地黑彩釉绘花",也应是素胎黑彩工艺在宋金时代的发展。

Porcelain with black drawings directly on clay body from the Yaozhou kiln was firstly developed when the Tang Empire was at its height of power up and then declined during the epilogue of the Tang Dynasty and Five Dynasties Period. Such kind of porcelain is the major type ofpolychrome drawing-products fi＇om the kiln. Its basic technique can be characterized by using black glaze to draw or brush dot patterns or other decorations directly on clay body or on the coating of colored slip. The author proposes that this type of technique might derive directly from the decorative technique from Tang Sancai or the Changsha kiln. As porcelain with black-drawings demonstrates distinctive artistic-style, other kilns in the surrounding areas were also influenced by such decorative method. In addition, kilns in Baofeng and Dengfeng in Henan during the Song Dynasty, the Cizhou kiln in Guantai, Hebei Province, and other kilns in Shanxi during the Song and Yuan Dynasties produced products by imitating this technique. During the end of the Song Dynasty and Early Jin Dynasty, the so-called color porcelain with black-drawings from the Baimei ldln-which is adjacent to the Changsha kiln-was built upon the abovementioned technique of black drawings on clay body and became its technical descendent during the Song and Yuan Dynasties.