唐五代长沙窑彩饰工艺再探讨

Revisiting the Techniques of the Colored Porcelain of Changsha Kiln in the Tang and Five Dynasties

本文基于彩绘瓷模拟实验的结果,再以长沙窑不同类型的彩绘瓷为研究对象,并结合历史文献、考古资料,探讨长沙窑的彩饰特征。揭示:彩绘颜料在釉中的显微特征以及元素分布特征,很难反映彩绘的施加顺序,即高温釉下彩或高温釉上彩。根据检测,长沙窑着彩颜料分色料、色釉两种。彩瓷制作均受中原地区工艺技术影响,以色釉作彩是受唐三彩工艺影响而创烧的,属高温釉上彩;以色料做精细绘画,则受中原地区彩绘陶影响,即在胎上施化妆土后彩绘,南传后其上罩一层透明青釉,属高温釉下彩。有些精细绘画还存在釉下彩绘与釉上色釉平涂两种技法共用的现象,这种釉上、釉下相结合的技法,与后世斗彩、五彩虽无直接传承关联,却有异曲同工之妙。

Based on the results of the simulative experiment of painted porcelain,relevant historical documents and archaeological data,this paper takes different types of painted porcelain of Changsha kiln in the Tang and Five dynasties as the research object,and discusses the characteristics of painted porcelain of Changsha kiln.It can be concluded as follows:The microscopic features and the distribution of chromogenic elements of colored porcelains in the glaze could not be used as an evidence to reconstruct its original painting process.The materials used to paint color decorations in Changsha kilns were generally divided into two types,including pigments and colored glazes.On one hand,influenced by Tang tri-colored pottery,the decoration painted with colored glaze belonged to high-temperature overglaze;on the other hand,under the influence of colored pottery in Central China,the decoration of the delicate painted motif applied by pigments was underglaze.The colored pottery in Central China was decorated with pigments on the engobe and covered with a layer of celadon glaze after this craft was spread to the south.Both techniques of the overglaze and underglaze painting might appear in fine painting of some colored porcelains,which had no direct relationship with contending colours and polychrome in later dynasties while presented the same charm.