精品推荐 ——宋代龙泉窑折沿盘

时间：2026-05-15来源：网络作者：adminf

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Premium Recommendation — A Song Dynasty Longquan Kiln Foliate-Rim Dish

*本次藏品：宋代龙泉窑折沿盘*

口径：25cm 高：7cm

在宋代，青瓷是文人案头的清欢，是市井餐桌的烟火，也是跨越山海的文化信使。而这件宋代龙泉窑折沿盘，便是那个时代美学与工艺的缩影。它以温润青釉为衣，以自然开片为骨，以质朴造型为态，将宋代的清雅、含蓄与匠人的巧思，封存在一器之中，静静诉说着千年前的东方浪漫。

这件龙泉窑折沿盘，是宋代民窑青瓷的典型之作，整体造型透着宋人独有的简约与克制。盘口向外平缓折出，形成一圈圆润的宽边，既方便端握，也让器型更显舒展大气；盘壁浅弧内收，线条流畅柔和，没有多余的转折；底部圈足宽厚规整，胎体敦实稳重，带着实用器物特有的厚重感。这种折沿盘的形制，在宋代龙泉窑中极为常见，既满足了日常盛食的功能需求，也暗含着宋人 “少即是多” 的审美哲学 —— 没有繁复的雕饰，仅靠线条的韵律与比例的协调，便营造出温润雅致的气韵。

盘心的涩胎圈，是宋代龙泉窑 “垫烧工艺” 留下的鲜明印记。彼时为了提高烧制效率，匠人会将器物以圈足或盘心垫烧，盘心未施釉的部分直接接触窑具，便留下了这圈素胎。经过千年时光浸润，素胎上的火石红痕迹愈发温润，与青釉的淡雅形成对比，反而成了器物最自然的装饰。器物上一道细微的冲线，也并非缺憾，而是岁月赋予它的 “时光印记”，如同老者眼角的皱纹，每一道痕迹里都藏着它走过的岁月故事。

这件折沿盘最动人的，莫过于那一抹历经千年依旧温润的青釉。宋代是龙泉窑的黄金时代，此时的匠人已将青瓷釉色的美学推向了顶峰，这件器物的釉色，正是宋代龙泉窑典型的青绿色调 —— 不似梅子青那般浓艳，也不似粉青那般娇柔，而是一种沉稳的豆青，青中泛着淡淡的灰调，如同江南春日里的远山，或是雨后初晴的湖水，淡而不寡，素而不寂。

龙泉青瓷的美，在于它的 “玉质感”。匠人采用多次施釉的工艺，让釉层变得肥厚莹润，光线落在釉面上，不会产生刺眼的反光，而是如玉石般柔和内敛。这种质感，正是宋人追求的 “类玉” 审美 —— 在那个没有玻璃器的时代，玉石是文人心中至纯至美的象征，而匠人用泥土与窑火，复刻出了玉石的温润与清透，让寻常器物也能拥有君子般的品格。更令人惊叹的，是釉面之上遍布的开片纹路。细密的裂纹如蛛网般蔓延，纵横交错，将单一的釉面分割成无数个不规则的小块，纹路深浅不一、走向各异，每一道都独一无二。开片本是瓷器烧制时，因胎体与釉面膨胀系数不同，冷却过程中釉面开裂形成的 “瑕疵”，却被宋代匠人巧妙接纳，成为一种独特的装饰手法。宋人崇尚 “自然天成” 的意趣，这种由窑火与时光共同造就的纹路，恰好契合了他们对 “天趣” 的追求 —— 无需人工雕琢，窑火与岁月自会赋予器物独特的灵魂。

In the Song Dynasty, celadon was the refined delight on literati’s desks, the earthly warmth on ordinary households’ dining tables, and a cultural messenger bridging distant mountains and seas. This Song Dynasty Longquan Kiln Folded-Rim Plate epitomizes the aesthetics and craftsmanship of its era. Draped in mild celadon glaze, structured by natural crackle patterns, and shaped in simple unadorned form, it encapsulates the elegance, subtlety and artisan ingenuity of the Song Dynasty within a single vessel, quietly narrating an Eastern romance spanning a thousand years.

As a quintessential piece of folk kiln celadon from the Song Dynasty, this Longquan folded-rim plate embodies the unique simplicity and restraint of Song aesthetics. Its mouth rim gently folds outward into a rounded wide edge, convenient for holding and lending the vessel an elegant, expansive presence. The shallow curved wall tapers inward with smooth, flowing lines free of redundant twists and turns. It stands on a broad, neatly formed ring foot, with a solid and steady body bearing the substantial texture inherent to functional wares. This vessel form was extremely common among Song Longquan porcelains. It perfectly met daily dining needs while embodying the Song philosophical aesthetic of less is more. Without elaborate carvings or ornamentation, it achieves a mild and refined charm purely through rhythmic lines and harmonious proportions.

The unglazed ring at the plate’s center is a distinctive mark left by the prop-supported firing technique of the Song Longquan Kiln. To boost firing efficiency, craftsmen propped wares either on their ring feet or central bases. The unglazed center directly contacted the kiln support, leaving this plain ceramic ring. Tempered by a millennium of time, the faint rust-red hues of the fired clay have grown mellow, forming a delicate contrast with the elegant celadon glaze and becoming the vessel’s most natural decoration. A fine hairline crack on the piece is no flaw, but a time-honored mark bestowed by years. Much like wrinkles on an elder’s face, every trace holds the stories of its journey through centuries.

The most captivating feature of this plate lies in its enduringly soft celadon glaze, preserved perfectly after a thousand years. The Song Dynasty marked the golden age of the Longquan Kiln, when craftsmen pushed the aesthetic of celadon glaze to its pinnacle. The glaze of this piece presents a classic Song Longquan green tone — neither as rich and vivid as plum green, nor as delicate and tender as powder green. Instead, it is a steady bean green tinged with subtle grey undertones, reminiscent of distant mountains in spring Jiangnan or lake waters clearing after rain: understated yet never dull, plain yet never lifeless.

The beauty of Longquan celadon lies in its jade-like texture. Craftsmen adopted multiple glazing techniques to create a thick, lustrous glaze layer. Light falls softly over the surface without harsh glare, gentle and restrained like fine jade. This texture perfectly reflects the Song pursuit of jade imitation aesthetics. In an age without glassware, jade symbolized ultimate purity and beauty in literati’s minds. With clay and kiln fire, craftsmen reproduced jade’s warmth and clarity, endowing ordinary utensils with the noble temperament of a gentleman.

Equally breathtaking are the pervasive crackle patterns across the glaze. Fine fissures spread like a woven net, crisscrossing to divide the solid glaze into countless irregular segments. Each crack varies in depth and trajectory, making every detail utterly unique. Crackles were originally regarded as firing imperfections, formed when the glaze contracted at a different rate from the ceramic body during cooling. Yet Song craftsmen embraced this natural phenomenon and elevated it into a distinctive decorative style. The Song literati valued natural spontaneity, and these patterns forged by kiln fire and time perfectly embodied their pursuit of unspoiled natural charm. No artificial carving is needed — kiln heat and the passage of time alone endow each vessel with an irreplicable soul.

*本次藏品：宋代龙泉窑折沿盘*

口径：25cm 高：7cm

要读懂这件折沿盘，便要读懂龙泉窑在宋代的传奇。龙泉窑位于浙江西南部的龙泉市，自三国两晋时期开始烧制青瓷，历经千年窑火不熄，而宋代，尤其是南宋时期，是它最辉煌的阶段。彼时北方战乱频繁，汝窑、官窑等窑口的制瓷匠人南迁，将先进的乳浊釉工艺带到了龙泉。匠人融合南北技艺，烧造出了温润如玉的粉青、梅子青釉瓷，让龙泉青瓷一跃成为宋代青瓷的代表，与官窑、哥窑、汝窑、定窑并称 “宋代五大名窑” 之外的重要窑系，更被世人誉为 “青瓷之冠”。

宋代的龙泉窑，早已不是偏安一隅的地方窑场，而是当时重要的青瓷生产与贸易中心。大量的龙泉青瓷，沿着海上丝绸之路，从浙江的港口出发，远销至东南亚、中东甚至非洲，成为中外文化交流的使者。在许多海外博物馆中，至今仍收藏着宋代龙泉窑的青瓷盘碗，它们曾被不同肤色的人捧在手中，盛过异域的食物，见证过不同文明的碰撞与交融。这件折沿盘，或许也曾是万千外销青瓷中的一员，带着江南的窑火温度，跨越重洋，成为世界认识中国青瓷美学的窗口。

宋代的审美，是刻在骨子里的清雅。无论是文人笔下的山水词章，还是案头的文房清玩，都透着一种 “淡而弥永，朴而弥真” 的气质，而这件龙泉窑折沿盘，正是这种审美在日用器物上的体现。它不是仅供赏玩的陈设瓷，而是曾真实走进宋人生活的实用器物 —— 或许曾盛过文人案头的清供果品，或许曾摆在寻常百姓的餐桌上，盛过一碗米饭、几碟小菜，在烟火气中，默默承载着宋人的日常。

宋人对器物的追求，从来不止于 “能用”，更在于 “耐看”。这件折沿盘没有繁复的纹饰，却以釉色、开片与造型，构建出了一个充满意境的世界。那抹青釉，是江南的烟雨；那道开片，是时光的纹理；那简约的线条，是宋人的克制与留白。这种 “于无声处听惊雷，于无色处见繁花” 的审美，正是宋代文人推崇的 “含蓄之美”—— 不张扬、不浓烈，却能在细节中让人回味无穷。

而器物上的开片，也暗合了宋人 “残缺即圆满” 的哲学思想。宋代文人推崇老庄哲学，认为万物皆有缺憾，而这种缺憾，恰恰是通往更高境界的途径。开片的裂纹，非但没有破坏器物的美感，反而让它多了层次与故事感，随着岁月流逝，灰尘与茶水慢慢沁入裂纹，纹路逐渐晕染成深浅不一的褐色，与青釉底色相互映衬，愈发温润动人。这种美，不是一蹴而就的，而是需要时光的沉淀，就像宋人的心境，历经世事，愈发通透平和。

如今，这件宋代龙泉窑折沿盘，早已褪去了昔日的实用功能，却迎来了新的生命。它被小心珍藏，在灯光下静静展现着千年前的窑火与釉色，成为人们触摸宋代美学的桥梁。在快节奏的现代生活中，这样一件古瓷，更像是一剂温柔的解药 —— 它让我们慢下来，去凝视釉面的开片纹路，去感受青釉的温润光泽，去想象千年前匠人制瓷的专注与宋人的清雅生活。

对于收藏者而言，这件折沿盘不仅是一件具有历史价值的古物，更是一份来自宋代的美学馈赠。它让我们看到，千年前的匠人早已懂得如何用泥土与窑火，复刻自然的美；也让我们明白，真正的美，从不是华丽的堆砌，而是源于自然、归于本心的纯粹。如今，许多现代陶艺家仍在模仿宋代龙泉窑的工艺，试图复刻那抹温润的青釉与自然的开片，却终究无法复制千年前的窑火温度与时光沉淀的韵味。

To truly appreciate this folded-rim plate, one must understand the legendary status of the Longquan Kiln during the Song Dynasty. Located in Longquan City in southwestern Zhejiang Province, the kiln began producing celadon as early as the Three Kingdoms and Jin dynasties, with its porcelain fire burning continuously for over a thousand years. The Song Dynasty, particularly the Southern Song period, marked its most glorious era.

At that time, frequent warfare in northern China drove master potters from renowned kilns such as the Ru Kiln and Guan Kiln to migrate south, bringing with them advanced opaque glaze techniques. Local craftsmen integrated northern and southern craftsmanship, creating jade-like powder green and plum green celadon wares. This breakthrough elevated Longquan celadon to a leading position among Song porcelains, establishing it as an important kiln system alongside the Five Great Song Kilns and earning it the laudatory title the Crown of Celadon.

In the Song Dynasty, Longquan Kiln was no longer a remote regional workshop, but a major hub for celadon production and international trade. Vast quantities of Longquan celadon set sail from Zhejiang ports along the Maritime Silk Road, exported to Southeast Asia, the Middle East and even Africa, serving as cultural envoys between China and the world. Many overseas museums still preserve Song Longquan celadon plates and bowls today. Once held by people of different ethnicities, holding exotic delicacies, they witnessed the integration and collision of diverse civilizations. This folded-rim plate may well have been one of these exported treasures, carrying the warmth of Jiangnan’s kiln fire across vast oceans and opening a window for the world to appreciate the aesthetic charm of Chinese celadon.

The aesthetic taste of the Song people was innate and elegantly understated. Whether in landscape poems and essays by literati, or in refined study ornaments, there lies a temperament of lingering subtlety and authentic simplicity. This Longquan folded-rim plate perfectly embodies such aesthetics in daily-use porcelain. It is not merely an ornamental display piece, but a practical artifact that once integrated into ordinary Song life. It may once have held tribute fruits on a scholar’s desk, or rested on a common family’s dining table filled with rice and side dishes, quietly bearing the everyday life of the Song people amid mortal worldly warmth.

The Song people pursued more than mere functionality in utensils; they valued enduring visual charm. Without elaborate decorative patterns, this plate builds a profound artistic conception through its glaze tone, crackle textures and streamlined shape. Its celadon glaze evokes the misty rains of Jiangnan; its crackles record the traces of time; its minimalist lines reflect the Song spirit of restraint and artistic blankness. This aesthetic of perceiving grandeur in silence and discovering prosperity in plainness represents the beauty of implicit subtlety cherished by Song literati — understated rather than ostentatious, mild rather than intense, leaving endless aftertaste in every delicate detail.

The crackle patterns on the vessel also echo the Song philosophical wisdom of imperfection as perfection. Influenced by Laozi and Zhuangzi’s philosophy, Song intellectuals believed all worldly things carry inherent imperfections, and such flaws are the path to a higher spiritual realm. Far from diminishing the vessel’s beauty, the crackles add layered texture and historical storytelling. As time passes, dust and tea stains gradually seep into the fissures, tinting the veins in varying shades of brown that complement the celadon background, growing increasingly mellow and captivating. Such beauty cannot be achieved overnight; it requires the sedimentation of years, much like the state of mind of the Song people — tempered by life’s experiences, becoming increasingly open-minded and serene.

Today, this Song Dynasty Longquan Kiln folded-rim plate has long departed from its original practical use, yet has gained a new lease of life. Carefully preserved and showcased under soft lighting, it silently displays the kiln fire and glaze charm of a thousand years ago, serving as a bridge for modern people to touch the timeless aesthetics of the Song Dynasty. In the fast-paced modern world, such ancient porcelain acts like a gentle remedy. It slows our pace, allowing us to gaze at the natural crackles on the glaze, feel the mild luster of celadon, and imagine the devotion of ancient craftsmen and the elegant lifestyle of the Song literati.

For collectors, this folded-rim plate is not only a culturally valuable antique, but also an aesthetic gift inherited from the Song Dynasty. It reveals that craftsmen a thousand years ago already knew how to replicate the beauty of nature with clay and kiln fire. It also teaches us that true beauty never lies in extravagant embellishment, but in purity rooted in nature and inner simplicity. Even today, numerous modern ceramic artists strive to imitate Song Longquan craftsmanship, attempting to recreate its mild celadon glaze and natural crackles — yet none can ever replicate the unique warmth of ancient kiln fire and the timeless charm accumulated over centuries.