明代青花鬼谷子下山大罐

瓷器鉴赏之明代青花鬼谷子下山大罐

明青花鬼谷子下山图罐，明代青花瓷器，主体纹饰为"鬼谷子下山图"，描述了孙膑的师傅鬼谷子在齐国使节苏代的再三请求下，答应下山搭救被燕国陷阵的齐国名将孙膑和独孤陈的故事。

明青花瓷，又称明青花，明青花的纹饰最大特点是构图丰满，层次多而不乱。笔法以一笔点划多见，流畅有力；勾勒渲染则粗壮沉着。主题纹饰的题材有人物、动物、植物、诗文等。动物有龙凤、麒麟、鸳鸯、游鱼等。所画龙纹为小头、细颈、长身、三爪或四爪、背部出脊、鳞纹多为网格状，矫健而凶猛。元青花瓷大改传统瓷器含蓄内敛风格，以鲜明的视觉效果，给人以简明的快感。以其大气豪迈气概和艺术原创精神，将青花绘画艺术推向顶峰，确立了后世青花瓷的繁荣与长久不衰。

3、装饰：青花纹饰，分四层，一层颈部饰水波纹，二层肩部饰缠枝牡丹，三层腹部为“鬼谷子下山”主题纹饰，四层下部为变形莲瓣纹内绘琛宝，俗称“八大码”。主题画面描述了孙膑的师傅鬼谷子在齐国使节苏代的再三请求下，下山搭救被燕国围困的齐国名将孙膑和独孤陈的故事。整个青花纹饰呈色浓艳，画面饱满，疏密有致，主次分明，浑然一体。人物刻画流畅自然，神韵十足。

4、青花釉料：元青花的成功，离不开当时从西亚波斯国家进口的钴料。这种进口钴料，即苏麻离青，成分是低锰、高铁，含硫和砷，无铜和镍，所绘青花纹饰呈色浓艳深沉，与明清青花不同，与当时国产料也有巨大差别，呈色有如下特征（1）、呈鲜丽的靛青

《明青花鬼谷子下山图罐》主体装饰描述了一幅山水画卷，画面讲述了这样故事：春秋战国时期，孙膑的师傅鬼谷子在齐国使节苏代的再三请求下，答应下山搭救被燕国陷阵的齐国名将孙膑和独孤陈的故事。鬼谷子端坐在一虎一豹拉的车中，身体微微前倾，神态自若，超凡如仙，表现出运筹帷幄之中、决胜千里之外的神态，车前两个步卒手持长矛开道，一位青年将军英姿勃发，纵马而行，手擎战旗，上书“鬼谷”二字，苏代骑马殿后。一行人与山色树石构成了一幅壮观而又优美的山水人物画卷。

明代青花可分为大件器和小件器两种，典型的明青花瓷鉴别特征主要有七点:一、明青花一般胎体厚重，上手感觉适中;二、器底无釉，多数器底有明显旋纹，个别有跳刀痕并黏有填砂。三、青花色泽有浓艳、灰浇两种，均有铁锈斑;四、具有圈足外墙斜削处理，往往留有浸釉时的手抓指痕，露胎部分呈褐红色;大件器底无釉露胎部分常黏有较大面积的釉块。五、分段制造，拼接而成，接底痕迹十分明显，特别是罐类内壁釉面有不平状。六、凡梅瓶之口均为上窄下宽之梯形。七、高足杯的杯身和足采用湿胎接合，足内顶端无釉，而且往往有乳丁状凸起，足部空心而不封底。

明代制瓷，在我国制瓷史上，正处于一个承上启下时期。这一时期的标志物，则是当时的青花瓷。它不仅是我国材料史的变革期，也是我国装饰工艺的变革期，同时也是中国人一场审美意识、审美标准的变革。而作为《明青花鬼谷子下山图罐》，正是这一时期中的代表物件，它对于研究我国元代制瓷中的相关历史信息及当时的政治、经济、文化、科技、民族政策、审美等提供了重要的实物依据。同时，《明青花鬼谷子下山图罐》作为元代制瓷中的一件大的陶瓷艺术品，在当时及今后都有着不可替代性。它不仅是我国，也是人类发展史上重要的精神财富。此外，随着时间的推移，由于瓷器的易碎性，眼前这件完美无缺的《明青花鬼谷子下山图罐

瓷器鉴赏之明代青花鬼谷子下山大罐

明青花鬼谷子下山图罐，明代青花瓷器，主体纹饰为"鬼谷子下山图"，描述了孙膑的师傅鬼谷子在齐国使节苏代的再三请求下，答应下山搭救被燕国陷阵的齐国名将孙膑和独孤陈的故事。

明青花瓷，又称明青花，明青花的纹饰最大特点是构图丰满，层次多而不乱。笔法以一笔点划多见，流畅有力；勾勒渲染则粗壮沉着。主题纹饰的题材有人物、动物、植物、诗文等。动物有龙凤、麒麟、鸳鸯、游鱼等。所画龙纹为小头、细颈、长身、三爪或四爪、背部出脊、鳞纹多为网格状，矫健而凶猛。元青花瓷大改传统瓷器含蓄内敛风格，以鲜明的视觉效果，给人以简明的快感。以其大气豪迈气概和艺术原创精神，将青花绘画艺术推向顶峰，确立了后世青花瓷的繁荣与长久不衰。

3、装饰：青花纹饰，分四层，一层颈部饰水波纹，二层肩部饰缠枝牡丹，三层腹部为“鬼谷子下山”主题纹饰，四层下部为变形莲瓣纹内绘琛宝，俗称“八大码”。主题画面描述了孙膑的师傅鬼谷子在齐国使节苏代的再三请求下，下山搭救被燕国围困的齐国名将孙膑和独孤陈的故事。整个青花纹饰呈色浓艳，画面饱满，疏密有致，主次分明，浑然一体。人物刻画流畅自然，神韵十足。

4、青花釉料：元青花的成功，离不开当时从西亚波斯国家进口的钴料。这种进口钴料，即苏麻离青，成分是低锰、高铁，含硫和砷，无铜和镍，所绘青花纹饰呈色浓艳深沉，与明清青花不同，与当时国产料也有巨大差别，呈色有如下特征（1）、呈鲜丽的靛青

《明青花鬼谷子下山图罐》主体装饰描述了一幅山水画卷，画面讲述了这样故事：春秋战国时期，孙膑的师傅鬼谷子在齐国使节苏代的再三请求下，答应下山搭救被燕国陷阵的齐国名将孙膑和独孤陈的故事。鬼谷子端坐在一虎一豹拉的车中，身体微微前倾，神态自若，超凡如仙，表现出运筹帷幄之中、决胜千里之外的神态，车前两个步卒手持长矛开道，一位青年将军英姿勃发，纵马而行，手擎战旗，上书“鬼谷”二字，苏代骑马殿后。一行人与山色树石构成了一幅壮观而又优美的山水人物画卷。

明代青花可分为大件器和小件器两种，典型的明青花瓷鉴别特征主要有七点:一、明青花一般胎体厚重，上手感觉适中;二、器底无釉，多数器底有明显旋纹，个别有跳刀痕并黏有填砂。三、青花色泽有浓艳、灰浇两种，均有铁锈斑;四、具有圈足外墙斜削处理，往往留有浸釉时的手抓指痕，露胎部分呈褐红色;大件器底无釉露胎部分常黏有较大面积的釉块。五、分段制造，拼接而成，接底痕迹十分明显，特别是罐类内壁釉面有不平状。六、凡梅瓶之口均为上窄下宽之梯形。七、高足杯的杯身和足采用湿胎接合，足内顶端无釉，而且往往有乳丁状凸起，足部空心而不封底。

明代制瓷，在我国制瓷史上，正处于一个承上启下时期。这一时期的标志物，则是当时的青花瓷。它不仅是我国材料史的变革期，也是我国装饰工艺的变革期，同时也是中国人一场审美意识、审美标准的变革。而作为《明青花鬼谷子下山图罐》，正是这一时期中的代表物件，它对于研究我国元代制瓷中的相关历史信息及当时的政治、经济、文化、科技、民族政策、审美等提供了重要的实物依据。同时，《明青花鬼谷子下山图罐》作为元代制瓷中的一件大的陶瓷艺术品，在当时及今后都有着不可替代性。它不仅是我国，也是人类发展史上重要的精神财富。此外，随着时间的推移，由于瓷器的易碎性，眼前这件完美无缺的《明青花鬼谷子下山图罐

瓷器鉴赏之明代青花鬼谷子下山大罐

明青花鬼谷子下山图罐，明代青花瓷器，主体纹饰为"鬼谷子下山图"，描述了孙膑的师傅鬼谷子在齐国使节苏代的再三请求下，答应下山搭救被燕国陷阵的齐国名将孙膑和独孤陈的故事。

明青花瓷，又称明青花，明青花的纹饰最大特点是构图丰满，层次多而不乱。笔法以一笔点划多见，流畅有力；勾勒渲染则粗壮沉着。主题纹饰的题材有人物、动物、植物、诗文等。动物有龙凤、麒麟、鸳鸯、游鱼等。所画龙纹为小头、细颈、长身、三爪或四爪、背部出脊、鳞纹多为网格状，矫健而凶猛。元青花瓷大改传统瓷器含蓄内敛风格，以鲜明的视觉效果，给人以简明的快感。以其大气豪迈气概和艺术原创精神，将青花绘画艺术推向顶峰，确立了后世青花瓷的繁荣与长久不衰。

3、装饰：青花纹饰，分四层，一层颈部饰水波纹，二层肩部饰缠枝牡丹，三层腹部为“鬼谷子下山”主题纹饰，四层下部为变形莲瓣纹内绘琛宝，俗称“八大码”。主题画面描述了孙膑的师傅鬼谷子在齐国使节苏代的再三请求下，下山搭救被燕国围困的齐国名将孙膑和独孤陈的故事。整个青花纹饰呈色浓艳，画面饱满，疏密有致，主次分明，浑然一体。人物刻画流畅自然，神韵十足。

4、青花釉料：元青花的成功，离不开当时从西亚波斯国家进口的钴料。这种进口钴料，即苏麻离青，成分是低锰、高铁，含硫和砷，无铜和镍，所绘青花纹饰呈色浓艳深沉，与明清青花不同，与当时国产料也有巨大差别，呈色有如下特征（1）、呈鲜丽的靛青

《明青花鬼谷子下山图罐》主体装饰描述了一幅山水画卷，画面讲述了这样故事：春秋战国时期，孙膑的师傅鬼谷子在齐国使节苏代的再三请求下，答应下山搭救被燕国陷阵的齐国名将孙膑和独孤陈的故事。鬼谷子端坐在一虎一豹拉的车中，身体微微前倾，神态自若，超凡如仙，表现出运筹帷幄之中、决胜千里之外的神态，车前两个步卒手持长矛开道，一位青年将军英姿勃发，纵马而行，手擎战旗，上书“鬼谷”二字，苏代骑马殿后。一行人与山色树石构成了一幅壮观而又优美的山水人物画卷。

明代青花可分为大件器和小件器两种，典型的明青花瓷鉴别特征主要有七点:一、明青花一般胎体厚重，上手感觉适中;二、器底无釉，多数器底有明显旋纹，个别有跳刀痕并黏有填砂。三、青花色泽有浓艳、灰浇两种，均有铁锈斑;四、具有圈足外墙斜削处理，往往留有浸釉时的手抓指痕，露胎部分呈褐红色;大件器底无釉露胎部分常黏有较大面积的釉块。五、分段制造，拼接而成，接底痕迹十分明显，特别是罐类内壁釉面有不平状。六、凡梅瓶之口均为上窄下宽之梯形。七、高足杯的杯身和足采用湿胎接合，足内顶端无釉，而且往往有乳丁状凸起，足部空心而不封底。

明代制瓷，在我国制瓷史上，正处于一个承上启下时期。这一时期的标志物，则是当时的青花瓷。它不仅是我国材料史的变革期，也是我国装饰工艺的变革期，同时也是中国人一场审美意识、审美标准的变革。而作为《明青花鬼谷子下山图罐》，正是这一时期中的代表物件，它对于研究我国元代制瓷中的相关历史信息及当时的政治、经济、文化、科技、民族政策、审美等提供了重要的实物依据。同时，《明青花鬼谷子下山图罐》作为元代制瓷中的一件大的陶瓷艺术品，在当时及今后都有着不可替代性。它不仅是我国，也是人类发展史上重要的精神财富。此外，随着时间的推移，由于瓷器的易碎性，眼前这件完美无缺的《明青花鬼谷子下山图罐

Appreciation of porcelain: a large pot of blue and white ghost millet in the Ming Dynasty

The blue and white painting pot of Guiguzi going down the mountain in the Ming Dynasty and the blue and white porcelain in the Ming Dynasty are decorated with "Guiguzi going down the mountain", which describes the story of Sun Bin's master, Guiguzi, who promised to go down the mountain to rescue the famous general of Qi sun bin and Dugu Chen trapped by the state of Yan at the repeated request of the state envoy of Qi Su Dai.

Ming blue and white porcelain, also known as Ming blue and white, is characterized by plump composition and many levels without disorder. The strokes are more common with one stroke, smooth and powerful; Outline rendering is strong and calm. The themes of theme decoration include characters, animals, plants, poetry and so on. Animals include dragon and Phoenix, unicorn, mandarin duck, swimming fish, etc. The dragon patterns painted are small head, thin neck, long body, three or four claws, ridge on the back, and scale patterns are mostly grid shaped, vigorous and fierce. Yuan blue and white porcelain greatly changed the implicit and restrained style of traditional porcelain, giving people a concise pleasure with distinctive visual effects. With its heroic spirit and original artistic spirit, it pushed the blue and white painting art to the peak and established the prosperity and long-term prosperity of blue and white porcelain in future generations.

3. Decoration: blue and white decoration is divided into four layers. The neck of the first layer is decorated with water ripple, the shoulder of the second layer is decorated with tangled peony, the abdomen of the third layer is decorated with the theme of "ghost millet going down the mountain", and the lower part of the fourth layer is painted with deformed lotus petal pattern, which is commonly known as "eight sizes". The theme picture describes the story of Guiguzi, Sun Bin's master, who went down the mountain to rescue the famous Qi generals Sun Bin and Dugu Chen besieged by the state of Yan at the repeated request of the state of Qi's envoy Su Dai. The whole blue and white patterns are colorful, the picture is full, dense, clear primary and secondary, and integrated. The characterization is smooth, natural and full of charm.

4. Blue and white glaze: the success of Yuan blue and white glaze was inseparable from the cobalt material imported from West Asian and Persian countries at that time. This imported cobalt material, Su Ma Liqing, is composed of low manganese, high iron, sulfur and arsenic, and free of copper and nickel. The painted blue and white patterns are colorful and deep, which is different from the blue and white of the Ming and Qing Dynasties and the domestic materials at that time. The color has the following characteristics (1) bright indigo

The main decoration of the painting pot of ghost millet descending the mountain in the Ming Dynasty describes a landscape painting. The picture tells the story: during the spring and Autumn period and the Warring States period, ghost millet, Sun Bin's master, promised to go down the mountain to rescue the famous Qi generals Sun Bin and Du guchen trapped by the state of Yan at the repeated request of the state of Qi's envoy Su Dai. Guiguzi sat in a car pulled by a tiger and a leopard. He leaned forward slightly and looked as if he were an immortal. He showed that he was planning strategies and winning thousands of miles away. Two soldiers in front of the car opened the road with spears. A young general was brave and vigorous, rode on a horse, held a war flag, and wrote the word "Guigu" on the back of the riding Hall of the Soviet Dynasty. A group of people and mountain trees and stones constitute a spectacular and beautiful landscape figure painting.

Ming Dynasty blue and white ware can be divided into large and small pieces. The typical identification characteristics of Ming blue and white porcelain mainly include seven points: first, Ming blue and white porcelain generally has a thick carcass and has a moderate feel; 2、 There is no glaze on the bottom, most of them have obvious rotary patterns, some have jumping knife marks and are bonded with sand filling. 3、 There are two kinds of blue and white color, thick and gray, with iron rust spots; 4、 It has the oblique cutting treatment of the outer wall of the ring foot, which often leaves the finger marks when soaking the glaze, and the exposed part is maroon; The unglazed exposed part of the bottom of large ware often adheres to a large area of glaze block. 5、 It is made in sections and spliced, and the bottom connection trace is very obvious, especially the glaze of the inner wall of the tank is uneven. 6、 The mouth of all plum bottles is a trapezoid with narrow top and wide bottom. 7、 The cup body of the high foot cup is connected with the foot with a wet tire, the top of the foot has no glaze, and there are often milk Ding shaped protrusions, and the foot is hollow without sealing the bottom.

Porcelain making in the Ming Dynasty is in a connecting period in the history of porcelain making in China. The symbol of this period is blue and white porcelain at that time. It is not only the transformation period of China's material history, but also the transformation period of China's decoration technology, but also a transformation of Chinese aesthetic consciousness and aesthetic standards. As a representative object in this period, the painting pot of blue and white ghost millet going down the mountain in the Ming Dynasty provides an important material basis for studying the relevant historical information in the porcelain making of the Yuan Dynasty and the politics, economy, culture, science and technology, national policy and aesthetics at that time. At the same time, as a large ceramic art in the porcelain making of the Yuan Dynasty, the painting pot of the Ming blue and white ghost millet going down the mountain is irreplaceable at that time and in the future. It is not only China, but also an important spiritual wealth in the history of human development. In addition, with the passage of time, due to the fragility of porcelain, this perfect picture of the Ming blue and white ghost millet going down the mountain