璀璨中原，老家河南-2024河南非物质文化遗产英国展
Splendors of Henan: A Cultural Tapestry
The 2024 Henan Intangible Cultural Heritage Exhibition in the UK

官窑的历史可上溯至宋代。南宋文人顾文荐在《负喧杂录》中写道“宣政间京师自置窑烧造，名曰官窑。”京师指北宋都城东京城，辖区包括外城、内城和皇城。官窑主要分布在郑州、开封、杭州南北两地。由于历史的原因，后人把官窑分为北宋官窑和南宋官窑。 公元 1111年，皇帝宋徽宗创立了官窑。设置为：“朝廷置窑、内府制样、民匠造器、兵士供役”。主要目的是为皇家烧制礼器，以祭祀祈福之用，清代学者陈浏在《陶雅》中所言：“宋官窑者绝不经见，世人罕能识之者”。它是中国历史上第一个皇家御窑；是中国历史上由皇帝垄断的、没有在民间流通过的瓷器种类，被称为：“王者之瓷 社稷神器”。公元1125年由于异族入侵，北宋官窑窑址被毁，至今未被发掘，烧制技艺流入民间，历朝都有仿制。由于存世和烧造的时间较短，传世品极为稀少。七十年代高菊德在师传的基础上，以开封工艺美术试验厂为基地，烧制出大量的北宋官窑复烧作品。在此基础上国家于1980年立项，成立官瓷研究所，高菊德负责技术工作。90年代初王东霞师从高菊德，学习北宋官窑烧制技艺，致力于北宋官窑的保护传承和创新发展。 北宋官窑从造型到纹饰、从胎釉到型制都有严格的要求，做工考究。纯天然矿石的选料，玛瑙入釉，精湛的烧制技艺，穷其奢华，不惜代价。依据徽宗诏敕编纂的《宣和博古图》为造型蓝本，讲究规格合乎法度。北宋官窑在艺术特征上，反对人为干预，反对人为修饰，不图不绘，不雕不琢，瓷无修饰，以釉质温润如玉，釉面开片自然流畅，紫口铁足，纹如鳝血为装饰，既无华美的雕饰，又无艳彩的涂绘，体现了徽宗的文化智慧和崇尚道家的思想。 官窑是中国五大名窑之一，在中国陶瓷史占有举足轻重的地位，对中国陶瓷史产生了深远的影响，代表了中国陶瓷的工艺精华，体现了中国古代杰出文人的审美品位，形成了中国礼教文化的传承符号。它在青瓷艺术上的成就享誉世界，也是中世纪我国文化艺术光辉灿烂的一页。北宋官窑以其施法自然、含蓄内敛、淡雅清秀的艺术特征，反映了宋代高雅的艺术品位，而被千古留传。 The history of the Imperial Kiln can be traced back to the Song Dynasty. Gu Wenjian, a literatus of the Southern Song Dynasty, wrote in "Fuxuan Zalu" ("Miscellaneous Records of Bearing Noise"), "During the Xuande reign, the capital established its own kiln for firing, called the Imperial Kiln." The capital referred to the eastern capital of the Northern Song Dynasty, which included the outer city, inner city, and imperial city. The Imperial Kiln was mainly distributed in Zhengzhou, Kaifeng, and both the north and south of Hangzhou. Due to historical reasons, later generations divided the Imperial Kiln into the Northern Song Imperial Kiln and the Southern Song Imperial Kiln. In 1111 AD, Emperor Huizong of the Song Dynasty established the Imperial Kiln. It was established as follows: "The court sets up the kiln, the inner palace makes the samples, the civilian craftsmen make the utensils, and the soldiers provide labor." The main purpose was to fire ritual vessels for the royal family's sacrificial ceremonies. According to the "Tao Ya" by the Qing Dynasty scholar Chen Liu, "The Song Imperial Kiln is extremely rare and hardly seen by the world. Few people are able to recognize it." It was China's first imperial kiln in history and the type of porcelain monopolized by the emperor in China's history, known as the "ceramics of kings and divine implements of the state." In 1125 AD, due to invasion by foreign tribes, the site of the Northern Song Imperial Kiln was destroyed and has not been excavated to this day. The firing techniques flowed into the folk and were imitated in subsequent dynasties. Due to the short duration of existence and firing, surviving pieces are extremely rare. In the 1970s, based on the teachings of Gao Jude, a large number of reproductions of the Northern Song Imperial Kiln were fired at the Kaifeng Arts and Crafts Experimental Factory. Based on this, the government initiated a project in 1980 to establish the Imperial Porcelain Research Institute, with Gao Jude in charge of technical work. In the early 1990s, Wang Dongxia learned the firing techniques of the Northern Song Imperial Kiln from Gao Jude and devoted herself to the protection, inheritance, and innovative development of the Northern Song Imperial Kiln. The Northern Song Imperial Kiln had strict requirements from the modeling to the decoration, and from the body glaze to the molding, with exquisite workmanship. The selection of pure natural minerals, the agate in the glaze, and exquisite firing techniques were employed, showing extravagance without regard for cost. Based on the "Xuanhe Bogutu" compiled according to Huizong's edict as the model for the shapes, it emphasized compliance with standards. In terms of artistic characteristics, the Northern Song Imperial Kiln opposed human intervention and decoration, with no carving or embellishment. The porcelain was left unadorned, with a glaze as warm as jade, a glaze surface flowing naturally, a purple mouth and iron feet, and patterns resembling eel blood for decoration. It neither pursued elaborate carvings nor vivid colors, embodying Huizong's cultural wisdom and the Taoist philosophy he advocated. The Imperial Kiln is one of China's five famous kilns, occupying a significant position in the history of Chinese ceramics and exerting a profound influence on it. It represents the essence of Chinese ceramic craftsmanship, embodies the aesthetic taste of ancient Chinese literati, and forms a symbol of the inheritance of Chinese ritual culture. Its achievements in celadon art are renowned worldwide and are a brilliant page in China's cultural and artistic history in the Middle Ages. With its natural, implicit, and elegant artistic features, the Northern Song Imperial Kiln reflects the elegant artistic taste of the Song Dynasty and has been passed down through the ages. 艺术家介绍 王东霞，国家高级工艺美术师、河南省省级非物质文化遗产代表性传承人、河南省工艺美术大师、河南省陶瓷艺术大师。擅长北宋官窑烧制技艺。累计烧制700多窑，稳定了北宋官窑胎釉配方,积累了上万字的烧制记录。作品“盘口长颈瓶”荣获中国陶瓷艺术大展金奖、作品“供桌五件”荣获中国工艺美术百花杯金奖。她坚持从胎到釉选用天然矿物料，玛瑙入釉，传统烧制技艺，为北宋官窑烧制技艺的保护传承做出了贡献。她的作品釉质温润如玉，开片流畅，紫口铁足特征显著而独具风采，以其古朴典雅、韵味独特、意境深远，展现出高雅的艺术品位，深受广大瓷器爱好者的喜爱。 Artist Introduction Wang Dongxia, a national senior arts and crafts master, a representative inheritor of provincial-level intangible cultural heritage in Henan Province, a master of arts and crafts in Henan Province, and a master of ceramic arts in Henan Province. She excels in the firing techniques of the Northern Song Imperial Kiln. She has fired more than 700 kilns, stabilized the formula for the body glaze of the Northern Song Imperial Kiln, and accumulated records of tens of thousands of characters of firing. Her work "Long-necked Bottle with Plate Mouth" won the Gold Award at the China Ceramic Art Exhibition, and her work "Five-piece Altar Table" won the Gold Award at the China Arts and Crafts Baihua Cup. She insists on using natural mineral materials from the body to the glaze, agate in the glaze, and traditional firing techniques, contributing to the protection and inheritance of the firing techniques of the Northern Song Imperial Kiln. Her works have a glaze as warm as jade, a smooth flow of glaze, a prominent purple mouth and iron feet, and are characterized by their simplicity, elegance, unique charm, and profound artistic conception, which are deeply loved by ceramic enthusiasts.