以蓮花或蓮瓣作(zuo)為器(qi)(qi)物之紋飾及造型(xing),隨佛教之傳(chuan)入而盛行,爾(er)后更取其出(chu)泥(ni)不染之習(xi)性,寓意(yi)廉(lian)潔,廣為各類器(qi)(qi)所(suo)采用(yong)。該器(qi)(qi)狀(zhuang)似(si)未盛開蓮花,線條溫(wen)柔婉約(yue),高雅清麗。原器(qi)(qi)應與(yu)一(yi)執壺配套,為一(yi)溫(wen)酒(jiu)用(yong)器(qi)(qi),晚唐至宋(song)所(suo)常(chang)見。
汝(ru)窯(yao)曾為宮(gong)中用器(qi),因(yin)采覆燒(shao)的方式,故口有缺陷(xian)(xian),因(yin)而有“宮(gong)中命(ming)汝(ru)州燒(shao)造青瓷”之(zhi)(zhi)舉(ju),汝(ru)窯(yao)之(zhi)(zhi)入選(xuan),支燒(shao)滿釉應(ying)是(shi)(shi)原因(yin)之(zhi)(zhi)一。支燒(shao)另一用處為防(fang)止器(qi)底(di)塌陷(xian)(xian),汝(ru)窯(yao)所(suo)用支釘(ding)細(xi)小,所(suo)留釘(ding)痕狀似芝(zhi)麻(ma),器(qi)底(di)五支釘(ding)痕即(ji)是(shi)(shi),也(ye)就是(shi)(shi)俗稱的“芝(zhi)麻(ma)釘(ding)”。釉面(mian)細(xi)碎紋路,更有“蟹爪痕”之(zhi)(zhi)美名。 蓮花溫(wen)碗(wan),以其(qi)典雅(ya)造型,溫(wen)柔不(bu)透明釉色,在傳世(shi)不(bu)多之(zhi)(zhi)汝(ru)窯(yao)器(qi)中,更顯珍貴。
汝(ru)(ru)窯(yao)(yao)是(shi)宋代“五大名(ming)窯(yao)(yao)”之(zhi)一,為(wei)冠絕古(gu)今之(zhi)中國(guo)瓷(ci)器(qi)(qi)名(ming)窯(yao)(yao)。窯(yao)(yao)址在今河南(nan)省寶豐縣清涼寺及(ji)汝(ru)(ru)州(zhou)(zhou)文廟張公巷附近,宋時屬汝(ru)(ru)州(zhou)(zhou),故(gu)名(ming)。汝(ru)(ru)窯(yao)(yao)以燒(shao)制(zhi)青(qing)(qing)釉瓷(ci)器(qi)(qi)著稱(cheng),宋人葉(xie)寘在《坦齋(zhai)筆衡(heng)》中記載:“本朝以定(ding)州(zhou)(zhou)白(bai)瓷(ci)器(qi)(qi)有(you)芒不堪用,遂(sui)命汝(ru)(ru)州(zhou)(zhou)造青(qing)(qing)窯(yao)(yao)器(qi)(qi),故(gu)河北(bei)唐、鄧、耀州(zhou)(zhou)悉有(you)之(zhi),汝(ru)(ru)州(zhou)(zhou)為(wei)魁。”可(ke)見汝(ru)(ru)窯(yao)(yao)是(shi)繼定(ding)窯(yao)(yao)之(zhi)后為(wei)宮廷(ting)燒(shao)制(zhi)貢瓷(ci)的(de)窯(yao)(yao)場。其器(qi)(qi)物多仿(fang)青(qing)(qing)銅器(qi)(qi)及(ji)玉(yu)器(qi)(qi)造型,主要有(you)出戟尊(zun)、玉(yu)壺(hu)春瓶、膽(dan)式瓶、樽、洗。胎體細潔如(ru)香(xiang)灰色,多為(wei)裹足支(zhi)燒(shao),器(qi)(qi)物底部留有(you)細小的(de)支(zhi)釘痕(hen)跡。釉色主要有(you)天(tian)青(qing)(qing)、天(tian)藍(lan)、淡粉、粉青(qing)(qing)、月白(bai)等,釉層薄而瑩潤,釉泡大而稀疏,有(you)“寥(liao)若晨星(xing)”之(zhi)稱(cheng)。釉面有(you)細小的(de)紋片,稱(cheng)為(wei)“蟹(xie)爪紋”。汝(ru)(ru)窯(yao)(yao)燒(shao)宮廷(ting)用瓷(ci)的(de)時間(jian)僅20年(nian)左右,約在北(bei)宋哲宗(zong)元祐元年(nian)(1086年(nian))到徽宗(zong)崇寧五年(nian)(1106年(nian)),故(gu)傳(chuan)世(shi)品極(ji)少,被(bei)人們視為(wei)稀世(shi)之(zhi)珍。