【保護范圍】
廣東省肇慶(qing)現轄行政區域
【地理環境】
端硯(yan)之所以稱雄(xiong)于世(shi)一千余年，乃至今(jin)滿譽天(tian)下，主要是(shi)它具有質(zhi)剛而柔的(de)優良石質(zhi)和(he)豐富(fu)多彩(cai)的(de)天(tian)然石品花紋而使歷代無數人(ren)為此陶醉、癡(chi)迷(mi)。端硯(yan)石的(de)原始母巖形成(cheng)于距今(jin)4億年前(qian)的(de)泥(ni)盆紀中期。在地(di)球演化(hua)史上，4億年前(qian)，肇(zhao)(zhao)慶(qing)這個位置(zhi)是(shi)一條沿東北方(fang)向延伸的(de)濱(bin)岸潮坪，廣(guang)州一帶為古(gu)(gu)(gu)陸(lu)，當時的(de)大(da)海(hai)(hai)在廣(guang)西(xi)方(fang)向，海(hai)(hai)水從西(xi)部進入肇(zhao)(zhao)慶(qing)地(di)區。肇(zhao)(zhao)慶(qing)位于古(gu)(gu)(gu)陸(lu)與半島之間的(de)海(hai)(hai)陸(lu)交替處，兩側的(de)古(gu)(gu)(gu)陸(lu)為沉積(ji)提供了物源。古(gu)(gu)(gu)陸(lu)風化(hua)剝蝕下來的(de)大(da)量(liang)泥(ni)沙被(bei)海(hai)(hai)水帶到濱(bin)岸停下來，按比重(zhong)和(he)粒級的(de)大(da)小(xiao)依(yi)次沉積(ji)堆(dui)積(ji)成(cheng)層(ceng)，較輕的(de)漂(piao)浮物被(bei)水水解后(hou)(hou)停留在潮坪較低(di)洼的(de)湖區，緩慢(man)沉降(jiang)，最(zui)后(hou)(hou)沉積(ji)成(cheng)層(ceng)。這就是(shi)端石最(zui)初的(de)物質(zhi)聚集。
【品質特色】
端硯為“中國四大(da)名(ming)(ming)硯”之(zhi)首(shou)，致(zhi)密堅實(shi)幼嫩、細膩(ni)，溫(wen)潤如玉(yu)的石質，獨特(te)而(er)豐富多(duo)彩(cai)的石品(pin)花(hua)紋以(yi)及(ji)(ji)巧(qiao)奪天工的雕刻藝術而(er)聞名(ming)(ming)于世。并具(ju)有質柔(rou)而(er)剛(gang)按之(zhi)如小兒(er)肌(ji)膚，摩之(zhi)寂(ji)寂(ji)無聲(sheng)響(xiang)，以(yi)及(ji)(ji)貯(zhu)水不凅，呵氣研墨、不損毫，發墨快等特(te)點。
【文化背景】
自唐(tang)以來，端(duan)(duan)(duan)(duan)硯一直(zhi)被歷代文(wen)武將相名人(ren)學士所鐘愛。他(ta)們(men)(men)通過使用端(duan)(duan)(duan)(duan)硯的(de)感受,寫下(xia)了大(da)(da)量(liang)的(de)論文(wen)著述(shu)，成為研究端(duan)(duan)(duan)(duan)硯歷史文(wen)化(hua)的(de)寶(bao)貴資料，他(ta)們(men)(men)在(zai)使用端(duan)(duan)(duan)(duan)硯時，總(zong)會自然靈感頓(dun)生、筆下(xia)生花(hua)。宋代是(shi)端(duan)(duan)(duan)(duan)硯發展最鼎盛時期，舉國上(shang)下(xia)文(wen)風四起、不少政治家(jia)、文(wen)學家(jia)和書(shu)畫藝術家(jia)們(men)(men)對端(duan)(duan)(duan)(duan)硯如癡如醉(zui)真正把端(duan)(duan)(duan)(duan)硯推向了最高巔峰(feng)。如歐陽修、王安之(zhi)、蘇(su)東坡(po)等人(ren)。說到清(qing)代不能不提的(de)是(shi)清(qing)高宗乾隆皇帝，對端(duan)(duan)(duan)(duan)硯特別喜愛，在(zai)宮內(nei)所藏(zang)端(duan)(duan)(duan)(duan)硯，據《西清(qing)硯譜》記(ji)載有62方，每方端(duan)(duan)(duan)(duan)硯都(dou)有它的(de)刻銘，并對端(duan)(duan)(duan)(duan)硯大(da)(da)加贊賞，視端(duan)(duan)(duan)(duan)硯為珍稀(xi)之(zhi)寶(bao)。
【文化積淀】
端硯(yan)被(bei)歷(li)代(dai)帝(di)(di)王將(jiang)相、文(wen)(wen)人墨(mo)客(ke)及(ji)鑒賞(shang)收藏(zang)人士譽為“文(wen)(wen)房寶中寶”“天下第一硯(yan)”之美(mei)名。千百年(nian)來它以“歷(li)劫萬年(nian)而不朽”的(de)(de)堅固特性和(he)巧奪天工(gong)的(de)(de)硯(yan)雕藝術而被(bei)歷(li)代(dai)帝(di)(di)王將(jiang)相和(he)文(wen)(wen)人墨(mo)客(ke)所推(tui)崇。尋(xun)找端州(zhou)制(zhi)硯(yan)歷(li)史溯源而上，或許能更(geng)為清(qing)晰地傾(qing)聽到(dao)端州(zhou)深遠(yuan)文(wen)(wen)明根(gen)脈跳(tiao)動的(de)(de)聲(sheng)音。
【知識鏈接】
端(duan)(duan)硯(yan)(yan)(yan)的(de)(de)(de)(de)使(shi)用(yong)(yong)(yong)(yong)(yong)、保(bao)(bao)養(yang)與(yu)珍藏。我國歷(li)代的(de)(de)(de)(de)文人雅士十分(fen)重(zhong)(zhong)視(shi)端(duan)(duan)硯(yan)(yan)(yan)的(de)(de)(de)(de)使(shi)用(yong)(yong)(yong)(yong)(yong)、保(bao)(bao)養(yang)與(yu)珍藏，在(zai)實(shi)踐中(zhong)(zhong)積(ji)累(lei)了(le)許多行(xing)之(zhi)有效(xiao)的(de)(de)(de)(de)經(jing)驗。使(shi)用(yong)(yong)(yong)(yong)(yong)和(he)(he)保(bao)(bao)養(yang)端(duan)(duan)硯(yan)(yan)(yan)，不(bu)(bu)僅(jin)是(shi)(shi)保(bao)(bao)護硯(yan)(yan)(yan)臺(tai)本身不(bu)(bu)受破損，更(geng)重(zhong)(zhong)要(yao)的(de)(de)(de)(de)是(shi)(shi)保(bao)(bao)持端(duan)(duan)硯(yan)(yan)(yan)的(de)(de)(de)(de)整體完美和(he)(he)研墨(mo)(mo)使(shi)用(yong)(yong)(yong)(yong)(yong)。端(duan)(duan)硯(yan)(yan)(yan)石(shi)(shi)(shi)質細(xi)膩、幼(you)嫩、滋潤，首先與(yu)水(shui)(shui)(shui)有著非常(chang)(chang)密切的(de)(de)(de)(de)關系，特別是(shi)(shi)老坑石(shi)(shi)(shi)，洞內終年(nian)積(ji)水(shui)(shui)(shui)，硯(yan)(yan)(yan)石(shi)(shi)(shi)常(chang)(chang)年(nian)浸泡在(zai)水(shui)(shui)(shui)中(zhong)(zhong)，使(shi)之(zhi)幼(you)嫩滋潤，故此(ci)(ci)古人提出(chu)了(le)“以(yi)(yi)水(shui)(shui)(shui)養(yang)硯(yan)(yan)(yan)”結論，即以(yi)(yi)清水(shui)(shui)(shui)注于(yu)硯(yan)(yan)(yan)池，加(jia)以(yi)(yi)保(bao)(bao)養(yang)。端(duan)(duan)硯(yan)(yan)(yan)是(shi)(shi)研墨(mo)(mo)之(zhi)器(qi)具(ju)，如果硯(yan)(yan)(yan)堂(tang)中(zhong)(zhong)經(jing)常(chang)(chang)沾滿殘留著用(yong)(yong)(yong)(yong)(yong)剩的(de)(de)(de)(de)宿墨(mo)(mo)，就會影(ying)響端(duan)(duan)硯(yan)(yan)(yan)的(de)(de)(de)(de)實(shi)用(yong)(yong)(yong)(yong)(yong)效(xiao)果，久(jiu)而久(jiu)之(zhi)，端(duan)(duan)硯(yan)(yan)(yan)的(de)(de)(de)(de)石(shi)(shi)(shi)質就會出(chu)現干燥、粗糙。此(ci)(ci)外(wai)，新啟用(yong)(yong)(yong)(yong)(yong)的(de)(de)(de)(de)端(duan)(duan)硯(yan)(yan)(yan)，如偶(ou)遇發墨(mo)(mo)不(bu)(bu)好(hao)，可用(yong)(yong)(yong)(yong)(yong)杉木燒(shao)成(cheng)木炭粉末(mo)沾水(shui)(shui)(shui)，以(yi)(yi)毛刷磨硯(yan)(yan)(yan)臺(tai)硯(yan)(yan)(yan)堂(tang)數遍，然后(hou)用(yong)(yong)(yong)(yong)(yong)清水(shui)(shui)(shui)洗(xi)滌乾凈，即可發墨(mo)(mo)。至于(yu)研墨(mo)(mo)，一般有兩種方(fang)法(fa)，一是(shi)(shi)習(xi)慣性(xing)自左而右(you)打圈研磨；二是(shi)(shi)“拉鋸式(shi)”的(de)(de)(de)(de)研磨，即將(jiang)墨(mo)(mo)條(tiao)在(zai)硯(yan)(yan)(yan)堂(tang)中(zhong)(zhong)來回(hui)推動。要(yao)注意：研墨(mo)(mo)時墨(mo)(mo)條(tiao)應該垂直，心平氣和(he)(he)，重(zhong)(zhong)按(an)輕轉，先慢后(hou)逐漸加(jia)快，但不(bu)(bu)能(neng)急于(yu)求成(cheng)。研墨(mo)(mo)時一定要(yao)用(yong)(yong)(yong)(yong)(yong)清水(shui)(shui)(shui)，切忌用(yong)(yong)(yong)(yong)(yong)開(kai)水(shui)(shui)(shui)更(geng)不(bu)(bu)可用(yong)(yong)(yong)(yong)(yong)茶或污水(shui)(shui)(shui)。加(jia)水(shui)(shui)(shui)研磨時，應使(shi)用(yong)(yong)(yong)(yong)(yong)硯(yan)(yan)(yan)滴。更(geng)不(bu)(bu)能(neng)將(jiang)墨(mo)(mo)條(tiao)浸在(zai)墨(mo)(mo)堂(tang)中(zhong)(zhong)待(dai)其發軟才(cai)研磨，這樣既損墨(mo)(mo)又傷硯(yan)(yan)(yan)研出(chu)的(de)(de)(de)(de)墨(mo)(mo)汁不(bu)(bu)僅(jin)色無光澤，且濃淡不(bu)(bu)勻。
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