【保護范圍】
廣東省肇慶現轄行政區域(yu)
【地理環境】
端硯之所以稱雄于世一(yi)(yi)千余年(nian)(nian)，乃至今滿(man)譽天下(xia)(xia)，主要是它(ta)具有質(zhi)剛而柔(rou)的(de)(de)(de)(de)優(you)良石(shi)質(zhi)和豐富(fu)多彩(cai)的(de)(de)(de)(de)天然石(shi)品花紋而使歷代無數人為(wei)此(ci)陶醉、癡(chi)迷。端硯石(shi)的(de)(de)(de)(de)原始母巖形(xing)成(cheng)于距今4億年(nian)(nian)前的(de)(de)(de)(de)泥(ni)盆紀中期(qi)。在地(di)球演(yan)化(hua)史上，4億年(nian)(nian)前，肇慶這個位(wei)置是一(yi)(yi)條沿(yan)東北方向延伸的(de)(de)(de)(de)濱岸(an)潮坪，廣州一(yi)(yi)帶(dai)(dai)為(wei)古(gu)陸(lu)(lu)(lu)(lu)，當時的(de)(de)(de)(de)大海在廣西(xi)方向，海水(shui)(shui)從西(xi)部進入肇慶地(di)區。肇慶位(wei)于古(gu)陸(lu)(lu)(lu)(lu)與半島之間的(de)(de)(de)(de)海陸(lu)(lu)(lu)(lu)交替(ti)處，兩側的(de)(de)(de)(de)古(gu)陸(lu)(lu)(lu)(lu)為(wei)沉(chen)(chen)積提供了物源。古(gu)陸(lu)(lu)(lu)(lu)風化(hua)剝蝕下(xia)(xia)來(lai)的(de)(de)(de)(de)大量泥(ni)沙(sha)被(bei)海水(shui)(shui)帶(dai)(dai)到(dao)濱岸(an)停(ting)下(xia)(xia)來(lai)，按比重(zhong)和粒(li)級的(de)(de)(de)(de)大小(xiao)依次沉(chen)(chen)積堆積成(cheng)層，較輕(qing)的(de)(de)(de)(de)漂浮物被(bei)水(shui)(shui)水(shui)(shui)解后停(ting)留在潮坪較低洼的(de)(de)(de)(de)湖區，緩慢沉(chen)(chen)降，最后沉(chen)(chen)積成(cheng)層。這就是端石(shi)最初的(de)(de)(de)(de)物質(zhi)聚集(ji)。
【品質特色】
端硯(yan)為(wei)“中國四大名(ming)硯(yan)”之(zhi)首(shou)，致密堅實幼嫩(nen)、細膩，溫潤如玉的石質(zhi)，獨特而豐富多彩的石品(pin)花紋以及巧(qiao)奪天工的雕刻藝術而聞(wen)名(ming)于世。并具有(you)質(zhi)柔而剛按之(zhi)如小兒肌膚(fu)，摩之(zhi)寂(ji)寂(ji)無聲響，以及貯(zhu)水(shui)不(bu)凅，呵氣研墨、不(bu)損毫，發(fa)墨快等特點。
【文化背景】
自(zi)唐以來，端(duan)(duan)(duan)硯(yan)(yan)(yan)(yan)一直(zhi)被歷代(dai)文(wen)(wen)武將相名人學士(shi)所(suo)鐘愛(ai)。他們(men)通過(guo)使(shi)用端(duan)(duan)(duan)硯(yan)(yan)(yan)(yan)的(de)感受,寫下了大(da)(da)量的(de)論文(wen)(wen)著述，成為研究端(duan)(duan)(duan)硯(yan)(yan)(yan)(yan)歷史(shi)文(wen)(wen)化的(de)寶貴資料，他們(men)在(zai)(zai)使(shi)用端(duan)(duan)(duan)硯(yan)(yan)(yan)(yan)時，總(zong)會(hui)自(zi)然靈感頓(dun)生(sheng)、筆下生(sheng)花。宋代(dai)是端(duan)(duan)(duan)硯(yan)(yan)(yan)(yan)發展(zhan)最鼎盛時期，舉國上(shang)下文(wen)(wen)風四起(qi)、不少政治家、文(wen)(wen)學家和書畫(hua)藝術家們(men)對(dui)(dui)端(duan)(duan)(duan)硯(yan)(yan)(yan)(yan)如(ru)癡如(ru)醉真正(zheng)把端(duan)(duan)(duan)硯(yan)(yan)(yan)(yan)推向(xiang)了最高(gao)巔峰(feng)。如(ru)歐陽(yang)修、王安之(zhi)、蘇東坡(po)等人。說到清代(dai)不能不提的(de)是清高(gao)宗乾隆皇(huang)帝，對(dui)(dui)端(duan)(duan)(duan)硯(yan)(yan)(yan)(yan)特別(bie)喜愛(ai)，在(zai)(zai)宮內所(suo)藏端(duan)(duan)(duan)硯(yan)(yan)(yan)(yan)，據(ju)《西清硯(yan)(yan)(yan)(yan)譜(pu)》記載(zai)有62方(fang)，每方(fang)端(duan)(duan)(duan)硯(yan)(yan)(yan)(yan)都有它的(de)刻銘，并對(dui)(dui)端(duan)(duan)(duan)硯(yan)(yan)(yan)(yan)大(da)(da)加贊賞，視(shi)端(duan)(duan)(duan)硯(yan)(yan)(yan)(yan)為珍稀(xi)之(zhi)寶。
【文化積淀】
端硯被歷(li)代帝(di)王將相、文(wen)人墨客及(ji)鑒賞收藏人士譽為“文(wen)房寶中(zhong)寶”“天(tian)下第一硯”之美名。千百(bai)年(nian)來它以(yi)“歷(li)劫萬年(nian)而不朽(xiu)”的堅(jian)固特性和(he)巧奪(duo)天(tian)工(gong)的硯雕藝術而被歷(li)代帝(di)王將相和(he)文(wen)人墨客所推崇。尋找(zhao)端州(zhou)制硯歷(li)史溯源而上，或(huo)許(xu)能更為清晰地傾聽到端州(zhou)深遠文(wen)明根脈跳動的聲(sheng)音。
【知識鏈接】
端(duan)(duan)硯(yan)(yan)(yan)(yan)的(de)(de)(de)使(shi)用(yong)(yong)(yong)(yong)、保(bao)(bao)養與珍藏(zang)。我國歷代的(de)(de)(de)文(wen)人(ren)雅(ya)士十分重(zhong)視端(duan)(duan)硯(yan)(yan)(yan)(yan)的(de)(de)(de)使(shi)用(yong)(yong)(yong)(yong)、保(bao)(bao)養與珍藏(zang)，在(zai)實(shi)踐中(zhong)(zhong)積(ji)累了(le)許多(duo)行(xing)之有(you)效的(de)(de)(de)經(jing)驗(yan)。使(shi)用(yong)(yong)(yong)(yong)和(he)(he)保(bao)(bao)養端(duan)(duan)硯(yan)(yan)(yan)(yan)，不(bu)(bu)僅(jin)是(shi)(shi)保(bao)(bao)護硯(yan)(yan)(yan)(yan)臺(tai)本身不(bu)(bu)受破損，更重(zhong)要的(de)(de)(de)是(shi)(shi)保(bao)(bao)持(chi)端(duan)(duan)硯(yan)(yan)(yan)(yan)的(de)(de)(de)整體完美和(he)(he)研(yan)(yan)(yan)墨(mo)(mo)使(shi)用(yong)(yong)(yong)(yong)。端(duan)(duan)硯(yan)(yan)(yan)(yan)石質細膩、幼嫩、滋潤，首先(xian)與水有(you)著(zhu)非常(chang)密(mi)切的(de)(de)(de)關系(xi)，特別是(shi)(shi)老坑石，洞(dong)內終年積(ji)水，硯(yan)(yan)(yan)(yan)石常(chang)年浸泡在(zai)水中(zhong)(zhong)，使(shi)之幼嫩滋潤，故此(ci)古人(ren)提出了(le)“以(yi)水養硯(yan)(yan)(yan)(yan)”結(jie)論，即(ji)以(yi)清水注于硯(yan)(yan)(yan)(yan)池，加以(yi)保(bao)(bao)養。端(duan)(duan)硯(yan)(yan)(yan)(yan)是(shi)(shi)研(yan)(yan)(yan)墨(mo)(mo)之器(qi)具(ju)，如果硯(yan)(yan)(yan)(yan)堂(tang)中(zhong)(zhong)經(jing)常(chang)沾滿(man)殘留(liu)著(zhu)用(yong)(yong)(yong)(yong)剩的(de)(de)(de)宿墨(mo)(mo)，就(jiu)會影響(xiang)端(duan)(duan)硯(yan)(yan)(yan)(yan)的(de)(de)(de)實(shi)用(yong)(yong)(yong)(yong)效果，久而久之，端(duan)(duan)硯(yan)(yan)(yan)(yan)的(de)(de)(de)石質就(jiu)會出現(xian)干(gan)燥、粗糙。此(ci)外(wai)，新啟用(yong)(yong)(yong)(yong)的(de)(de)(de)端(duan)(duan)硯(yan)(yan)(yan)(yan)，如偶(ou)遇發墨(mo)(mo)不(bu)(bu)好，可(ke)用(yong)(yong)(yong)(yong)杉木燒成木炭粉末沾水，以(yi)毛刷磨(mo)(mo)硯(yan)(yan)(yan)(yan)臺(tai)硯(yan)(yan)(yan)(yan)堂(tang)數遍，然(ran)后(hou)用(yong)(yong)(yong)(yong)清水洗(xi)滌乾凈，即(ji)可(ke)發墨(mo)(mo)。至(zhi)于研(yan)(yan)(yan)墨(mo)(mo)，一(yi)(yi)般(ban)有(you)兩(liang)種方法，一(yi)(yi)是(shi)(shi)習慣(guan)性自左(zuo)而右(you)打圈研(yan)(yan)(yan)磨(mo)(mo)；二是(shi)(shi)“拉(la)鋸式”的(de)(de)(de)研(yan)(yan)(yan)磨(mo)(mo)，即(ji)將墨(mo)(mo)條(tiao)在(zai)硯(yan)(yan)(yan)(yan)堂(tang)中(zhong)(zhong)來回推動。要注意：研(yan)(yan)(yan)墨(mo)(mo)時墨(mo)(mo)條(tiao)應該(gai)垂直(zhi)，心平氣和(he)(he)，重(zhong)按輕(qing)轉，先(xian)慢后(hou)逐漸加快，但不(bu)(bu)能急于求成。研(yan)(yan)(yan)墨(mo)(mo)時一(yi)(yi)定要用(yong)(yong)(yong)(yong)清水，切忌用(yong)(yong)(yong)(yong)開水更不(bu)(bu)可(ke)用(yong)(yong)(yong)(yong)茶或污水。加水研(yan)(yan)(yan)磨(mo)(mo)時，應使(shi)用(yong)(yong)(yong)(yong)硯(yan)(yan)(yan)(yan)滴。更不(bu)(bu)能將墨(mo)(mo)條(tiao)浸在(zai)墨(mo)(mo)堂(tang)中(zhong)(zhong)待(dai)其發軟才(cai)研(yan)(yan)(yan)磨(mo)(mo)，這樣(yang)既損墨(mo)(mo)又傷硯(yan)(yan)(yan)(yan)研(yan)(yan)(yan)出的(de)(de)(de)墨(mo)(mo)汁不(bu)(bu)僅(jin)色(se)無光澤，且濃淡(dan)不(bu)(bu)勻。
給生活一把琴 
