作者：周世荣;

机构：湖南省博物馆;

中文关键词：

英文关键词：

中文摘要：<正> 近三十年来,湖南发掘的唐墓约五百余座,其中百分之九十在长沙市近郊。长沙唐墓出土的瓷器以青瓷为主,包括"三彩"(简称彩瓷,以青、篮、绿为主,仍属青瓷系统),还有少量的白瓷与无釉"素瓷"。青瓷与湘阴窑(岳州窑)关系密切,彩瓷主要是长沙窑制品。因此,长沙唐墓出土瓷器的整理,将直接关系到湘阴窑与长沙窑的分期和断代。本文主要介绍青瓷和彩瓷,兼谈白瓷,素瓷从略。

英文摘要：The porcelain unearthed from the Tang tombs in Changsha is mainly celadon produced by the Xiangyin Kiln and the Changsha Kiln and containing the four categories of vases and pots, jars and mugs, bowls and plates, and others. Chronologically, these porcelain vessels can be divided into four groups belonging to four periods.Period Ⅰ: from the first year of the reign of Wude to the first year of the reign of Guangzhai, spanning 66 years. Most of the porcelain are celadon with crackled glaze, very much varied in form, and porcelain sculpture being prevalent. The Yuezhou ware mentioned in Cha Jing (Book of Tea) by Lu Yu are actually products of the Xiangyin Kiln in its later period.Period Ⅱ: from the first year of the reign of Guanzhai to the 15th year of the reign of Tianbao, totaling 72 years, during which printed celadon was almost entirely replaced by the plain one, and the colored celadon produced by the Changsha Kiln began to make its appearance felt.Period Ⅲ: from the first year of the reign of Guangzhai to the 15th year of the reign of of Kaicheng, totaling 85 years, during which the products of the Changsha Kiln (also those of the Yaotoushan Kiln) gradually came to take the lead, and the techniques of underglaze and mould-priniting appeared. The use of calligraphy on porcelain opened up an entirely new way in ceramic decorative art.Period Ⅳ: from the first year of the reign of Huichang to the fourth year of the reign of Tianyou, totaling 66 years, during which porcelain vessels were often decorated with birds and flowers, printed patterns and splash, and shapes became delicate and various. For example, there were bowls and plates in the shape of sunflower and lotus, bird-shaped pots and pots with sloping shoulders. More prevalent were the porcelain imitating gold and silver vessels.In short, though printed celadon produced by the Xiangyin Kiln were still seen during the first period, it was almost entirely replaced by plain celadon produced by the Changsha Kiln in the second period. On the other hand, though painted porcelain appeared in the second period, it was not until the intermediate period of the third and fourth periods that it really came into vogue, but it began to decline in the Five Dynasties. Thus, it is clear that the second period is the intermediate period of the Xiangyin ware and Changsha ware. But what is worth attention is the fact that the features of the porcelain produced by the Changsha Kiln, namely the octagonal short-spout design, and the color-dotting decoration and the glaze-spot decoration also appeared on the Xiangyin ware. Though these two wares have each its own characteristics, yet a relationship of succession and development between them is traceable. Moreover, the Changsha Kiln also produced a large quantity of celadon. Therefore, the socalled Yuezhou ware is actually the Xiangyin ware in its earlier period, and the Changsha ware in its later period. Yuezhou ware is a term used only by people of the Tang Dynasty. To untrained eyes, the two wares are of two diffe rent systems, but actually they are only of the two different stages of the same Yuezhou ware. However, these two different stages finally developed into two different systems. As the Changsha Kiln produced mainly for export, their products have been seldom unearthed from local tombs.

[中文刊名]：考古学报 [出版日期]：1982-10-15 [CN]： [ISSN]：

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