Longquan Kiln Double Fish Ear Vase

Description

Longquan Kiln Double Fish Ear Vase

• 产品介绍为双语版【英文&中文】，英文在前，中文在后
• Product introduction is bilingual version [English & Chinese], English first, Chinese second

1. Basic Shape and Specification Dimensions

• Overall Dimensions: Height 17.6 cm, caliber 7.2 cm, bottom diameter 7.1 cm, completely consistent with the original size, accurately restoring the classic proportion of the club-shaped vase in the Southern Song Dynasty.
• Shape Structure: Flat mouth design with slightly upturned rim and smooth polished edges; slender and straight neck connected naturally with the slanting folded shoulder, featuring round and smooth shoulder lines without abrupt transitions; cylindrical belly tapers gently from top to bottom, with a high degree of consistency with the original’s belly curve; inner-cut ring foot with a height of 0.8 cm and uniform foot wall thickness. The overall shape is upright and regular, conforming to the “simple and unsophisticated” modeling aesthetic of Longquan Kiln in the Southern Song Dynasty.

2. Body Quality and Color Characteristics

• Body Material: Formulated with modern special celadon clay, mixed with purple gold soil and porcelain stone in a ratio of 7:3. Processed through mechanical crushing, multiple elutriation, aging and other processes, the body clay has high fineness and no obvious impurities.
• Body Color and Density: The body presents a light beige color with uniform surface color, deliberately imitating the “loose texture” visual effect of the original. However, the actual density is higher than that of the original in the Southern Song Dynasty — the measured body density is about 2.5g/cm³, which is higher than the loose texture formed by natural aging of the original. Only extremely shallow marks are left when scratched with nails, lacking the “warm and jade-like” texture of the original body.
• Exposed Body Treatment: The exposed parts of the ring foot and bottom adopt artificial aging technology to present an orange-red tone, trying to restore the original soil patina effect. However, the color is uniform without layering, lacking the gradual transition from surface to interior that occurs during natural aging. The surface floating color is easy to fall off when wiped with cotton swabs dipped in alcohol, which is significantly different from the stable soil patina traces of the original.

3. Glaze Color and Glazing Process

• Glaze Color Performance: Fully covered with celadon glaze, the color is between powder blue and beige, simulating the “full underfiring” glaze characteristics of the original. The local area from the rim to the ears shows a powder blue tone, and the belly and lower part gradually transition to beige. The overall uniformity of the glaze color is high, but it lacks the subtle color differences of the original caused by natural changes in kiln fire.
• Glaze Layer: The glaze layer thickness is about 0.8-1.2 mm, applied by modern spray glazing combined with dip glazing technology. The glaze surface has high smoothness, without the natural flowing traces of the original manual glazing.
• Glaze Composition: Modern chemical raw materials are used to simulate the traditional plant ash glaze formula, and the glaze color is controlled by adjusting the proportion of copper and iron elements. Although visually close to the original glaze color, it lacks the unique warm texture of traditional plant ash glaze and the natural texture brought by subtle impurities.

4. Decorative Details and Process Treatment

• Double Fish Ear Decoration: Symmetrically sculpted and pasted double fish ears on the neck, each ear is about 3.5 cm high and 2 cm wide, forming a 45° angle with the vase body, with the overall shape consistent with the original. The detailed treatment of the fish body is as follows: The scales are formed by mold pressing combined with manual carving, with large fan-shaped scales and small needle-shaped scales arranged regularly; the fish mouth is slightly open, the tip of the tongue is upturned, the gill cover has a round arc, and the fish tail is slightly curled, showing strong flexibility. However, the carving marks of the fish scales are uniform in depth, lacking the natural sense of cadence of the original manual pinching.
• Connection Process: The thickness of the joint between the fish ear and the vase body is about 1.5-2 mm, fixed by modern mud pasting technology. The glaze color transition at the joint is natural without obvious interface traces, but the joint strength is higher than that of the original, lacking the delicacy of traditional craftsmanship where “it is easy to break if slightly careless”.
• Other Details: The glaze color inside and outside the rim is uniform, without the subtle glaze color differences caused by wear and tear of the original; the surface of the vase body has no natural use traces, and the overall cleanliness is high, conforming to the technological characteristics of modern crafts.

5. Firing Technology and Kiln Characteristics

• Firing Method: Adopting modern electric kiln firing instead of the traditional dragon kiln wood-firing technology of Longquan Kiln in the Southern Song Dynasty. The firing temperature is controlled at 1250-1300℃, and the reducing flame atmosphere is simulated by mechanical temperature control, resulting in higher glaze color stability than the original.
• Kiln Characteristics: Taking the products of Xikou Kiln of Longquan Kiln as the reproduction model, the overall glaze color is regular and uniform.

6. Inscription and Surface Traces

• Inscription Treatment: There are no possible kiln worker marks or inscriptions on the bottom of the vase, but a modern collector’s label is attached. The label is made of paper with clear printing, used to reflect the collection traces.
• Surface Traces: The surface of the vase body has no natural use scratches, dust spots or slight collision traces that may exist on the original, and the overall preservation state is “perfect”, conforming to the factory characteristics of modern reproductions.

7. Craft Value and Uses

• Reproduction Value: This double fish ear vase faithfully restores the core characteristics of the double fish ear vase of Longquan Kiln in the Southern Song Dynasty in terms of shape proportion, glaze color style and decorative details, with high reproduction accuracy. It can be used as a physical reference sample for studying the shape evolution, glaze color characteristics and decorative craftsmanship of Longquan Kiln in the Southern Song Dynasty, helping celadon enthusiasts intuitively understand the basic style of Longquan Kiln celadon.
• Practical Scenarios: Suitable for celadon craft teaching aids, home decoration and other scenarios, and can also be used as a comparison sample for collection beginners to learn cultural relic identification.
• Limitation Description: As a modern craft, its body material, firing technology and aging traces are all modern craftsmanship, which are essentially different from the original. It is not a cultural relic, but it has artistic value and collection value.

龙泉窑双鱼耳瓶

一、基本形制与规格尺寸

• 整体尺寸：高 17.6 厘米，口径 7.2 厘米，底径 7.1 厘米，与原作尺寸完全一致，精准还原南宋棒槌形瓶的经典比例。
• 器型结构：平口设计，口沿微微上翘，边缘打磨光滑；颈部修长挺拔，与斜折肩自然衔接，肩部线条圆润流畅，过渡无生硬感；筒腹呈直筒状，自上而下缓慢收敛，腹部弧度与原作契合度高；圈足为内挖式，圈足高度 0.8 厘米，足墙厚度均匀，整体器型挺拔规整，符合南宋龙泉窑 “简约古朴” 的造型审美。

二、胎质与胎色特征

• 胎体原料：采用现代青瓷专用瓷土调配，紫金土与瓷石 7:3 的混合比例，通过机械粉碎、多次淘洗、陈腐等工序处理，胎泥细腻度较高，无明显杂质。
• 胎色与密度：胎体呈浅米黄色，表面色泽均匀，刻意模仿原作 “胎质显疏松” 的视觉效果，但实际密度高于南宋原作 —— 经实测胎体致密度约 2.5g/cm³，高于原作自然老化形成的疏松质地，用指甲划刻仅留极浅痕迹，无原作胎体 “温润如玉” 的质感。
• 露胎处理：圈足及底部露胎处采用人工做旧工艺，呈现橘红色调，试图还原原作土沁效果，但色泽均匀无层次感，缺乏自然老化过程中 “由表及里逐渐变浅” 的过渡感，用棉签蘸酒精擦拭后，表面浮色易脱落，与原作稳定的土沁痕迹存在明显区别。

三、釉色与施釉工艺

• 釉色表现：通体施青釉，釉色介于粉青与米黄之间，模拟原作 “通体生烧” 的釉色特征，口沿至耳部局部呈现粉青色调，腹部及下部逐渐过渡为米黄色，釉色整体均匀度较高，但缺乏原作因窑火自然变化形成的细微色差。
• 釉层：釉层厚度约 0.8-1.2 毫米，施釉方式为现代喷釉结合浸釉工艺，釉面光洁度高，无原作手工施釉的自然流淌痕迹。
• 釉料成分：采用现代化学原料模拟传统草木灰釉配方，通过调整铜、铁元素比例控制釉色呈现，虽在视觉上接近原作釉色，但缺乏传统草木灰釉特有的温润质感与细微杂质带来的自然肌理。

四、装饰细节与工艺处理

• 双鱼耳装饰：颈部对称塑贴双鱼耳，鱼耳高约 3.5 厘米，宽约 2 厘米，与瓶身夹角呈 45°，整体造型与原作一致。鱼身细节处理如下：鳞片采用模具压制结合手工修刻，大鳞片呈扇形，小鳞片如针状，排列规整；鱼嘴微张，舌尖上翘，鳃盖弧度圆润，鱼尾微微上卷，造型灵动性较强，但鱼身鳞片刻痕深浅一致，缺乏原作手工捏塑的自然顿挫感。
• 衔接工艺：鱼耳与瓶身衔接处厚度约 1.5-2 毫米，采用现代泥浆粘贴工艺固定，衔接处釉色过渡自然，无明显接口痕迹，但衔接强度高于原作，缺乏传统工艺 “稍不慎便会断裂” 的精细感。
• 其他细节：口沿内外釉色均匀，无原作因使用磨损形成的细微釉色差异；瓶身表面无自然使用痕迹，整体洁净度高，符合现代工艺品的工艺特征。

五、烧制工艺与窑口特征

• 烧制方式：采用现代电窑烧制，替代南宋龙泉窑传统龙窑柴烧工艺，烧制温度控制在 1250-1300℃，通过机械控温模拟还原焰气氛，釉色稳定性高于原作。
• 窑口特征：以龙泉窑溪口窑产品为复刻蓝本，整体釉色规整统一。

六、款识与表面痕迹

• 款识处理：瓶底无原作可能存在的窑工记号或款识，贴有一枚现代藏家标签，标签材质为纸质，印刷清晰，用于体现收藏痕迹。
• 表面痕迹：瓶身表面无原作可能存在的自然使用划痕、尘点、轻微磕碰痕迹，整体保存状态 “完美”，符合现代复刻品的出厂特征。

七、工艺价值与用途

• 复刻价值：该双鱼耳瓶在器型比例、釉色风格、装饰细节等方面忠实还原南宋龙泉窑双鱼耳瓶的核心特征，复刻精度较高，可作为研究南宋龙泉窑器型演变、釉色特征、装饰工艺的实物参考样本，帮助青瓷爱好者直观了解龙泉窑青瓷的基本风貌。
• 实用场景：适合用于青瓷工艺教学教具、家居陈设装饰等场景，也可作为收藏入门者学习文物辨伪的比对样本。
• 局限性说明：作为现代工艺品，其胎质原料、烧制工艺、老化痕迹均为现代工艺，与原作存在本质区别，不属于文物但其具有艺术价值与收藏价值。