01

         翻译：Cizhou kiln is the largest folk kiln system in northern China in ancient times. It is also a famous folk porcelain. The shape and decoration of Cizhou kiln are loved by the people, with a wide range of influence and rapid development. All parts of the North imitated one after another, and the central kiln farm took Guantai town of Handan City as the center, forming a huge Cizhou kiln system. Cizhou kiln porcelain era was concentrated in the Liao, Jin and Yuan Dynasties, of which the Liao and Yuan Dynasties were the most abundant and exquisite porcelain. As the local and political center of Liao and Yuan Dynasties was in Inner Mongolia, well preserved city sites and tombs provided a good burial environment for these porcelain. Since most of these porcelains were imported from the Central Plains as commodities or tribute to the Mongolian grassland area, the products of Cizhou kiln system in the Central Plains have been found in various areas of the northern grassland

02

         翻译During the Jin and Yuan Dynasties, the decoration of Cizhou kiln was mature. From simple geometric patterns and plant patterns to complete flower, bird, animal, landscape and figure paintings. Peony, lotus and bamboo are the main themes of flowers; The majority of birds and animals are dragons, phoenixes, tigers, fish, cranes, ducks and mandarin ducks; Most of the characters are infant drama, acrobatics and stories (historical stories, myths, fables, Taoist figures, drama legends and hermits). It is worth noting that since then, a large number of poems, verses, proverbs, proverbs and aphorisms have been decorated on utensils through calligraphy. There are not only regular script, official script, seal script, running script and cursive script, but also double hook script and flying white script. So far, Cizhou kiln decoration has fully possessed all the characteristics of Chinese calligraphy and painting, formed a unique porcelain painting art, and improved the underglaze color painting decoration techniques. In addition to white and black flowers, red and green colors are added. From the Ming Dynasty to the mid Qing Dynasty, the decorative patterns of Cizhou kiln tended to be simple. Although there were flowers and birds, most of the plots were simple, mainly single characters or animals. So far, Cizhou kiln decoration bid farewell to the grand and cumbersome luxury decoration in the Jin and Yuan Dynasties, and entered the low tide of fresh and simple "sketch painting" decoration. In addition to retaining the white and black flowers and red and green colors in the Jin and Yuan Dynasties, the decoration technique also developed the brown color of white and black flowers in this stage. From the late Qing Dynasty to the Republic of China, the decoration content of Cizhou kiln includes not only landscape pavilions, historical stories, but also dramatic characters, flowers, birds, insects and fish, birds and animals. In addition to reflecting the traditional scenery of "Xiaoxiang mountains and rivers", the landscape decoration shows the vigorous and spectacular scene of Taihang Mountain; The peony, lotus and chrysanthemum patterns in flowers are the most representative traditional decorative patterns of Cizhou kiln since the Song Dynasty; Historical drama characters are more common in the heroic stories of the Three Kingdoms, song and Yuan Dynasties. So far, Cizhou kiln decoration has walked out of the dilemma of single content, simple composition and lack of deep intention in the Ming and Qing Dynasties, forming a new situation of diversified decoration techniques, wide content and themes, elegant style and rich connotation. The decoration technique ranges from white and black flowers to blue and white, colorful and full of spring in the courtyard.

03

         翻译：

Cizhou kiln porcelain unearthed in the grassland of northern China has different characteristics in terms of unearthed quantity, utensil type and decoration techniques in different periods of Liao, Jin and Yuan Dynasties.

1、 Cizhou kiln porcelain in Liao Dynasty was relatively few, and there were few popular daily necessities, mainly cans and bottles. The decoration methods were mainly picking and drawing flowers, with a small number of color filling devices.

2、 In the Jin Dynasty, the number of utensils increased, such as cylindrical cans, drum belly cans, three series cans, four series cans, corbel bottles, pots, bowls, plates and dishes appeared in large numbers, and the decorative techniques were diversified. In addition to the traditional picking, drawing and painting techniques, there were also a large number of decorative techniques such as crystalline glaze, kiln transformation, stippling, writing poetry and famous sentences, red and green color painting and so on.

3、 Cizhou kiln products in the Yuan Dynasty accounted for more than half of all porcelain in the grassland area of northern China, surpassing the Liao and Jin Dynasties in both species and quantity. From the products of Cizhou kiln system of Yuan Dynasty found in various regions, the products of Cizhou kiln system unearthed in the eastern, Shangdu, central and western regions of Inner Mongolia have their own characteristics

一、从瓷胎质地看真伪

从陶瓷材料学观察，古代磁州窑枕的质地多呈现胎体疏松，而釉面融化很好，属于釉熟而胎不熟的状态。其原因一是泥料加工的原因；二是烧成制度不同造成的。现代仿品使用的泥料在粗细方面与过去有差别。细究起来，就是坯体原料的分子排列不同。因此二者之间的泥料的可塑性性能有了改变。宋金元时代使用的原料以大青土为主，坯料与现代仿品用料似乎无大区别。但是古代与现代的原料加工手段却不同。过去是采用驴拉耙耙泥，大青土泥浆经过泥槽流动达到粗细的筛选目的。又经过长期的沉浮处理，达到最好的泥性。现在使用的是现代化的机械设备加工，快入磨，快粉碎，快练泥，然后再使用真空练泥机，整个加工周期加快了。而且由于使用球磨研磨，其中又混入不少的其他成分。

二、从造型的特点看真伪

古代磁州窑瓷方形枕或圆形枕的制作均采用了托坯方法。即将泥料打成泥饼，用素烧模具进行托坯，然后进行粘接。现在有些仿品，有的在仿制时使用注浆工艺注浆工艺。留下浆胎印迹，与手工托坯制胎完全不同，留下的痕迹很明显，很容易辨认出是仿品。

三、釉色的差别

宋金时代的釉层很厚润、玻璃感很强。有的如冰似玉的感觉。釉面有经历年代的细密的开片裂纹。现代仿品没有此种特征。在瓷枕所用釉料的加工方面，现在使用机械处理，过去则使用石质大碾磨釉。另外，磁州窑透明釉的釉料配方似乎与现代的纯碎的透明釉-氺冶釉不同。过去很可能在天然氺冶釉中添加有少量的灰分，故能够形成透明釉色的厚润感。磁州窑的白化妆土，过去使用的纯度较高，因此烧成后很白、很亮。现在使用的白化妆土虽然延续了清至民国时原料矿，但由于取材位置与地层的变化，白土中的含铁、钛等杂志成分有了变化。这样就给仿古瓷的外观带来一定影响，如釉色缺乏滋润感，化妆土的白度缺乏暖调等。

四、古今纹样绘画出现的差距

宋时磁州窑瓷枕多为刻划花或剔花装饰。金磁州窑枕多为釉下黑彩装饰。到了元、明时期，则以高温釉上黑彩彩绘为主。瓷枕的纹样也多呈现赭彩或褐彩。这是磁州窑瓷枕鉴定的要点之一。另外，古代磁州窑枕纹样的绘画，手法比较流畅，一气呵成。因此纹样潇洒、瑰丽。形象生动、活泼，情趣。