寇富平大师《长安花瓶》赏析 <p class="ql-block" style="text-align:center;">正见闻</p> <p class="ql-block"> 当温润的“建白瓷”在灯光下漾出凝脂般的柔光，《长安花瓶》的纹路便如时光的刻痕，在德化白瓷的莹润质地中徐徐铺展。这件出自当代“建白瓷”之父寇富平大师之手的经典之作，既是1965年他执掌德化瓷厂器型设计时的心血结晶，更是“建白瓷”技艺传承与创新的生动缩影。</p> <p class="ql-block"> 作为“建白瓷”的守护者与开拓者，同时也是中国陶瓷艺术终身成就奖获得者，寇富平深耕“建白瓷”领域数十载。《长安花瓶》的器型设计便尽显其功力：唇沿外撇如流云舒展，长颈挺拔衬出器身的典雅，垂腹丰腴却不失秀逸，高圈足外撇更添稳重。瓶身的凸弦纹层层环绕，似岁月的年轮，将古典审美与工艺巧思熔于一炉。</p> <p class="ql-block"> 最动人的，是瓶身满布的吉祥纹饰。饕餮纹居于核心，融合龙、虎、鹿的灵动特征，既承袭了上古纹样驱邪避灾的寓意，又赋予其新时代的内涵——百姓盼富贵长寿、吉祥如意，国家愿长治久安、天下太平。堆塑的吉祥双耳与圆环，线条圆润饱满，与纹饰相得益彰，让整器在古朴中透着鲜活的生命力。</p> <p class="ql-block"> 当光影掠过瓷瓶的纹路，“建白瓷”的通透与细腻展露无遗。这不仅是一件瓷器，更是寇富平大师对“建白瓷”技艺的诠释：守得住传统的根，才能开得出创新的花。从泥坯雕琢到入窑烧制，每一道工序都凝结着他对“建白瓷”的执着，而《长安花瓶》恰似一座桥梁，让千年瓷韵在当代依然绽放出夺目光彩，也让“建白瓷”这一瑰宝，在守护者与开拓者的手中，生生不息。</p> <p class="ql-block" style="text-align:center;"><b><i>The Chang'an Vase Carves </i></b></p><p class="ql-block" style="text-align:center;"><b><i>the Essence of China</i></b></p><p class="ql-block"> When the warm "Jian white porcelain" shimmers with a creamy luster under the light, the patterns of the Chang'an Vase stretch out slowly like the marks of time on the smooth texture of Dehua white porcelain. This classic work by Master Kou Fuping, the Father of Contemporary "Jian White Porcelain", is not only the crystallization of his efforts when he was in charge of the shape design of Dehua Porcelain Factory in 1965, but also a vivid epitome of the inheritance and innovation of "Jian white porcelain" craftsmanship.</p><p class="ql-block"> As a guardian and pioneer of "Jian white porcelain" and a recipient of the Lifetime Achievement Award in Chinese Ceramic Art, Kou Fuping has devoted decades to the field of "Jian white porcelain". The shape design of the Chang'an Vase fully demonstrates his skills: the lip curls outward like flowing clouds, the long neck stands tall to set off the elegance of the body, the hanging belly is plump yet elegant, and the tall ring foot flares outward to add stability. The raised string patterns encircle the vase layer upon layer, like the rings of time, integrating classical aesthetics and craftsmanship ingenuity into one.</p><p class="ql-block"> The most striking part is the auspicious patterns covering the vase body. The taotie pattern is at the core, integrating the vivid features of dragons, tigers and deer. It not only inherits the meaning of warding off evil spirits and disasters from ancient patterns, but also endows it with a new connotation in the new era — people hope for prosperity, longevity, good fortune and happiness, and the country aspires to long-term stability and peace under heaven. The sculpted auspicious double ears and rings have round and full lines, complementing the patterns, making the whole vessel exude vivid vitality amidst its primitive simplicity.</p><p class="ql-block"> When light and shadow glide over the lines of the porcelain vase, the transparency and delicacy of "Jian white porcelain" are fully revealed. This is more than just a porcelain piece; it is Master Kou Fuping's interpretation of "Jian white porcelain" craftsmanship: only by keeping the roots of tradition can we bloom the flowers of innovation. From clay carving to kiln firing, every process embodies his dedication to "Jian white porcelain". The Chang'an Vase is like a bridge, allowing the charm of thousands of years of porcelain to still shine brightly in the contemporary era, and making the treasure of "Jian white porcelain" thrive in the hands of its guardians and pioneers.</p>