宋代宣和官窑宋徽宗御书狂草《千字文》刻字填金弦纹八棱米黄釉贯耳瓶

Xuanhe official kiln of the Song Dynasty Huizong of the Song Dynasty Royal script wild grass thousand character inscription filled with gold string pattern eight edge Beige glaze through ear bottle

规格尺寸：高34cm，宽20cm。

Specification and size: 34cm high and 20cm wide.

御题刻书填金《千字文》：凤在竹，白驹食场。化被草木，赖及万方。盖此身发，四大五常。恭惟鞠养，岂敢毁伤。女慕贞洁，男效才良。知过必改，得能莫忘。罔谈彼短，靡恃己长。信使可覆，器欲难量。墨悲丝染，诗赞羔羊。景行维贤，剋念

The imperial inscription book filled with gold "thousand words": the Phoenix is in the bamboo and the Baiju food market. It depends on Wanfang to turn vegetation into vegetation. Cover this body and hair, four big five constant. If you are respectful, how dare you destroy it. Women admire chastity and men are good. If you know your mistakes, you must change them. Don't forget them. He who does not talk about his shortcomings depends on his own strengths. The messenger can cover, but the instrument is difficult to measure. Ink mourns silk dyeing and poetry praises the lamb. Jing Xing, Wei Xian, Ke Nian

(翻译释意为：凤凰在竹林中欢乐的鸣叫，小白马在草场上自由自在地吃着草食。圣君贤王的仁德之治使草木都沾受了恩惠，恩泽遍及天下百姓。人的身体发肤分属于“四大”，一言一动都要符合“五常”。诚敬的想着父母养育之恩，哪里还敢毁坏损伤它。女子要仰慕那些持身严谨的贞妇洁女，男子要仿效那些有才能有道德的人。知道自己有过错，一定要改正；适合自己干的事，不要放弃。不要谈论别人的短处，也不要依仗自己有长处就不思进取。诚实的话要经得起考验，器度要大，让人难以估量。墨子悲叹白丝被染上了杂色，《诗经》赞颂羔羊能始终保持洁白如一。 要仰慕圣贤的德行，要克制)

The Phoenix is chirping happily in the bamboo forest, and the little white horse is eating grass freely on the grassland. The benevolent rule of the sage and the virtuous king has benefited the plants and trees all over the world. People's body and skin belong to the "four great", and every word and move should conform to the "five constant" 。 Sincerely think of the grace of parents' upbringing, where dare you destroy it. Women should admire those chaste women who are strict in their conduct, and men should emulate those who are talented and moral. If you know you are at fault, you must correct it; Don't give up what suits you. Don't talk about other people's shortcomings, and don't rely on your own strengths. If you are honest, you should stand the test, and the degree of instrument should be large, which is difficult to measure. Mozi lamented that white silk was dyed with variegated colors, and the book of songs praised that the lamb could always remain white as one. Admire the virtues of saints and restrain them)

末款宣和壬寅(1122年宋徽宗40岁)御书(朱砂章印)、“天”（相传是“天下一人”的简写）字草押、上钤“御書” 天下一人（画押款)印。被誉为“天下一人绝世墨宝”。

At the end of the paragraph, Xuanhe renyin (40 years old of song Huizong in 1122) had a cursive seal on the imperial script (Zhu shazhang seal), "Tian" (it is said that it is the abbreviation of "one person in the world"), and a seal on the seal of "imperial script" one person in the world (painting deposit). Known as "one person in the world, unparalleled calligraphy".

钤印：御書之印

Seal: Imperial seal

宋徽宗在40岁(宣和壬寅1122年)的时候，曾经写过一卷《草书千字文》，写在上面的狂草书千字文一气呵成，笔势凌空，劲利流畅，变幻莫测，犹如长江奔腾，一泻千里，运笔迅疾流畅，结体奇宕潇洒。此卷作于宣和四年(1122)，是赵佶40岁书法大成时之作品，为稀世珍品。《石渠宝笈·初编》、《格古要论》诸书著录。此作如今被估值超过了100亿，光是创作这件作品所用的宣纸，现代人都造不出来，这种工艺已经失传了！

At the age of 40 (Xuanhe renyin 1122), Huizong of Song Dynasty once wrote a volume of "thousand character cursive script". The thousand character cursive script written on it was completed in one go. The strokes were high in the air, powerful and smooth, unpredictable, like the surging of the Yangtze River, flowing thousands of miles, with fast and smooth pen movement and strange and natural structure. This volume, written in the fourth year of Xuanhe (1122), is the work of Zhao Ji when he was 40 years old and achieved great success in calligraphy. It is a rare treasure. The first edition of Shiqu Baoji and gegu Yaolun. This work is now valued at more than 10 billion yuan. Modern people can't make the rice paper used to create this work alone. This technology has been lost!

贯耳瓶上宋徽宗御题狂草传世千字文草书(片段)，落款时间是宣和壬寅（1122年），字文鎏金，笔力遒劲，运转自如，开阖有度，气势雄健恢宏，笔法劲利流畅，变幻莫测，一气呵成，极奔放驰骋之致，整体布局疏密留白非常合理讲究，显得十分华贵雍雅。其所以可贵，在於作者掌握了狂草的基本法则，“使转”不违笔意，达到了“纵心奔放”，所谓“意先笔後，潇洒流落”的艺术效果，更为稀世珍品。六年之后，宋徽宗就被金兵虏走。

The thousand character cursive script (fragment) handed down by Emperor Huizong of the Song Dynasty on the ear jar is inscribed in Xuanhe renyin (1122). The characters are gilded, strong and powerful, operate freely, open and close with degree, magnificent momentum, powerful and smooth strokes, unpredictable, completed at one go, and gallop wildly. The overall layout is dense, and the white space is very reasonable and exquisite, which looks very luxurious and elegant. Its value lies in that the author has mastered the basic law of wild grass, and "turning" does not violate the meaning of the pen, which has achieved the artistic effect of "unrestrained heart", and the so-called "meaning first writes and then flows freely", which is a rare treasure. Six years later, song Huizong was captured by Jin Bing.

或许因此有人会认为这些字是后来刻上去的，比如乾隆就常做此事，清末民初也有刻徽宗诗文在古瓷上的，钧汝窑偏多，也会有人认为这是现代技术所为。但若仔细推敲，则可一一排除。

Perhaps therefore, some people will think that these words were engraved later. For example, Qianlong often did this. There were also engraved Huizong poems on ancient porcelain in the late Qing Dynasty and the early Republic of China. There were more Jun Ru kilns, and some people will think that this was done by modern technology. However, if carefully considered, it can be eliminated one by one.

若是现代刻字，自然是仿照网上照片，字体大小间距厚薄力度等和网上图片一模一样，但通观此段《千字文》从首句“凤在竹”到最后“剋念”及御書“天下一人”，均和网上图片有差异，证明不是现代电脑扫描后刻上去的，因为凡是临写的，不管其技巧如何精到和高超，仔细观察会发现板滞的运笔痕迹，而这个作品的气脉连贯，应非现代人临本；再说草书难摹，尤其是狂草更是如此，何况是刻字填金在贯耳瓶上？！瓶刻草书行笔飞动，一气呵成，几无败笔可寻；清末民初，古瓷上刻字，多是楷书或篆书，就是因为草书刻写难度极大，徽宗草书千字文藏于皇宫，民间无人见过；乾隆朝在古瓷上刻字，目前所有的资料显示，未见到有刻草书的，估计是难度太大，工匠没能力完成。

Modern computer engraving as like as two peas, which are similar to online pictures, are all modeled on online photos, and the size and spacing of the font. The overall picture of the thousand characters from the first sentence "Feng Zhu" to "Ke Nian" and "Yu Ren" is different from the online picture. It is proved that the words are not carved after modern computer scanning, because those who are written on the Internet are not. No matter how sophisticated and superb his skills are, careful observation will find traces of sluggish pen movement, and the Qi and blood of this work is coherent, which should not be the copy of modern people; Besides, cursive script is difficult to copy, especially wild grass. What's more, it is engraved and filled with gold on the ear jar?! The cursive script carved in a bottle is flying and completed at one go, and there are few failures to be found; At the end of the Qing Dynasty and the beginning of the Republic of China, the inscriptions on ancient porcelain were mostly regular script or seal script, because the cursive writing was very difficult. The thousand character cursive script of Huizong was hidden in the Imperial Palace, which was never seen by the people; The Qianlong Dynasty carved characters on ancient porcelain. At present, all the data show that there is no cursive carving. It is estimated that it is too difficult for the craftsman to complete it.

懂行的人会把它放大10倍再看。因为放大之后，会发现在狂放不羁飘逸自如的笔画之间，蕴含着独属于帝王的锋锐凌厉之气。没有在那个地位上呆那么久，何来帝王之气呢？乾隆选拔古陶瓷掌眼人，声震江南的大收藏家、御承堂的创始人柴琼伏地奏道：“比如皇上不穿龙袍，有阅历的人即使没见过皇上，也能猜出八九分来！人有气场，瓷器也各有气场，到代的与仿的气场不一样啊！”。

Knowledgeable people will magnify it 10 times and see it again. Because after zooming in, you will find that between the wild, uninhibited and elegant strokes, there is a sharp and fierce spirit belonging to the emperor alone. If you haven't stayed in that position for so long, how can you be imperial? When Qianlong selected the palm of ancient ceramics, Chai Qiong, a great collector in the south of the Yangtze River and the founder of Yucheng hall, played to the ground: "for example, the emperor doesn't wear a dragon robe. People with experience can guess eight or nine points even if they haven't seen the Emperor! People have aura, and porcelain also have aura. The aura of the past generation is different from that of imitation!".

唯一的解释，这些字就是当年徽宗亲自书写，下笔的时候利落干净，收笔的时候快如闪电，如果没有这么快的速度，是写不出如此美妙的字体的。而令后人们都无法模仿的境界，其实就是他字体中的精气神，字体可以临摹，但是内在神韵却无法学。因为整体布局要合乎这个瓶子，书写时运笔力度字体布局笔画顿挫抑扬等均需权衡，方显规整美观飘逸洒脱。

The only explanation is that these words were written by Huizong himself. When writing, they were neat and clean. When closing the pen, they were as fast as lightning. Without such a fast speed, they could not write such a beautiful font. The realm that people can't imitate later is actually the essence and spirit in his font. The font can be copied, but the internal charm has no law. Because the overall layout should be in line with the bottle, the strength of pen movement during writing, the font layout, the ups and downs of strokes and so on need to be weighed, so as to be neat, beautiful, elegant and free and easy.

微观下的照片，更能明确的说明此瓶为真品，书写为徽宗真迹。刻字填金处，瓶上红印款处的古瓷白毫，与瓶底的古瓷白毫，密布缠绕的状态一致，说明刻字的时间和瓶子成品的时间很接近，也可说明刻字的工艺过程，填的金粉有明显的黄金颗粒。

Microscopic photos can more clearly show that this bottle is genuine and written as an authentic work of Huizong. The ancient porcelain pekoe at the gold engraving and filling place and the red printing place on the bottle are consistent with the dense winding state of the ancient porcelain pekoe at the bottom of the bottle, which indicates that the time of engraving is very close to that of the finished bottle. It also indicates the process of engraving. The gold powder filled has obvious gold particles.

古瓷白毫，也叫次生结晶，是附生在瓷器的细小坑洞甚至釉下的一些纤毫，在高倍电子显微镜下呈现透明白色毫发状，也有因生长环境的原因，有其他颜色，红色、黄色、黑色等。这种次生结晶的生成，根据环境不同，通常需要数百年，其成因类似溶洞里钟乳石的生长机理。

Ancient porcelain pekoe, also known as secondary crystallization, is some fine hair attached to the small pits of porcelain and even under the glaze. Under the high-power electron microscope, it appears as transparent white hair. Due to the growth environment, it also has other colors, such as red, yellow, black, etc. The formation of this secondary crystal usually takes hundreds of years according to different environments, and its genesis is similar to the growth mechanism of stalactite in karst cave.

据文献记载，北宋后期宋徽宗政和至宣和年间（1111—1125年）， 在右汴京（今河南开封）设官窑，烧造青瓷，直到“靖康之难"开封沦陷，仅存十多年，现汴京官窑，也称北宋官窑。又据宋顾文荐《负睻杂录》记“宋宣政间，京师置窑烧造，名曰官窑"。由宫廷设窑烧造并垄断，流传至今的真品非常稀少，目前存世量不多，是高古瓷中的珍品。

According to documents, during the period from Zhenghe to Xuanhe (1111-1125) of Emperor Huizong of the late Northern Song Dynasty, an official kiln was set up in youbianjing (now Kaifeng, Henan Province) to burn celadon, Until the "difficulty of Jingkang" and the fall of Kaifeng, there were only more than ten years left. Now the official kiln in Bianjing, also known as the official kiln in the Northern Song Dynasty, is also known as the official kiln. According to the "miscellaneous records of negative Yin" recommended by Gu Wen of the Song Dynasty, "during the xuanzheng period of the Song Dynasty, the capital set up a kiln and fired it, which was called the official kiln". The kiln was set up and monopolized by the court. The authentic products that have spread so far are very rare. At present, there is not much in the world. It is a treasure of high ancient porcelain.

两宋窑口多而不同，颜色纷繁复杂，以粉青、米黄、蜜腊黄、翠绿等色最为引人。鳝血色这种老锈感对鉴定非常有效，往往对一件真品的属性起到极关键的作用。

There were many different kilns in the two Song Dynasties, and the colors were complex. The most attractive colors were pink green, beige, honey wax yellow and emerald green. Eel blood color is very effective for identification, and often plays a key role in the attribute of a genuine product.

贯耳瓶是古代汉族工匠烧制的瓷瓶之一，流行于中国宋代。宋代官窑贯耳八棱瓶官窑为宋代五大名窑“官、哥、汝、定、钧”之一，器形仿汉代投壶式样，直颈较长，腹部扁圆，圈足，瓶侧筒状贯耳与足部两侧长方孔相对应，可以穿系绳带。虽然样式并不华丽，釉色单一，很少有纹饰装饰，却有一种独特的端庄肃穆和庙堂之气，内涵深刻、艺术境界深远。

Guan Er vase is one of the porcelain vases fired by ancient Han craftsmen. It was popular in the Song Dynasty. The official kiln of Song Dynasty has eight sided jars with pierced ears. The official kiln is one of the five famous kilns of Song Dynasty, "official, elder brother, Ru, Ding and Jun". The shape of the ware imitates the pattern of throwing pots in the Han Dynasty. The straight neck is long, the abdomen is flat and round, and the feet are encircled. The cylindrical pierced ears on the side of the bottle correspond to the rectangular holes on both sides of the feet, and ropes can be worn. Although the style is not gorgeous, the glaze is single, and there are few decorative patterns, there is a unique dignified and solemn spirit of the temple, with profound connotation and far-reaching artistic realm.

此藏品为宋代官窑弦纹八棱贯耳瓶，口微外撇，粗颈较长，颈部凸起装饰两道弦纹，两侧各有一筒状圆形直耳，中空，俗称“贯耳”。腹下部丰满，有圈足，微外撇。颈部两侧对称贴竖直的管状贯耳与圈足部两侧圆孔相对应，可以穿系绳带，瓶身简洁无纹饰，底足两侧有穿带孔，这也是宋官窑的一种典型型制。

This collection is an octagonal ear piercing bottle with string pattern in the official kiln of the Song Dynasty. The mouth is slightly turned out, the thick neck is long, and the neck is convex and decorated with two string patterns. There are a cylindrical straight ear on both sides, which is hollow, commonly known as "ear piercing". The lower part of the abdomen is plump, with encircled feet and slightly outward skimming. The vertical tubular through ears symmetrically pasted on both sides of the neck correspond to the round holes on both sides of the foot, which can wear and tie ropes. The bottle body is simple without decoration, and there are through holes on both sides of the bottom foot, which is also a typical system of Song Guan kiln.

为陈设之用而非生活用器，瓶造型方正别致，丰腴而不臃肿，风格硬朗，胎体厚重，外形敦实。釉质坚致温润，釉色匀净细腻，莹澈而无浮光，简约淳美，精致隽秀，富有天然韵致，古色古香，尽现宋代官窑酥润含蓄之美，品相完好。通体大小开片密集，纹片纵横交错，自然美观，别具一格，具有极高的收藏价值和观赏价值。

It is used for furnishings rather than daily use. The bottle has a square and chic shape, plump but not bloated, strong style, thick carcass and compact appearance. The glaze is firm and warm, the glaze color is even and delicate, crystal clear without floating light, simple and beautiful, exquisite and beautiful, full of natural charm and antique flavor, showing the crisp, moist and implicit beauty of the official kiln in the Song Dynasty. The whole body has dense open pieces, crisscross patterns, natural and beautiful, unique, and has high collection and viewing value.

此种八棱瓶不同于圆器可拉坯成型，必须分块连接，制作工艺较为复杂，难度很大。此瓶类似于台北故宫博物院藏南宋官窑八方贯耳瓶，几乎一致，造型、开片、釉质等都十分接近。

This kind of octagonal bottle is different from the round device, which can be drawn and formed. It must be connected in blocks. The manufacturing process is complex and difficult. This bottle is similar to the octagonal pierced ear bottle of Song Guan kiln in southern Tibet in Taipei Palace Museum. It is almost the same, and the shape, opening and glaze are very close.

口耳相连的曲线增加了口部力度，从而增强器皿横向张力基调，提升视觉诱导，相反相成增强整体雄健以及心理上的对比平衡作用。差异于两晋香炉的那种幽玄的格调，始终让人有一种若即若离的距离感；也差异于三彩薰炉的雍容华贵，孤苦在上的不幸攀缘感。宋官窑的瓷炉始终像宋词那样，古典韵味，细腻淡雅，夷易近人。

The curve connecting the mouth and ear increases the strength of the mouth, so as to enhance the transverse tension tone of the vessel, enhance visual induction, complement each other, and enhance the overall strength and psychological comparative balance. Different from the mysterious style of incense burners in the two Jin Dynasties, it always gives people a sense of distance; It is also different from the grace of the three color fumigation stove and the unfortunate climbing feeling of loneliness. The porcelain furnace of Song Guan kiln is always like that of Song Ci, with classical charm, delicate and elegant, and easy to be approached by foreigners.

明（1539）陆深《春风堂随笔》载：哥窑浅白断文，号百圾碎。 明代《格古要论》描述：“哥窑纹取冰裂鳝血为上，梅花片纹次之。细碎纹纹之下也”。此件正是典型的冰裂鳝血纹，器型也是历代喜爱的八方贯耳型，更显出宋代帝王的伟岸大气。一般来说官窑釉面光泽较少，但最好的宋代官窑瓷釉面极其细腻滑润，光泽明亮而温润，精光内敛，整体的感觉是玉而非瓷。这种官窑瓷属于极其稀罕的极品。

Lu Shen's essays on the spring breeze hall in the Ming Dynasty (1539) contains: Ge Yao's simple and white text, No. 100 garbage fragments. According to the gegu essentials of the Ming Dynasty, "the pattern of Ge Yao takes the blood of ice cracked eel as the top, followed by the pattern of plum blossom pieces. It is also below the fine grain". This piece is a typical ice cracked eel blood pattern, which is also a favorite octagonal ear type in previous dynasties, showing the great atmosphere of the emperors of the Song Dynasty. Generally speaking, the glaze of official kilns has less luster, but the best official kilns in the Song Dynasty have extremely fine and smooth glaze, bright and warm luster, pure light and introverted, and the overall feeling is jade rather than porcelain. This kind of official kiln porcelain is extremely rare.

宋代官窑瓷器中的大开片纹路为黑中闪青的颜色，色彩淡青似青玉，表面布满开片纹，大开片纹痕长而粗壮，有的纹痕在瓷器上自上而下呈经线走向一直到底，如一根牛毛一样垂披于臀，因此有“牛毛纹”之称。线路稍粗色深，线段长而相互连接，小片纹的线路细并弯弯曲曲，线路短。金丝和铁线为各不相干、各自不同的两张网。釉中汽泡聚沫攒状。底为深灰胎，涂酱色护胎釉。

The large opening pattern in the official kiln porcelain of the Song Dynasty is the color of black and glittering blue. The color is light blue like sapphire, and the surface is covered with opening patterns. The large opening pattern marks are long and thick. Some pattern marks run longitudinally from top to bottom on the porcelain, hanging on the hip like an ox hair. Therefore, it is called "ox hair pattern". The line is slightly thick and dark, the line segments are long and interconnected, the line with small patterns is thin and curved, and the line is short. Gold wire and iron wire are two separate nets. The bubbles in the glaze are in the shape of foam accumulation. The bottom is dark gray tire, coated with brown tire protection glaze.

造型规整，典型的宋官窑贯耳壶造型，口沿及贯耳因釉垂流显出紫口，为典型的紫口铁足类型。修胎精细，釉面莹润，可见点状老化痕迹；釉面宝光内敛，宝光之中隐现岁月沧桑。

The shape is regular. It is a typical Song Guan kiln through ear pot. The mouth edge and through ear show purple mouth due to the vertical flow of glaze. It is a typical purple mouth iron foot type. The tire repair is fine, and the glaze is bright and moist, with dot like aging traces visible; The glazed light is introverted, and the vicissitudes of years are hidden in the light.

北宋官窑由于制作不计成本，釉质中含玉粉或玛瑙粉，很难被仿制，像如青玉的釉色，“龟背开片纹”及宋徽宗所说的“沧海浮珠”等都是后世极难仿制的。暇不掩玉，北宋官窑登峰造极的艺术高度仍是后世者难以企及。

Due to the production cost of the Northern Song Dynasty official kiln, the glaze contains jade powder or agate powder, which is difficult to be imitated. For example, the glaze color of sapphire, "turtle back open pattern" and "floating beads in the sea" mentioned by song Huizong are extremely difficult to be imitated by later generations. Without concealing jade, the artistic height of Guanyao in the Northern Song Dynasty is still difficult for later generations to reach.

从不少的文献资料和书画中能发现，宋代的仕大夫都很喜欢玩青铜器，审美巅峰的宋代也有不少摹古的影子，其实这与宋代建立初期的礼制有很大的关系，宋初年就自上而下的风靡起把玩古奇的风潮，从宋代较为出名的「金石学」就可见一斑。

It can be found from a lot of literature, calligraphy and painting that officials in the Song Dynasty liked to play with bronzes, and there were many traces of antiquity in the Song Dynasty, which was at the peak of aesthetics. In fact, this had a lot to do with the ritual system in the early days of the Song Dynasty. In the early years of the Song Dynasty, it was popular to play with antiquities from top to bottom, as can be seen from the more famous "epigraphy" in the Song Dynasty.

史书上反派人物蔡京，他的儿子蔡绦曾经在著作《铁围山丛谈》中这样描述道：“时所重者三代之器而已，若秦、汉闲物，非殊特盖亦不收。” 就可以看出当时的宋人钟爱夏商周三代之物，并且不要秦汉闲物，非特殊的不收。

Cai Jing, a villain in history books, and his son Cai Tae once described it in his book "a series of talks on Tiewei mountain": "it is only the utensils of three generations that are important at that time. If there are idle things in Qin and Han Dynasties, they will not be collected." It can be seen that the people of the Song Dynasty loved the things of the Xia, Shang and Wednesday dynasties, and did not want the idle things of the Qin and Han Dynasties. They didn't accept anything unless it was special.

宋代仿古的陶瓷器皿同样也被玩出了「花」，宋代人在选择花瓶的时候也没有放过仿古用作了宋人四事中的插花的器皿，瓶花谱云：「凡插贮花，先须择瓶。春、冬用铜，秋、夏用磁，因乎时也。」......「铜器之可用插画者，曰尊，曰罍，曰觚，曰壶。古人原用贮酒，今取以插花极似合宜。」（就连现在时尚杂志布景也插花用到了瓷质贯耳瓶）

The antique ceramic utensils of the Song Dynasty were also played with "flowers". When people in the Song Dynasty chose vases, they did not let go of the antique utensils used as flower arranging utensils in the four events of the Song Dynasty. The vase flower spectrum said: "where flowers are inserted and stored, they must first choose bottles. Copper is used in spring and winter, and magnetism is used in autumn and summer, because of the time." "Those who can use illustration on bronze ware are called Zun, Xuan, Gu and pot. The ancients used to store wine, but now it is very suitable to use flower arrangement." (even today's fashion magazine sets use porcelain ear bottles for flower arrangement)

这类贯耳壶彼时多为用作宴饮娱乐，在当时多装饰有兽面或弦纹装饰，也与当时的青铜礼器风尚不可分割。宋代人仿古取其精华，去其糟粕，转换到陶瓷材质整个形态与周朝的青铜一般无二，只是相比较那时的兽面和复杂装饰，宋代时，倒是符合此时的审美，釉面光素无纹，单靠莹润的釉层和光亮的釉面取胜。

At that time, such ear piercing pots were mostly used for banquets and entertainment. At that time, they were mostly decorated with animal faces or string patterns, which was also inseparable from the fashion of bronze ritual vessels at that time. The Song Dynasty adopted the essence of its antique, removed its dross and converted it to ceramic material. The whole shape of the porcelain was exactly alike to that of the Zhou Dynasty, but compared with the animal's surface and complex decoration at that time, the Song Dynasty was in line with the aesthetic at this time.

北宋年间，宋徽宗敕编的《宣和博古图》，而这本书著录了宋代皇室在宣和殿收藏的自商代至唐代的青铜器839 件，堪称当时的金文著录。其中周朝的贯耳壶也在其中有所收录。

During the Northern Song Dynasty, Huizong of the Song Dynasty compiled the "Xuanhe ancient painting", which describes 839 pieces of bronze ware collected by the royal family of the Song Dynasty in Xuanhe hall from the Shang Dynasty to the Tang Dynasty, which can be called the golden description at that time. Among them, the ear piercing pot of the Zhou Dynasty is also included.

这类贯耳瓶在宋代的众多窑口都有生产，而其中最多的是官窑生产的产品，大多是是博古的相仿器形。此件御书狂草《千字文》刻字填金贯耳瓶，品质极高，宋徽宗皇帝当年可是亲自御书过。

This kind of through ear bottle was produced in many kilns in the Song Dynasty, and the most of them were the products produced by the official kilns, most of which were similar to Bogu. This royal script "thousand character script" is engraved and filled with gold through the ear bottle. It is of high quality. Emperor Huizong of Song Dynasty personally wrote it in those days.

宋徽宗是中国历史上艺术成就最高的皇帝，他的题字和印章当然是很值钱的。现在宋徽宗随便一幅瘦金体书法或草书都能拍卖上亿元，狂草书法跟御用官窑贯耳瓶瓷器相结合，可以说是真正意义上的书才瓷艺双绝，同瓶生辉，登峰造极。

Huizong of Song Dynasty is the emperor with the highest artistic achievement in Chinese history. Of course, his inscriptions and seals are very valuable. At present, any thin gold calligraphy or cursive calligraphy of Huizong of the Song Dynasty can be auctioned for hundreds of millions of yuan. The combination of wild cursive calligraphy and imperial official kiln through ear vase porcelain can be said to be a double masterpiece of calligraphy and porcelain art in the real sense. The same bottle shines and reaches the peak.

此件贯耳瓶是御窑中的杰作。官窑里的特殊御窑，有可能在一朝当中只做一件，比如说珐琅彩瓷器，比如此件贯耳瓶。形体硕大，通体内外施米黄釉，釉层肥厚，釉色给人以凝厚深沉的玉质美感；釉面上，金丝般的开片纵横交织，片纹间又闪现出条条冰裂纹，优美和谐，上部开大片纹，近底处纹片细碎，器身于稳重端庄中以凹凸变化的棱线突出其精巧，线条与釉色的完美塑造，在宋代皇宫收藏中备受皇帝的赏识，成为御苑至宝。

This ear piercing bottle is a masterpiece of imperial kiln. The special imperial kiln in the official kiln may only make one piece in one dynasty, such as enamel colored porcelain, such as this ear piercing bottle. The body is huge. Beige glaze is applied inside and outside the body. The glaze layer is thick, and the glaze color gives people a thick and deep beauty of jade; On the glaze, the gold like opening pieces are intertwined vertically and horizontally, and ice cracks are flashed between the lines, which is beautiful and harmonious. Large lines are opened on the upper part, and the lines near the bottom are fine. The body is stable and dignified, highlighting its delicacy with concave convex edges and lines. The perfect shape of lines and glaze color is highly appreciated by the emperor in the collection of the imperial palace of the Song Dynasty and has become a treasure of the imperial court.

在同一时期的《营造法式》和《博古图》的一些器物中，却是难於看到的，值得我们加以珍视！因此说，不仅赵氏狂草千文具有极其珍贵的艺术价值，同时有关的各项工艺，也几乎是空前绝後的希世杰作。匠从八方来，器成天下走。

It is difficult to see some artifacts in the same period of "construction French style" and "BOGUTU", which are worth cherishing! Therefore, not only does Zhao's wild grass Qianwen have extremely precious artistic value, but also the relevant crafts are almost unprecedented masterpieces. The craftsman comes from all directions and goes all over the world.

古代瓷器，艺术建筑还是石雕、玉雕，以及亭台楼阁的建造，不是给帝王将相们加工制造使用的，就是给达官贵人建造的，那些技术成熟的艺术家们，不是用心去造，而是用神去造，用一家老小的生命安危作保障。

Ancient porcelain, art buildings or stone carvings, jade carvings, and the construction of pavilions and pavilions are not for the processing and use of emperors, generals and ministers, or for dignitaries and dignitaries. Those artists with mature technology do not create with their heart, but with God, and use the life safety of a family as a guarantee.

这就是古代艺术品的艺术水平之所以高超的根本原因所在。草木荣枯自有时，万物从容皆自得。

This is the fundamental reason why the artistic level of ancient works of art is superb. All things grow and wither calmly.

宋代开始，贯耳瓶就一直是贵族阶层使用的物品，产品大多为皇族所垄断。昔日的投壶在宋代已难觅踪影，但贯耳瓶优雅的造型艺术已由早期的娱乐玩耍工具的主功能，渐渐演变成为了陈设插花器或瓷质酒器。

Since the Song Dynasty, ear piercing bottles have been used by the aristocracy, and most of the products are monopolized by the royal family. The former throwing pot was hard to find in the Song Dynasty, but the elegant plastic art of through ear bottle has gradually evolved from the main function of early entertainment tools to furnishing flower arrangement or porcelain wine vessels.

这种功能上的变化决定了它的使用对象与范围，也意味着他更服从于上层社会的使用，而这种仿古的思潮和工艺水平之高也可见宋人对夏商周三代的无限向往和追溯。所以，从宋代开始至清代，贯耳瓶始终以它尊贵的身份，被历代皇族保留了下来。

This change in function determines the object and scope of its use, which also means that it is more subordinate to the use of the upper class. The high level of this antique trend of thought and technology can also be seen that the song people yearn for and trace back to the Xia, Shang and three dynasties. Therefore, from the Song Dynasty to the Qing Dynasty, the guan'er bottle has always been retained by the royal family of all dynasties in its noble status.

这些身上带字的高古瓷，寻到一件就是收藏牛人！

One of these high ancient porcelain with words on them is the cow collector!