中心典藏品 NTCRI Collection
陶瓷 Ceramic /H3.5×D28.7
八Ｏ年代正興起工藝藝術化之風潮，在新北市土城區的瓷揚窯主人林振龍先生邀請前輩畫家們，以已燒成的素面瓷器為畫布，釉上彩為色料，自在地彩繪於瓷器上，再由林先生燒製完成。畫家們對釉藥之掌握能力畢竟不似油畫顏料的自如，所以都從小盤子開始練習，再進階到大盤、燈座、甕、缸等，表現的畫作思維、手法，與一般傳統匠師彩繪氛圍有著截然不同的風味，很有收藏的價值。
彩繪此盤，就釉藥的特性，用筆帶過的簡單線條，描出花、葉、枝，有別於顏水龍先生一向在油畫上的精雕細琢。這盤可作裝飾、欣賞用，當然也可是裝水果、天婦羅的食器。
In the 1980s, a trend of artistic crafts was emerging. Mr. Lin Zhenlong, the owner of Ciyang Kiln in Tucheng District, New Taipei City, invited senior painters to freely paint on the porcelain using the fired plain porcelain as the canvas and the overglaze color as the color material. Then it is finished by Mr. Lin. After all, painters are not as comfortable mastering glazes as they are with oil paints, so they all start practicing with small plates, and then advance to large plates, lamp holders, urns, vats, etc. The painting thinking and techniques expressed are different from those of ordinary traditional craftsmen's colored paintings. The atmosphere has a completely different flavor and is highly collectible.
To paint this plate, I used simple lines drawn by a pen to depict flowers, leaves, and branches based on the characteristics of glaze, which is different from Mr. Yan Shuilong's usual meticulous work on oil paintings. This plate can be used for decoration and appreciation, and of course it can also be used as a serving vessel for fruit and tempura.
