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 in artistic crafts was emerging. Zhen-Long Lin, the owner of Ciyang Kiln in Tucheng District, New Taipei City, invited senior painters to freely paint on porcelain, using already fired plain porcelain as the canvas and colored glaze as the medium. Mr. Lin would then complete the final step in the process. Since painters were not as comfortable working with glazes as they were with oil paints, they began by practicing on small plates before moving on to larger plates, lamp holders, urns, vats, and other items. The painting techniques and creative approaches expressed differed from those of traditional craftsmen's colored paintings, resulting in an atmosphere with a completely different flavor, making these works highly collectible.To paint this plate, Shui-Long Yen used simple pen-drawn lines to depict flowers, leaves, and branches, taking into account the characteristics of the glaze. This approach differs from Mr. Yan’s usual meticulous work with oil paintings. This plate can be used for decoration and appreciation, and of course, it can also serve as a vessel for fruit and tempura.
