白瓷凝翠映蕉光Jade Radiance in White Porcelain <p class="ql-block"> “建白瓷”的守護(hù)者和開拓者、當(dāng)代“建白瓷”之父、中國陶瓷藝術(shù)終身成就獎獲得者寇富平作品。</p> <p class="ql-block"> The works of Kou Fuping, the guardian and pioneer of "Jianbai Porcelain", the father of contemporary "Jianbai porcelain" and the winner of the Lifetime Achievement Award of Chinese ceramic art.</p> <p class="ql-block"> 一團(tuán)瑩白在匠人掌心生長出筋骨，圓口微敞如承朝露，長頸在晨光中舒展成修竹的姿態(tài)，扁腹低垂處藏著荸薺的飽滿記憶。刀鋒游走時帶起瓷胎的細(xì)雪，浮雕的芭蕉葉從二維平面掙脫出來，葉脈里沉淀的黛青色是昨夜未散的雨痕，陰刻線描在轉(zhuǎn)折處忽然柔軟，恍若南風(fēng)途經(jīng)閩南山坳時留下的褶皺。</p><p class="ql-block"> 六十年光陰在釉面流淌出包漿，那些曾被外交使節(jié)指紋摩挲的圈足依然穩(wěn)立如磐石。德化窯火里淬煉的不僅是泥與水的盟誓——蕉葉層疊漫卷的弧度暗合家譜展開的軌跡，挺直的蕉莖在晨昏線中投下青銅器般的剪影。博物館恒溫箱里的寂靜中，這件白瓷仍在生長：敦煌飛天的飄帶拂過蕉葉時，砂粒與瓷胎正交換著絲綢之路的密語；國博穹頂落下的光暈里，圈足上的開片正以千年為刻度，續(xù)寫著青銅鼎彝未盡的銘文。</p><p class="ql-block"> 當(dāng)暮色漫過蕉葉浮雕的第七層光暈，那些凝固在瓷上的碧色忽然蘇醒。1964年的春泥在記憶里翻涌，三十載國禮征程中沾染過巴黎的晨霧與撒哈拉的星光，此刻都在中國白的肌理中沉淀為新的年輪。一株芭蕉在瓷器里完成了永恒的遷徙，它的根系穿透圈足扎進(jìn)五色土，葉尖卻永遠(yuǎn)指向破曉的天光，將暮色染成了鑲金邊的釉彩，仿佛每片蕉葉都掬著一捧永不墜落的夕陽。</p> <p class="ql-block"><b style="font-size:15px;"> 1964年寇富平在德化瓷廠制作的原件樣品現(xiàn)收藏于德化陶瓷博物館。</b></p><p class="ql-block"><b style="font-size:15px;"> The original sample piece created by Kou Fuping at Dehua Porcelain Factory in 1964 is now housed in the Dehua Ceramics Museum.</b></p> <p class="ql-block"><b style="font-size:15px;"> 2024年8月，《玉蘭香抱》《芭蕉花瓶》被中國國家博物館收藏。</b></p> <p class="ql-block"><b style="font-size:15px;"> In August 2024, "Magnolia Flowers Aroma" and "Banana Vase" were collected by the National Museum of China.</b></p> <p class="ql-block" style="text-align:center;"><b style="font-size:20px;">Jade Radiance in White Porcelain</b></p><p class="ql-block"> A sphere of luminous white sprouted sinews in the artisan’s palm, its flared rim catching dawn dew, its elongated neck arching like bamboo bathed in morning light, its flattened belly cradling the plump memory of water chestnuts. Blades danced through porcelain snow, liberating banana leaves from flatness—their veins pooling indigo, remnants of last night’s rain, while incised lines softened at the curves, as if the southern wind had crumpled them while passing through Minnan’s mountain valleys. </p><p class="ql-block"> Sixty years flowed into the glaze as patina, the broad foot ring still rooted like stone, bearing the fingerprints of diplomats. The Dehua kiln’s fire forged more than a covenant of clay and water 一the spiraling banana leaves mirrored unrolled genealogies, their upright stems casting bronze shadows across the axis of dawn and dusk. In museum stillness, the porcelain still grows: Dunhuang flying apsaras brush their silks against the leaves as sand whispers Silk Road secrets to the clay; under the National Museum’s dome, crackles on the foot ring etch new inscriptions alongside ancient bronzes, their timelines measured in millennia. </p><p class="ql-block"> When twilight spills over the seventh halo of the banana relief, the jade trapped in porcelain awakens. Spring soil from 1964 churns in memory －three decades as a state gift, steeped in Parisian mist and Saharan starlight, now settling into the porcelain’s grain as fresh rings of time. A banana plant completes its eternal migration within the vessel, roots piercing the foot ring into five-colored earth, its leaves forever straining toward daybreak, dyeing dusk into gilded glaze, as if each frond cradles a sunset that will never fall.</p>