摘要：千年古窑，薪火相传。平定黑釉刻花陶瓷，以刀为笔，以釉为墨，在太行山麓的窑火中淬炼出中国北方陶瓷的极致美学。这一国家级非物质文化遗产（2014年入选第四批名录），不仅是定窑系千年工艺的“活标本”，更是黄土高原上流淌的文明密码。

【千年窑火铸匠心，刀锋之上见山河——平定黑釉刻花陶瓷技艺非遗之美】

Millennial kiln fire casting ingenuity, see mountains and rivers on the blade - the beauty of intangible cultural heritage of Pingding black glaze carved ceramic skills

千年古窑，薪火相传。平定黑釉刻花陶瓷，以刀为笔，以釉为墨，在太行山麓的窑火中淬炼出中国北方陶瓷的极致美学。这一国家级非物质文化遗产（2014年入选第四批名录），不仅是定窑系千年工艺的“活标本”，更是黄土高原上流淌的文明密码。

Thousand-year-old kiln, passed down from generation to generation. Pingding black glaze engraved ceramics, with a knife as a pen and glaze as ink, quenched the ultimate aesthetics of northern Chinese ceramics in the kiln fire at the foot of Taihang Mountain. This national intangible cultural heritage (selected into the fourth batch of lists in 2014) is not only a "living specimen" of the millennium craftsmanship of the Dingyao system, but also a civilization code flowing on the Loess Plateau.

历史长河中的“窑变传奇”

The "Legend of Kiln Change" in the long history

始于唐，兴于宋，平定刻花瓷在金戈铁马的岁月中淬炼出独特风骨。古定窑系的白瓷基因与太行山高岭土的质朴相遇，催生出“黑釉如漆，纹若游龙”的艺术奇观。清乾隆年间，冠庄窑火照亮山野，匠人以刀锋在生坯上刻划《诗经》草木、民间典故，让每一道纹路都成为讲述黄土故事的“刻痕诗人”。

Beginning in the Tang Dynasty and flourishing in the Song Dynasty, Pingding carved porcelain has been tempered into a unique style in the years of Jin Ge Iron Horse. The white porcelain genes of the Guding kiln system and the simplicity of the kaolin of Taihang Mountain met and gave birth to the artistic spectacle of "black glaze like lacquer and pattern like a dragon". During the Qianlong period of the Qing Dynasty, the kiln fire of Guanzhuang illuminated the mountains and fields, and the craftsmen carved the grass and trees and folk allusions of the Book of Poetry on the raw blank with a blade, so that every line became a "carved poet" who told the story of loess.

72道工序淬炼“刀尖上的舞蹈”

72 processes to quench the "dance on the tip of the knife"

从揉泥的“羊头旋纹”到拉坯的“离心天成”，匠人需以毫米级的精准掌控泥坯干湿度。核心技艺“湿作法”要求匠人在坯体半干时，以竹刀一气呵成刻出奔逸纹样——或梅瓶含蓄的缠枝莲，或天球瓶磅礴的云龙，刀锋游走间，釉色与线条在1300℃窑变中交融，形成“拙朴见巧，黑中藏光”的视觉哲学。

From the "sheep's head swirl" of kneading the mud to the "centrifugal nature" of drawing the blank, the craftsman needs to accurately control the dryness and humidity of the mud with millimeter precision. The core technique of "wet work" requires craftsmen to carve a galloping pattern with a bamboo knife in one go when the body is semi-dry—or the subtle entwined lotus in the plum bottle, or the majestic cloud dragon in the celestial ball bottle, where the blade wanders, and the glaze and lines blend in the 1300°C kiln change, forming a visual philosophy of "simplicity and ingenuity, black and hidden light".

非遗新生：传统与创新的双轨密码

The New Life of Intangible Cultural Heritage: A Dual-Track Code of Tradition and Innovation

第五批国家级传承人张文亮以“剪纸漏花”“木叶窑变”颠覆传统，将岩画图腾、生肖瑞兽融入现代美学。其代表作《龙凤对瓶》获国家专利，窑变结晶釉让古老纹样在光影中“重生”。

Zhang Wenliang, the fifth batch of national-level inheritors, subverted the tradition with "paper-cut leaky flowers" and "wooden leaf kiln change", and integrated rock painting totems and zodiac beasts into modern aesthetics. His masterpiece "Dragon and Phoenix Bottle" won the national patent, and the kiln crystallized glaze allows the ancient pattern to be "reborn" in light and shadow.

触摸文明的体温

Touch the body temperature of civilization

平定黑釉刻花瓷，是匠人掌心温度与太行山风的对话，是农耕文明在陶瓷上的诗意栖居。当您抚摸釉面流转的温润，听见的不仅是刀锋划过坯胎的呼吸，更是黄河岸边千年窑火的吟唱——每一件作品，都是黄土高原写给时光的情书。

Pingding black glaze carved porcelain is the dialogue between the temperature of the craftsman's palm and the Taihang mountain wind, and it is the poetic dwelling of agricultural civilization on ceramics. When you touch the warmth of the glaze, you can hear not only the breath of the blade cutting through the blank, but also the chanting of the thousand-year-old kiln fire on the bank of the Yellow River - each work is a love letter written by the Loess Plateau to time.

来源：迪迪说史