长沙铜官窑瓷是指唐代长沙铜官窑烧造的产品,窑址位于今长沙市望城县丁字镇石渚湖附近。此地很早以来便名为石渚，或写作石潴，二十四史中的《晋书》、《魏书》中都有提到。唐“安史之乱”后，从北方迁来的窑工大量聚集于此，与当地居民共同烧造陶瓷，称之为石渚窑。印尼“黑石号”沉船打捞的长沙铜官窑瓷碟上自书为“石渚孟子”，湘籍诗人李群玉在描述其烧造盛况时，也称之《石潴》。窑场衰落于五代之际，宋以后为历史所尘封，人们早已忘却当年的盛况，直至二十世纪五十年代才为考古学家所重新发现。伫立长沙铜官窑窑址区，面对广袤的窑址废墟，厚厚的历史文化堆积层，自然联想起诗中描绘的情景，“古岸陶为器，高林尽一焚。焰红湘浦口，烟浊洞庭云。迥野煤飞乱，遥空爆响闻。地形穿凿势，恐到祝融坟。”遥感当年窑场之繁忙。
唐代制瓷名窑林立，南有以浙江越窑为代表的青瓷，北有以河北邢窑为代表的白瓷，形成南青北白的生产格局。长沙铜官窑另辟蹊径，以彩瓷而崛起，独步名窑之林，瓷业开始呈现三足鼎立势。釉下彩的普及，釉下彩的创烧，为长沙铜官窑在中国陶瓷史上留下浓墨重彩的一页。
长沙铜官窑衰落之后，其装饰技法则为磁州窑所传承。不过长沙铜官窑多饰于壶，而磁州窑书画不再多见于壶，而饰于枕。瓷壶多用于公众场所，故以诗言志；瓷枕则是相对隐蔽之物，所书多是内心的情感独白，以词抒情。不过长沙铜官窑瓷上也有几件题于枕上的情诗，或可视为磁州窑式书画饰的端倪。
长沙铜官窑兴起较晚，但发展迅猛，产品覆盖面广，不但畅销于国内，而且远销东亚、南亚、西亚地区，最远抵达东北部非洲，被誉为第一个外销型瓷窑，将异域文化元素融入产品是长沙铜官窑掘得海外第一桶金的秘诀。当时只有长沙铜官窑根据国外市场需求而设计、制作、包装（装饰）产品。唐代海上陶瓷之路的开辟，长沙铜官窑可谓功不可没。
The summarized account of Changsha Kiln
The porcelain of Changsha Kiln is these pieces of porelain from Changsha Kiln in Tang Dynesty.The kiln site is now located nearby the Shizhu Lake by the Tongguan Town,Wangcheng Country,Changsha city.It was called Shizhu since very early and was recorded in The History of jin Dynasty,a large number of Kiln worker from the north moved here and made porcelain with the local peple,then it was called Shizhu Kiln.Four Chinese characters are on the porcelain tray form the Changsha Kiln which was salvaged form a sunken Indonisian ship Black Stone.Hunan poet Li Qunyu called called the kiln Shizhu when he described the kiln’s prosperous scene.The kiln fell into decay in the Five Dynasties(707-960),and was forgotten after the Song Dynsty.People forgot its flourishing sight until the fifities when the arckeologists rediscovered it.Standing at the area of Changsha Kiln,facing the vast expanse of ruins,and feeling the thick historical and cultural congeal,you could nuturally think of Li Qunyu’s poem:
Using clay to make utensils,Setting big trunks on fire;The flame tints the river red,The smoke blends into Dongting clouds;Coal ashes pervade all around,The sounds transmit into the remote;The ground was excavated here and there,There are big holes all over.You can still see the busy sight from a distante place.
The Tang kilns stood in great numbers.Taking bronze porcelain of Yue Kiln in Zhejiang Province in South and taking white porcelain of Xing Kiln in Hebei Province in North as representatives,they formed different production pattern between north and south.Changsha Kiln upsurged for its colorful porcelain,unrivaled in these famous kilns,and a situation of tripartite confrontation in porcelain industy formed.The first burning and popularity of the underglaze colour made the Changsha Kiln very important in China’s history of porcelain.
After the eclipse of the Changsha kiln,its decorative technique has inherited by Cizhou kiln.The Changsha kiln was commonly used on ewer,while the painting and calligraphy of Cizhou kiln has no more appeared on the ewer but on pillows.Most porcelain ewers were used on ublic,so it always appeared some poets to express poet’s ambition,while the porcelain pillow was relatively private,so the content on was about innermost feelings.We also found some love poets written in the pillow of Changsha porcelain kiln,which was considered as the beginning of the decoration of painting and calligraphy of Cizhou kiln.
The Changsha Kiln prospered in later time,but developed very fast.Its product covered large area,not only selling in domestic area,but also in eastern Asian,southern Asian and western Asian,even as far as northeast Africa,so the Changsha kiln was called the first export porcelain.Combinning foreign culture into product was the secret of Changsha kiln to dig the first overseas barrel of gold.At the time,only Changsha kiln designed,manufactured ,packed product according to the requirement of overseas market We can say that Changsha kiln played a very important role in opening the maritime road of ceramic in Tang dynasty.
