【摘要】 唐三彩作为一种低温釉陶，与当时盛行的染缬工艺有着千丝万缕的联系，而其后鲁山地区的花釉瓷又深受唐三彩的影响。从染缬织品到唐三彩再到花釉瓷，体现了一种审美需求的迭代进步以及跨材质工艺技术的传承和创新。结合工艺学和美术学，对唐代传世与考古出土的染缬品、三彩器、花釉瓷进行对比研究，理清三者之间的关系，可以再现古代中原工匠的卓越技艺，还原大唐盛世文化交融的盛景，为当下的文化振兴战略提供丰富的历史信息。更多还原

【Abstract】 As a kind of low-temperature glazed pottery, the tri-colored glazed pottery of Tang dynasty were inextricably linked with the prevailing dyeing process at that time, and the flower vitreous enamels in Lushan and Yuzhou were deeply influenced by the tri-colored glazed pottery of the Tang Dynasty. From dyed valerian fabrics to tri-colored glazed pottery and then to flower vitreous enamels, this process reflects the iterative progress of aesthetic needs and the inheritance and innovation of cross-material technology. Combined with technology and fine arts, through the comparative study of dyed valerian products, tri-colored glazed pottery and flower vitreous enamels handed down in the Tang Dynasty and unearthed in archaeology, this paper clarifies the relationship among the three handicrafts. Meanwhile, it reproduces the outstanding skills of ancient craftsmen in the China’s Central Plains, restoring the grand scene of cultural integration in the prosperous age of the Tang Dynasty, and providing rich historical information for the current cultural revitalization strategy.更多还原