宋元之际,战乱频繁,社会动荡,老百姓为了寻找诉求,期待安慰,往往寄托于宗教,神像成为时代的偶像,龙泉窑宗教瓷塑便在这样的社会环境中应运而生。相比于寺庙里的木质泥质神像或石刻造像,瓷塑神像形制较小,适用于信徒供于家中案头或小龛等处,是神佛信仰进一步盛行、进一步世俗化的体现。龙泉窑瓷塑艺人擅于运用材质来塑造神佛形象,所制的各式神像,灵活运用捏塑、堆塑、贴花、刻划、模印等多种工艺手法,尤其是巧妙利用露胎方法表现人物的肌肤等特殊部位。露胎烧成后呈鲜艳的火石红色,不仅获得与青釉颜色对比鲜明的视觉效果,且更有利于对面部表情、形象动式姿态的细微 As the Song and Yuan Dynasties, the war chaos and social turmoil, people in search of appeal, looking forward to comfort, often placed on religion, idols become the idol of the times, Longquan kiln religious porcelain will be in such a social environment came into being. Compared with the wooden clay goddess or stone carving statues in the temple, the small figure shape of porcelain sculpture is suitable for believers to provide for the desk or small niche at home. It is the embodiment of the further prevalence and further secularization of the goddess’s belief. Longquan kiln porcelain entertainer skilled in the use of materials to shape the image of God, the system of all kinds of statues, flexible use of plastic molding, plastic pile, decals, engraving, stencil printing and other techniques, especially clever use of dew method Performance of the human skin and other special parts. The exposed embryo is bright flint red after burning, which not only obtains the visual contrast with the glaze color contrast, but also is more conducive to facial expressions, subtle facial gesture