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序
瓷器由日用品發展成為集製作、加工、技藝、書畫於一體的藝術品是中華文明的傑作。在中國瓷窯之多、技藝之精、產品之精、產品之豐，流傳之長均為世人矚目。選取中國古瓷作研究，的確是要窮畢生之力。可供研究的課題實在太多了。如何選題？採用甚麼的手段？怎樣進行研究？這樣就要根據研究者所擁有的條件、個人的興趣，進行合理的安排，製訂計劃，以祈達到自己的目的。
于家興先生是以自己擁有的器物，反覆觀摸、推敲、求證的路線，企望為元青花和宋官窯提供樣品，把他幾年來的心得付梓，可喜、可賀。
南宋的修內司為了給宮廷提供御用瓷器，在臨安府屬地設窯燒造，以當地瓷土之豐碩，瓷業的發展水平而言，都是現實可行的。既使現在杭州烏龜山窯場遺址被確認為當時的官窯，也還不能說它就是「柴汝官哥定」中的「官」。更何況這個「官」和「哥」究竟在那裡？他們之間的關係如何？具體可以提供的學術證據有那些？都還是在探討的問題。至於元青花的認識，明、清有無仿作？也有不一的說法。
于家興先生力主其一，努力提供佐證，是心得的表現，亦文如其人也，是為序。李虎侯教授
乙辛年春於香江
香港大學放射性同位業研究所
原中國社會科學院考古研究所
Qinghua, or blue and white porcelains a process of painting with cobalt on the clay roughcast of a pot, then covering the result with a translucent glaze and firing it at high temperatures. It gave the potter a freedom to meld ceramic and landscape painting arts in a form that was highly durable and aesthetically exciting. Invented in Tang china, it was highly developed in the Mongol, Ming and Manchu dynasties and became a pervasive ceramic product internationally.
The preacher passage of time and calamities of war and unrest in china have left us fewer Yuan pieces than the better known Ming and Qing blue and white. Yet what does remain is of striking beauty. Yuan ceramic artists experimented with other elements they're blue and white, such as copper and iron. They applied their brush directly to the base in bold manner, combining geometric patterns with uninhibited and forceful brush paintings, with imagery that was multilateral and rich. Blending sophistication and vigour, their products are in the main unmistakably distinct from of succeeding periods.
It is to this genre that Yu Ka Hing has focused his attention. Mr. Yu an amateur scholar of singular determination and natural wisdom. His interest that began with casual collecting has transformed into a research approach that is as careful, methodical and encompassing as that of a seasoned art historian. He has familiarized himself with every shard of information obtainable on the ceramics of Mongol period, from museums and archaeological finds in China to the collections in Iran, Turkey, Russia, Europe and North America. This breadth of knowledge of the inventory of Yuan blue and white together with a been sense of each step in traditional ceramic production have permitted him to set forth with unusual security the postulations in the following pages. This is the first of Yu Ka Hing's monographic publications. With his passion for ceramic art and his art and his boundless energy for discovery am sure and strongly hope it will be but one contribution among many to come.
簡慕善 John C. Jamieson
香港中文大學 Professor of East Asian Languages,
中國語文研習主任 University of California, Berkeley,
亞洲研究客座教授 Visiting professor of Asian studies and Director,
Yale-in-China Chinese Language Center,
Chinese University of Hong Kong.
自 序
在現今歲月里，珍品不斷出土，贗品充斥社會，是中國古陶瓷鑑定最艱難時期。個別古董商人出身學者和古董商人心術不正，“眼學”不被社會信任。在這樣社會條件下，中國古陶瓷鑑定，必須是眼學和高科技相結合的鑑定方法是我們今後的道路和方向。
眼學鑑定中國古陶瓷，最重要的基礎，必須知道被鑑定樣品來源可靠性，這樣就產生了不明朗因素，不知道被鑑定樣品來源的眼學家，就必然產生真偽不同意見的爭論，尤其是那些記載於古文獻或是被社會視為珍貴品類。以及利用現代科技製成的仿品，堅持用“眼學”和高科技鑑定中國古陶瓷的真偽顯得更重要。
眼學經過長時期的研究，總結了鑑定中國古陶瓷豐富的經驗，一旦得到古窯址出土瓷片、殘品的證實，眼學鑑定方法是可靠的。眼學有因人各異的人為因素；而科學技術是坦誠的，所以最終決定被鑑定中國古陶瓷真偽的爭論，必須由高科技做最後的裁決。利用高科技鑑定古窯址出土瓷片和殘器常量、微量元素建立數據庫。也就是我們常說的“礦物指紋”和它的基因研究。這種礦物指紋學和基因研究，被現代醫學、法學、軍事等，普遍的應用。古陶瓷指紋、基因的鑑定方法，在現代高科技物理實驗中被證明是完全可行的，並且準確性高，人心不古的因素減到最低程度。所以高科技鑑定中國古陶瓷的真偽結果可信的。
高科技單純的測試古窯址出土的瓷片和殘器是不夠的。還必須測試被認為真正傳世品常量、微量元素。因為傳世品在慢長歲月被空氣，人為污染，它的元素也產生了變化，這些自然存在的必然現象，就需要科學家做出更切實解釋。
于慶一
2001/10於香港
