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Jian Zhan bowls were designed with the perfect shapes and angles to hold the frothy tea and accentuate the aroma of the liquid. But most importantly, they fired deep dark blacks and reds with flecks of gold. These dark colors were the perfect contrast to the white and green of the tea they held, making the tea seem even more pure. The natural firing techniques led to great variation, in line with the Song Dynasty scholarly values of appreciating the beauty of nature. With each bowl fired completely unique, the competition of tea whisking and drinking took a step towards a true tea ceremony when the beauty of the bowl encouraged contemplation while sipping.
建盏碗具有完美的形状和角度的设计，使其可以保持茶叶的泡沫，突出茶汁的香气。 但最重要的是，它们被烧制成深黑色和红色伴随着金色斑点。 这些深色与他们所持茶的白色和绿色形成完美对比，使茶看起来更加纯净。 自然窑烧技术的带来的变化很大，符合宋代欣赏自然之美的学术价值观。 随着每个碗的烧制的独特性和茶的搅拌以及饮用的竞争（斗茶）使得中国茶艺迈出了真正的一步，碗的美丽与美味的茶相得益彰。
The ceremony of whisking tea in Jian Zhan bowls is the great ancestor to both Chinese gong fu tea and Japanese Chado. Japan studied tea culture in China during this period and worked to attempt to recreate the perfect conditions of nature in Shuiji through Tenmokku ceramics, which led to the wider art of creating the perfectly imperfect chawan.
在建盏中搅拌茶的仪式是中国功夫茶和日本茶道的伟大祖先。日本在此期间研究了中国的茶文化，并试图通过天目陶瓷在水吉镇中创造完美的自然条件，从而产生了更广泛的创造完美或不完美的茶碗的艺术。
The beauty of Jian Zhan is undeniable and stunning. The pieces fired in the Song Dynasty have an incredible luster. The deep black of their glaze is flecked with gold, like a dragon’s hoard long lost to a dark ocean, or stars across the night sky. The black is broken by deep fractal-like crystalline structures that glow silver-blue, and accented by deep reds and oranges. Every piece has a different balance of these elements depending on the temperatures it was exposed to in firing within the kiln. There is no way to control for one style or another in true kiln-fired Jian Zhan. The beauty of each piece is its own by pure happenstance.
建盏的美丽无可否认，令人惊叹。 宋代留下的碎片有着令人难以置信的光彩。 它们的釉上深黑色的斑点是金色的，就像一条长长的黑色海洋中的龙窖，或者是夜空中的星星。 黑色被不规则形状晶体结构打破，发出银蓝色，深红色和橙色。 根据窑内烧制时的温度，每件盏的成分都有不同的平衡。 在真正的窑烧建盏中，没有办法控制一种风格。 每件作品都是美丽的纯粹的偶然事物。
Jian Zhan from the Song Dynasty has been the subject of recent study by scientists who discovered that it contains a unique and incredibly difficult to produce crystalline formation known as epsilon phase iron oxide. This formation is produced in modern labs using massive amounts of electricity in tiny quantities for use in precision data-storage electronics. The formations in Jian Zhan ceramics occurring naturally are staggeringly larger than those produced in labs. Coincidentally, the Jian Zhan pieces with the highest count of epsilon phase iron oxide are also some of the most coveted for their very beautiful silvery appearance!
宋代的建盏一直是科学家们最近研究的课题，科学家发现它含有一种独特而难以置信的晶体结构，称为ε相氧化铁。这种结构是在现代实验室中生产的，使用了大量的电力，用于精密数据存储电子设备。建盏陶瓷的自然形成比实验室生产的块状大。同样，具有最高计数的ε相氧化铁的建盏片碎也是他们最美丽的银色外观中最令人向往的部分。
One of the beautiful attributes of Jian Zhan lies in their crystalline structures. These occur in the natural glaze through firing, and these will subtly change over time through constant use. Tea oils are slowly absorbed into the cup, not so much building a patina (like yixing tea pots) as very slightly altering the way the crystals refract light, acting as a sort of ‘lens’. This effect grows through constant use of a Jian Zhan tea bowl, making it more beautiful over time.
建盏的一个美丽特征在于它们的晶体结构。这些都是天然釉料在烧制过程中发生的，并且随着时间的推移，这些釉会随着时间的推移而微妙地变化。茶油慢慢被吸收到杯子里，但并不像宜兴茶壶那样，而是像水晶一样折射出一种“透镜”。这种效果通过不断地使用建盏茶碗而增长，使它随着时间的推移变得更加美丽。
This very subtle effect gave Jian Zhan the kind of collectible value in the Song Dynasty that Yixing teapots have today. The incredible glaze was even thought to slow the way that green tea slowly becomes flat and off if left in a cup for a long time, meaning that green tea whisked at competitions would better preserve its full, crisp sweet quality.
宜代茶壶。令人难以置信的是釉甚至被认为使绿茶慢慢变平和，如果在杯子里放了很长时间，这意味着在斗茶仲绿茶会更好地保持其完整的，脆甜的品质。
While many specialized implements for tea ceremony would come over the next many hundred years, Jian Zhan was the first. It is still one of the most perfectly realized objects devoted to the beauty and culture of tea. How sad then that the Jurchen invasion brought the Song to an abrupt end, and with it, the secrets of Song dynasty Jian Zhan glazing and firing techniques were lost. Tea culture in China was flourishing like never before, only to suffer a great cataclysm that would change its course permanently.
在中国茶艺界的几百年里出现许多茶道专用器具的，建盏是第一个。它仍然是一个最完美的对象，致力于实现茶文化与美。那么，女真族的入侵使宋代走向灭亡，这是多么悲惨，宋代建盏的秘密和烧制技巧也随之消失了。中国的茶文化空前繁荣，却经历了一场永久性的大变革。
In contrast, Japan continued the Song dynasty tradition, elaborating on the Song ceremony to create Chado. With their source of Jian Zhan bowls cut off, they worked to fire replicas called Tenmoku, which developed into a beautiful art of its own made to fit the very different clay, glazing, kilns and climates of Japan. Chinese tea ceremony eventually grew into the steeping of looseleaf tea with a very different set of tools developed to accentuate the beauty of full tea leaves, specifically Jingdezhen porcelain.
相比之下，日本延续了宋代的传统，阐述了宋代的仪式创作了茶道。由于建盏的源头被切断，他们以复制副本称之为天目，并将其发展成为一个美丽的艺术，他们使其适应日本不同的粘土，上釉，窑炉和气候的。中国茶道最终发展成了松散茶叶的浸泡，用了另外一套非常不同的工具来浸泡完整的茶叶，特别是景德镇瓷器。
Up into about the 1990’s, the world believed that the techniques and quality of the Song Dynasty could never be replicated. Indeed, recreating the highly complex, chance-based firing process of Jian Zhan would be like trying to make a modern violin sound exactly like a Stradivarius down to every sound wave measured.
到1990世纪，世界相信宋代的技术和质量是无法复制的。事实上，重建建盏的工作高度复杂的，基于偶然的烧制过程，就像试图使现代小提琴听起来像一个斯特拉迪瓦里下降到每一个声波测量。
But things have changed. In the last thirty years, the Chinese interest in rediscovering their Song Dynasty heritage has grown. The values of the previous dynastys like the Qing and the Ming left no room for rediscovering an old heritage. The early years of the People’s Republic of China certainly left no room for looking towards the aristocratic past. The conditions for truly respecting and studying the Song have come about in China for the first time since the Jurchens captured emperor Song Huizong in 1127.
但情况发生了变化。在过去的三十年里，中国人对重新发现宋代文化遗产的兴趣与日俱增。以前的那些朝代，像清朝和明朝，没有重新发现一个古老的遗产的机会。早期的中华人民共和国当然也没有留下任何地方去寻找贵族的过去。真正尊重和研究宋朝的条件，自女真族于1127夺取了宋朝捕获宋徽宗皇帝以来，首次出现在中国。
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