。
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div仔细回想，釉色以紫红色为主，蓝色只是偶尔点缀其中，更显得珍贵异常。瓶底则是仿宋钧釉，古朴雅致，更添了一份历史的厚重感。虽然无任何标识和落款，但专家鉴定为乾隆年间的珍品。
那抹红釉下，仿佛有流动的光彩，深浅不一的蓝色线条，如同游龙般在红釉中穿梭，时隐时现，与热烈的红釉相互交融，却又界限分明，形成一种奇特的视觉冲击，令人叹为观止.
除了这只梅瓶，陈阳还想起了一件窑变釉钵缸，当时就摆放在梅瓶旁边。钵缸的器型中规中矩，敛口、深腹、圈足，通体都是窑变釉，釉面光滑平整，大面积的红釉中，夹杂着淡雅的紫色和月白色，如同晚霞映照下的天空，色彩斑斓，美不胜收。与梅瓶不同的是，这只钵缸底部刻着清晰的「大清乾隆年制」六字篆书款。
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div当时故宫博物馆的介绍是：此器造型端庄，胎体厚重，釉汁自然流淌，釉色艳丽，配上端庄秀美的器形，极富美感。
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div两个物件并排展出，在看过那只美轮美奂的梅瓶之后，再看这只钵缸，陈阳只觉得它索然无味，甚至有些丑陋，如同孩童信手涂鸦，毫无美感可言。
当时他心里还暗自嘀咕，觉得专家也不过如此，纯粹是睁着眼睛说瞎话。
现在想来，这只钵缸会不会就是当年烧制窑变釉的试验品！
陈阳跟宋青云说起了这两件物件，宋青云点点头，表示确实有这两件东西，而且不光这两件物件，还有其他的物件。根据这些物件，专家推测从雍正时期开始，督陶官