以厚釉青瓷著称的龙泉窑是中国青瓷史上一颗璀璨的明珠，自宋代兴起以来，历经元明，凭其肥美的釉汁和端庄的形态称绝于世。它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑釉色苍翠，北宋时多粉青色，南宋时呈葱青色，宋朝龙泉窑器型有碗、盘、盆、碟、盏、壶、罐等应有尽有。元代龙泉窑比宋时扩大了数倍，浙江省、瓯江两岸的窑址已发现有200多处，元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重，胎色为白中带灰或淡黄，釉色为粉青带黄绿，光泽较强，釉层半透明。线条奔放，除继续生产宋时的器型外，创新品种有菱口盘、荷叶盖罐、环耳瓶、凤尾樽等。
此件龙泉窑青釉荷叶盖罐，为元代龙泉窑之典型器物。翻阅海内外馆藏及私人收藏作品，多数元代盖罐为印花、划花等制品，如北京文物研究所藏元代的“龙泉窑青釉印花牡丹纹盖罐”，著录于《北京文物精粹大系·陶瓷卷（下）》，北京出版社，2005年，页74，图43。再比较一例为苏州博物馆藏的一件龙泉窑划花盖罐，原配有荷叶形盖，尺寸与本品相类，釉色亦泛黄绿，仅装饰手法不同，可做参照，著录于《苏州博物馆藏瓷器》，文物出版社，2009年，页39。
与本品造型、尺寸、釉色相同，且均通体素面之例，可见天津博物馆藏的一件龙泉窑青釉荷叶盖罐，刊载于《天津博物馆藏瓷》，文物出版社，2012年，页135，图113，可做对比赏鉴。
整器造型稳重大方，浑厚淳朴而又不失秀媚，釉色苍翠丰腴，为龙泉青釉发展至元朝技艺之精湛、釉色之精美、质量之高超的左证，传世无多，实属难得，当为爱者所宝，藏家所重。
参阅：
1.《龙泉窑青瓷》，台湾艺术家出版社1998年，页196、197、262；
2.《北京文物精粹大系·陶瓷卷（下）》，北京出版社，2004年，页74，图43；
3. 《苏州博物馆藏瓷器》，文物出版社，2009年，页39；
4. 《天津博物馆藏瓷》，文物出版社，2012年，页135，图113。
Author - 29.5 cm in height, no explanation for the time of creation: this product has a large lid and a regular and dignified shape. The cover is like a lotus leaf, the top of the cover is raised, the button is shaped like a melon pedicle, the outlet of the cover is along, the mouth of the tank body is short-necked, the shoulders are bulging, and gradually recedes to the ground, and the feet are restrained. Green glaze is applied inside and outside the cap and pot, and sauce-colored protective tire glaze is applied inside the cap, along the mouth and circle foot dew. The color of the tire is gray and the body is dense and thick. The green glaze is green and pleasant in color, slightly yellow-green, delicate and moist, and has a good texture. It is a rare treasure handed down from generation to generation, Liao Ruochengxing.
Longquan kiln, famous for its thick glazed celadon, is a bright pearl in the history of Chinese celadon. Since the rise of the Song Dynasty, it has gone through the Yuan and Ming Dynasties, and is known as the world's most beautiful glaze juice and dignified form. Its products sell well in many countries and regions of Asia, Africa and Europe, and have far-reaching influence. Longquan kiln glaze is green, pink and blue in Northern Song Dynasty, green in Southern Song Dynasty. Longquan kiln in Song Dynasty has bowls, pans, basins, dishes, calves, pots, cans and so on. Longquan kiln in Yuan Dynasty was enlarged several times than that in Song Dynasty. More than 200 kiln sites on both sides of Zhejiang Province and Oujiang River had been found. Longquan celadon in Yuan Dynasty had a large quantity of firing, and its style was quite different from that in Southern Song Dynasty. The lines are bold and unrestrained. In addition to continuing to produce Song Dynasty models, innovative varieties include Lingkou plate, lotus leaf cap jar, Earring bottle, Fengwei bottle and so on.
This green glazed lotus leaf cover pot of Longquan kiln is a typical object of Longquan kiln in Yuan Dynasty. Looking through the collections and private collections at home and abroad, most of the cans covered in Yuan Dynasty are printed and scribbled. For example, the "Longquan Kiln Blue Glaze Printing Peony Graphic Cans" of the Yuan Dynasty in Beijing Institute of Cultural Relics is recorded in "Beijing Cultural Relics Essence Department Ceramics Volume (2)", Beijing Publishing House, 2005, P. 74, Fig. 43. Another example is a Longquan kiln canned with lotus-shaped lid, which is collected by Suzhou Museum. Its size is similar to that of this product. Its glaze color is yellowish-green. It can be used as a reference only because of its different decorative techniques. It is recorded in Porcelain Collection of Suzhou Museum, Cultural Relics Publishing House, 2009, P. 39.
With the same shape, size and glaze color as this product, and all have the same body and surface, we can see a blue glaze lotus leaf cover pot of Longquan kiln collected by Tianjin Museum, published in Tianjin Museum Porcelain Collection, Cultural Relics Publishing House, 2012, page 135, Figure 113, which can be used for comparative appreciation.
The shape of the whole vessel is stable and generous, simple and beautiful, and the glaze is green and rich. It is the left evidence of the development of Longquan green glaze to Yuan Dynasty's exquisite craftsmanship, exquisite glaze color and superb quality. It has been handed down from generation to generation and is rare. It should be treasured by the lover and treasured by the collector.
See:
1. Longquan Kiln Celadon, Taiwanese Artists Publishing House, 1998, PP. 196, 197, 262;
2. Ceramic Volume (2), Beijing Press, 2004, P. 74, Fig. 43;
3. Porcelain Collection of Suzhou Museum, Cultural Relics Publishing House, 2009, P. 39;
4. Tientsin Museum Porcelain Collection, Cultural Relics Publishing House, 2012, P. 135, Fig. 113.
