一直以来,古长沙窑釉下彩绘的相关研究,多惯性归于器物工艺图案的装饰层面。然笔者认为,其中一部分虽为几何抽象性工艺图案,但更多则是呈现大唐水墨视觉韵味的意笔绘画形式。在特定历史时期,这些简约率性、酣畅随意的唐人绘画真迹,本身具备相对独立的审美研究价值,可成为研究有字无图的唐代写意现象的重要参考资料。 All along, the ancient Changsha kiln underglaze painting related research, and more inertial attributed to the decoration of utensils craft patterns. However, in my opinion, although some of them are geometrical and abstract technological patterns, more are the forms of artistic pen painting that present the visual charm of Tang Dynasty. In a particular historical period, these simple, straightforward and authentic works of Tang painting have relatively independent aesthetic research value, which can be an important reference for studying the freehand phenomenon of the Tang Dynasty.