2003年末,初访德黑兰。冬季的古城,如若褐色的老照片,与我们参观的波斯琉璃与陶瓷博物馆形成异样的对照。古波斯的琉璃艺术犹如《一千零一夜》中的神灯一样遥远而神奇,久已令人想往。但当我们踏着历史凝厚的往迹,立身于这些陈列之前,仍然被深深地震撼,尤其是放置在通透灯箱中的诸多微型小瓶。这些美索不达米亚原野上的古迹,仿佛在大地下掩埋了千年,也熏养了千年,温润如玉,通体溢脂。这些指头大小、器型不一的小瓶,带着远古艺人的手工痕迹,也带着人类祖先的肉体呼吸。胎体将透未透,飘浮着星星点点的金属箔片,只若生活着的活体,犹在胎养蕴变之中。那一刻,我明白了为什么前人将琉璃称为“第四种状杰”。那微体中仍有星光在流 In late 2003, he first visited Tehran. The ancient city of winter, such as brown old photos, and we visit the Persian glass and ceramic museum form a contrast. The ancient Persian glass art is as distant and magical as the magic lamp in the “Arabian Nights,” long desirable. However, as we walked through the long history, they were still deeply shocked before these exhibitions, especially the many miniature vials placed in transparent light boxes. These Mesopotamian wilderness monuments, as if buried in the earth thousands of years, but also smoked a thousand years, moist jade, all-purpose grease. These finger-sized vials, with their handmade traces of ancient artists, also breathe in the flesh of human ancestors. The carcass will penetrate through the metal foil floating little by little in the sky. At that moment, I understood why the predecessors called “the fourth kind of shape”. There are still stars in the micro-body flow