北宋汝瓷是青瓷的典范，中国传统陶瓷艺术的最高审美理想。本文由继承和发展中国传统陶瓷工艺和文人审美的角度出发，全面系统的梳理汝瓷工艺与审美的古今变迁，在“中国式现代化”语境下对汝瓷的发展加以思考。本文主要通过文献研究、田野调查、图像分析、综合分析等方法，对汝瓷工艺与审美进行整体性和综合性的研究，力求以史为鉴，寻求以汝瓷为代表的中国传统陶瓷艺术的未来发展方向。 具体而言，本文首先通过历史的回溯，总结北宋汝瓷以本地制瓷工艺传统为基础，同时吸收南北窑场先进工艺技术，在宫廷文人审美的主导下，塑造出了宋瓷的经典——天青釉汝瓷，阐释了继承和发展汝瓷的必然性，并陈述与讨论了汝瓷恢复的过程、发展的现状与当下面临的问题；其次，综合相关文献对古今汝瓷工艺进行了详细的解读，论述了现代汝瓷工艺是基于现代科技对古代工艺的再建构，以及古今工艺方式所映照的工艺观、技术观的巨大差异；再次，在对汝瓷釉色和器型发展变化进行归纳分析的基础上，总结汝瓷的审美内涵；最后，以汝瓷工艺和审美的古今演变为基础，分析与探讨汝瓷工艺与审美背后的文化逻辑，并由此获得启示，提出汝瓷未来的发展方向与途径。 本文认为，对传统陶瓷工艺和文人审美的承继是汝瓷发展的源泉，在当今中国文化复兴的伟大历史背景下，传承文化是汝瓷传承的核心。重新审视与理解汝瓷天青的审美内涵与色质范畴，在工艺方面，在古代“工匠的技术”和现代“科学的技术”之间寻求平衡，传承传统陶瓷工艺，在实践中探索丰富的多层次的天青釉色质；在器型上以香、茶、花、画的文人“四雅”器物造型进行创作创新是汝瓷未来的主要发展方向之一；对中国传统文人审美品评理论的再度学习和反思，深入体悟文人审美传统、诠释文人审美意象，是汝瓷艺术进一步发展的源泉。 本文的创新点在于，对古今汝瓷工艺进行剖析和对比，突破了当下汝瓷工艺研究所存在的古代与现代相对独立的状况，揭示当前传统汝瓷工艺传承的时代性。注重将汝瓷的古今状态相链接，联系汝瓷工艺与审美的历史与现状，对古今汝瓷工艺与审美之间的演变和内在逻辑进行了深入解读和思考，从传承传统工艺和文人审美的角度探求汝瓷发展方向。

Ru porcelain of the Northern Song Dynasty is a model of celadon and the highest aesthetic ideal of traditional Chinese ceramic art. From the perspective of inheriting and developing Chinese traditional ceramic craft and literati aesthetics, this paper comprehensively and systematically combs the ancient and modern changes of Ru porcelain craft and aesthetics, and thinks about the development of Ru porcelain in the context of "Chinese modernization". This paper mainly through literature research, field investigation, image analysis, comprehensive analysis and other methods to conduct a holistic and comprehensive study of Ru porcelain craft and aesthetic, and strive to take history as a mirror, to seek the future development direction of the Chinese traditional ceramic art represented by Ru porcelain. Specifically, this paper first retrospects the history and summarizes that Ru porcelain in the Northern Song Dynasty is based on the local tradition of porcelain making and absorbs the advanced technology of kilns in the north and the south. Under the guidance of the court literati‘s aesthetic appreciation, the classic of Song Dynasty porcelain - azure glaze Ru porcelain is shaped, and the inevitability of inheriting and developing Ru porcelain is explained. The process of Ru porcelain recovery, development status and current problems are discussed. Secondly, the paper makes a detailed interpretation of the ancient and modern Ru porcelain technology based on the relevant literature, and expounds that the modern Ru porcelain technology is the reconstruction of the ancient technology based on modern science and technology, and the great difference of the process view and technology view reflected by the ancient and modern process mode. Thirdly, on the basis of the induction and analysis of the development and change of Ru porcelain glaze color and shape, the aesthetic connotation of Ru porcelain is summarized. Finally, based on the ancient and modern evolution of Ru porcelain technology and aesthetics, this paper analyzes and discusses the cultural logic behind Ru porcelain technology and aesthetics, and draws inspiration from it, and puts forward the future development direction and way of Ru porcelain. This paper holds that the inheritance of traditional ceramic craft and literati aesthetics is the source of Ru porcelain development, and under the great historical background of the Renaissance of Chinese culture, the inheritance culture is the core of Ru porcelain inheritance. Re-examine and understand the aesthetic connotation and color quality category of Ru porcelain Azure, in terms of craft, seek a balance between ancient "artisan technology" and modern "scientific technology", inherit traditional ceramic craft, and explore rich multi-level azure enamel color quality in practice; It is one of the main development directions of Ru porcelain in the future to create and innovate the "four elegant" models of the literati with incense, tea, flowers and paintings. The source of the further development of Ru porcelain art is to re-study and reflect on the theory of traditional Chinese literati aesthetic evaluation, deeply understand the literati aesthetic tradition and interpret the literati aesthetic image. The innovation of this paper lies in the analysis and comparison of ancient and modern Ru porcelain craft, breaking through the relatively independent status of ancient and modern Ru porcelain craft research at present, and revealing the contemporary heritage of traditional Ru porcelain craft. Focusing on the link between the ancient and modern state of Ru porcelain, the history and current situation of Ru porcelain craft and aesthetic, the evolution and internal logic between ancient and modern Ru porcelain craft and aesthetic were deeply interpreted and thought about, and the development direction of Ru porcelain was explored from the perspective of inheriting traditional craft and literati aesthetic.