青白釉的菩萨像也是以呈现观音为主,集中于宋、元时期,以景德镇窑的作品为代表。宋代青白釉观音菩萨像(图33、图34)以坐像为多,在运用釉色装饰时并不是将造像通体上釉,而是用青白釉装饰菩萨的衣饰、台座,将面部、手、足、头冠、胸前饰物等采用露胎素烧的方法。这样的处理方法不仅是色彩上的对比,而且是为了更好地表现面部、手、足、冠这些重点刻画部分。如果施釉则遮盖了细节而显得模糊,采用素烧则最大程度地 Bodhisattva glazed white statue is also based on the concept of a Buddism godness Guanyin, focusing on the Song and Yuan Dynasties to Jingdezhen kiln works as the representative. Song Dynasty white glaze Guanyin Bodhisattva (Figure 33, Figure 34) to sit for more than the use of glaze decoration is not the whole body enamel, but decorated with white glaze Buddha clothing, pedestal, the face, hand, foot , Crown, chest ornaments and other methods of using placental burn. This approach is not only the color contrast, but also to better represent the face, hands, feet, crown these key features. If the glaze is covered in detail and appear vague, the use of prime is the maximum extent