作者在概论中提出的主要问题是“最简单的连“枢府瓷”的定名与“卵白瓷”之名争论不休，更不要说对枢府瓷的胎釉、造型、装饰等基本特征以及其生产性质是官窑还是民窑存在相当混乱的认识”。以此问题为核心详细阐述了枢府瓷研究的来龙去脉。

    最早“枢府”一词始见于古籍是明初曹昭【格古要论】“古饶器出今江西饶州浮梁县，御土窑者，体薄而润最好，有素折腰样，毛口者体虽薄（一作厚）色白且润，其价低于定器，元朝烧小足印花者内有“枢府”字者高。”清代嘉庆【景德镇陶录】中开始出现枢府窑一词，但由于对枢府窑器的描述并没有突破曹昭描述，只是加入一些自己的推测，因此一直没有被众多后来古陶瓷研究者的认同，一直延续曹昭的说法。

    二十世纪60年代以后北京元大都遗址陆续出土了一些带有“枢府”款的瓷片，发掘者在考古报告中将这类瓷器称之为“枢府瓷”将其釉色称之为“枢府釉”等从此以后枢府瓷才开始被世人认识。陆续又有“太禧”、“东卫”等官府机构名款的瓷器发现，以及“双角五爪龙”纹饰和戗金装饰瓷器的出土，在元代时景德镇曾设立“浮梁瓷局”而浮梁磁局一直被认定为元王朝掌管瓷器烧造的官府机构，五爪龙和戗金纹饰曾经被禁止民间使用，所以带有“枢府”名款的瓷器便被认定为元代官窑瓷，随着许多五爪龙纹和戗金装饰瓷器在民间墓葬中的发现以及带有“枢府”名款的瓷器上写有商家或使用人的姓名的瓷器陆续出土，“枢府瓷”是官窑专为官府生产，专供皇家中央机构使用的观念得到修正，改变为“枢府瓷”是官府控制瓷厂生产的产品，用途主要有三种，一是祭祀用器和建筑构件及陈设类瓷，二是赏赐前来朝贡的诸国使臣用瓷，三是赚取利润的内外贸易用瓷。收藏《1》http://s8/middle/708d7488g981e9c5eb8b6&690<wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" TITLE="说说枢府瓷 <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" STYLE="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-style: initial; border-color: initial; list-style-type: none; list-style-position: initial; list-style-image: initial;" />

http://s10/middle/708d7488g981eac71254b&690<wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" TITLE="说说枢府瓷 <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" STYLE="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-style: initial; border-color: initial; list-style-type: none; list-style-position: initial; list-style-image: initial;" />  
 作者认为元代枢府窑官营性质给元代瓷器留下一个奇怪现象，“精者愈精，粗者愈粗”产品质量两极分化，形成这种局面的原因因为“官营手工业将有一技之长的工匠组成在一起便于交流技术，在生产朝廷定烧瓷器时由于督办很严便生产出了质量奇高的瓷器；同时，由于工匠的工奴地位，造成了工匠的生产积极性很低，甚至还存在对立情绪，因此，在官府督办松懈时，产品质量一落千丈，”这种说法实在不敢苟同，任何一种产品质量在长期生产中都会出现波动，人为的原因一定存在，但元代瓷器质量两极分化绝非阶级斗争所造成，如果产品质量大幅度下降，无论是制瓷工匠还是管理人员都会受到严厉的惩罚，也许是以全家人的性命作为代价，因此没有如此多的人敢以身试法，这种说法完全是主观推测，任何时代，任何政治环境下都不会出现这种因为劳资双方对立而使产品质量大幅度下降的现象，绝大多数手工业劳动者长期形成的职业道德和操作习惯使他们无法也不会用这种手段故意制作大批量的极劣质产品，造成元代瓷器质量两极分化的根本原因有两点，一是内外贸易所需产品的档次不同，国内蒙古族统治者残酷的压榨和奴役，人民生活水平极低无力购买中档瓷器，没有市场需求，外贸产品和统治者需要高档瓷器，因此便形成两极分化的格局，与今天的陶瓷市场一样，消费者要末就是购买几万几十万一套的进口瓷器，要末就是三元五元一件的“垃圾瓷”原来生产内销中档瓷器的大中型瓷厂基本全部倒闭；二是南宋到元代时期是景德镇瓷器技术发生重大变化时期，从宋代的“软质瓷”转变成“硬质瓷”这种转变使得景德镇瓷器发生了质的变化，从胎体、釉面、成型和烧成温度以及窑炉等等方面都发生了重大变化，正是在这一过渡期里才产生了乳浊釉这种“非驴非马”的特有的存在时间不长最终被淘汰的釉种，同样瓷器其他方面的质量也必然会由于硬质瓷生产工艺的不成熟而起伏不定。收藏《2》
http://s11/middle/708d7488g981ed97e7469&690<wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" TITLE="说说枢府瓷 <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" STYLE="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-style: initial; border-color: initial; list-style-type: none; list-style-position: initial; list-style-image: initial;" />

http://s13/middle/708d7488g981ec715f89c&690<wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" TITLE="说说枢府瓷 <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" STYLE="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-style: initial; border-color: initial; list-style-type: none; list-style-position: initial; list-style-image: initial;" />

http://s6/middle/708d7488g981edd7e32d9&690<wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" TITLE="说说枢府瓷 <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" STYLE="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-style: initial; border-color: initial; list-style-type: none; list-style-position: initial; list-style-image: initial;" />   



http://s16/middle/708d7488g759cb029262e&690<wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" TITLE="说说枢府瓷 <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" STYLE="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-style: initial; border-color: initial; list-style-type: none; list-style-position: initial; list-style-image: initial;" />  

http://s8/middle/708d7488g981ee75a13ba&690<wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" TITLE="说说枢府瓷 <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" STYLE="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-style: initial; border-color: initial; list-style-type: none; list-style-position: initial; list-style-image: initial;" />  

 八十年代以前对枢府瓷特征描述是“以印花的碗、盘、高足杯等小件器皿为主器型单一，印花题材简单，常见模印缠枝莲、菊花、牡丹和云龙、飞凤、芦雁，不少带有“枢府”、“福禄”等官府名称和吉祥语的模印文字，其胎体厚重，釉呈失透状，色白微青，似鹅蛋色泽故称卵白釉，卵白釉与青白釉的化学成分主要区别是含钙量低{约为%5}钾、钠成分增多，年度大，没有青白釉的流动性好和透明度高，造型特点是圈足小，足壁厚，削足规整，足内无釉，底心有乳钉状突起，采用铺沙渣（高岭土和谷壳混合物）垫饼仰烧方法，在底足无釉处呈现铁质褐色小斑点，足的边沿粘有沙渣。”这些特征长期被当做鉴别枢府瓷的标准，随着枢府瓷不断出土和研究的深入，一些特征标准开始修正。

   枢府釉釉质釉色特征标准始终困扰枢府瓷鉴别，由于釉色为“卵白釉”这一标准色每个人的视觉感觉和各个不同产地枢府瓷釉色的差距无法统一，因此使得卵白釉和青白釉两种瓷器分类混乱，混淆不清，各地的文物工作者在许多重要考古发掘报告中错误分类经常可见，造成这一结果的根本原因是“卵白釉”这一标准自第一次使用就是不科学和十分片面的。
“卵白釉”一词最早出现于1963年第一期【文物】杂志刊载的【元卵白釉印花云龙盘】一文，作者孙瀛洲根据瓷器传统定名方式，以此件印花云龙盘的釉色特征称其为“卵白釉”并不具有普遍性意义，在此之前对枢府瓷釉色的描述多种多样，郭葆昌在【瓷器概说】中：“内府进御之粉青器及枢府所用之月下白器，效法宣和，亦称继美。”傅振伦【【陶说】译注】：“枢府：元朝有枢府窑传世有碗、碟、皿之类，胎上雕造“枢府”二字，两相对称，杂以花卉，釉色粉青，月下白尤好”；可见原来“卵白釉”并非是枢府瓷的釉色标准，只是孙瀛洲在描述印花云龙盘时 自己对此盘的观感和比喻形容，并非全部枢府釉的普遍面貌，后来传抄者断章取义，人云亦云长而久之“卵白釉”就成为“枢府瓷”的釉色标准，以“卵白釉”为枢府瓷釉色标准必然造成混乱，首先鸭蛋因为产地、鸭种等原因颜色就有很大差距，其次以一件瓷器标本的釉色作为一类瓷器的鉴别标准过于片面，【景德镇枢府窑作品集】一书中的照片充分说明枢府瓷的釉色多种多样差距很大，“卵白”一词不能准确描述枢府瓷釉色的普遍标准，而傅振伦的解释更为接近，“粉青、月下白尤好”已经是两种色调，“尤好”说明还有其他釉色。

肖发标认为元代枢府瓷的釉质釉色本质上依然是景德镇宋元以来的清白釉，元代青白瓷可以等同枢府瓷，卵白瓷只不过是枢府瓷的一种特殊釉质釉色而已；从观感上看肖发标的观点基本符合实际情况，青白瓷枢府瓷都是清白色，只是一个是透明釉，一个是乳浊釉，釉质有差别，釉色差别不大，但是从认真的角度说清白瓷和枢府瓷有本质区别。

    从南宋末期开始景德镇瓷从软质瓷向硬质瓷过渡，从制瓷业来说这两类瓷器有本质的区别，因此在硬质瓷技术工艺没有成熟之前釉色釉质的变化非常大，釉料的配方，以及烧成温度都在摸索实验过程中，正是因为从低火度瓷器转向高火度瓷器釉的变化最大，胎体通过进入高岭土得到了加强，而原来适用于低火度瓷器的釉必须彻底改变，否则在烧制过程中会产生流釉现象，流淌下来的釉会和匣钵底板粘连，使得烧成的瓷器无法从匣钵中取出，同时原有的窑炉也无法达到烧制硬质瓷的高火度，不可能一下子达到硬质瓷烧成温度，烧成温度不够自然造成枢府瓷“生烧”现象较为多见，釉面呈乳浊状的结果。乳浊状是这一时期最大的特点，因为工艺在不断调整以及各种因素的干扰其乳浊状态也是千变万化，有的乳浊状态轻微就接近青白瓷的釉质和釉色，有的乳浊状态严重与青白釉差别就大，青白釉与枢府釉含铁量基本相同，其釉色自然基本相同。收藏《3》《4》

》http://s7/middle/708d7488g9d57355c0ef6&690<wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" TITLE="说说枢府瓷 <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" STYLE="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-style: initial; border-color: initial; list-style-type: none; list-style-position: initial; list-style-image: initial; text-align: center; display: block;" />

http://s1/middle/708d7488g9d571e40f810&690<wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" TITLE="说说枢府瓷 <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr>瓷器会友" STYLE="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-style: initial; border-color: initial; list-style-type: none; list-style-position: initial; list-style-image: initial; text-align: center; display: block;" />

    从枢府瓷照片看；釉色多种多样，大致可以归为两类，一类青色较浅偏白，如韩国新安海底元代沉船出土的器物釉色普遍偏白，北京美国等博物馆的藏品也属此类，景德镇湖田各窑出土的元代枢府瓷釉色与上述各地的枢府瓷标准器有很大差距，釉色普遍偏青，世界各国和国内各大博物馆藏品对比，大多数釉质釉色明显不同，湖田出土枢府瓷釉色普遍呈暗绿色，这一类元代瓷器属于一类，如果不是照片造成的误差，两类瓷器不应该是同一窑口生产。