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鉴赏珐琅彩时间：2020-09-29 珐琅彩宫廷控制极为严格。The white porcelain body needed to make it was provided by Jingdezhen Imperial Kiln Factory, transported to the court, under the emperor's instruction, the enamel of the office of the Interior Ministry was carefully painted by the court painter, the court writer wrote the poem and signed the money, and finally baked into the charcoal furnace at about 600℃。 Enamel is a kind of special color material burned by hand. Before 1728, it had to rely on imports from Europe. After six years of Yongzheng, the Qing Palace Manufacturing Office had been able to cultivate more than 20 kinds of enamel, and the color types were richer than the imported color materials, so that the production of enamel porcelain had been developed by leaps and strides。 The enamel porcelain of Kangxi period is mostly carmine red, egg yolk and blue, and there is a special kind of enamel painted on the purple sand of Yixing。Typical Yongzheng and Qianlong enamel porcelain is a combination of poetry, books, paintings, printing art treasures, is the ancient Chinese porcelain technology reached the peak of the product。Those seemingly ordinary shapes of enamel plates, bowls, bottles, etc., have got rid of the function of being used as tableware, and are purely artistic treasures that can bring beautiful enjoyment to people's vision。
瓷胎画珐琅是清代皇室自用瓷器中最具特色，釉上彩瓷中最为精美的彩瓷器。From the rich and solemn color of Kangxi to the light and elegant of Yongzheng, to the delicate and complex Yonghua and precious of Qianlong, enamel, this foreign color material has been incisively and vividly played on porcelain。集中西风韵于一身， After the Qing Court pacized Taiwan, the sea was opened, and Western products began to pour in, and western enamel was introduced into China by ports such as Guangzhou, and factories were set up on the spot to develop it, which was called foreign porcelain, and the palace called it Guangfang enamel。当时，广州的产品多保留着西方文化的韵味，由于烧造技术不高，釉料呈色不稳定。In the 58th year of Kangxi (1719), he hired the French painting enamel artist Chen Zhongxin to come to Beijing and guide the firing of painting enamel ware in the Inner Court enamel office。其式样、图案主要是中国风格，少有西方画珐琅的特点。 珐琅又称“拂郎”、“佛郎”、“发蓝”，是一种玻化物质。它以长石、石英为主要原料，加入纯碱、硼砂为助熔剂，氧化钛、氧化锑、氟化物等作乳浊剂，加入氧化铜、氧化钴、氧化铁、氧化锰、氧化锑等作着色剂，经过粉碎、混合、煅烧、熔融后，倾入水中急冷得到珐琅熔块，再经细磨而得到珐琅粉。将珐琅粉调和后，涂施在金、银、铜等金属器上，经焙烧，便成为金属胎珐琅。若以玻璃为胎，则称为玻璃胎珐琅；以瓷器为胎者，则称为瓷胎珐琅。 According to different decorative processes, enamel can be divided into wire cutting enamel, chisel enamel, painting enamel, transparent enamel, etc., and there are also two or more processes that combine the above to decorate an object together, called composite enamel。Among them, there is only one kind of enamel process related to porcelain, that is, painting enamel, generally called "enamel color", and its official name should be "porcelain painting enamel".。 瓷胎画珐琅的创烧，与康熙皇帝对画珐琅的喜爱有密切关系。In the nineteenth year of Kangxi (1680), the imperial court set up enamel work near the Palace of Martial Valor in the Forbidden City, mainly producing copper tire wire enamel and chisel tire enamel。Twenty-two years of Kangxi: 1683: The Qing government recovered Taiwan, abolished the sea ban, and used European metal tire painting enamel ware as valuable handicrafts. 由来华的传教士带入广州，并进贡内廷。These imported painting enamel ware with its fine painting techniques and gorgeous decorative style, and deeply loved by the royal palace nobles and local officials and local people in Guangzhou。由当时欧洲传教士的私人信件得知，康熙皇帝对这种洋玩意儿也很感兴趣，并力图使中国的珐琅工匠掌握这门技术，于是广州和北京内廷珐琅作的工匠分别在两地试烧画珐琅，经过大约10年的时间，成功地烧制出了我国的金属胎画珐琅， After the fifty-fifth year of Kangxi (1716), with the Guangzhou and European painting enamel makers into the imperial Court, to participate in guiding the production of enamel in the manufacturing office, and even personally operate, the production of painting enamel ware then showed a prosperous scene。In the 55th year of the reign of Kangxi, upon the recommendation of Yang Lin, Governor of Guangzhou, Pan Chun, Yang Shizhang, three Western painters, two French blue (enamel) craftsmen, and two apprentices entered the imperial Court。In the fifty-seventh year of Kangxi, the enamel of the Hall of Martial Honor was changed to the Hall of Yangxin, and one supervisor was added, which showed that the Kangxi Emperor attached great importance to the production of enamel ware。康熙五十八年，1719年法国画珐琅艺术家陈忠信被召至内廷指导画珐琅器的生产。在中外匠师的共同努力下，宫廷造办处珐琅作很快熟练掌握了金属胎画珐琅烧制技术， In Kangxi period, enamel porcelain was in the early stage, from the color collocation, decorative layout to the content and style, all imitated the effect of copper tire painting enamel。The exterior mural surface is mostly in yellow, blue, red, bean green, purple and other colors, and the use of various colors to depict the double hook technique of peony, rose, lotus and other flowers, and there are flowers without birds。也有在四个花朵中分别填写“万“寿“长”春”等祝寿语的，风格严谨华丽。所用彩料系从西洋进口，所用画稿由宫中造办处下属的如意馆提供。由于施彩较厚，致使纹样有堆凸之感，且出现细小裂纹。康熙时的珐琅彩瓷器也有个别直接在宫中旧藏明代永乐白瓷盘上施彩的。In the Kangxi period, there was also a Yixing purple sand fetal painting enamel, which is now collected in the Taipei Palace Museum. It was called "Yixing fetal painting enamel" at that time, and it was shaped like a holding pot, a beam pot, a covered bowl, and a covered cup。装饰题材多为花卉。There are directly painted on the purple sand tire, and some may take into account that the purple sand tire is not as delicate and smooth as white porcelain, first smear brown color on the tire, and then paint, the color of brown color not only resembles the color of purple sand, but also enhances the luster of the surface of the object。这种褐色彩仅施于器物外壁，器内则无。Kangxi porcelain body painting enamel is signed on the outside bottom of the objects, most of the "Kangxi imperial" four-word double line red or blue seal pile, surrounded by two sides of the frame, the frame line thick outside and thin inside。Individual such as the Beijing Palace Museum collection of purple enamel color wrapped lotus pattern bottle, the outer bottom engraved "Kangxi imperial" four-word double-line, the outer engraved single-line box。也有个别器物如台北故宫博物院收藏的康熙画珐琅莲花纹菱花式盘（永乐白瓷胎）
Although the outsole is also signed "Kangxi imperial system" four-word double-line red stacking model, but the outside is not the two sides of the box, and the double line circle, the circle line is thick outside and thin inside。As for the inscription on the outer bottom of the Yixing tire painting enamel ware of the Kangxi Dynasty, it is generally "Kangxi Imperial" four-word double-row yellow pile type, the outer two-line square frame, and some such as the Yixing tire painting enamel four seasons pattern teapot collected by the Taipei Palace Museum, the yellow pile type "Kangxi Imperial style" four words are arranged "up and down and left and right". 外围海棠花式双线框。Yixing tire painting enamel is written in yellow enamel, probably because yellow can form a sharp contrast with brown, and if brown sets off red or blue material is not bright enough。 雍正时期，雍正皇帝对珐琅彩瓷器的生产给予了更多的关心，并提出颇为严格的要求。In the first year of Yongzheng (1723), with the expansion of the staff of the palace manufacturing office, and under the auspices of Yunxiang, the 13th brother of Yongzheng Emperor's most trusted Prince Yi, the production of enamel porcelain was actively carried out in the manufacturing office。但从清代档案记载看，雍正六年以前珐琅彩瓷器的生产进展缓慢，雍正帝对此也不甚满意。究其原因，可能是因珐琅彩料需依赖西洋进口，数量有限，必须谨慎使用，不得有误损所致。如清雍正，西洋国……雍正四年五月复遣使进贡……各色珐琅彩料十四块。”又如，载“雍正二年二月四日，怡亲王交填白脱胎酒杯五件，内二件有暗龙。奉旨：此杯烧珐琅。钦此。于二月二十三日烧破二件，总管太监启知怡亲王。奉王谕：其余三件尔等小心烧造。遵此。于五月十八日做得白瓷画珐琅酒杯三件，怡亲王呈进。 从雍正皇帝的贵戚重臣年羹尧的奏折中，也可了解此时珐琅彩瓷器的烧造情况。如“雍正二年二月初九日，由驿斋到御赐新制珐琅管双眼翎二支，单眼翎十支……对这些翎管，年羹尧在二月十二日的谢折里称：臣伏覩珐琅翎管，制作精致，颜色娇丽，不胜爱羡，谨缮摺恭谢天恩，更恳圣慈，如有新制珐琅物件，赏赐一、二，以满臣之贪念。臣无任悚惶之至。雍正二年二月十二日具。On Nian Jiyao's folding, the Yongzheng Emperor painted a circle next to the word "greedy" in the sentence "with the greed of a full minister", and in the space at the end of the folding, the Yongzheng Emperor's Zhu said: "Enamel is not yet exquisite, but will be made considerable in the future.。今将现有数件赐你，但你若不用此一‘贪’字，一件也不给你，得此数物，皆此一字之力也。”其中“珐琅之物尚无暇精致，将来必造可观”这句话，说明雍正帝对珐琅彩瓷器的发展充满信心。
After receiving this reward, Nian Jiyao was given enamel porcelain one after another on February 30, early March 3, April 11 and April 22 of the same year。如雍正二年四月二十四日，年氏在上疏的奏折中说，雍正二年四月二十二日由驿斋到御赐臣仿珐琅茶杯两匣，臣叩头祗领讫。Fu 覩 This kind of kiln, the color is beautiful, the production is fine, the real does not let the previous generation of colorful goods also!Yue Zhongqi led the troops to suppress the thieves on April 15. When he returned to peace after the incident, I would like to issue a decree to reward four other thanks。雍正二年四月二十四日具。Although Emperor Yongzheng frequently rewarded his important ministers with enamel porcelain at this time, until the fourth year of Yongzheng, Emperor Yongzheng was not satisfied with the production of enamel porcelain。As recorded in the Qing Dynasty archives, "On August 19, the fourth year of Yongzheng, Langzhong Haiwang ordered: the enamel work burned at this time is rough, the pattern is also vulgar, and then you must be fine.。钦此。”After the sixth year of Yongzheng, under the direct intervention of Emperor Yongzheng, the production of enamel porcelain developed rapidly with the success of the self-refining of enamel and the participation of more and more court painters and calligrapher in the painting and writing of enamel porcelain。From the records of the archives of the manufacturing office at that time, in the six years of Yongzheng, the newly refined enamel of the manufacturing Office had nine colors, such as moon white, white, yellow, light green, bright green, blue, pine green, bright green and black。New enamel materials are soft white, fragrant color, light pine yellow, lotus, light green, soy color, deep grape color, bronze, pine yellow, a total of nine。The success of the manufacturing office's self-refining enamel not only got rid of the embarrassment of having to rely on imported materials in the production of enamel porcelain, but also the newly added color varieties can also make enamel painters more handy in the performance of objects。According to the archives of the office, at that time Song Qi Ge was responsible for all the work of refining materials, Deng Ba Ge was specific operation, Hu Dayou was blowing glaze, and Wu Shu was a technical staff。另外，怡亲王允祥、郎中海望、员外郎沈嵛和唐英等主要负责管理。Especially worth mentioning is Tang Ying, according to the archives, Yongzheng six years on the first day of the 9th month, the Internal Affairs office recruited 13 craftsmen, 由员外郎沈嵛、唐英启怡亲王，发给每人每月二两银。接着“正六年二月二十二日，柏唐阿宋七格等奉怡亲王谕：着烧炼珐琅料。遵此。In this day, members Shen Yu and Tang Ying said: 'This is the money and grain materials used by the Prince of Yi to try to burn enamel, and another gear is recorded, waiting for the test to be finished, and then Qiming into the file.。’本日送交柏唐阿宋七格。”雍正六年七月，唐英曾为画珐琅人林朝楷因病不能工作一事启奏怡亲王，即“雍正六年七月十一日，员外郎唐英启怡亲王，为郎世宁徒弟林朝楷身有痨病，已递过呈子数次，求回广东调养，俟病好时，再来京当差，今病渐至沉重，不能行走当差等语。奉王谕：着他回去罢。到了雍正六年八月唐英便被派往景德镇御窑厂佐理陶务。Because Tang Ying had worked in the Imperial Office for many years, he had rich experience in the firing of enameled porcelain, and he was well aware of Emperor Yongzheng's aesthetic taste and what kind of white porcelain plates were needed for the production of enameled porcelain in the palace. Therefore, after he arrived in Jingdezhen, he provided a large number of white porcelain plates for the firing of enameled porcelain。
从造办处档案记载看，雍正三年至五年，画珐琅人有宋三吉，是景德镇画瓷器的工匠。还有张琦、邝丽南，是广东画铜胎珐琅器的工匠。From the sixth year of Yongzheng, He Jinkun, Dai Heng, Zou Wenyu, Tang Zhenji, Tan Rong and other painters of the Academy participated in the enamel work of porcelain body painting, among which the good paintings had been rewarded by the Yongzheng Emperor many times。如“雍正十年十月二十八日，司库常保、首领李明久奉旨 珐琅画青山水甚好。钦此。于十二月二十八日，柏唐阿邓八格、宋七格来说。 内大臣海望谕：邹文玉所画珐琅，数次皇上夸好，应遵旨用本造办处库银赏给十两。遵此。”从造办处档案记载看，雍正皇帝十分欣赏用单一料彩绘制的水墨及蓝色山水两个珐琅彩品种。至于为珐琅彩瓷器书写底款者，
唐英到景德镇御窑厂后，除了向造办处提供白瓷以外，还推荐画画人到造办处供职。Such as "Yongzheng seven years of the beginning of July 9, according to the Yuanmingyuan to the post said: Yi Prince Jiao Nian Xiyao sent painting enamel people Zhou Yue, Wu Shiqi two...On the tenth day of this month, he sent Nian Xiyao to paint the enamel people to eat the work of silver, the doctor Prince Haiwang Kai Yi。奉王谕暂且着年希尧家养着，俟试准时再定。Qin this: At that time in charge of Huaian customs tax Nian Xiyao is only distant Jingdezhen kiln business, these painting people are nominally sent by Nian Xiyao, actually selected by Tang Ying。Tang Ying himself is a painter, by his selection of painters, good painting is on the one hand, more importantly, have rich experience in painting on porcelain, these people entered the production office, by cooperating with the court painter, so that the production of enamel porcelain is increasingly improved。
From the perspective of handed down products, most of the Yongzheng enamel porcelain were painted directly on the glaze as white as snow, except for a few decorated with colors like Kangxi enamel porcelain。器物造型有瓶、碗、盘、碟、盅等，均隽秀典雅，胎体轻薄，有的达到半脱胎的程度。这些白瓷胎除了极个别为清宫收藏的明代永乐白瓷外，绝大多数是由当时景德镇御窑厂特制提供。Among them, Yongzheng provided 460 pieces once in seven years, which is the largest batch in the past, which is recorded in the archives, "On February 19, Yongzheng seven years, Prince Yi handed over 460 pieces of glazed water porcelain, which was burned by Xiyao.。郎中海望奉王谕：着收起。遵此。于本日将瓷器四百六十件交柏唐阿宋七格讫。于七年八月十四日，烧造得画珐琅瓷碗三对，画珐琅瓷碟二对，画珐琅瓷酒圆四对。九月初六日烧造得画珐琅彩， 雍正珐琅彩瓷器在图案装饰方面，一改康熙珐琅彩只绘花卉，有花无鸟的单调局面，大量出现描绘院画风格的花鸟、花卉、竹石、山水等图案，画面空白处题以书法极精、内容文雅的相应诗句，而且诗文的引首都有一方朱文闲章，句末则有或两方皆朱文、或上为白文下为朱文的闲章。雍正珐琅彩瓷器真正成为制瓷工艺与诗、书、画、印相结合的艺术珍品。 The outsole of Yongzheng enamel porcelain is a year, and the blue color "Yongzheng Year" four-word double-line song chisel body seal type is the most common, and the outside of the two sides are framed, and the frame line is thick outside and thin inside, which is extremely regular, much like it is printed with engraved stamps。也有少数器物署上述同式款，但无边栏。Yongzheng enamel porcelain also has a blue and white pattern, you can see the "Yongzheng imperial system" four characters double line peripheral two sides of the frame and "Qing Yongzheng year" six characters double line peripheral double circle。青花款只能在施釉前书写在瓷胎上。In 2002, Christie's Hong Kong auctioned a Yongzheng blue enamel flower pattern "Wanshou Changchun" shallow bowl, four characters were inscribed in the center of the four flowers on the outer wall, and the blue and white columns on the outer sole were signed with four characters and double lines。 In general, the artistic level of enamel porcelain in the Qianlong period was lower than that in the Yongzheng period, which may be related to the turnover and lack of personnel in the palace enamel work。According to the archives of the Office, "On March 17, the first year of Qianlong, the chief Wu Shulai said: the Qianqing Palace manager Su Peisheng handed over four young eunuchs He Delu, Wang Chengxiang, Yang Rufu and Wei Qingqi。传旨：着给珐琅作学烧珐琅。钦此”。"Qianlong first year April 14, urge the total Mo Shen E for painting enamel people insufficient use, another will paint enamel people Zhang Weiqi willing to enter the post, as usual to take silver grain, monthly work food silver 52, two, August clothes silver eighteen two, back to the minister Hai Wang, monitor the imperial history Shen Yu, three tone guarantee line。记此，这两则资料说明，乾隆元年造办处珐琅作即因缺人而进新人。 乾隆时珐琅彩瓷器所用白瓷胎仍由景德镇御窑厂提供。如造办处档案记载，“乾隆元年五月初二，太监毛团传旨：着海望寄信与员外郎唐英，另将烧造珐琅之白磁器烧造些来。钦此”。乾隆时期珐琅彩瓷器的彩绘和烘烧，大量的是在北京宫廷造办处的珐琅作内完成。但也有例外，如造办处档案记载，乾隆三年六月二十五日，太监高玉交磁器一百七十四件。Imperial note: To Tang Ying, who made porcelain...Then a five-inch multicoloured enamel disk, a multicoloured enamel dark eight magnetic bowl, smaller, also fired。钦此”。很显然，上述五彩磁碟、磁碗是在景德镇御窑厂完成彩绘、烘烧这两道工序的。The decorative themes of enamel porcelain in the Qianlong period were more abundant than those in the Yongzheng period. In addition to landscape, flowers, flowers and birds, there were also Chinese or Western figures, and various foreign flower patterns influenced by the Western "Rococo" art style。新增的各种色地、色地开光、色地轧道珐琅彩瓷器，图案繁复，不留空白，不题写诗句。The combination of poetry, calligraphy, painting and printing, which was popular in Yongzheng period, continued to be produced at this time, and the poems and idle seals used were much the same as in Yongzheng period。如画月季、竹石题“劲节亭亭千尺绿，芳枝长占四时春”。迎首用“翔彩”朱文闲章，句末用“彬然”白文闲章、君子”朱文闲章。 画石榴、黄鹂常题“新枝含浅绿，晓萼散轻红”。迎首用“佳丽”朱文闲章，句末用“金成”、“旭映”皆朱文闲章。画山水风景常题“浦净渔舟远，花飞樵路香”。迎首用“寿如”朱文闲章，句末用“山高”白文闲章、“水长”朱文闲章。About the year of Qianlong enamel porcelain, all the combination of poetry, books, paintings and printing enamel porcelain, generally for the "Qianlong year" four-character double line blue color stamp Song style or italic style, the circumference of the thick inside the thin double line box, the frame line also has individual internal and external thickness is basically the same。For smaller devices, such as small bottles, small cups, etc., due to the small space of the base layout, the blue color four-character double line Song script or regular script will not be framed。There is a blue color four-character double-line seal script, the outer double line square frame, the frame line outside the thick inside the thin, more commonly seen on the bottle, because the pattern painted by this instrument is more dense, so there is no poem and idle seal, the inside and the foot are applied turquoise green glaze, the model is signed on the turquoise green glaze ground。 原清宫收藏康、雍、乾三朝珐琅彩瓷器最集中的地点是乾清宫， Enamel has no large utencil shape, the vast majority are plates, bowls, cups, bottles, boxes, POTS, of which bowls and plates are the most, but each variety has different changes。另外还有一个品种是宜兴紫砂陶胎外绘珐琅料彩，这也是难得一见的。珐琅彩瓷器在胎质的制作方面是非常讲究的。胎壁极薄，均匀规整，结合紧密。In such a fetal quality and glaze is very fine, glaze color is very white, glaze surface luster no orange peel glaze, swinging glaze, there is no brown eye phenomenon, it can be "white flawless" to praise。 珐琅彩瓷的特点是瓷质细润，彩料凝重，色泽鲜艳靓丽，画工精致。制作珐琅彩瓷极度费工，乾隆以后就销声匿迹了。康熙的珐琅彩瓷大多作规矩写生的西番莲和缠枝牡丹，有花无鸟，显得单调。而雍正以花卉图案居多，山水、人物也有。当时尤为突出的是画面上配以相呼应的题诗。The calligraphy of these poems in Yongzheng is excellent, and after the quotation and sentence of the poem, there is rouge water or a red seal in Zhu and white, and the printed text is often matched with the picture and the content of the poem, and the picturesque bamboo is used. 子”章；画山水的用“山高”、“水长”章；画梅花的用“先春章等。Enamel porcelain can be said to have inherited the various advantages of Chinese ceramics since the development of history, from the drawing, molding, painting, materials, glaze, color, firing technology is almost the most exquisite。During the Qianlong period, there were many excellent ceramic works, but enamel painting was incomparable to many other varieties in terms of production procedures and materials。The painters were not ordinary kiln workers, but top professional painters in the palace, so these artifacts could represent the highest artistic level and the highest technological level at that time 瓷胎：瓷胎细薄，修胎规则，完整无缺，大多为小件，超过一尺大的都少见。 造形：多为碗、瓶、烟壶之类的日用小件瓷，和动物摆设品。
底釉：为纯白釉，不偏青也不偏黄，釉面光滑洁净无疵。 珐琅彩色。色极鲜艳且柔和，很少为纯色而为粉彩型偶合色。色种多，同一物上可出现七、八种颜色，多达十多种。 色料特点。每一图案均由多种色料调配而成。其料彩表面光滑有玻璃质反光感，有时还可反射蛤蜊光，十分美观。The glaze is protruded slightly higher than the bottom glaze about a millimeter, there is an obvious sense of three-dimensional, close the eyes with the hand can be obviously felt, if you use a ten-times magnifying glass can see in each small flower, leaf on the very small piece of open grain。这一现象用肉眼看不出，这也是最重要的一个特征。而粉彩则感觉不到有凸出的情况。 Painting and ornamentation, enamel painting work is particularly particular, mostly for the stroke;Each dynasty is different, for example, Kangxi's enamel is mostly colored, its color is red, yellow, blue, green, purple, rouge and so on。 款识：康熙时期的款识有一度是被禁止写款的。
珐琅彩瓷的绘画是其精华所在。珐琅彩瓷的胎、彩和造型终究逃不过同时期其他彩瓷的影子，而绘画却有他独特酌一面。珐琅彩的绘画大多出自宫廷御用纸绢画的画稿。According to records, there are many famous painters from Kangxi to Qianlong painting, among which the most famous are: Wang Yuanqi, Jiang Tingxi, Lang Shining (Italian western painter) Leng Mei, Tang Dai, Gao Qipei, Yuan Jiang, Dong Bangda, Jin Tingbiao, Li Shizhuo, Shen Hui, Yuan Ying, Wang Jingming, Qian Weicheng and so on。这些名画家的画稿被画工精心地描绘于珐琅彩瓷器上，形神兼备，各具不同的风采。 珐琅彩绘的发展有各自的时代特点。康熙时候的珐琅彩绘大都仿照铜胎画珐琅时的色彩图案。内容多为缠枝牡丹、缠枝西蕃莲、缠枝秋葵，也有写生花卉。构图上是讲究对称的规矩图案，花大叶大，内容简单，缺乏生气。At this time, the color texture of the foil is very useful, the texture of red, yellow, blue, white and other colors, but all colors and paintings are outside the object, the inner wall is white。施色匀净是康熙珐琅彩的最大特点。 In the early years of Yongzheng, the enamel painting did not change much, and the composition was still rigid and symmetrical, but the sketching painting began to increase, with some vitality, and the background was still carminated red, yellow, blue, white and other colors。到了雍正中期，“院画”的工笔画在整个社会流行开来，很得雍正皇帝的赏识。The painters of enamel porcelain catered to the likes and dislikes of the emperor, and began to "hook, draw, wrinkle and dye" on enamel porcelain, which was also unique to enamel porcelain。Most of the painting themes are the profound meaning of hibiscus mandarin duck, ganoderma lucidum narcissus, golden rooster peony, plum orchid bamboo chrysanthemum, bamboo sparrow, autumn tree Mynas, etc., and there are a variety of landscape pavilion pictures。Because Yongzheng himself liked ink painting and colored landscape, so these paintings are useful, ink, blue monochrome or two colors painted, very elegant and beautiful。“团蝶图”则是集所有颜色于一身，据说有36种颜色之多。终究是纸绢画做底稿，这些画有直接在洁白如雪的瓷器上画的，有在设色上画的，但设计都很精巧。此时的器物身上仍多数是里不画，有少许里画的则外面就被敷上彩色。此时也偶见“锦灰堆”画法。 康熙珐琅彩碗，成交2个亿。刷屏。 所以，很有必要普及一下相关知识：珐琅彩瓷。 1.珐琅彩瓷，民国时习惯称呼：古月轩。究竟因何而起，不得而知。只是以讹传讹，相沿至今。大约在近十年，古月轩已经渐渐被弃用，统一写成：珐琅彩瓷。 2.Roughly in the Qing Dynasty, when Kangxi, from the West introduced a kind of precious court supplies, that is, in gold, silver, copper and other objects on the body enamel painting, such as emperor stationery and concubine makeup vessels, exquisite and exquisite, deeply appreciated by the royal family。遂命造办处照样仿制。 造办处随后制作出了金胎画珐琅、铜胎画珐琅、料胎（玻璃）画珐琅等品种。 当时，瓷器正处于高度发展时期，所以，这种珐琅彩的做法，很快就出现在瓷器上面。 清雍正
珐琅彩墨竹图碗 高7.58cm 口径16.1cm 足径4cm 上海博物馆 清乾隆
珐琅彩竹菊鹌鹑图瓶 高19.15cm 口径5.55cm 足径6.2cm 上海博物馆 3.In the twentieth year of Kangxi (1681), Zang Yingxuan, in the name of the Ministry of Works, went to Jingdezhen to supervise the production of porcelain, under his auspices, with imported foreign materials combined with Jingdezhen porcelain, the production of porcelain enamel painting new varieties。珐琅彩瓷诞生。 上一篇鉴赏龙泉瓷 |
