【藏品名稱】：粉彩過墻桃紋詩文杯（大清乾隆年制）
[collection name]: pink wall crossing peach pattern poetry cup (made in the Qianlong year of the Qing Dynasty)
【藏品類別】：瓷器
[collection type]: porcelain
【藏品簡介】：粉彩是景德鎮(zhèn)御窯廠的陶工在琺瑯彩的啟發(fā)和影響下，引進銅胎琺瑯不透明的白色彩料（玻璃白），并借鑒琺瑯彩多色階的配置技法創(chuàng)燒的一種釉上彩新品種。粉彩的燒造過程相當復雜，需在預先燒制好的白瓷上經(jīng)過設(shè)計畫樣、勾線、配色、研色、打底、填色、洗染、燒制等多道工序才能完成，粉彩二次入窯的燒成溫度一般在750℃左右。粉彩瓷創(chuàng)燒于康熙中晚期，當時精品很少。雍正時期，粉彩瓷在造型、繪畫技法及裝飾圖案等方面已趨于成熟。由于粉彩改變了五彩平涂的繪畫技法，給人“粉潤柔和”之感，與康熙硬彩（五彩）相對，亦稱“軟彩”?！短昭拧吩疲?ldquo;康熙彩硬，雍正彩軟。軟彩者粉彩也。彩之有粉者，紅為淡紅，綠為淡綠，故曰軟也。
[collection introduction]: pastel is a new type of overglaze color created by the potters of Jingdezhen imperial kiln factory, inspired and influenced by enamel color, who introduced the opaque white color material (glass white) of copper based enamel and used the configuration technique of enamel color multi-color levels for reference. The firing process of pastel is quite complicated. It can only be completed through multiple processes such as design and drawing, line drawing, color matching, color research, priming, color filling, washing and dyeing, and firing on the pre fired white porcelain. The firing temperature of pastel in the kiln for the second time is generally about 750 ℃. Pastel porcelain was created and burned in the middle and late Kangxi period, when there were few fine products. During the Yongzheng period, pastel porcelain became mature in modeling, painting techniques and decorative patterns. As pastel has changed the painting technique of five color flat painting, it gives people a sense of "Pastel softness", which is also called "soft color" as opposed to the hard color (five colors) of Kangxi. Tao Ya said: "Kangxi's color is hard, Yongzheng's color is soft. The soft color is also pastel. If there is powder in the color, red is light red, and green is light green, so it is called soft.
乾隆帝統(tǒng)治清王朝長達60年，將“康乾盛世”的繁華局面推向了極致。景德鎮(zhèn)的制瓷業(yè)亦盛極一時，集歷代之大成者于一身。據(jù)《清檔》記載，乾隆皇帝對瓷器有著特殊偏好，對粉彩瓷更是情有獨鐘，經(jīng)常直接關(guān)注粉彩瓷的燒制。例如：制作前須呈送畫樣或木樣，待皇帝親自審核后才能送景德鎮(zhèn)御窯廠燒制；有些器物的用途、造型、紋飾、款識以及配合紋飾的詩句等都須經(jīng)過乾隆皇帝的審批；瓷器如果燒制不好，還要賠償甚至受到嚴懲，如乾隆十三年（1748年）乾隆下旨：“唐英呈進瓷器仍系舊樣，為何不照所發(fā)新樣燒造進呈，將這次呈進瓷器錢糧不準報銷，著依賠償。”這種大背景下，粉彩瓷達到了其發(fā)展的頂峰。
Emperor Qianlong ruled the Qing Dynasty for 60 years, pushing the prosperity of the "prosperous period of Kangxi and Qianlong" to the extreme. The porcelain industry in Jingdezhen was also very prosperous, integrating the achievements of previous dynasties. According to records in the Qing Dynasty archives, Emperor Qianlong had a special preference for porcelain, especially for pastel porcelain. He often paid direct attention to the firing of pastel porcelain. For example, the painting or wood samples must be submitted before making, and can only be sent to Jingdezhen imperial kiln for firing after the emperor's personal review; The use, shape, decoration, style, and poems matching the decoration of some utensils had to be approved by Emperor Qianlong; If the porcelain is not fired well, it will have to be compensated or even severely punished. For example, in the 13th year of Qianlong (1748), Qianlong issued an order: "the porcelain presented by Tang Ying is still the old sample. Why not burn and present it according to the new sample. The money and grain presented this time will not be reimbursed, and compensation will be based on it." Under this background, pastel porcelain reached the peak of its development.
“過墻枝”也稱過枝紋，過墻花紋，流行于清康熙、雍正、乾隆三代，多見于盤、碗、瓶等彩瓷上，過枝紋有“長治久安”的吉祥寓意。此粉彩過墻桃紋詩文杯，附帶綠釉底座，周身施白釉，釉色潔白瑩潤，一棵折枝桃樹自盤的底沿沿著盤壁蜿蜒繞過盤口，在杯身舒展開來，樹上掛著內(nèi)五外三共計9個碩大飽滿的桃實，微風吹過，桃枝輕輕顫動，桃葉翻卷，桃花隨風搖曳，鮮嫩、熟透的桃子讓人垂涎欲滴。此杯利用粉彩繪畫中的渲染技法體現(xiàn)畫面的立體感，構(gòu)圖疏密有致，色彩淡雅嬌麗，很好地表現(xiàn)了桃花的不同形態(tài)和桃葉的陰陽向背。
"Wall crossing branch" is also called "wall crossing branch pattern". It was popular in the three dynasties of Kangxi, Yongzheng and Qianlong in the Qing Dynasty. It was mostly seen on colored porcelain such as plates, bowls and bottles. The "wall crossing branch pattern" has the auspicious meaning of "long-term stability". This pink wall crossing peach pattern poetry cup is attached with a green glaze base. The whole body is covered with white glaze. The glaze is white and lustrous. A broken branch peach tree winds around the opening along the wall from the bottom edge of the plate, and stretches out on the cup body. There are nine large and full peaches hanging on the tree, including the inner five and the outer three. The peach branches vibrate gently when the breeze blows, the peach leaves roll, and the peach flowers sway with the wind. The fresh and ripe peaches make people salivate. This cup uses the rendering techniques in pastel painting to reflect the three-dimensional sense of the picture. The composition is dense and elegant, and the color is elegant and beautiful. It well shows the different forms of peach flowers and the Yin and Yang of peach leaves.
仙桃圖案在雍正、乾隆時期經(jīng)常使用，成為裝飾陶瓷器皿的主題紋飾，桃紋寓意“福壽雙全”。由于雍正時期多畫8個仙桃，乾隆時期喜歡繪9個桃子，因此行內(nèi)有“雍八乾九”之說。此盤無論造型、釉色還是裝飾題材都繼承了乾隆朝遺風，具有極高的收藏價值和升值空間！
The peach pattern was often used in the Yongzheng and Qianlong periods, and became the theme decoration for decorative ceramic vessels. The peach pattern implied "both happiness and longevity". Since eight peaches were painted in Yongzheng period and nine peaches were painted in Qianlong period, there is a saying "Yong Ba Qian Jiu" in the industry. This plate has inherited the legacy of the Qianlong Dynasty in terms of shape, glaze color and decorative theme, and has high collection value and appreciation space!
