清乾隆一朝六十年，是清代封建社會發展的鼎盛時期，瓷器生產取得了空前的繁榮，青花瓷燒造也達到了登峰造極的程度。此期青花瓷是當時景德鎮瓷器的主流產品，官窯青花和民窯青花的燒造量都超過歷史上任何朝代遺留下來的傳世品。其瓷器無論是工藝技巧還是裝飾藝術都已達到了爐火純青、出神入化的地步。
The 60th year of the reign of Qianlong in the Qing Dynasty was the heyday of the development of feudal society in the Qing Dynasty. Porcelain production achieved unprecedented prosperity, and the firing of blue and white porcelain reached the peak. This period of blue and white porcelain was the mainstream product of Jingdezhen porcelain at that time. The firing volume of blue and white porcelain in official kilns and folk kilns exceeded the handed down products left over from any dynasty in history. Its porcelain has reached the level of perfection and perfection in both craft skills and decorative art.
乾隆青花以紋飾繁密、染畫工整、造型新奇取勝。除傳統的白地青花外，乾隆朝的青花還派生出許多新品種，把原有的傳統工藝提高到一個嶄新的階段。如青花紅彩、青花加紫、青花胭脂彩、青花油紅、青花斗彩、青花粉彩加金、青花描金、青花釉里紅、黃地青花等等。
Qianlong's blue and white flowers won by their dense patterns, neat dyeing and painting, and novel shapes. In addition to the traditional white ground blue and white flowers, the blue and white flowers of the Qianlong Dynasty also derived many new varieties, raising the original traditional technology to a new stage. Such as blue and white red color, blue and white plus purple, blue and white Rouge color, blue and white oil red, blue and white fighting color, blue and white powder color plus gold, blue and white painting gold, blue and white underglaze red, yellow ground blue and white, etc.
乾隆青花在清代素以“穩定、渾厚、沉著”而著稱，使用國產青料石子青繪制。早期的發色與雍正青花差別不大，略見暈散，但比雍正時期穩定;中期呈色穩定明快，為純藍色;后期呈色較為厚重沉悶，無明快清麗之感。紋飾種類很多，有縟麗繁密，猶如織錦的;有畫面恢宏，橫刀立馬的;有錦地開光，內繪主畫的;有在青花紋飾上罩較單色釉的;有在同一器物上同時使用青花、斗彩、鏤雕、色釉等多種裝飾手法的。為了突出瓷器精品的高貴，不計成本，極盡表現之能事。
Qianlong blue and white painting in the Qing Dynasty is known as "stable, vigorous and calm". It is painted with domestic green material stone green. The early hair color is not different from Yongzheng blue and white, slightly dizzy, but more stable than Yongzheng period; In the middle stage, the color is stable and bright, pure blue; In the later stage, the color is thick and dull, without a sense of lightness and beauty. There are many kinds of patterns, which are red, beautiful and dense, just like brocade; There is a magnificent picture, the horizontal knife immediately; There are brocade fields, which are mainly painted inside; There are blue and white patterns covered with monochrome glaze; Some people use blue and white, fighting color, carving, colored glaze and other decorative techniques on the same utensil at the same time. In order to highlight the nobility of high-quality porcelain products, we do our best to express ourselves regardless of cost.
礬紅是在氧化氣氛中燒制而成的低溫紅釉，比燒成高溫銅紅容易得多，雖不及銅紅純正艷麗，但呈色穩定。礬紅創燒于明嘉靖間。到清康熙時，礬紅有了很大的進步，色澤艷麗，一般用于五彩、斗彩繪制紋飾或施于純色釉器。嘉慶以后，礬紅色澤不甚佳，至光緒時才稍有起色。
Alum red is a low-temperature red glaze fired in an oxidizing atmosphere. It is much easier than firing high-temperature copper red. Although it is not as pure and gorgeous as copper red, it is stable in color. Alum red was burned in Jiajing, Ming Dynasty. By the time of Emperor Kangxi of the Qing Dynasty, alum red had made great progress, with bright color. It was generally used for multicolored and bucket color painting and decoration, or for solid glaze ware. After Jiaqing, the alum red luster was not very good, and it only improved slightly during Guangxu.
陶瓷以青花配礬紅，似肇始明宣德一朝。此工藝于晚明復現，但在清代御瓷中并不多見，其原因之一，或許是高溫燒好釉下青花瓷后，還須在釉上用礬紅彩繪，再重新入窖二次低溫燒成，工藝較為復雜，也增加了制作成本和風險。此青花礬紅纏枝龍紋梅瓶即為典型一例，十分難得。
Ceramics are blue and white with alum red, which seems to have begun the Xuande Dynasty of the Ming Dynasty. This process reappeared in the late Ming Dynasty, but it is rare in the imperial porcelain of the Qing Dynasty. One of the reasons may be that after firing the underglaze blue and white porcelain at high temperature, it must also be painted with alum red on the glaze, and then re-enter the pit for secondary low-temperature firing. The process is more complex, which also increases the production cost and risk. This blue and white alum red twig wrapped dragon plum vase is a typical example, which is very rare.
此件乾隆年制青花礬紅龍紋瓶，口徑77mm,高260mm,腹徑115mm,底85mm,典雅端莊、俊秀俏麗，是傳承千年的陳設經典樣式。胎質堅白，細膩潤澤。腹通體滿繪紋飾，以青花繪纏枝花紋，用礬紅畫龍紋、火紋。整體繁復，密不透風，幾乎整個瓷面都見龍紋穿插、飛騰于花間，雖繁但不顯得雜亂，體現出了一種復雜之美。龍常用于指代“天子”，畫中大小數十飛龍，老幼兼有，動作充滿張力，旋轉翻飛，各具雄姿。一則寓意“蒼龍教子”，二則表現子孫繁多，傳達出一種祈求“多子多福”的美好愿景。底足見“大清乾隆年制”篆書款。
This blue and white alum red dragon bottle made in the year of Qianlong has a caliber of 77mm, a height of 260mm, a belly diameter of 115mm and a bottom of 85mm. It is elegant, dignified, handsome and beautiful. It is a classic style of furnishings inherited for thousands of years. The tire is firm and white, delicate and moist. The whole body of the abdomen is covered with decorative patterns, tangled branches are painted with blue and white, and dragon and fire patterns are painted with alum red. The whole is complex and airtight. Almost the whole porcelain surface can see dragon patterns interspersed and soaring among the flowers. Although it is complex, it does not appear messy, reflecting a complex beauty. The dragon is often used to refer to the "son of heaven". In the painting, there are dozens of flying dragons, old and young, full of tension, rotating and flying, each with majestic posture. One implies "Canglong teaches children", and the other shows that there are many children and grandchildren, conveying a beautiful vision of praying for "more children and more happiness". The bottom shows the seal script of "made in the year of Qianlong in the Qing Dynasty".
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