青花釉里紅始于元代，以鈷為著色劑的青花和以銅為發色劑的釉里紅燒制而成。在明代很少有青花釉里紅的成功之作。康熙時期燒制有所創新且最為成功。康熙青花釉里紅主要是官窯瓷器。
Blue and white underglaze red began in Yuan Dynasty. It was made of blue and white with cobalt as colorant and underglaze red with copper as colorant. There are few successful blue and white underglaze red works in Ming Dynasty. During the Kangxi period, the firing was innovative and the most successful. Kangxi blue and white underglaze red porcelain is mainly official porcelain.
康熙早期釉里紅的色調有深濃與淺淡兩種，深濃者有凝厚感，淺淡者呈粉色至紫色。細筆線條的描繪細致清晰，有的清新，有的深沉。由于使用浙料或江西、廣東青料描畫，呈色灰藍，個別發色欠佳，濃重灰暗及藍黑，與順治青花特點很相似。
In the early Kangxi period, there were two kinds of underglaze red hues: deep and light. Those with deep underglaze red were thick and those with light underglaze red were pink to purple. The description of fine lines is detailed and clear, some fresh, some deep. Due to the use of Zhejiang materials or Jiangxi and Guangdong green materials, the color is gray and blue, and some of the hair color is poor, with thick gray and blue black, which is very similar to Shunzhi blue and white.
中期青花使用云南省的"珠明料",這種青花色料提練精純，由于水沉法改進為煅燒法，呈色鮮藍青翠，無漂浮感，明凈艷麗，清朗不渾，艷而不俗。有的呈寶石藍色，鮮藍而不火氣，它與清代其它各朝青花有很大的區別，時代特征十分明顯。并形成了一種新的藝術面貌。人們往往稱康熙青花為"翠毛藍"。晚期青花，呈色趨于淡雅，有的灰藍，有的泛暈散，也有描青花，所占比重不大，多繪在杯、盤、碟等小件器皿上。
In the middle period of blue and white, the "Zhuming material" of Yunnan Province was used. This kind of blue and white pigment was refined and pure. Because the water sinking method was improved to the calcination method, it was bright blue and green, without floating feeling, bright and beautiful, clear and not muddy, gorgeous and not vulgar. Some of them are gem blue, bright blue but not fiery. They are very different from the blue and white of other dynasties in the Qing Dynasty, and the characteristics of the times are very obvious. And formed a new artistic appearance. People often call Kangxi blue and white "Turquoise Blue".
In the late period, the color of blue and white tended to be light and elegant. Some were gray blue, some were faint and scattered, and some depicted blue and white, which accounted for a small proportion. They were mostly painted on small utensils such as cups, plates and saucers.
取材方面，最突出的特點是師法自然和社會，反映世俗生活，主要有：植物花卉、山水、動物、人物故事、神話故事、吉祥紋以及長篇詩句等。也有一些是來自明末清初的木刻版畫內容，康熙青花千變萬化的裝飾圖案，也為其后雍、乾青花瓷器的發展奠定了堅實基礎。
In terms of material selection, the most prominent features are imitating nature and society, reflecting secular life, mainly including plants and flowers, mountains and rivers, animals, character stories, fairy tales, auspicious patterns and long poems. There are also woodcut prints from the late Ming and early Qing Dynasties. The ever-changing decorative patterns of Kangxi blue and white porcelain also laid a solid foundation for the development of Yong and Qian blue and white porcelain.
康熙青花瓷器的款識，多種多樣，在清代一朝是最為豐富多樣。早期青花一般不書帝王年號款，偶見以宮廷或御花園中的齋堂落款，不帶雙圈，如"中和堂制"、"康熙辛亥中和堂制"（康熙十年）、"康熙壬子中和堂制"（康熙十一年）、"康熙癸丑中和堂制"（康熙十二年）等，中和堂是康熙皇帝在圓明園中的住所。
Kangxi blue and white porcelain has a variety of styles, especially in the Qing Dynasty. In the early blue and white period, the emperor's year was not written. Occasionally, it was written in the palace or the Zhaitang in the imperial garden, without double circles, such as "Zhonghe Tang system", "Zhonghe Tang system of Kangxi 1911" (the 10th year of Kangxi), "Renzi Zhonghe Tang system" (the 11th year of Kangxi), "Guichou Zhonghe Tang system" (the 12th year of Kangxi). Zhonghe Tang was the residence of Emperor Kangxi in Yuanmingyuan.
康熙青花中期開始大量書寫帝王年號款，均為楷書，主要是青花雙圈"大清康熙年制" 6 字款， 3 行 6 字。晚期青花既有 3 行 6 字，也有雙行 6 字，后者往往不畫雙圈，"清"字右下的"月"字下現一橫常豎寫，還有少量的"大清年制"4字楷書款。這種4字款在顏色釉中也常看到，如黃釉碗和青釉瓷器蓋碗等。康熙款總的風格是一般色澤稍淺淡，字體清晰，瘦長，端莊工整，清秀有力，熙字寫法有"一撇三臣二筆已"之說，下半部的四點有直點和順點兩種，前者居多。字與字之間拉開距離比較大，上下不是很緊湊，頂天立地，時代特征鮮明。
In the middle period of Kangxi's blue and white period, a large number of emperor's year numbers were written in regular script, mainly in blue and white double circle "Qing Kangxi year system" with 6 characters and 3 lines of 6 characters. In the late blue and white period, there were not only three lines and six characters, but also double lines and six characters. The latter usually did not draw double circles. There was a horizontal and often vertical writing under the "month" at the bottom right of the "Qing" character, and there was a small amount of four character regular script of the "year system of the Qing Dynasty". This kind of four character pattern is often seen in colored glaze, such as yellow glazed bowl and blue glazed porcelain cover bowl. The general style of Kangxi style is light in color, clear in font, long and thin, dignified and neat, elegant and powerful. The style of Kangxi style has the saying of "one skimming three ministers and two strokes already". The four dots in the lower part have two kinds of straight dots and smooth dots, the former is the majority. The distance between the characters is relatively large, the upper and lower parts are not very compact, and they stand upright and have distinctive characteristics of the times.
此件大清康熙青花釉里紅五福人物大盤，口沿46.5公分，青花釆用珠明料，呈色青中泛紫，康熙中期特征。側光看去釉面精光內斂。可見表面呈桔皮縐。底施灑藍釉，十分均勻漂亮。典型的中期寫款。典型的泥湫背修得十分規整。整器光亮如新，寶氣十足。正所謂＂官窯如新＂＂如新才是寶＂。十分珍貴。
This blue and white glazed red five blessing figure plate of Kangxi period in Qing Dynasty is 46.5cm in length. The blue and white is made of Zhuming material. It is blue in color and purple in color. It is characterized by the mid Kangxi period. From the side light, the glaze is pure and introverted. It can be seen that the surface is orange peel crepe. The bottom is sprayed with blue glaze, which is very uniform and beautiful. Typical mid-term writing. The typical clay back is very regular. The whole machine is as bright as new and full of treasure. It is the so-called "official kiln as new" and "as new is treasure". It's very precious.
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