霽紅釉，又名祭紅、積紅，色似初凝的雞血，深沉安定，瑩潤均勻，釉中無龜裂紋理，不甚透明，不流釉，不脫口，不開片。它以銅為呈色劑，用普通制釉原料，加入釉灰、氧化錫，生坯掛釉，高溫還原燒成。有的霽紅釉料配制時，還往往將黃金、珊瑚、瑪瑙、玉石等珍貴之物碾成粉末摻入其中，不惜工本。霽紅釉是利用銅在還原氣氛下呈現(xiàn)紅色燒制而成，但這種生產(chǎn)氣氛不易控制，因而十分名貴，明中晚期曾一度失傳，至清代才恢復燒造，色澤更加艷麗、多樣。
Ji red glaze, also known as sacrificial red and accumulated red, is deep and stable with uniform luster. It has no cracking texture in the glaze, is not very transparent, does not flow glaze, does not fall off, does not open. It uses copper as coloring agent, uses common raw materials for glaze making, adds glaze ash and tin oxide, glaze the green body, and reduces the firing at high temperature. Some Ji red glaze preparation, but also often gold, coral, agate, jade and other precious things ground into powder, into which, sparing no cost. Jihong glaze is made of copper in reducing atmosphere, but this kind of production atmosphere is not easy to control, so it is very valuable. It was lost in the middle and late Ming Dynasty, and it was restored in Qing Dynasty. The color is more colorful and diverse.
人們常說，陶瓷是土與火的藝術(shù)，在品種繁多、百花爭艷的單色釉瓷中，高溫紅釉瓷的燒制難度最大。它難就難在以銅為呈色劑，而銅的呈色不僅與銅的含量和釉的成分有關(guān)，對窯內(nèi)溫度、氣氛變化和窯外天氣也十分敏感，如果溫度和燒制氣氛掌握不好，銅就會發(fā)黑、變綠，甚至產(chǎn)生“燒飛”現(xiàn)象無法顯色。即使用同一配方，在同樣的條件下燒制，只因擺放的位置不同，器物的色調(diào)也不同。景德鎮(zhèn)的祭紅釉瓷器非常難以燒制成功，按民間的說法，叫“千窯一寶”，也就是上百爐的窯火中，才能得到一、兩件霽紅。據(jù)成書于清嘉慶年間的《景德鎮(zhèn)陶魁》記載，“霽紅器，陶戶能造霽紅者少，無專家，惟好官古戶仿之。”道光時期龔旬亦在所編的《景德鎮(zhèn)陶歌》中說：“官古窯成重霽紅，最難全美費良工。霜天晴畫精心合，一樣燒百不同。”可知霽紅釉燒造難度之大，要燒得純正之霽紅釉并非易事。
It is often said that ceramics are the art of earth and fire. Among the various monochromatic glazed porcelains, the firing of high-temperature red glazed porcelain is the most difficult. It is difficult to use copper as coloring agent, and the coloring of copper is not only related to the content of copper and the composition of glaze, but also very sensitive to the changes of temperature and atmosphere inside the kiln and the weather outside the kiln. If the temperature and firing atmosphere are not well controlled, copper will turn black and green, and even produce "burning fly" phenomenon, which can not show color. That is, using the same formula and firing under the same conditions, the colors of utensils are different because of the different positions. Jingdezhen red glaze porcelain is very difficult to be successfully fired. According to the folk saying, it is called "thousand kilns and one treasure", that is, one or two pieces of Jihong can be obtained from hundreds of kilns. According to the record of Tao Kui in Jingdezhen, which was written in the reign of Jiaqing in Qing Dynasty, "there are few potters who can make Jihong, and there are no experts, but only good officials and ancient households can imitate it." In his Jingdezhen pottery song compiled by Gong Xunyi during the Daoguang period, he said: "it is most difficult to spend good labor in the United States when the ancient official kilns are red. The painting of frost and fine weather is carefully combined, which makes all kinds of difference. " It can be seen that Jihong glaze is difficult to make, and it is not easy to burn pure Jihong glaze.
真正釉色純正，鮮紅艷麗的“銅紅”釉瓷器出現(xiàn)在明初永樂、宣德時期，學術(shù)界一般稱永樂時期的紅釉為鮮紅釉，稱宣德時期的紅釉為祭紅釉，無論鮮紅釉還是祭紅釉，都稱得上是前無古人、后無來者的頂峰之作。宣德鮮紅釉因燒成氣氛的不同，有深、淺不同的紅色，有寶石紅、霽紅等名目。有里、外均施紅釉和外壁施紅釉，里壁為透明釉兩類，器物里壁不施紅釉者往往胎質(zhì)較薄，且有的有印花紋飾，唯花紋模糊，紅釉釉面多數(shù)有橘皮紋。凡較精細規(guī)整的器物，其口沿有露出胎釉本色的整齊的“燈草邊”，雖亦紅白分明，但不如清康熙后仿的那樣為特意加涂的白邊。較精細規(guī)整的器物，近底足處凝釉截齊，垂積釉處呈青灰色，清代仿品則呈凝黑色。凡制作稍粗的器物，留沿不一定有“燈草邊”，近底足處由于氧化因素呈綠色。有些器物的棱，往往露白胎而成出筋，如北京故宮博物院的十棱洗，臺北故宮博物院的蓮瓣鹵壺。在有些器物上，釉面有青、紫色窯變斑點，釉表有棕眼、冷紋、開片。明代從成化開始，幾乎不再有霽紅出現(xiàn)。清康熙時有仿宣德霽紅的瓷品，但釉色呈黑紅，雍正時仿的則色澤較為潤澤艷麗，有的釉表有橘皮紋。釉色濃淺不等，是雍正霽紅的工藝缺陷，有深褐、正紅、粉紅甚至蘋果青等色。雍正以后霽紅官窯器即很少再出現(xiàn)。
The real pure and bright red "copper red" glaze porcelain appeared in the Yongle and Xuande periods of the early Ming Dynasty. Generally speaking, the red glaze of Yongle period is called bright red glaze, and the red glaze of Xuande period is called sacrificial red glaze. Both the bright red glaze and the sacrificial red glaze can be regarded as the peak works of no one before or after. Due to the different firing atmosphere, Xuande bright red glaze has different red colors, such as ruby red and Jihong. There are two types of red glaze on the inside and outside and transparent glaze on the outer wall. The inner wall without red glaze is usually thin, and some have printing patterns, but the patterns are fuzzy. Most of the red glaze glaze surface has orange peel patterns. For the more delicate and regular objects, there are neat "lamp grass edges" showing the true color of the body glaze. Although they are also distinct in red and white, they are not as white as those specially painted after the reign of Emperor Kangxi of the Qing Dynasty. The glaze near the bottom of the ware is cut evenly, the vertical glaze is green gray, and the imitation of Qing Dynasty is black. If the utensils are made slightly thick, there may not be "lamp grass edge" on the edge, and the place near the bottom foot is green due to oxidation factors. The edges of some utensils, such as the ten edged washing at the Palace Museum in Beijing and the lotus pot in Taipei, are often made out of the white fetus. On some utensils, there are blue and purple spots on the glaze surface, and there are brown eyes, cold lines and open pieces on the glaze surface. From Chenghua in Ming Dynasty, Jihong almost no longer appears. During the reign of Emperor Kangxi in the Qing Dynasty, there were porcelain products imitated by Xuande Jihong, but the glaze color was black red. In Yongzheng period, the color of porcelain imitated was more moist and gorgeous, and some glaze surface had orange peel pattern. The color of glaze varies from thick to light, which is the defect of Yongzheng Jihong, including dark brown, positive red, pink and even apple green. After Yongzheng, Jihong official kiln ware rarely appeared.
明清以降，瓷器被廣泛應用到祭祀用器之中，祭紅因“如朝霞霽色”又稱“霽紅”。據(jù)《景德鎮(zhèn)陶錄》載：“今廠器做‘霽紅’，而陶俗皆作‘濟紅’。其實‘祭紅’為是。蓋宣窯造此，初為祭郊日壇用也。”本品為乾隆年期窯霽紅之代表，造型尊貴典雅，曲線優(yōu)美怡人，釉水凝厚瑩亮;釉面密布細小的棕眼。圈足修削工整，無聚釉垂流之患。如此品格高超的霽紅釉八卦琮式瓶在當時亦屬難得，后世對此更是不可企及，制瓷水平的高峰往往是一時諸條件之最佳綜合所致，缺一不可。
Since the Ming and Qing Dynasties, porcelain has been widely used in sacrificial utensils. According to the "Jingdezhen pottery record", today's wares are "Jihong", and the pottery custom is "Jihong". In fact, "offering sacrifices to the red" means "sacrificing the red". It was made in gaixuan kiln at the beginning of the festival This product is the representative of Jihong kiln in Qianlong period. It is noble and elegant in shape, beautiful and pleasant in curve. The glaze is thick and bright, and the glaze is densely covered with small brown eyes. The ring foot is trimmed neatly, without the problem of glaze vertical flow. Such high-quality Jihong glaze Bagua Cong bottle was also rare at that time, and it was beyond the reach of later generations. The peak of porcelain making level was often caused by the best combination of various conditions at a time, and none of them was indispensable.
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