青花瓷生產于唐代，興盛于元代。成熟的青花瓷出現在元代的景德鎮，紋飾最大特點是構圖豐滿，層次多而不亂。元青花瓷大改以往傳統瓷器含蓄內斂風格，以鮮明的視覺效果，給人以簡明的快感。以其大氣豪邁氣概和藝術原創精神，將青花繪畫藝術推向頂峰，確立了后世青花瓷的繁榮與長久不衰。
Blue and white porcelain was produced in Tang Dynasty and flourished in Yuan Dynasty. Mature blue and white porcelain appeared in Jingdezhen of the Yuan Dynasty. The most important feature of the patterns is that the composition is full and the layers are not disordered. The blue and white porcelain of Yuan Dynasty greatly changed the implicit and restrained style of traditional porcelain, and gave people a concise pleasure with distinct visual effect. With its heroic spirit and original spirit of art, blue and white painting art has been pushed to the peak, which has established the prosperity and long-term prosperity of blue and white porcelain in later generations.
元代社會雜劇繁榮昌盛，往往將戲劇中任務故事情節的跌宕起伏記凝固在后總結是的瓷罐上以供欣賞。在存世甚少的元青花瓷器中，繪有人物故事題材的更是鳳毛麟角。
In the Yuan Dynasty, the social Zaju flourished, and the ups and downs of the task story in the drama were often solidified on the porcelain pot of the summary. In the rare blue and white porcelain of Yuan Dynasty, there are few people who have the theme of character story.
元代景德鎮瓶、罐之類器型，采用分段制胎，然后再用胎泥粘合而成，粘接處器表往往突起，給人以不平之感，外壁接痕經打磨，但內壁接痕仍清晰可見，器物頸部內側略加切削，內壁均不修削，所以在器里的底、腹、口等處胎體接痕表現明顯。一般器物的足邊不規整，有彎曲現象，說明元代制胎時不講究修坯，因此顯得成型工藝較粗糙。但小型器物也有精致者，胎質顯得潔白細膩。削足處理方法常見底足足端外墻斜削一刀，大器足底寬厚多為挖足，挖足有深有淺。器物圈足不十分整齊，呈彎曲狀。器底可見螺旋狀的切削痕，大瓶、大罐的底部。旋削紋較粗、較疏，盤和碗的切削痕較細、較密。底部和圈足內外粘有窯砂，有些已熔入釉中。高足杯的高足與杯身以泥漿拼接，交接處可以看見黃色或漿色擠壓泥漿，杯把足端的圈足厚薄不一。子扣套合結構的蓋，采用子扣與器蓋先成型后粘接工藝，蓋上能清晰地看見接痕。碗的底部胎體較厚重，足內露胎，中心微微突起，俗稱"臍"狀，實為拉坯痕跡。瓶、罐等大型器物底部中心處常見一內凹的圓點，在燒制大器時，為防止塌底，需在底部中心或稍偏處放一個用耐火土做成的圓餅或圓圈作支點，圓點就是由此形成的。大罐底部多為寬圈足，不規整，有的底中心有較淺的螺紋痕跡。
In the Yuan Dynasty, Jingdezhen bottles and jars were made of segmented tires, and then bonded with tire mud. The surface of the bonding part was often protruding, giving a sense of unevenness. The outer wall joint mark was polished, but the inner wall was still visible. The inner side of the neck was slightly cut, and the inner wall was not trimmed. Therefore, the traces on the bottom, abdomen and mouth of the utensils were obvious. The foot edge of general utensils is irregular and has bending phenomenon, which shows that the tire making in Yuan Dynasty did not pay attention to trimming, so the molding process was rough. However, there are also delicate small objects, with white and delicate texture. The most common way to cut the foot is to cut the outer wall of the foot end with one knife. The width and thickness of the sole of the large vessel is to dig the foot, and the digging foot is deep or shallow. The circle feet of utensils were not very neat and curved. Spiral cutting marks can be seen at the bottom of the vessel and the bottom of large bottles and cans. The rotary cutting lines are coarse and sparse, and the cutting marks of plates and bowls are fine and dense. There are kiln sand on the inside and outside of the bottom and ring feet, some of which have been melted into the glaze. The high foot of the Gaozu cup and the cup body are spliced with mud. The yellow or slurry color squeezing mud can be seen at the junction, and the thickness of the circle foot at the foot end of the cup is different. For the cover of the sub button sleeve structure, the process of forming the sub buckle and the cover before bonding is adopted, and the connection mark can be clearly seen on the cover. At the bottom of the bowl, the carcass is thick, the fetus is exposed in the foot, and the center is slightly protruding, commonly known as "navel", which is actually a drawing trace. There is a concave dot in the center of the bottom of large utensils such as bottles and jars. In order to prevent the bottom from collapsing, it is necessary to place a round cake or circle made of refractory soil as the fulcrum in the center of the bottom or slightly deviated place when firing the large utensils. The bottom of large tanks is mostly wide and irregular, and some bottom centers have shallow thread marks.
此元青花人物故事紋罐。器型飽滿雄健，古樸圓渾，繪畫生動傳神，口沿繪一圈波浪紋，器物主體紋飾為人物故事紋，富貴華麗，畫工精湛，錯落有致，青花發色明亮妍翠。時代特征鮮明，內腹壁斑駁粗獷，可見一道道極不規則的慢輪修坯痕，即為元青花獨特的成型工藝。通體內外施釉，釉色白中泛青，積釉處呈鴨蛋青色澤，特別是口部積釉垂流鴨蛋青色澤更為自然、明顯，為十分典型的元代景德鎮青花瓷器的特征（小型器物一般無明顯淚痕）。
This Yuan Dynasty blue and white figure story design pot. Its shape is full and vigorous, simple and round. The painting is vivid and vivid. A circle of wavy patterns are painted along the mouth. The main body of the utensils is decorated with story patterns of characters. It is rich and gorgeous, the painting is exquisite, and the blue and white hair is bright and beautiful. The unique molding technology of Yuan Dynasty blue and white is characterized by distinctive characteristics of the times, mottled and rough inner abdominal wall, and irregular slow wheel trimming marks. The glaze is white and blue in color, and the glaze appears duck egg blue color, especially in the mouth. The duck egg blue color is more natural and obvious, which is the typical characteristics of Jingdezhen blue and white porcelain of Yuan Dynasty (small objects generally have no obvious tear marks).
從該器物整體發色來看，其色澤較為艷翠，為典型的翠毛藍色，制作工序，先用青花勾線，后填彩，彩釉濃淡分明，青花發色妍麗，素底寬圈足，直口短頸，唇口稍厚，溜肩圓腹，肩以下漸廣，至腹部下漸收，至底微撇。使用進口鈷料繪出青花紋飾，，開片自然，局部氣泡已老氧化，不難看出該罐屬標準的傳世品，經過700年左右的傳承，器物表面包漿自然老到，不規則牛虻紋遍布整個器身，用高倍放大鏡釉下觀察，可見莫來石晶體（掛冰），藍釉（滲藍）點大小不一，釉面棕眼依稀可見，棕眼內外沙灘痕明顯。在民間能發現如此完好無損的元青花纏枝牡丹紋大罐標準器,實屬罕見。為元代精品代表作，具有極高的歷史價值及收藏價值——極具收藏！
From the overall hair color of the object, it is a typical green hair blue. In the production process, the blue and white thread is first used, and then the color is filled. The color of the glaze is clear. The blue and white hair color is beautiful, the plain bottom is wide, the mouth is short and the neck is short, the mouth is slightly thick, the shoulder is round and the abdomen is wide, and the abdomen is gradually closed to the bottom. The blue and white patterns are drawn with imported cobalt. It is easy to see that the jar is a standard product handed down from generation to generation. After 700 years of inheritance, the surface of the utensil is naturally coated with slurry, and the irregular gadfly patterns are all over the whole body. By observing under the glaze with a high power magnifying glass, we can see mullite crystal (hanging ice), different sizes of blue glaze (blue infiltration) and brown eyes on the glaze surface The sand beach marks inside and outside the brown eye are obvious. It is rare to find such an intact large jar with peony pattern and blue and white flowers in Yuan Dynasty. It is a masterpiece of the Yuan Dynasty, which has a high historical value and collection value!
此件藏品現在展賣于藝品在線商城平臺中，據持寶人介紹說，這件瓷器是祖上傳下來的。曾讓專家老師鑒定過，絕世精品。在本公司得知其有這件罕見珍品，特邀其持這件瓷器參加，現持寶人因資金周轉困難原因。忍痛割愛愿將此件瓷器委托本公司代其通過網絡媒體進行尋找買家。如對此藏品有興趣收藏者，可撥打企業聯系電話：400 686 3616進行洽談。
The collection is now on sale in the art online mall platform. According to the treasure holder, the porcelain was handed down by ancestors. It has been appraised by experts and teachers, and it is a masterpiece. We learned that he had this rare treasure and invited him to take part in it. Now the holder of the treasure has difficulty in capital turnover. We are willing to entrust this porcelain to our company to find a buyer through network media. If you are interested in this collection, you can call the enterprise contact number: 400 686 3616 for discussion.
