此件清代青花云龍紋大瓷盤為圓形淺盤，祖傳，矮圈足，白底青花。盤內繪“云龍紋”圖案，龍目凸張，張牙舞爪，姿態矯健蒼勁。隙地満飾卷云、火焰紋，布局嚴謹，繪工精細。此盤形制巨大，通體以青花為飾。
This large blue and white porcelain plate with cloud dragon pattern in Qing Dynasty is a round shallow plate, which is handed down from ancestors and has blue and white background. The plate is painted with the pattern of "cloud dragon pattern". The dragon's eyes are protruding and their teeth are dancing. Their posture is vigorous and vigorous. It is decorated with cirrus clouds and flame patterns, with strict layout and fine painting. This plate is huge in shape and decorated with blue and white.
龍作為我國一種神話傳說形象，自古以來都是祥瑞與尊貴的象征。龍紋作為瓷器紋飾的重要組成部分自瓷器產生就出現了，龍紋的雛形最早見于新石器時期。
As a mythical image in China, dragon has always been a symbol of auspiciousness and dignity since ancient times. As an important part of porcelain decoration, dragon pattern has appeared since the emergence of porcelain, and the rudiment of dragon pattern was first seen in the Neolithic period.
不同時期的龍紋表現手法大不相同。東漢至唐代，龍紋多數以堆貼、捏塑、范印手法表現，此時的龍紋常常同人物、走獸、飛鳥、蓮花等堆塑紋組合使用。這一時期的龍紋，龍的形體帶有比較大的隨意性，形制取決于器物的裝飾需要，著重龍首的藝術效果，所以龍角卷曲，嘴部刻劃細膩，但身軀較呆板，頸、腹、尾變化不大，龍爪似蹄。五代至元代，民間用瓷基本沿襲前朝模式，仍以貼、塑、模印為主，與皇權有密切聯系的瓷器則以刻劃、模印的平面圖案為主，此時的龍紋，常常與祥云、波濤組合在一起。這一時期的龍紋，龍身多數披鱗，身、尾界限清晰，體格有強壯的也有纖細的，龍首有角、發、卻無雙須，龍爪一般為三趾。明清兩代是龍紋的全盛時期，紋飾主要采用釉下、釉上彩繪方法，亦有用印花、劃刻、堆貼等工藝技法制作，此時的龍紋，除了云龍紋、龍鳳紋、云濤龍紋和海水龍紋題材外，蟠龍戲珠紋、雙龍搶珠紋在明清兩代更加盛行。這一時期的龍紋，龍作蛇形，龍紋的上頜部位出現了雙須，龍首之鬢、發、須齊全，身軀矯健、爪以四五趾為主，而五爪龍紋則被官方壟斷，并貫穿了明清兩朝。
The expression techniques of dragon patterns in different periods are quite different. From the Eastern Han Dynasty to the Tang Dynasty, most of the dragon patterns were displayed by means of piling, kneading and pattern printing. At this time, the dragon patterns were often used in combination with sculpture patterns such as figures, animals, birds and lotus flowers. In the dragon pattern of this period, the shape of the dragon is quite random. The shape depends on the decoration needs of the utensils, and the artistic effect of the dragon head is emphasized. Therefore, the Dragon horns are curly and the mouth is carved delicately, but the body is rigid, the neck, abdomen and tail are not changed much, and the Dragon claws are like hooves. From the Five Dynasties to the Yuan Dynasty, the folk porcelain basically followed the pattern of the previous dynasty, mainly sticking, molding and printing. The porcelain closely related to the imperial power mainly used the plane pattern of engraving and pattern printing. At this time, the dragon pattern was often combined with Xiangyun and Bo Tao. The dragon pattern of this period shows that most of the Dragon bodies are covered with scales, the body and tail are clearly defined, the physique is strong and some are slender, the dragon head has horns, hair, but no double whiskers, and the claws are generally three toes. The Ming and Qing Dynasties were the heyday of dragon patterns. The patterns were mainly made by underglaze and overglaze color painting, as well as printing, engraving, stacking and other techniques. In addition to the motifs of cloud dragon pattern, dragon phoenix pattern, Yuntao dragon pattern and sea dragon pattern, the dragon pattern of Panlong playing with beads and Double Dragons grabbing pearls were more popular in the Ming and Qing Dynasties. During this period, the dragon pattern was snake shaped. The upper jaw of the dragon pattern appeared double whiskers. The temples, hair and whiskers of the dragon head were complete. The body was vigorous and the claws were mainly four or five toes. The five claw dragon pattern was monopolized by the government and lasted through the Ming and Qing Dynasties.
清代是青花瓷發展的鼎盛期，以康熙青花最為卓越?？滴跚嗷ㄙ|量上乘，呈色翠藍，濃淡層次分明，有“青花五彩”的美譽。雍正青花以質地優良、細巧精致而著稱，呈色艷麗，但不如康熙時的豐富。乾隆青花以正藍為主，色澤明艷穩定，無暈散現象。因粉彩瓷的逐漸增加，青花瓷自乾隆后期慢慢衰退了。道光時曾一度復興，但主要是仿康熙青花瓷，青花呈色浮躁，釉面疏松。
The Qing Dynasty was the heyday of blue and white porcelain development, with Kangxi blue and white porcelain as the most outstanding. Kangxi blue and white are of high quality, emerald blue in color, clear in thickness and light, with a good reputation of "blue and white multicolored". Yongzheng blue and white is famous for its fine texture, delicate and exquisite color, but not as rich as that in Kangxi. The blue and white of Qianlong are mainly pure blue with bright and stable color, without halo and scattering. Due to the gradual increase of porcelain, blue and white porcelain has been declining since the late Qianlong period. Daoguang had a Renaissance, but mainly imitated Kangxi blue and white porcelain, blue and white color impetuous, glaze loose.
此青花云龍紋大瓷盤造型清秀典雅，胎質細膩，釉質白凈勻亮，更襯托青花發色之艷麗，繪飾筆法一絲不茍，為清代青花瓷精品之作，觀賞收藏俱佳。
This large blue and white porcelain plate with cloud dragon pattern is elegant in shape, delicate in texture and white in glaze. It also sets off the gorgeous color of blue and white hair. The painting and decoration techniques are meticulous. It is a fine work of blue and white porcelain in Qing Dynasty, and it is also a good collection.
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