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（名稱）：乾隆錦地洋彩開光四季花鳥紋方尊

Square Zun with Flower and Bird Patterns

洋彩，顧名思義，從“洋彩”的“洋”字上，便知其與西洋有關。清代曾為雍正、乾隆兩朝皇帝燒制瓷器的督陶官唐英曾這樣表述：“洋彩器皿，本朝新仿西洋琺瑯畫法，圓琢白器，五彩繪畫，摹仿西洋，故曰洋彩。人物、山水、花卉、翎毛無不精細入神，所用顏料與琺瑯色同。”清代曾為雍正、乾隆兩朝皇帝燒制瓷器的督陶官唐英曾這樣表述：“洋彩器皿，本朝新仿西洋琺瑯畫法，圓琢白器，五彩繪畫，摹仿西洋，故曰洋彩。人物、山水、花卉、翎毛無不精細入神，所用顏料與琺瑯色同。”

Yangcai, as the name implies, from the word "foreign" in "Yangcai", it is known that it is related to the West. In the Qing Dynasty, the pottery governor Tang Ying, who made porcelain for the emperors of the Yongzheng and Qianlong dynasties, once stated: The figures, landscapes, flowers and feathers are all meticulously immersed, and the pigments used are the same color as the enamel." In the Qing Dynasty, the pottery governor Tang Ying, who made porcelain for the emperors of Yongzheng and Qianlong, said:

"Foreign-colored vessels, this dynasty's new imitated Western enamel painting method, round cut whiteware, multicolored paintings, imitated Western, so it is called Yangcai. The figures, landscapes, flowers, and feathers are all fine and delicate, and the pigments used are the same color as the enamel.

gdezhen imperial kilns fired a batch of hollowed spinners known as "spiritual craftsmanship". It is particularly worth mentioning that Tang Ying also created an "icing on the cake" engraving

乾隆皇帝即位之初，意氣風發。無論是文治武功，還是藝術創作都極欲有所作為。為了秉承上意，督陶官唐英在江西景德鎮監造御用瓷器時不斷推陳布新。在唐英的用心之下，景德鎮御窯燒制出了一批被譽為“鬼斧神工”的鏤空轉旋器。特別值得一提的是，唐英還開創了一種“錦上添花”剔刻技法，將洋彩的華貴絢麗臻于極致。所謂錦上添花，就是在密布錦紋的隙處，再添紋飾。乾隆六年（1741）開始，這種技法被大量使用于瓷胎畫琺瑯和洋彩瓷器上。錦上添花紋飾分剔地錦紋與描畫錦紋二種。剔地錦紋紋飾微凹，描畫錦紋則略凸。二者皆精雕細琢、筆觸細膩。各式錦地紋包括鳳尾形卷草紋，卍字錦紋、繡球花紋、六角龜甲紋、方形柿蒂紋、花葉紋，修飾邊沿的有蓮瓣紋、回紋、云紋等，都剔工精妙，一絲不茍。據悉，錦上添花的制作工序十分費工，必須經過一次高溫燒制瓷胎，二次以上的低溫燒造紋飾，至少三次以上的燒成工序。

When Emperor Qianlong came to the throne, he was full of spirits. Whether it is Wenzhi Wugong, or artistic creation, they are eager to make a difference. In order to uphold the above intention, Tang Ying, the superintendent of pottery, kept pushing the old and the new while supervising the production of imperial porcelain in Jingdezhen, Jiangxi. Under Tang Ying's intentions, Jintechnique to maximize the luxury and splendor of Yangcai.

The so-called icing on the cake is to add decorations in the gaps of dense brocade patterns. Since the sixth year of Qianlong (1741), this technique has been widely used in porcelain painting enamel and foreign color porcelain. There are two types of decorative patterns on the brocade, namely, picking and drawing brocade patterns. The embossed brocade pattern is slightly concave, while the brocade pattern is slightly convex. Both are meticulously crafted, with delicate brushwork. All kinds of brocade patterns include phoenix tail-shaped curled grass pattern, swastika brocade pattern, hydrangea pattern, hexagonal tortoise shell pattern, square persimmon stalk pattern,

Mosaic patterns, lotus petal patterns, fret patterns, and moire patterns decorate the edges, all of which are delicate and meticulous. It is reported that the production process of the icing on the cake is very labor-intensive. It must go through a high-temperature firing of the porcelain body, two or more low-temperature firing patterns, and at least three or more firing processes.

乾隆年間，督陶官唐英每年春秋兩季，親自前往江西景德鎮監造御用瓷器”，為了博得君心，唐英不斷推陳布新、研究新技法，絞盡腦汁設計新樣式，燒制出一批被譽為‘鬼斧神工’奇巧的鏤空轉旋器；他又開創‘錦上添花’剔刻技法，將洋彩的華貴絢麗臻于極致。‘洋彩’就是唐英創新運用的名詞。唐英之后，景德鎮官窯再也無法燒出如乾隆早期的精美絕世之作。

During the Qianlong period, the pottery officer Tang Ying personally went to Jingdezhen, Jiangxi Province to supervise the production of imperial porcelain in spring and autumn.” In order to win the king’s heart, Tang Ying kept pushing new ideas, researching new techniques, racking his brains to design new styles and firing them. A batch of hollowed spinners known as the "ghost and axe workmanship" Kit Qiao; he also pioneered the "icing on the cake" engraving technique to maximize the luxury and splendor of Yangcai. "Yangcai" is the noun used by Tang Ying innovatively. After Tang Ying , Jingdezhen official kiln can no longer be burned as exquisite and peerless works of the early Qianlong perio

乾隆時期裝飾的圖案追求華麗繁縟的風格，題材內容廣泛，在傳統的花卉、禽鳥、山水、人物的基礎上，增加了大量寓意福祿壽、太平盛世、倫理道德等方面的內容，很多紋飾運用諧音來表達吉祥的祝愿，膾炙人口。猶如此件乾隆錦地洋彩開光四季花鳥紋方尊，四方口，折沿，束頸，折肩，四方體下收，圈足外撇。造型規整，藍釉為地，以纏枝花鳥紋裝飾，寓意吉祥。瓶身部分采用軋道工藝，腹部開光繪花鳥紋飾，紋飾布局繁密，生動優美，意境深遠，栩栩如生，色彩鮮艷，富有層次感，前方和背景均為花簇盛開的牡丹，挺拔的竹子，虛實結合，意境彰顯。作品不僅表現出孔雀的優美、高貴以外，還以雌雄為主體，牡丹、竹子為附屬構成作，整體構圖疏朗秀雅，花朵鮮艷，草木碧翠，工藝繁雜精細之極，盡顯乾隆粉彩瓷器富麗優雅之魅力。古人對孔雀的理解為基甸，表現出孔雀的優美、高貴以外，還以雌雄為主體，牡丹、竹子為附屬，構成作品。孔雀是神圣的，是神話中“鳳凰”的化身，雌雄一對，象征著陰陽結合，代表家庭相結合，表現出人們對婚姻，對愛情的神圣、嚴謹感，也有著成雙成對，好事成雙的寓意。整體制作工藝精湛，為大清乾隆時期粉彩瓷器精細之作，具有極高的收藏價值和升值空間。

The decorative patterns in the Qianlong period pursued a gorgeous and complex style, with a wide range of subjects. On the basis of traditional flowers, birds, landscapes, and characters, a large number of content implying happiness, longevity, peace and prosperity, ethics and morality were added, and many decorative patterns The use of homophonic sounds to express auspicious wishes is very popular. Just like this, a square statue with four seasons of flowers and birds in the Qianlong brocade and foreign colors, with a square mouth, a folded edge, a neck, a folded shoulder, a square body closed downward, and a circle foot outside. The shape is regular,

The blue glaze is the ground, decorated with flowers and birds, which means auspiciousness. The bottle body adopts the rolling process, the belly is decorated with flowers and birds, the layout is dense, vivid and beautiful, the artistic conception is profound, lifelike, colorful, rich in layering, the front and the background are full of blooming peonies, tall bamboo, a combination of virtual and real , The artistic conception is highlighted. The work not only shows the beauty and nobility of peacocks, but also takes male and female as the main body, with peony and bamboo as subsidiary compositions.

The overall composition is sparse and elegant, with bright flowers, verdant vegetation, and extremely complicated craftsmanship, which fully demonstrates the rich and elegant charm of Qianlong famille rose porcelain. The ancients understood the peacock as Gideon, showing the beauty and nobility of the peacock, but also the male and the female as the main body, and the peony and bamboo are attached to form the works. The peacock is sacred and the incarnation of the "phoenix" in the myth. A male and female pair symbolizes the combination of yin and yang, represents the combination of family, and shows people's attitude towards marriage.

The sacred and rigorous sense of love also has the meaning of being in pairs and good things in pairs. The overall craftsmanship is exquisite, and it is a fine piece of famille rose during the Qianlong period of the Qing Dynasty, which has extremely high collection value and appreciation s

洋彩瓷因其原料珍貴、工藝繁雜、精美絕倫而被稱作“彩瓷之冠”，與“彩瓷皇后”琺瑯彩有著異曲同工之妙，乃盛清宮廷工藝的曠世杰作，是乾隆至愛，藏之于乾清宮，供皇帝閑暇賞玩，是極其珍貴稀有的藝術精品。作為中國古陶瓷頂峰時期的作品，代表了中國陶瓷制作的最高水平，蘊涵著皇家的藝術性情，顯示著皇權至高無上的尊嚴。被稱為“洋彩”的瓷器，燒制量非常稀少，由乾隆皇帝親自指導定名、配座、裝匣、評列等級，絕大部分珍藏于乾清宮端凝殿與養心殿，除少數陳設圓明園，后遭入侵者掠奪之外，基本上流失于外者少之又少，坊間難得一見。

Foreign colored porcelain is called the "Crown of Colored Porcelain" because of its precious raw materials, complex craftsmanship, and exquisite exquisiteness. It has the same effect as the "Queen of Colored Porcelain" enamel. It is a masterpiece of Qing court craftsmanship, and is the favorite of Qianlong. , Hidden in the Palace of the Qing Dynasty, for the emperor's leisure time to enjoy and play, is extremely precious and rare art works. As the work of the peak period of Chinese ancient ceramics, it represents the highest level of Chinese ceramics production, contains the royal artistic disposition, and shows the supreme dignity of imperial power.

Porcelain known as "foreign color", the amount of firing is very rare. Emperor Qianlong personally guided the naming, seating, boxing, and ranking. Most of them are collected in the Duanning Hall and Yangxin Hall of Qianqing Palace, except for a few The Old Summer Palace was looted by the invaders after its furnishings, and there were very few people who were basically lost to the outside world.