中國的制瓷工藝發展至清代，在康熙、雍正、干隆三朝時期達到了歷史最高水平，無論是斗彩、五彩、素三彩，還是琺瑯彩、粉彩和釉下三彩，質量和數量都為前代不可比擬，當時的官窯瓷器代表了當時中國瓷器的最高水平。清代在瓷器燒制制作過程中，對于瓷器著色、繪畫、燒制溫度、拉坯等等工藝達到了瓷器的巔峰也是一個大的融合年代！
China's porcelain making technology developed to the Qing Dynasty, and reached the highest level in history during the Kangxi, Yongzheng and Ganlong dynasties. The quality and quantity of doucai, wucai, plain tricolor, enamel, famille rose and underglaze tricolor were incomparable in quality and quantity. At that time, the official porcelain represented the highest level of Chinese porcelain at that time. In the process of porcelain firing and making in Qing Dynasty, the porcelain coloring, painting, firing temperature, casting and other crafts reached the peak of porcelain, which was also a big integration era!
中國瓷器在世界久負盛名，作為清宮庭的又一燒創技藝，粉彩瓷更是擁有無可替代的地位與美麗，可謂價值與顏值起飛，是非常值得珍藏的瓷器品類。
Chinese porcelain has a long history of fame in the world. As another firing technique of the Qing court, famille rose porcelain has irreplaceable status and beauty. It can be said that the value and appearance take off, and it is a kind of porcelain worthy of collection.
粉彩瓷是康熙晚期受琺瑯彩瓷影響和啟發而出現的釉上彩瓷新品種，素有“始于康熙，精于雍正，盛于乾隆”之說，迄今已有300多年歷史。其制作工藝是在燒成的白瓷上勾勒出紋飾圖案的輪廓，在輪廓內先用含有氧化硅、氧化砷和氧化鉛的“玻璃白”打底，然后按所需顏色在上面繪畫渲染，再次入窯烘燒而成。所繪人物、花鳥、山水，濃淡相間，色彩豐富，畫工細膩，富有立體感。因此粉彩瓷的紋飾比五彩瓷生動逼真。
Famille rose porcelain is a new kind of overglaze porcelain which was influenced and inspired by enamel color porcelain in the late Kangxi period. It has a history of more than 300 years. The production process is that the outline of decorative patterns is outlined on the fired white porcelain, in which the "glass white" containing silicon oxide, arsenic oxide and lead oxide is used as the base, and then painted and rendered according to the required color, and then baked in the kiln again. The figures, flowers and birds, mountains and waters are thick and light, rich in color, delicate and full of three-dimensional sense. Therefore, the decoration of famille rose porcelain is more vivid than that of multicolor porcelain.
粉彩瓷的裝飾可以追溯到唐三彩，它是在燒好的白瓷器釉面上再施以彩繪。由于彩料中摻進了含砷的玻璃料，使色彩有粉質感而得名。康熙時的景德鎮粉彩瓷處于初創時期，器型比較單一，僅見盤、水丞等，粉彩也只限于裝點圖案的局部，像花蕊等，風格簡樸，著色粗糙。雍正粉彩瓷進入成熟時期，器型明顯增多，除日常生活用品盤、碗外，常見杯、碟、罐、燈籠瓶、六角瓶、天球瓶、花觚、筆筒、提梁壺等。粉彩瓷多數是在經過精心挑選的細白瓷上進行彩繪，淡雅柔麗之感更為鮮明。雍正粉彩瓷采用了國畫中花卉的沒骨畫法，所繪花鳥蟲草濃淡相間，層次清晰，妖艷柔美，栩栩如生。其精者做到了“花有露珠，蝶有茸毛”的程度。裝飾圖案有花鳥、人物、山水等，尤以花卉最多，牡丹、月季、海棠等四季花卉很普遍。盤、碗之類采用“過墻”裝飾，花紋外壁向上延伸，越過器物口沿延伸到器里構成一幅完整的面，構思巧妙而新穎。除白地粉彩外，還有色地粉彩，如珊瑚紅地、醬地、淡綠地、墨地、木紋理開光等。
The decoration of famille rose porcelain can be traced back to the tri colored glazed pottery of Tang Dynasty. It is painted on the glaze of white porcelain. Because of the addition of arsenic containing glass frit in the color material, the color has a pink texture and is named. During the reign of Kangxi, Jingdezhen famille rose porcelain was in its infancy, and its shape was relatively single. Only the plate and Shuicheng were seen. The pastel was only limited to the parts of decorative patterns, such as stamens and so on. The style was simple and the color was rough. In addition to dishes and bowls for daily life, cups, dishes, jars, lantern bottles, hexagonal bottles, Tianqiu bottles, flower goblets, pen holders, and handle pots are common. Most famille rose porcelain is painted on the carefully selected fine white porcelain, which makes the feeling of elegant and beautiful more distinct. Yongzheng Famille Rose Porcelain adopts the boneless painting method of flowers in traditional Chinese painting. The flowers, birds and Cordyceps are mixed in thick and light, with clear layers, charming, soft and vivid. The essence of the "flowers have dew, butterflies have hair" degree. Decorative patterns include flowers and birds, figures, mountains and rivers, especially flowers, peony, rose, Begonia and other four seasons flowers are very common. Plates and bowls are decorated by "crossing the wall". The outer wall of the pattern extends upward and extends beyond the mouth of the utensil to form a complete surface. The design is ingenious and novel. In addition to white ground pastels, there are also color pastels, such as coral red ground, sauce ground, light green space, ink ground, wood grain and so on.
乾隆粉彩瓷進入鼎盛時期，在雍正粉彩瓷的基礎上進一步發展，產量較大，造型更為豐富。除日常所用的碗、盤、杯、碟外，文房用具及各種陳設用瓷應有盡有，如筆筒、筆架、筆洗、印盒、壁瓶、香插、如意、轉心瓶、轉頸瓶、仿瓜果形的象生瓷等。裝飾手法除白地粉彩和色地粉彩外，還有與釉下青花結合的青花粉彩。乾隆粉彩瓷豪華富麗，以色地為多，如紅地、黃地、綠地、藍地、豆青地等呈色各異，深淺不等，為創作五彩繽紛的粉彩瓷提供了基礎。并常見在一件器物上集軋道、開光、鏤空、堆雕、描金等多種裝飾工藝。粉彩裝飾風格是器身布滿花紋，顯得特別繁縟、華麗，人物、花卉、翎毛等均以名家繪畫為藍本，并糅合西方繪畫技巧，畫面有了深淺濃淡，立體感強。
Qianlong Famille Rose Porcelain entered its heyday, and further developed on the basis of Yongzheng famille rose porcelain, with a large output and rich shapes. In addition to the daily bowls, plates, cups and dishes, there are all kinds of porcelain for stationery and various furnishings, such as pen holder, pen holder, brush wash, printing box, wall bottle, incense stick, Ruyi, revolving heart bottle, revolving neck bottle, elephant like porcelain in the shape of melon and fruit. In addition to the white and colored pastels, there are also blue and white pastels combined with underglaze blue and white. Qianlong's famille rose porcelain is luxurious and gorgeous, with the colors of red, yellow, green, blue and bean green as the main color and depth, which provides the basis for the creation of colorful pastel porcelain. And common in a piece of artifacts set rolling, light, hollowing out, heap carving, gold painting and other decorative techniques. The decoration style of famille rose is that the body is covered with patterns, which is particularly complicated and gorgeous. Figures, flowers and feathers are based on famous painters' paintings and combined with Western painting techniques. The painting has a strong three-dimensional sense.
此件清晚牡丹花卉青絲紋蓋罐 ，正宗家傳瓷器蓋罐，清晚民國牡丹紅花青絲紋花卉蓋罐，花卉圖紋大方靚麗，字跡瀟灑清晰誘人。勻凈厚潤。滿飾牡丹花卉青絲紋，勾畫細膩，纏枝婉轉舒展，著色深淺有致，頗見柔美之姿。整體繪畫細致工整，工藝精湛絕倫，構圖圓碩。值得收藏。
This vase with blue silk pattern of peony flowers in the late Qing Dynasty, the authentic family porcelain jar, the peony red flower and blue silk pattern flower cover jar in the late Qing Dynasty and the Republic of China has elegant and beautiful flower patterns and clear and attractive handwriting. It is even, clean and thick. It is decorated with green silk patterns of peony flowers. The outline is delicate, the twigs are graceful and stretch, and the color is deep and light, which shows a soft and beautiful posture. The whole painting is meticulous and neat, with exquisite craftsmanship and round composition. It's worth collecting.
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