當(dāng)年一首溫柔婉轉(zhuǎn)的《青花瓷》唱遍大江南北，多少人由此愛上青花瓷那含蓄內(nèi)斂的美。作為中國傳統(tǒng)工藝之一，青花瓷的歷史悠久，點綴了人們的生活已經(jīng)長達(dá)千余年，甚而，它更成為人們的一種精神寄托。青花瓷器是我國古陶瓷中最具代表性的優(yōu)秀品種之一，屬釉下彩，以氧化鈷為著色劑，在坯體上繪畫后罩以透明釉，在1320度高溫一次燒成。青花瓷起源于唐代，發(fā)展于元代，成熟于明、清，并成為主流，一直沿用至今。青花瓷的出現(xiàn)，突破了我國瓷器以單色釉為主的框框，把瓷器裝飾推進(jìn)到釉下彩繪的新時代，形成了鮮明的景德鎮(zhèn)瓷器之風(fēng)格。
When a gentle and tactful "Blue and White Porcelain" was sung all over the country, how many people fell in love with the reserved beauty of blue and white porcelain. As one of Chinese traditional crafts, blue-and-white porcelain has a long history, which has adorned people's lives for more than a thousand years, and even became a spiritual sustenance for people. Blue-and-white porcelain is one of the most representative excellent varieties of ancient ceramics in China, which belongs to underglaze color. Cobalt oxide is used as colorant. After painting on the blank, it is covered with transparent glaze and fired at 1320℃. Blue-and-white porcelain originated in Tang Dynasty, developed in Yuan Dynasty, matured in Ming and Qing Dynasty, and became the mainstream. The appearance of blue-and-white porcelain broke through the frame that China's porcelain is dominated by monochromatic glaze, pushed porcelain decoration into a new era of underglaze painting, and formed a distinct Jingdezhen porcelain style.
元明清三代數(shù)朝的官、民窯青花瓷各具時代特征和藝術(shù)風(fēng)格。在整個元朝，史學(xué)界公認(rèn)以“至正”年間的元青花最負(fù)盛名。這時期的元青花，從器型來看，大都造型俊秀挺撥，具壯美之感，幽蘭深沉的青花發(fā)色。紋飾多層而緊奏和諧，圖案豐富多彩，畫風(fēng)清新活潑，蕭灑自如，畫圖中用筆有力，無論“點、涂、染、皴”多是一筆畫的技法，筆痕明顯，其中可見釉色白中閃青，其飄逸活潑有力的畫風(fēng)與當(dāng)時社會的審美觀點和書畫風(fēng)格同出一轍。雖然元青花在各代發(fā)展中不盡相同，但正如古陶瓷研究家朱裕平先生在《元青花瓷》書中指出“非出于一人之手，但風(fēng)格相似，畫法相似”，這就決定了元青花、無論是景德鎮(zhèn)燒制還是各地民窯燒制的都具有元朝時期強烈的時代特征和風(fēng)格。
Blue and white porcelain of official and folk kilns in Yuan, Ming and Qing Dynasties has its own characteristics and artistic style. Throughout the Yuan Dynasty, historians recognized that the blue and white flowers of Yuan Dynasty in the "Supreme" period were the most famous. In this period, most of the blue and white flowers in Yuan Dynasty were handsome in shape, with a sense of grandeur and deep blue and white hair color. The decorative patterns are multi-layered and harmonious, the patterns are rich and colorful, the painting style is fresh and lively, and it is easy to sprinkle, and the pen is powerful in drawing. No matter "point, painting, dyeing and painting" is a stroke technique, the pen mark is obvious, among which the glaze color is white and shining green, and its elegant and lively painting style is the same as the aesthetic viewpoint and painting style of the society at that time. Although the development of Yuan blue-and-white is different in different generations, as the ancient ceramic researcher Zhu Yuping pointed out in Yuan Blue-and-white Porcelain, "it is not made by one person, but its style is similar and its painting method is similar", which determines that Yuan blue-and-white has strong characteristics and style of the Yuan Dynasty, whether it is fired in Jingdezhen or in folk kilns.
青花瓷是明清瓷器生產(chǎn)的主流，以江西景德鎮(zhèn)為中心，官窯和民窯都出現(xiàn)了欣欣向榮的景象。明初青花瓷還帶有元代粗獷豪放的遺風(fēng)，色澤偏暗。永樂、宣德兩朝是明代青花瓷發(fā)展史上的黃金時期，這兩朝青花瓷典雅秀麗，色澤濃艷幽深，呈色如寶石藍(lán)般鮮艷。自成化開始，青花瓷變得精巧輕盈，色澤淡雅穩(wěn)定，贏得了后人極高的評價。明代后期，景德鎮(zhèn)的青花瓷在規(guī)模上有了更大的發(fā)展，數(shù)量遠(yuǎn)遠(yuǎn)超出了明初洪武至正德時的官窯青花燒造總數(shù)。青花呈色藍(lán)中泛紫，發(fā)色濃艷，具有鮮明的時代特征。明末由于局勢動蕩，青花瓷的生產(chǎn)也每況愈下，官窯傳世品很少見，多是制作粗率的民窯產(chǎn)品。
Blue-and-white porcelain is the mainstream of porcelain production in Ming and Qing Dynasties. Taking Jingdezhen in Jiangxi Province as the center, both official kilns and folk kilns are flourishing. Blue-and-white porcelain in the early Ming Dynasty also has the legacy of the Yuan Dynasty, which is rough and bold. Yongle and Xuande Dynasties are the golden period in the history of the development of blue and white porcelain in Ming Dynasty. The blue and white porcelain in these two Dynasties is elegant and beautiful, with rich and deep colors and bright colors like sapphire blue. Since its inception, blue-and-white porcelain has become exquisite and light, with elegant and stable color, which has won high praise from future generations. In the late Ming Dynasty, Jingdezhen's blue-and-white porcelain had a greater development in scale, and the number far exceeded the total number of blue-and-white porcelain burned in official kilns from Hongwu to Zhengde in the early Ming Dynasty. Blue and white is blue and purple, with rich hair color, which has distinct characteristics of the times. At the end of Ming Dynasty, due to the turbulent situation, the production of blue-and-white porcelain went from bad to worse, and the products handed down from official kilns were rare, and most of them were crude folk kiln products.
清代是青花瓷發(fā)展的鼎盛期，以康熙青花最為卓越。康熙青花質(zhì)量上乘，呈色翠藍(lán)，濃淡層次分明，有“青花五彩”的美譽。雍正青花以質(zhì)地優(yōu)良、細(xì)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(lán)為主，色澤明艷穩(wěn)定，無暈散現(xiàn)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(fù)興，但主要是仿康熙青花瓷，青花呈色浮躁，釉面疏松。
Qing Dynasty is the heyday of the development of blue and white porcelain, with Kangxi blue and white as the most outstanding. Kangxi blue-and-white flowers are of high quality, emerald blue in color, with distinct shades, and have the reputation of "colorful blue and white". Yongzheng blue and white is famous for its fine texture, delicacy and exquisiteness. It is colorful, but not as rich as Kangxi's. Ganlong blue-and-white is mainly pure blue, with bright and stable color and no blooming phenomenon. With the gradual increase of pastel porcelain, blue-and-white porcelain has declined slowly since the late Qianlong period. Daoguang was once revived, but it was mainly imitated Kangxi blue-and-white porcelain. Blue and white were impetuous in color and loose in glaze.
香爐是一種與祭祀活動有關(guān)的器物，祭祀活動是古代先民最重要的禮儀活動，遠(yuǎn)古時期的仰韶文化、良渚文化和龍山文化等，不少器物就是用于祭祀的禮器。古時候的人，就常以焚香木熏居室以除臭穢，所以古人讀書彈琴，喜歡先焚一爐香，可以凈雜念而使精神集中。在數(shù)千年的歷史進(jìn)程中，香爐的形制、釉色及功用，隨著當(dāng)時經(jīng)濟(jì)、文化、審美情趣的變化而演繹發(fā)展。香爐本來只供焚香用，后來被愛好古物的人收藏，成了人們玩賞的古董和藝術(shù)品了。
Incense burner is a kind of utensil related to sacrificial activities. Sacrificial activities are the most important ritual activities of ancient ancestors. In Yangshao culture, Liangzhu culture and Longshan culture in ancient times, many utensils are ritual vessels used for sacrificial activities. In ancient times, people used to smoke their living rooms with incense sticks to deodorize and make them dirty. Therefore, when the ancients read and played the piano, they liked to burn a stove of incense first, which could clean up distractions and concentrate their minds. In the course of thousands of years of history, the shape, glaze color and function of incense burner developed with the changes of economy, culture and aesthetic taste at that time. Incense burners were originally used only for burning incense, but were later collected by antiquities lovers and became antiques and artworks for people to enjoy.
整體賞析此香爐，香爐紋飾涉及不多，顯得布局規(guī)范、大方簡潔，構(gòu)圖舒朗而飽滿，有頂天立地的感覺，雖不及官窯規(guī)整但較少拘泥之感，雖非康熙朝精品力作，但也屬清代早期民窯特征典型。蘊含著社會期盼安寧、健康長壽的美好寓意。青花福祿紋香爐，畫工精致，胎質(zhì)潔白堅致細(xì)膩、瓷化程度好，福祿兩個大字映入眼簾，應(yīng)屬大開門的景德鎮(zhèn)清代早期青花瓷，是難得一見之收藏佳品!具有很好的收藏價值及巨大的投資升值空間。
Appreciating the incense burner as a whole, the incense burner ornamentation is not much involved, which is standard in layout, generous and concise, full in composition, and has a feeling of indomitable spirit. Although it is not as regular as the official kiln, it is less constrained. Although it is not a masterpiece of Kangxi Dynasty, it is also typical of the characteristics of folk kilns in the early Qing Dynasty. It contains the beautiful meaning that the society is looking forward to peace, health and longevity. Blue-and-white Fulu incense burner, with exquisite painters, white and delicate fetus, and good porcelain degree, comes into view with the two characters Fulu, which should be the blue-and-white porcelain of Jingdezhen in the early Qing Dynasty, and is a rare collection! It has good collection value and huge investment appreciation space.
企業(yè)電話：4006816118
