粉彩瓷是在康熙五彩基礎(chǔ)上，受琺瑯彩制作工藝的影響而創(chuàng)造的一種釉上彩新品種，始見于康熙晚期，后歷朝流行不衰。是在燒好的胎釉上施含砷物的粉底，涂上顏料后用筆洗開，由于砷的乳蝕作用顏色產(chǎn)生粉化效果。乾隆在位期間是清代社會發(fā)展的鼎盛時期，尤以藝術(shù)領(lǐng)域建樹頗豐，景德鎮(zhèn)御窯廠薈萃了一代名師巧匠，無論數(shù)量或質(zhì)量都達(dá)到了歷史的頂峰，故有“大內(nèi)出樣，交御窯廠燒制”，其中，粉彩由原來多用紅白地著彩，發(fā)展為多種彩色地相配。粉彩是乾隆朝瓷器中所占此重較大的品種之一，在雍正瓷的基礎(chǔ)上又有新的突破，造型精美，色彩繽紛，圖案豐富，工藝繁縟，不惜工本，令人嘆為觀止。
Famille rose porcelain is a new type of overglaze color created on the basis of Kangxi colorful porcelain and influenced by enamel color making technology. It was first seen in the late Kangxi period and became popular in later dynasties. It is to apply arsenic-containing foundation on the burnt fetal glaze, and wash it with a pen after applying pigment. Due to the milk erosion effect of arsenic, the color produces a pulverization effect. The reign of Ganlong was the heyday of social development in the Qing Dynasty, especially in the artistic field. Jingdezhen Imperial Kiln Factory gathered a generation of famous artists and craftsmen, and both quantity and quality reached the historical peak. Therefore, there was a "sample from the Imperial Kiln Factory for firing". Among them, the pastel color was changed from red and white to a variety of colors for matching. Pastel is one of the most important types of dry Longchao porcelain. It is a new breakthrough on the basis of Yongzheng porcelain. It is exquisite in shape, colorful in color, rich in patterns and complicated in workmanship. It is amazing at all costs.
在元代之后，出現(xiàn)了青花瓷，青花瓷一出現(xiàn)，便搶去了歷史上所有陶瓷的風(fēng)頭，貫穿影響和改變了全世界。而粉彩瓷的出現(xiàn)，又一下子搶去青花瓷的風(fēng)頭。
After the Yuan Dynasty, blue and white porcelain appeared. As soon as blue and white porcelain appeared, it stole the limelight of all ceramics in history and influenced and changed the whole world. The appearance of famille rose porcelain suddenly stole the limelight of blue and white porcelain.
據(jù)清宮檔案記載，百花
露地者，是帝王專用賞花應(yīng)景之瓷，所以較清其它官窯相比，工藝更為講究。首先，需要內(nèi)務(wù)府造辦處出具畫樣，設(shè)計出百花齊聚之畫稿，上呈皇帝審批后，再交付御窯廠作為粉本，其構(gòu)思最妙之處則是盡收春意盎然之象而又無砌堆之感，殊為巧思。其次，御窯廠的工匠依照工樣將畫稿臨摹勾勒于白瓷胎上，務(wù)必毫厘不差，同時又要照顧到器表不同于紙面的不均衡特性，稍有差池，便會前功盡棄，極其考驗工匠的制瓷技巧。再者，百花
露地者，一器之上所見顏色不下三十余種，彩料配制之多堪稱眾瓷之首，故繪畫之前，彩瓷的所有顏料必須配備，種類繁多幾近百種，均需一一調(diào)試，此項工作工程之浩大可想而知。最后，填繪洗染，必經(jīng)畫師數(shù)人之手，歷十?dāng)?shù)日之功方可入窯。故一器告成，歷時數(shù)月之久，耗資甚巨，絕非其它御瓷可比。如此繁復(fù)之至，必將注定百花
露地者燒造不多，其珍貴難得程度可見一斑。
According to the records in the Qing Dynasty palace archives, those who do not show their flowers in the open are the porcelains used by emperors to admire the flowers and the scenery. Therefore, compared with other official kilns in the Qing Dynasty, the craft is more exquisite. First of all, it is necessary for the internal affairs office to issue a painting sample, design a painting manuscript with flowers gathered together, submit it to the emperor for approval, and then deliver it to the royal kiln factory as a powder copy. the best idea of the painting is to have a panoramic view of the spring scenery without feeling of being piled up, which is extremely ingenious. Secondly, the craftsman of the imperial kiln factory copied and sketched the painting on the white porcelain tire according to the work sample, making sure that it is accurate and at the same time, it should take into account the uneven characteristics of the instrument surface different from the paper surface. If it is slightly incorrect, it will be totally useless and extremely test the craftsman's porcelain making skills. Moreover, for those who do not show their flowers on the ground, they can see more than 30 kinds of colors on one device, and the number of color materials can be rated as the highest among all kinds of porcelain. Therefore, before painting, all the pigments of color porcelain must be equipped with nearly 100 kinds of colors, which need to be debugged one by one. It is conceivable that the task is huge. Finally, filling, painting, washing and dyeing must be done by several painters, and only after ten days of work can one enter the kiln. Therefore, it took several months to complete and cost a lot of money, which is by no means comparable to other imperial porcelain. Such complicated and complicated things are bound to be made by those who are doomed to keep all flowers in the open. Their rarity is evident.
這是一堂粉彩花卉紋蓋碗，整套藏品質(zhì)地非常細(xì)膩猶如白玉，胎薄如紙，小楷篆書古樸雋永非常精彩。我們的傳統(tǒng)文化，兩個為一對，四個為一堂。這一堂粉彩花卉紋茶碗，上有蓋，下有托，造型很別致，粉彩是乾隆時期的藝術(shù)高峰，在清代，康熙是以五彩為高峰，雍正是以琺瑯彩為高峰，乾隆時期的粉彩，以黃、藍(lán)、紅、綠為主色，釉色柔和瑩潤，有堆粉的立體感，有“軟彩”之稱。這一堂粉彩花卉紋茶碗，在清代是皇家貴族的日用品，十分珍貴難得，值得收藏。
This is a famille rose flower pattern covered bowl. The whole collection is as delicate as white jade, thin as paper, and the seal script in lower case is of primitive simplicity, meaningful and wonderful. Our traditional culture, two for a pair, four for one. This famille rose flower pattern tea bowl has a cover on the top and a support on the bottom. Its shape is very unique. The famille rose was the peak of art during the Ganlong period. In the Qing Dynasty, Kangxi took multicolored as the peak, Yongzheng took enamel as the peak, and the famille rose during the Ganlong period took yellow, blue, red and green as the main colors. The glaze was soft and smooth, with the stereoscopic impression of heaped powder and was called "soft color". This famille rose tea bowl was a commodity for the royal aristocrats in the Qing Dynasty. It is very precious and worthy of collection.
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