清乾隆(公元1736—1795年，清高宗愛新覺羅·弘歷年號)一朝六十年，是清代封建社會發展的鼎盛時期，瓷器生產取得了空前的繁榮，青花瓷也達到了登峰造極的程度。《古銅器考》一書稱贊當時的制瓷業是“有陶以來，未有今日之美備”。制瓷業集我國歷朝名窯之大成，制做了許多精巧無比的瓷器，不僅官窯成就顯著，民營窯場也興旺發達。此時，景德鎮御窯廠規模龐大，在督陶官的管理下，每年燒造各種瓷器都在數十萬以上，送入宮中，燒出的瓷器無論是工藝技巧還是裝飾藝術都已達到了爐火純青，出神入化的地步。清代許之衡在《飲流齋說瓷》中形容當時瓷器“至乾隆，精巧之至，幾于鬼斧神工”。
Qing Ganlong (1736-1795 A.D., Emperor Gaozong of Qing Dynasty's Aisin Gioro Hung Li Year) was the heyday of feudal society in Qing Dynasty for 60 years. Porcelain production achieved unprecedented prosperity and blue and white porcelain reached its peak. The book "An Examination of Ancient Bronze Wares" praised the porcelain making industry at that time as "since there was pottery, there is no such thing as today's beauty". Porcelain-making industry combines the achievements of famous kilns in China's dynasties and makes many exquisite porcelains. Not only do official kilns have made remarkable achievements, but also private kilns are flourishing. At this time, Jingdezhen Imperial Kiln Factory has a huge scale. Under the supervision of the pottery inspector, every year, over hundreds of thousands of different kinds of porcelain are fired and sent to the palace. The fired porcelain has reached a state of perfection in both technical skills and decorative arts. In the Qing Dynasty, Xu Zhiheng described the porcelain of that time in "Yin Liu Zhai Shuo Porcelain" as "extremely dry and exquisite, almost as skilled as a crafty craftsman".
哥釉器，亦名碎釉瓷，始于宋代，是宋代五大名窯之一，但宋代哥釉傳世極少。哥釉瓷有一個重要的特征是釉面開片，這是瓷器釉面的一種自然開裂現象。明代時期，景德鎮成功燒制哥釉器。從永宣至成化，哥釉瓷已經達到了盡善盡美的程度，尤以成化仿哥釉瓷瓶、斗笠碗、爐等為主流，釉層瑩潤，光澤內斂，也成功燒出了金鉤鐵線。目前，成化仿哥釉瓷已經難覓蹤影。明晚期至清乾隆，哥釉瓷再一次達到頂峰。其細碎的紋片，肥厚的釉層成為當時瓷器爭相效仿的寵兒。
Ge glaze ware, also known as broken glaze porcelain, started in the Song Dynasty and is one of the five famous kilns in the Song Dynasty, but there are few Ge glazes handed down from ancient times. An important feature of Ge glaze porcelain is that the glaze is split, which is a natural cracking phenomenon of porcelain glaze. During the Ming Dynasty, Jingdezhen successfully fired the Ge glaze ware. From Yongxuan to Chenghua, Ge glaze porcelain has reached a perfect level, especially Chenghua imitation Ge glaze porcelain bottles, hat bowls, stoves, etc. as the mainstream, the glaze layer is jade-like and the luster is restrained, and the gold hook iron wire has been successfully fired. At present, Chenghua imitation Ge glaze porcelain is hard to find. From the late Ming Dynasty to the Qing Dynasty, Ge glaze porcelain reached its peak again. Its fine grain and thick glaze became the favorite of porcelain at that time.
哥釉青花瓷又稱“碎紋素地青花”、“紋片釉青花”，是集紋片釉與青花工藝為一體的瓷彩。特點是青花彩瓷上罩以紋片釉，由于碎片紋很象哥窯釉的開片，故名“哥釉青花”。明宣德時期御窯廠仿燒哥釉瓷器時，底部用青花書寫款識，可謂此品種的始創。哥釉器青花紋飾一經推出，一時成為備受追捧的“香餑餑”。晚明至清代的哥釉青花被景德鎮大窯、名窯紛紛仿制。在眾多窯址中，一些為官燒制的青花瓷為與民間款以示不同，題“官”字以示區別，字體采用宋代常見的款識，也有些用淺刻紋，因此普遍出現小器大開片、大器小開片的哥釉瓷現象。
Ge glaze blue-and-white porcelain, also known as "ground blue-and-white with broken grain" and "blue-and-white with grain glaze", is a porcelain color integrating grain glaze and blue-and-white technology. It is characterized in that the blue-and-white colored porcelain is covered with grain glaze. Because the grain of the grain is very similar to that of the Ge kiln glaze, it is called "Ge glaze blue-and-white". During the Xuande period of the Ming Dynasty, when the imperial kiln factory imitated the firing of Ge glaze porcelain, the bottom of the porcelain was inscribed with blue and white, which can be described as the origin of this kind of porcelain. Once the blue-and-white decoration of the Ge glaze device was introduced, it became a popular "hot cake". From late Ming Dynasty to Qing Dynasty, blue-and-white glazed cabbies were imitated by Jingdezhen kilns and famous kilns. Among the many kiln sites, some blue and white porcelain fired by officials are different from the folk ones, and the title "official" is used to show the difference. The fonts are common in Song Dynasty and some are carved in shallow lines. Therefore, the phenomenon of large pieces of glazed porcelain with small pieces and large pieces with large pieces is common.
哥釉青花人物紋尺瓶是在玉質般的哥釉上面描繪鮮艷、明亮的青花，使古典的青花與開片紋相得益彰，互為襯托，極為美觀。瓶直口，短頸，溜肩，肩下漸收至底，底座采用瓶身紅木嵌入制作描金勾勒，足見當時制作者和擁有者的珍愛程度。圈足。整體造型線條優美，比例協調，恰如其分。器身施哥釉為地，釉面布滿細哥窯器式碎小開片，其上通體青花描繪人物紋，圖案用筆流暢灑脫，釉面肥潤細膩，溫潤如玉，瓶身呈灰白色，青花嵌入其中點綴，藍白色澤相襯，簡潔而不失優雅。整器包漿潤澤，高貴氣質無與倫比。哥釉青花瓷的魅力猶于在一片渴望滋潤的土地上神靈般地降臨了萬物生靈。這或許寄托了古代陶瓷藝人向往天地人和、祈福大地的意識。正是這古老而樸素的藝術表現讓哥釉青花瓷具備了獨特的魅力，也烙印了一個古老而獨特的瓷器符號!一如此件哥釉青花人物紋尺瓶，珍稀罕見。
The Ge glaze blue-and-white figure pattern ruler bottle depicts bright blue-and-white on the jade-like Ge glaze, making the classical blue-and-white and the split pattern complement each other and set off each other, which is extremely beautiful. The bottle has a straight mouth, a short neck, a slip shoulder, and the bottom of the shoulder is gradually closed to the bottom. The base is made of mahogany embedded in the bottle body to draw a gold outline, which shows how much the makers and owners cherished it at that time. Circle your feet. The overall shape is graceful and the proportion is harmonious and appropriate. The body is covered with Ge glaze. The glaze is covered with small pieces of fine Ge kiln ware. The whole body of the piece is blue and white. The pattern is smooth and free and easy with a pen. The glaze is plump and delicate. The body is warm and jade-like. The bottle is gray and white. Blue and white are embedded in the piece. The blue and white are matched with each other. It is simple and elegant. The whole package is moist and has incomparable noble temperament. The charm of Ge glaze blue and white porcelain still descends on all creatures like gods in a land eager to moisten. This may be the embodiment of the ancient ceramic artists' consciousness of yearning for heaven and earth, people and praying for the earth. It is this ancient and simple artistic expression that gives Ge-glazed blue and white porcelain its unique charm and brand an ancient and unique porcelain symbol! Such a blue-and-white figure pattern ruler bottle with Ge glaze is rare.
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