工筆畫，又有滲入淋漓揮灑，簡潔洗練的寫意畫，還有夸張變形的裝飾畫風(fēng)。甚至把版畫，水彩畫，油畫以及水彩畫等姐妹藝術(shù)都加以融匯運(yùn)用，精微處，絲毫不爽；豪放處，生動活潑。粉彩的繪制，一般要經(jīng)過打圖，升圖，做圖，拍圖，畫線，彩料，填色，洗染等工序。其中從打圖到拍圖，是一個用墨線起稿，進(jìn)行創(chuàng)作構(gòu)思，如繪瓷決定裝飾內(nèi)容與形象構(gòu)圖的階段。正式繪制時的定稿叫“升圖”，把描過濃墨的圖樣從瓷器上拍印下來叫“做圖”。接著把印有墨線的圖紙轉(zhuǎn)拍到要正式繪制的瓷胎上去即“拍圖”，這樣就可進(jìn)行繪瓷。粉彩的描繪，著色技法是比較復(fù)雜細(xì)致的，一般如畫，彩，填，洗，扒，吹，點(diǎn)等技法。其所用工具有畫筆，填筆，洗筆，彩筆，篤筆，赤金筆，金水筆，瑪瑙筆，扒筆等許多特制筆。
The washing and dyeing of pastel porcelain decoration paintings absorb the nutrition in the sister arts, and adopt the methods of spot dyeing and color matching, so that the objects to be portrayed, regardless of the characters, landscapes, flowers, birds and insects, have a strong texture, bright and dark ,Structured. The painting methods used are not only strict and meticulously portraying delicate subtle strokes, but also infiltrating dripping, simple and refined freehand painting, and exaggerated and deformed decorative painting styles. Even the sister arts such as prints, watercolors, oil paintings and watercolors have been combined and used. The subtlety is uncomfortable; the boldness is lively and lively. The drawing of pastels generally needs to go through the process of drawing, rising, drawing, drawing, drawing, coloring, coloring, washing and dyeing. Among them, from drawing pictures to making pictures, it is a stage in which a manuscript is drawn with ink lines to create a creative idea, such as painted porcelain to determine the decoration content and image composition. The final draft at the time of formal drawing is called "drawing pictures", and the drawings painted with thick ink from the porcelain are called "making pictures". Then transfer the drawings printed with ink lines onto the porcelain tire to be formally drawn, that is, "take a picture", so that the porcelain can be painted. Pastel painting and coloring techniques are more complicated and detailed. They are generally picturesque, colored, filled, washed, grilled, blown, and dotted. The tools used are brushes, refills, wash pens, colored pens, Tuk pens, red gold pens, gold fountain pens, agate pens, grilled pens and many other special pens.
文人畫的風(fēng)格，而粉彩則是沿用青花的繪畫風(fēng)格。從磨損程度而言，淺絳彩更易受磨損，往往脫彩嚴(yán)重。人物或者花鳥都到了看不清的地步。粉彩由于彩料較厚，相對較易保存完好。
Both pastel porcelain and light-colored porcelain are overglaze colored porcelain. The difference is that before the pastel is filled with glass white, it is also said that lead powder is added to make the color look very tender. It is not necessary to use light crimson color. It is to directly paint pale alum red, water green and other colors directly on the porcelain tire, so the pastel color will be rendered and light crimson is generally not. Pastels generally have a strong sense of touch, especially the pastels of Yongzheng Qianlong, which have many materials and appear thick and thick. Qian Jiang's sense of prominence is extremely weak. In the late Qing Dynasty and early Republican period, the light Jiangcai mostly added the style of literati painting, while the pastel colors followed the blue and white painting style. In terms of the degree of wear and tear, light crimson color is more susceptible to wear and tear, and often has severe discoloration. People, flowers and birds have reached a point where they cannot see clearly. Pastels are relatively easy to keep intact due to the thicker colors.
乾隆時期除了白地繪粉彩外，還有色地粉彩或色地開光中繪粉彩等品種。乾隆朝粉彩的創(chuàng)新品種是在黃、綠、紅、粉、藍(lán)等色地上用極細(xì)的工具軋出纏枝忍冬或纏枝蔓草等延綿不斷的紋飾，且多和開光一起使用，人稱軋道開光。這一工藝的出現(xiàn)，將粉彩推上了更加富麗繁縟的頂峰，一直延續(xù)到民國。另外，乾隆朝還有部分在粉彩瓷器的內(nèi)壁及底足內(nèi)施綠彩，俗稱“綠里綠底”，一直流行到清末、民國。乾隆朝的“綠里綠底”極淺淡，迎光側(cè)看釉面有極細(xì)小的皺紋，像微風(fēng)吹過平靜的湖面而形成的細(xì)波。綠彩附著在白釉上非常緊密，幾乎沒有爆釉現(xiàn)象。乾隆朝粉彩的常見紋飾有山水、嬰戲、九桃、瓜蝶、百鹿、花鳥、仕女、百花（亦稱“百花不露地”）、八仙、云蝠、福壽、纏枝花、皮球花、花蝶等。除了常見的器型以外，新穎造型還有賁巴壺、交泰瓶、轉(zhuǎn)頸瓶。款識有青花、紅彩、金彩、六方瓶等種類，此件藏品正是乾隆年制粉彩人物故事六方瓶收藏價(jià)值極高！
In the Qianlong period, in addition to white-painted pastels, there are also various types of pastels painted in color or painted pastels painted in color. The innovative varieties of pastel in Qianlong dynasty use the extremely thin tools to roll out the endless patterns such as twigs of honeysuckle or twigs of grass on the grounds of yellow, green, red, pink and blue. They are often used together with Kaiguang, known as rolling Dao Kaiguang. The advent of this craft has pushed pastels to the top of a more affluent complex, which has continued into the Republic of China. In addition, some of the Qianlong dynasty applied green colors to the inner walls and bottom feet of the pastel porcelain, commonly known as "green li green bottom", which was popular until the end of the Qing Dynasty and the Republic of China. The Qianlong dynasty's "green lining and green bottom" are very light, and the glaze has very fine wrinkles when viewed from the light side, like a fine wave formed by the breeze blowing across the calm lake. The green color is very close to the white glaze, and there is almost no glaze explosion. The common patterns of pastel in Qianlong Dynasty are landscape, baby play, nine peach, melon butterfly, hundred deer, flowers and birds, ladies, hundred flowers (also known as "hundred flowers"), eight immortals, cloud bats, longevity, twig flowers, ball flowers , Flowers and butterflies. In addition to the common shapes, the novel shapes include Benba pots, Jiaotai bottles, and neck bottles. There are blue and white, red, gold, andsix-party bottles. This collection is the story of the pastel figures made in the Qianlong year. The six-party bottle is extremely valuable!
