清乾隆是清代社會發展的鼎盛時期。景德鎮御窯廠薈萃了一代名師巧匠，無論數量或質量都達到了歷史的頂峰，“大內出樣，交御窯廠燒制”。琺瑯彩瓷啟始于康熙末年，全盛于雍、乾兩朝，乾隆中期以后逐漸銷聲匿跡。琺瑯彩瓷堪稱康、雍、乾三代帝王摯愛的“內廷秘玩”，是“庶民弗得一窺”的御用品。它瓷質細潤，彩料凝重，色澤鮮艷，血統高貴，細如毫芒，是歷代最受藏家青睞的瓷器之一，與宋汝瓷、元青花并駕齊驅，被稱為“世界上最奢侈的藝術品”。
Qing Ganlong was the heyday of social development in Qing Dynasty. Jingdezhen Imperial Kiln Factory has gathered a generation of famous and skillful craftsmen. Both quantity and quality have reached the peak of history. "Imperial Kiln Factory will produce samples and submit them to Imperial Kiln Factory for firing". Enamel colored porcelain started at the end of Kangxi and flourished in Yong and gan dynasties. it gradually disappeared after the middle of gan long period. Enamel colored porcelain can be called the "imperial secret play" beloved by the three emperors of Kang, Yong and Gan, and is the royal product of "common people get a glimpse of it". It is one of the most popular porcelains in the past dynasties with fine and moist porcelain, dignified color materials, bright color, noble lineage and fine as milli mans. It is on a par with Song Ru Ci and Yuan Blue and White porcelain and is called "the most luxurious artwork in the world".
【藏品名稱】： 清*青花斗彩粉彩萬花碗
"Collection Name": Qing * Blue and White Doucai famille rose bowl
【類別】：瓷器
[Category]: Porcelain
“百花圖”是清乾隆時期景德鎮粉彩瓷器的花卉題材之一。百花圖又稱“百花不露地”、“百花”、“萬花錦”、“萬花堆”、“萬花獻瑞圖”等，許之衡《飲流齋說瓷》中述：“瓷器滿畫花朵種種，色色形狀
一者謂之萬花，以黑地者為最貴，即白地者亦可珍。花之形狀大小偏反，各盡其致。”“百花圖”多在器物主體中心部位繪畫牡丹等大朵紋樣，在周圍加繪并繪菊花、茶花、月季、荷花、百合、牽牛花等等各種小花朵圖案，并且畫有很精細的輔紋，讓畫面覆蓋全器，器
露地，寓意百花呈瑞，盛世升平。
"Hundred Flowers Painting" is one of the flower themes of Jingdezhen famille rose porcelain in the Qing Dynasty. The hundred flowers picture is also called "all flowers are hidden in the ground", "all flowers", "all flowers are brocade", "all flowers are piled up", "all flowers present a red picture", etc. in Xu Zhiheng's "drinking and flowing lent to say porcelain", it is stated: "porcelain is full of flowers and all kinds of colors and shapes are called ten thousand flowers. black land is the most expensive, i.e. white land can also be treasured. The shape and size of the flowers are on the contrary, so each will do its best. " "Hundred Flowers Painting" usually draws large patterns such as peony in the central part of the main body of the utensil. It also draws and draws various small flower patterns such as chrysanthemum, camellia, rose, lotus, lily, morning glory and so on around the utensil. It also draws very fine auxiliary patterns so that the picture covers the whole utensil and the utensil is not exposed to the ground, implying that all flowers are auspicious and prosperous.
百花
露地裝飾之出現必在工藝繁榮之世，考其源流，可知雍正一朝為初創階段，多見碗杯之屬，花葉之間留有空隙，尚無致密之象，實物可參見南京故宮博物院藏品，乾隆和嘉慶發展至極致，光緒尚見，但已趨沒落。據乾隆內務府記載，宮內依不同節令使用不同紋飾的瓷器，新年用“三陽啟泰”，上元節用“五谷豐登”，端陽節用“艾葉靈符”，七夕用“鵲橋仙渡”，萬壽節用“萬壽無疆”，中秋節用“丹桂飄香”……繪百花圖案者，則象征“萬花獻瑞”。且亦可作祭祀禮佛之用，便是當權者寄希以萬花來供奉佛祖，彰顯帝國之昌盛。
The appearance of the decoration of flowers without exposure must be in a prosperous era of craftsmanship. Examining its origin, we can see that Yongzheng was in its early stage. Most of the flowers and leaves belonged to bowls and cups. There were gaps between the flowers and leaves, and there was no dense image. The real objects can be found in the collection of Nanjing Palace Museum. Ganlong and Jiaqing developed to the extreme. Guangxu still saw them, but they have declined. According to the records of the Ganlong Internal Affairs Office, porcelain with different decorations is used in the palace according to different festivals. For the New Year, the "Three Yangs Reveal Thailand", for the Shangyuan Festival, the "Five Grains Grow Rich", for the Duanyang Festival, the "Yiye Lingfu", for the Tanabata Festival, the "Queqiao Fairy Ferry", for the Longevity Festival, the "Endless Longevity", for the Mid-Autumn Festival, the "Dangui Fragrance" ... for the painting of flowers, the symbol of "All Flowers Offer Switzerland". Moreover, it can also be used for worshipping Buddha, that is, those in power send thousands of flowers to worship Buddha to show the prosperity of the empire.
彩瓷之妙貴在工致，工致之本則在于良工與巧匠。其程式與工藝相當繁復，首先先需內務府造辦處設計百花畫樣，交由御窯廠為粉本，乾隆時期的百花粉本比嘉慶時期層次更加鮮明，花朵更加疏密有致。再次由瓷工藝匠甚至直接由畫師本人將畫稿臨摹勾勒于素胎上，期間要照顧器表不同于紙面的特殊之處。百花
露地者花飾遍身皆是，故臨摹工作最難，而臨摹畫稿為施彩繪畫之基礎，一旦有誤，全域皆變，任其彩料何等妍美，畫手如何高超，亦無法彌補畫稿原有之神韻。而且彩料配制之多堪稱眾瓷之首，百花
露地者一器之上所見顏色不下于三十余種，故繪畫之前，彩瓷的所有顏料必須配備，種類繁多幾近百種，均需一一調試。最后的填繪洗染，必經數人之手，方可入窯。故一器告成，歷時數月之久，耗資甚巨，絕非其它御瓷可比。如此繁復之至必將注定百花
露地者燒造不多，極為罕見。
The beauty of colored porcelain lies in craftsmanship, while the essence of craftsmanship lies in good craftsmanship. The procedures and techniques are quite complicated. First, the internal affairs office must design a painting of flowers, which will be handed over to the Yuyao Factory as a powder copy. The 100-pollen copy in the Ganlong period is more distinct and the flowers are more dense than that in the Jiaqing period. Once again, the porcelain craftsman or even the painter himself will copy and outline the painting on the plain tire, taking care of the special difference between the instrument and the paper. Those who do not show their flowers all over the place have their decorations, so it is the most difficult to copy. Copying a manuscript is the basis of painting. If there is any mistake, the whole world will change. No matter how beautiful the color material is or how superb the artist is, it cannot make up for the original charm of the manuscript. Moreover, the number of color materials can be rated as the highest among all kinds of porcelain, and there are no less than 30 colors seen on one piece of porcelain without flowers appearing on the ground. Therefore, before painting, all pigments of color porcelain must be equipped with nearly 100 kinds, and all kinds of pigments must be adjusted one by one. The final filling, painting, washing and dyeing must be done by several people before entering 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. It is extremely rare that so many complicated things are bound to be cooked by those who do not expose their flowers.
這款青花斗彩粉彩萬花碗，敞口，深腹，圈足，底花叢中心書雙方框“大清乾隆年制”藍料款。器物整體造型莊重大方，外壁通體琺瑯彩繪百花圖，花團錦簇，絢麗繽紛，芬芳正濃，各盡其妍。花卉種類繁密，不勝分辨，使人仿佛置身百花叢中，目不暇接，細究其設計獨具匠心，而色彩搭配與轉換之妙恐非言語可表，彩料妍美，工致非凡，加之描金工藝添彩加色，愈加彰顯出乾隆彩瓷無與倫比的華麗與尊貴，當為彩瓷之翹首，極具收藏價值。
This blue-and-white bowl with blue-and-white fighting colors, pastel and ten thousand flowers is open, deep-bellied, full-ringed, and has two frames of "Qing Gan Long Nian Zhi" blue material in the center of the bottom flower bush. The overall shape of the utensil is solemn and generous. The enamel painted flowers on the outer wall are full of colorful and fragrant flowers, each making its best use of its beauty. The variety of flowers is numerous and indistinguishable, which makes people seem to be surrounded by hundreds of flowers. A careful study of its design shows its originality. However, the wonderful color matching and conversion are beyond words. The color materials are beautiful and the work is extraordinary. In addition, the gold painting process adds color and color, which further highlights the incomparable magnificence and honor of Ganlong colored porcelain. It is the leader of colored porcelain and has great collection value.
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