據清宮檔案記載，雍正十三年，督陶官唐英在向皇宮上交1.9萬余件上等瓷器的同時，還有7萬多件落選的次等瓷器也一起送往京師“以備賞用”。乾隆時期管理內務府的莊親王允祿曾有奏折說，次色瓷器雖有瑕疵，但在民間也算是上好的美器。這些記載，進一步佐證了皇帝賞賜給皇親國戚和文武大臣以及外國使團的“賞賚器”，同樣也是官窯器，只不過“賞賚器”是落選的次等官窯罷了。所以，外國使團得到賞賚官窯瓷器并搭乘貿易商船回國的可能性是很大的。
According to the records of the Qing palace, in the 13th year of Yongzheng, Tang Ying, the governor of pottery, handed over more than 19000 pieces of first-class porcelain to the Imperial Palace, while more than 70000 pieces of second-class porcelain were also sent to the capital for appreciation. Wang Yunlu, who was in charge of the interior office during the Qianlong period, once wrote that although the secondary color porcelain was defective, it was also a good instrument in the folk. These records further prove that the "reward ware" awarded by the emperor to the relatives of the emperor, the Minister of culture and military affairs and the foreign mission is also the official kiln ware, but the "reward ware" is the second-class official kiln that was not selected. Therefore, it is very possible for foreign missions to get the porcelain from the official kilns and return to China by trade ships.
其次，乾隆一朝是清代封建社會發展的鼎盛時期，國力強盛，號稱太平盛世。瓷器生產空前繁榮，官窯瓷器普遍精美，一是因為乾隆本人提倡，二是因為督陶官唐英的督造。唐英以內務府員外郎職到景德鎮督辦官窯30年，開創了中國陶瓷史上最輝煌的篇章。他督造的瓷器，無論是工藝技巧還是裝飾藝術，都已經達到了爐火純青、出神入化的地步。
Secondly, the Qianlong Dynasty was the heyday of the development of the feudal society in the Qing Dynasty, with a strong national strength, known as the heyday of peace. Porcelain production flourished unprecedentedly, and the porcelain of official kilns was generally exquisite. One was advocated by Qianlong himself, and the other was supervised by Tang Ying. Tang Ying has been supervising the official kiln in Jingdezhen for 30 years, creating the most brilliant chapter in the history of Chinese ceramics. The porcelain he supervised, whether in craftsmanship or decorative art, has reached the point of perfection.
乾隆官窯青花瓷也達到了登峰造極的程度，既與清幽的康熙青花有別，又與淡雅的雍正青花不同，它是以紋飾繁密、染畫工整、造型新奇取勝。特別是淡描青花，因筆觸非常少，對畫工要求非常高。所以，淡描青花在乾隆朝數量不多，流傳下來的就更少。
Qianlong official kiln blue and white porcelain also reached the peak of perfection, which is different from the quiet Kangxi blue and white porcelain and the elegant Yongzheng blue and white porcelain. It wins by the dense decoration, neat dyeing and painting, and novel modeling. Especially for the light blue and white painting, because the strokes are very few, the requirements for painters are very high. Therefore, the number of light blue and white paintings in Qianlong Dynasty was not much, and even fewer were handed down.
此盤，盤折沿口，淺弧腹，矮圈足，通體紋樣以淡描青花繪就，其發色青翠艷麗，濃淡有致。盤內外壁青花九龍、鮮活逼真、富有動感。足內有青花“大清乾隆年制”六字三行篆書款?？钭R規范工整、橫平豎直、章法嚴謹、字體穩重，乾隆官窯款特征明顯。
This dish, which is coiled along the mouth, has a shallow arc belly and a short circle foot. The overall pattern is painted with light blue and white. Its hair color is verdant and gorgeous, and the color is strong and light. The inner and outer walls of the pan are blue and white with nine dragons, which are vivid, lifelike and dynamic. There are three lines of seal script with six characters of blue and white "made in Qianlong of the Qing Dynasty". The style is standard and neat, horizontal and vertical, strict in rules and regulations, stable in font. The characteristics of Qianlong official kiln style are obvious.
此盤造型秀雅，制作規整，胎體細膩，厚薄勻稱，從尚存的一點釉可以看出白釉瑩潤，青花發色濃淡相間，濃則鮮艷，淡而素雅。修胎講究，足根圓潤，為清代足際最規整的“泥鰍背”，充分體現了乾隆朝制瓷工藝的巔峰水準。
This plate is elegant in shape, regular in production, delicate in carcass, and well proportioned in thickness. From the remaining glaze, we can see that white glaze is bright and lustrous, blue and white hair is thick and light, thick and bright, light and elegant. It is the most regular "loach back" on the foot in Qing Dynasty, fully reflecting the peak level of porcelain making technology in Qianlong Dynasty.
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