琺瑯彩器，指在養心殿御作坊制成的彩繪瓷、銅及料器。養心殿毗鄰帝王住處，便于圣上直接檢察成品。康熙時期，歐洲藝匠進宮謁見，推動琺瑯作的成立及新色研發，宮廷御作遂在江西景德鎮燒制之白瓷上繪琺瑯彩料，制作精致華美的御瓷。作坊臨近宮廷畫院，中外畫師也曾奉命在器上繪圖添彩。受西洋畫師直接影響，彩瓷繪飾甚具洋風，著重模仿自然，以光影明暗營造質感、深度及透視。是專門為皇帝燒的御用瓷，存世稀少，尤顯珍貴。
Enamel color ware refers to the painted porcelain, copper and materials made in the imperial workshop of the heart nourishing hall. The heart nourishing hall is adjacent to the residence of the emperor, which is convenient for the saint to directly inspect the finished products. During the Kangxi period, European artists came to the palace for an audience to promote the establishment of enamel work and the research and development of new colors. The imperial work then painted enamel color materials on the white porcelain fired in Jingdezhen, Jiangxi Province, to make exquisite and beautiful imperial porcelain. The workshop is close to the palace painting academy, and Chinese and foreign painters have been ordered to paint on the utensils. Under the direct influence of Western painters, porcelain painting is very foreign style, focusing on imitating nature, creating texture, depth and perspective with light and shadow. It's a kind of imperial porcelain specially made for the emperor. It's rare and precious.
【藏品名稱】：大清雍正年制松石綠地琺瑯彩花卉紋八方雙耳熏爐
[collection name]: octagonal double ear smoke stove made in Yongzheng, Qing Dynasty
【類別】：瓷器
[category]: porcelain
【規格】：52*40cm
[Specification]: 52 * 40cm
雍正時期，雍正皇帝對琺瑯彩瓷器的生產給予了更多的關心，并提出頗為嚴格的要求。雍正元年(1723年)，隨著宮廷造辦處人員的擴充，以及在雍正帝最信賴的怡親王(雍正帝的十三弟允祥)的主持下，琺瑯彩瓷器的生產在造辦處琺瑯作積極展開。但從清代檔案記載看，雍正六年以前琺瑯彩瓷器的生產進展緩慢，雍正帝對此也不甚滿意。究其原因，可能是因琺瑯彩料需依賴西洋進口，數量有限，必須謹慎使用，不得有誤損所致。如清雍正《廣東通志》卷五十八記載：“西洋國……雍正四年五月復遣使進貢……各色琺瑯彩料十四塊。”又如《活計檔•清檔•雍正記事雜錄》載：“雍正二年二月四日，怡親王交填白脫胎酒杯五件，內二件有暗龍。奉旨：此杯燒琺瑯。欽此。于二月二十三日燒破二件，總管太監啟知怡親王。奉王諭：其余三件爾等小心燒造。遵此。于五月十八日做得白瓷畫琺瑯酒杯三件，怡親王呈進。”
During the Yongzheng period, Emperor Yongzheng paid more attention to the production of enamel color porcelain and put forward rather strict requirements. In the first year of Yongzheng (1723), with the expansion of the staff in the palace manufacturing office and the most trusted Prince Yi (Yunxiang, the thirteen younger brother of Yongzheng emperor), the production of enamel color porcelain was actively carried out in the manufacturing office. However, according to the records of Qing Dynasty, the production of enamel color porcelain was slow six years ago, and Emperor Yongzheng was not satisfied with it. The reason may be that the enamel color materials need to be imported from the west, and the quantity is limited, so they must be used carefully without any damage. As recorded in Volume 58 of the general records of Guangdong by Yongzheng of the Qing Dynasty, "western countries Yongzheng sent envoys to pay tribute in May of the fourth year There are 14 pieces of enamel materials of various colors. " Another example is in the records of work files, Qing files and Yongzheng: "on February 4, the second year of Yongzheng, Prince Yi handed in five white stillbirth glasses, two of which were dark dragons. Purport: This cup is made of enamel. Chin. On February 23, two pieces were burnt, and the chief eunuch Qi Zhiyi, Prince of the state, was in charge. According to the king, the other three pieces should be carefully burned. Abide by this. On May 18, he made three White Porcelain Enameled wine glasses, which were presented by Prince Yi. "
雍正六年以后，在雍正皇帝的直接干預下，造辦處自煉琺瑯料的成功，從當時造辦處檔案記載來看，雍正六年，造辦處新煉的琺瑯料有月白、白、黃、淺綠、亮青、藍、松綠、亮綠、黑等九種顏色。新增琺瑯料有軟白色、香色、淡松黃色、藕荷色、淺綠色、醬色、深葡萄色、青銅色、松黃色等，共九樣。造辦處自煉琺瑯料的成功，不僅擺脫了琺瑯彩瓷器生產因依靠進口料而可能產生的捉襟見肘的窘態，而且新增加的彩色品種亦可使畫琺瑯人在表現物像時更加得心應手。歷朝歷代之中，沒有哪一朝代的琺瑯彩瓷器如雍正朝的那般典雅秀麗，以瓷胎為畫絹，布局章法沿襲了中國畫融詩、書、畫、印于一體的傳統。正如《陶雅》所載：“質地之白，白如雪也，一絕也;薄如卵幕，口噓之欲飛，二絕也;以極精之顯微鏡窺之，花有露光，鮮艷纖麗，蝶有茸毛，且頸項豎起，三絕也;小品而題極精之楷篆各款，細如蠅頭，四絕也。”究其根本原因，正是源于胤禛具有近乎苛刻的審美性格，非常留意宮廷藝術品的制作，對瓷器紋飾講究“文、雅、精、細”，為達此效果往往不惜多次修改稿樣，直至完美方罷。正是如此的執著追求，令雍正御瓷以超凡脫俗的形象獨步有清一代。
After six years of Yongzheng, under the direct intervention of Emperor Yongzheng, the success of self refining enamel materials by the manufacturing office was recorded. According to the records of the manufacturing office at that time, in the six years of Yongzheng, the newly refined enamel materials of the manufacturing office had nine colors, namely, white, white, yellow, light green, bright green, blue, pine green, bright green and black. The newly added enamel materials include soft white, fragrant color, light pine yellow, lotus root color, light green, soy sauce color, deep grape color, bronze color, pine yellow, etc., totaling nine kinds. The success of self refining enamel materials in the manufacturing office not only gets rid of the dilemma that enamel color porcelain production may suffer from depending on imported materials, but also the newly added color varieties can make the enamel painters more handy in expressing objects. In the past dynasties, there was no other dynasty's Enamel colored porcelain as elegant and beautiful as that of Yongzheng Dynasty. With the porcelain as the painted silk, the layout and rules followed the tradition of integrating poetry, calligraphy, painting and printing in Chinese painting. As Tao Ya said, "the texture is white, white as snow, and it's unique; it's as thin as an egg curtain, and it's as thin as an egg curtain; it's as thin as an egg curtain, and it wants to fly with its mouth shushed; it's as clear as the flowers under a very fine microscope, bright and beautiful, and the butterflies have hairs, and its neck is erect, and it's also unique in three ways; it's a small piece of kaizhuan with a very fine title, which is as thin as a fly head, and it's unique in four ways." The fundamental reason is that Yinzhen has a nearly harsh aesthetic character, pays great attention to the production of palace art, and pays attention to "culture, elegance, refinement and delicacy" in porcelain decoration. In order to achieve this effect, he often modifies the manuscript samples many times until it is perfect. It is such a persistent pursuit that makes Yongzheng Royal Porcelain have a unique image of the Qing Dynasty.
此件大清雍正年制松石綠地琺瑯彩花卉紋八方雙耳熏爐，紋飾清新自然，畫工精湛，色彩高貴，雅致而富有韻味，給人以清新絕巧的藝術享受。所用彩料質感厚，鮮艷，油亮有油畫效果，富有濃厚的藝術氣息。在雍正、乾隆時期瓷胎畫琺瑯常有五言或七言的題句，依據畫面而選擇的詩句，詩句是畫面的表達，畫面又是詩句的形象展現，與器物及紋飾相得益彩。畫意與詩境洗煉，寥寥數語，點出畫作的特色和精華所在，寓閑情逸致于幽美畫境中，特具詩情畫意。據造辦處檔案的記載，像這種詩、書、畫、印為一體的裝飾風格，是雍正皇帝極力倡導的。
This cupola is made in Yongzheng of Qing Dynasty. It has fresh and natural decoration, exquisite painting, noble color, elegant and charming. It gives people fresh and unique artistic enjoyment. The color materials used are thick in texture, bright in color, oil painting effect and rich in strong artistic flavor. In the period of Yongzheng and Qianlong, there were often five or seven words in the enamel of porcelain body paintings. The poems selected according to the pictures were the expression of the pictures, and the pictures were the image display of the poems, which benefited from the color of utensils and ornaments. The painting and the poetic realm are refined, and a few words are used to illustrate the characteristics and essence of the painting. According to the records of the office, the Emperor Yongzheng strongly advocated such a decorative style as poetry, calligraphy, painting and printing.
琺瑯彩瓷器因為燒制不易和太過珍貴，且由皇帝親自主持在皇宮燒制，僅供給宮廷之內皇室貴戚使用，部分才會賞賜給有功大臣作為傳家寶世代相傳。現在琺瑯彩瓷器大部分為臺北故宮博物院和北京故宮博物院所收藏，數量極少。雍正琺瑯彩當屬鳳毛麟角，極少在拍賣場上出現，這件”大清雍正年制松石綠地琺瑯彩花卉紋八方雙耳熏爐”，更是從未公開拍賣過，此瓶的珍稀程度可想而知，是件當世罕見的頂級瓷器。
Enamel color porcelain is not easy to burn and is too precious, and it is made by the Emperor himself in the imperial palace. Only when it is used by the Royal relatives in the palace, some of it will be awarded to the Minister of merit as a family heirloom for generations. At present, most of the enamel colored porcelain is collected by Taipei Palace Museum and Beijing Palace Museum, with a very small number. The enamel of Yongzheng is rare and rarely appears in the auction field. This "octagonal double ear smoke stove with enamel and flower patterns of Songshi green land made in Yongzheng of Qing Dynasty" has never been auctioned in public. The rarity of this bottle can be imagined and it is a rare top porcelain in the world.
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