中國的瓷器生產歷史悠久，窯口眾多，珍品無數。每一個瓷器品種的產生、存在和流傳都為瓷器發展的歷史添上了濃重的、不可缺少的一筆。在這個發展過程中，稱得上重彩濃墨，影響較大的可為唐代的白釉、花釉，宋代的青瓷及青白釉，元代的青花、釉里紅、紅綠彩，明代的永樂甜白、宣德五彩、成化斗彩，清代的康熙青花和康雍乾三朝的粉彩、琺瑯彩。這中間，明代的永、宣、成化青花雖然名貴，但它是元青花的承繼和發展，本質上并沒有脫出元青花的框子。萬歷、嘉靖彩瓷也是一樣，它們是在宣德五彩和成化斗彩的基礎上發展起來的。
China's porcelain production has a long history, with many kilns and countless treasures. The emergence, existence and spread of each porcelain variety add a thick and indispensable stroke to the history of porcelain development. In this development process, it can be called heavy color and thick ink. The most influential ones are white glaze and flower glaze in Tang Dynasty, celadon and blue white glaze in Song Dynasty, blue and white glaze in Yuan Dynasty, red and green glaze in glaze, Yongle sweet white and Xuande five colors and Chenghua fighting color in Ming Dynasty, Kangxi blue and white glaze in Qing Dynasty and powder color and enamel color in Kangyong Qian three dynasties. In the middle, although Yonghua, Xuanhua and Chenghua blue and white of Ming Dynasty are precious, they are the inheritance and development of Yuan blue and white, which are not out of the frame of Yuan blue and white in essence. The same is true of Wanli and Jiajing color porcelain, which are developed on the basis of Xuande color and Chenghua color.
五彩瓷器可分為釉上五彩和青花五彩，釉上五彩在清代乾隆朱琰著《陶說》卷三“造法”一節中記：“五彩，用燒過純白瓷器，饋彩、過爐火燒成。”，青花五彩在清代乾隆《南窯筆記》中記：“青花畫花鳥，半體，複入彩料，湊成全體”。嘉靖、萬歷、宣德時期，五彩瓷器的燒造盛極一時，無論是質與量，為明代之冠，是與永樂、宣德青花瓷器及成化斗彩比肩的瓷器名品。這一時期是我國彩瓷發展的新階段，對后世瓷器的發展有著深遠的影響。尤其是宣德五彩更是起到了承上啟下之作用，它第一次正式將釉下青花引入彩瓷色彩中，成為紅、藍、綠、黃、紫五色中一種固定色彩，豐富了彩瓷品種的顏色表現力;同時宣德五彩還償試著將青花作部分圖案的外廓，從而為“成化斗彩”的出現墊定了基礎。可以說沒有“宣德五彩”就沒有炫麗奪目的“成化斗彩”。
Five color porcelain can be divided into five colors on glaze and five colors on blue and white. The five colors on glaze are recorded in the third section of "making method" in the book "Tao Shuo" written by Zhu Yan in Qianlong of Qing Dynasty: "five colors are made by firing pure white porcelain, feeding color and burning in furnace." In Qianlong's notes to the South kiln in the Qing Dynasty, the five colors of blue and white were recorded: "blue and white paintings of flowers and birds, half of which are made up of colored materials and then put together into a whole". In the Jiajing, Wanli and Xuande periods, the firing of multicolored porcelain was very popular for a time. No matter the quality and quantity, it was the top of the Ming Dynasty, and it was a famous porcelain product comparable with Yongle and Xuande blue and white porcelain and Chenghua duel. This period is a new stage in the development of China's color porcelain, which has a profound impact on the development of later porcelain. In particular, Xuande five colors play a connecting role. For the first time, it formally introduces underglaze blue and white into the color of color porcelain, becoming a fixed color among red, blue, green, yellow and purple, enriching the color expression of color porcelain. At the same time, Xuande five colors also try to make blue and white as the outline of some patterns, thus laying a foundation for the emergence of "Chenghua fighting color". It can be said that without the "Xuande five colors", there would be no "Chenghua fighting colors" that dazzle the beautiful.
這款五彩龍紋雙耳琵琶尊，圓口，鼓腹，下腹斜收，砂底微凹。瓶身繪彩色龍紋，運筆粗獷豪放，筆筆精淮，紅彩鮮艷欲滴，綠釉青翠奪目。此品胎體敦實厚重，釉面肥潤，以五彩填色。青花色調深沉藍艷，深入胎骨，為典型高級鈷料之特征。整體構圖繁而不亂，絢麗而精致。是不可多得的收藏佳品。
This colorful dragon double ear Pipa has a round mouth, bulging abdomen, sloping lower abdomen, and slightly concave sand bottom. The body of the bottle is painted with colorful dragon patterns. The strokes are rough and bold. The strokes are refined. The red color is bright and dripping. The green glaze is green and dazzling. The body of this product is solid and thick. The glaze is fat and moist. It is filled with five colors. Blue and white color is deep and blue, deep into fetal bone, which is a typical high-grade cobalt material. The overall composition is complicated but not disordered, gorgeous and delicate. It's a rare collection.
