貫耳壺直頸（長脖子）、圓腹（邊遠(yuǎn)）、圈足，最具特色的是靠近瓶口頸部兩側(cè)的，一對豎直的管狀貫耳。從宋代開始，貫耳瓶的燒制幾乎沒有斷絕，后世不斷仿制，而且多被皇族壟斷。
Ear pot straight neck (long neck), round abdomen (remote), circle feet, the most characteristic is near the neck neck on both sides of the bottle, a pair of vertical tubular ear. Since the song dynasty, the firing of guan er vase was almost never cut off.
貫耳瓶在古代的功能是作為一種陳設(shè)用品，作為眾多瓷器形制的一種，貫耳瓶也擁有其特色，尤其那對貫耳，在別的瓷器上很難見到。貫耳瓶的兩只耳朵呈直管狀，某種程度上也有勸誡君王廣開言路、善于納諫的含義。或許基于此，貫耳瓶才會得到歷代皇家的推崇。
In ancient times, the function of guan er bottle was as a display article. As one of the shapes and systems of numerous porcelains, guan er bottle also has its own characteristics, especially the pair of guan er, which is rarely seen on other porcelains. The two ears of the bottle are straight tube shape, and to some extent, it also has the meaning of admonition the king to be open and receptive to remonstrance. Perhaps based on this, guan er bottle will be respected by the royal dynasties.
貫耳瓶有著深厚的文化內(nèi)涵，從源頭看起，《邛窯古陶瓷研究》書中提到：“貫耳式樣，早在新石器時代良渚文化的髙頸陶壺即有雛形。說明貫耳瓶有著悠久的歷史。到了漢代，貫耳瓶被用作投壺，投壺是古代宮廷宴飲的一種禮儀。
Guan er bottle has a profound cultural connotation, from the source, "qiongyao ancient ceramics research" book mentioned: "guan er style, as early as the neolithic age liangzhu culture of high neck pottery pot has an embryonic form. It shows that guan er bottle has a long history. In the han dynasty, guan er vase was used as a kind of throwing pot, which was a kind of etiquette for feasting in the ancient court.
昔日的投壺在宋代已難覓蹤影，但貫耳瓶優(yōu)雅的造型藝術(shù)已由早期的娛樂工具的主功能，變更成為了陳設(shè)器或瓷質(zhì)酒器。功能上的變化也決定了它的使用對象與范圍，所從，從宋代開始至清代，貫耳瓶始終以它髙貴的身份，被歷代皇族保留了下來。
The former dao hu was hard to find in song dynasty, but the elegant plastic art of guan er bottle has changed from the main function of the early entertainment tool to display or porcelain wine vessel. The functional changes also determine the object and scope of its use. Therefore, from song dynasty to qing dynasty, guan er vase has been retained by the imperial family as a high treasure.
貫耳瓶在清代各朝都有燒制，光緒一朝距今僅一百多年。雖然光緒朝處于風(fēng)雨飄搖，朝政混亂，政治腐敗，管理混亂之中，但是這一朝燒制的貫耳瓶數(shù)量卻尤多，傳世品也極為豐富，釉彩各異。有祭藍(lán)、茶葉末、粉青、仿官、仿哥、白釉等。
Guan er vase in the qing dynasty in each dynasty were fired, guangxu dynasty only a hundred years ago. Although the guangxu dynasty was in turmoil, political chaos, political corruption and management chaos, the number of guan er bottles fired in this dynasty was especially large, and the handed down products were also extremely rich, with different glazes. Offering blue, tea, powder green, imitation officer, imitation brother, white glaze.
從瓷器藝術(shù)上來看，由于宋代的龍泉窯、官窯等知名窯系對貫耳瓶都有燒制，貫耳瓶的價值也就水漲船高。對于古人來講，是精美的藝術(shù)品。到了現(xiàn)代，那些上了年頭的貫耳瓶成為藏家眼中的寶貝，尤其是宋代官窯燒制的貫耳瓶，在市場上頗有價值。
From the perspective of porcelain art, the famous kilns in the song dynasty, such as longquan kiln and guan kiln, were all firing guan er bottles, so the value of guan er bottles rose. To the ancients, it was a fine work of art. In modern times, those old guan er bottles have become treasures in the eyes of collectors, especially the guan er bottles fired by imperial kilns in song dynasty, which are quite valuable in the market.
