中國傳統制瓷工藝的珍品。又稱“積藍釉”、“祭藍釉”、“霽青釉”。明、清藍釉習稱“霽藍”，一種高溫石灰堿釉。其生坯施釉，1280～1300℃高溫下一次燒成。色澤深沉，釉面不流不裂，色調濃淡均勻，呈色較穩定。其釉色藍如深海，釉面勻凈，呈色穩定，后人稱其為“霽青”，又因其呈色穩定明亮如寶石，又被舉為把它和白釉和紅釉并列，推為宣德顏色釉瓷器的三大“上品”。工藝繼承元代傳統，延燒不斷，主要造型為祭器和陳設用瓷。
Chinese traditional porcelain crafts. Also known as "blue glaze", "sacrificial glaze" and "indigo glaze". Ming and Qing blue glazes are commonly referred to as "indigo blue", a kind of high temperature lime alkali glaze. The green body is glazed and fired next time at 1280-1300 C. The color is deep, the glaze does not flow or crack, the tone is even and the color is stable. Its glaze color is blue as deep sea, its glaze surface is even and stable. Later people call it "indigo green", and because of its stable and bright color, it is also cited as the three "top products" of Xuande color glazed pottery, which is juxtaposed with white glaze and red glaze. The craft inherited the tradition of the Yuan Dynasty and continued to burn, mainly in the form of sacrificial utensils and display porcelain.
【藏品名稱】：明末清初藍釉香爐
[Collection Name]: Blue Glaze Incense Furnace in Late Ming and Early Qing Dynasty
【類別】：瓷器
[Category]: Porcelain
此香爐是一個流傳市面多年，第一眼看上去一眼老、非常開門。 其次，這個器形一眼看去周正規整，釉色純正，施釉均勻，爐口沿微圓，俗稱燈芯口，特征比較明顯。再看底足，清帶香爐器一般足底不施釉，露胎，胎質致密，有明顯的旋削痕。修足規整，干凈利落，圈足足背呈微弧形，可見做工比較精細，雖為民窯，也反映了清早期時期制作嚴謹的風格，基本可斷定為景德鎮窯口產品。
This incense burner has been on the market for many years. At first glance, it looks old and very open. Secondly, the shape of the vessel is regular, the glaze color is pure, the glaze is uniform, and the furnace mouth is slightly round, commonly known as the wick mouth, with obvious characteristics. Looking at the sole foot, the fragrance burner with clear ribbon usually has no glaze on the sole, exposed fetus, compact fetus and obvious scratch marks. The foot is neat and neat, and the back of the circle foot is slightly curved. It can be seen that the workmanship is relatively fine. Although it is a folk kiln, it also reflects the rigorous style of production in the early Qing Dynasty. It can be basically concluded as Jingdezhen kiln mouth product.
明、清藍釉習稱“霽藍”，色澤深沈，釉面不流不裂，色調濃淡均勻。其釉色藍如深海，釉面勻凈，呈色穩定，又因其呈色穩定明亮如寶石，故與白釉和紅釉并列，推為宣德顏色釉瓷器的三大“上品”。清代霽藍釉瓷器常見造型仍是宮廷祭器和陳設用瓷。官窯霽藍釉瓷多有官款，且做工十分精細，民窯也有霽藍釉瓷多是廟堂所用的祭器，以爐、瓶最多，無官款、有紀年款的。此次出展的霽藍釉香爐色澤古樸深沉、湛藍深邃，使人感到平靜、和諧。爐身與三足渾然一體的造型設計，使作品簡潔大方、莊重文雅。從爐內到爐底整體施釉，且釉質均勻、細膩、晶瑩剔透般的釉面上幾乎沒有劃痕，使人愛不釋手。更難得的是，在日本藏家收藏時期，得到了精心呵護，并為其配做了底座及蓋子，蓋子上以珊瑚作為裝飾，再為作品添上一抹亮彩。
Ming and Qing blue glazes are commonly known as "indigo blue". They have deep colour, non-splitting glaze surface and uniform shades. Its glaze color is blue as deep sea, its glaze surface is even and stable, and its color is stable and bright as gemstone, so it is juxtaposed with white glaze and red glaze, and is promoted as the three "top-grade" of Xuande color glazed pottery. In Qing Dynasty, the common shapes of indigo glazed porcelain were still ceramics for palace sacrifices and furnishings. Official kilns often have official style and fine workmanship. Min kilns also have indigo glaze porcelain, which are mostly sacrificial utensils used in temples, with stoves and bottles at the most, no official style and chronological years. The indigo glaze incense stove exhibited in this exhibition has a primitive and deep colour and deep blue, which makes people feel calm and harmonious. Furnace body and three-legged integrated modeling design, make the work simple and elegant, solemn and elegant. From the furnace to the bottom of the whole glaze, and glaze uniform, delicate, crystal-clear glaze almost no scratches, people love it. What's more, during the period of collecting by Japanese collectors, they were carefully cared for and matched with a base and a lid, which was decorated with coral, and then added a touch of brilliance to the works.
最后，再看看釉色的厚薄。一般來說，雍正時期的瓷器，施釉厚薄適中，器形彎曲處沒有明顯積釉，底足沒有流釉現象。若施釉過厚，過于肥膩，則有可能是乾隆時期的風格，施釉過薄，則可能是晚明或清早期風格。香爐腹部外鼓，形狀偏于矮墩圓扁，這亦是早期器的主要特點。香爐表面有一層歲月侵蝕的包漿，使用痕跡明顯，具備真品特征，尤為可貴的是霽藍釉，這種釉色比較稀見，因此，更顯珍貴，具有極高的收藏價值，值得收藏！
Finally, look at the thickness of the glaze. Generally speaking, the Yongzheng period of porcelain, glaze thickness is moderate, there is no obvious glaze at the bend, no glaze phenomenon at the sole. If the glaze is too thick and greasy, it may be the style of Qianlong period, and if the glaze is too thin, it may be the style of late Ming or early Qing Dynasty. The incense burner's belly is bulging, and its shape is oblate and low, which is also the main feature of the early instruments. There is a layer of age-eroded slurry on the surface of incense stove, which has obvious use traces and authentic features. The most valuable one is the indigo glaze. This glaze color is relatively rare. Therefore, it is more precious. It has a very high collection value and is worth collecting.
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