四川永合利拍賣有限公司，為藏品強(qiáng)大的傳播效應(yīng)向各位買家推薦經(jīng)國(guó)家一級(jí)鑒定專家甄選的藝術(shù)珍品,為藏家牽線搭橋,讓千百件藝術(shù)珍品價(jià)值被發(fā)掘與重視,在拍賣會(huì)上得以高價(jià)成交。
Sichuan Yonghe Li Auction Co., Ltd. For the strong dissemination effect of collections, we recommend to buyers the art treasures selected by experts of national first-level appraisal, and make a bridge for Tibetans, so that the value of thousands of art treasures can be excavated and valued, and high-priced transactions can be concluded at auction.
【名稱】粉彩壽桃茶壺（清中期）
【規(guī)格】高：10cm口徑：3.6cm底徑：4cm
【類別】瓷器
[Name]Pink Shoutao Teapot (Mid-Qing Dynasty)
[Specification] High: 10cm diameter: 3.6cm bottom diameter: 4cm
[Category] Porcelain
今天給各位藏友帶來(lái)（清中期）粉彩壽桃茶壺，藏品來(lái)自于一位西安的姬先生，據(jù)持寶人姬先生講解，此藏品是家傳到自己手上，自己多年一直私自保存著，舍不得拿出來(lái)，這次希望通過(guò)平臺(tái)給各位鑒賞。
Today, I brought you a pink longevity peach teapot from Xi'an. According to Mr. Ji, the treasure holder, this collection is handed down from home to his own hands. I have kept it for many years, and I am reluctant to take it out. This time, I hope to appreciate it through the platform.
該藏品形制規(guī)格富貴大器，外觀以黃料福紋為底，粉飾描繪折枝壽桃，壺身福祿壽禧紋飾，并用描金飾邊線和綠兔頂。該器從造型、規(guī)格到裝飾皆在表達(dá)玉堂富貴的美意。誠(chéng)然，收藏家擁有這把茶壺，平添金玉富貴之氣。
The collector's shape and specifications are rich and noble. Its appearance is based on the Yellow Fuwen pattern. The decoration depicts the folded branches of Shoutao, the pot's body Fulu Shouxi pattern, and the golden border and the green rabbit top. From shape, specification to decoration, the vessel expresses the beauty of Yutang's richness. It is true that the collector owns this teapot, which adds to the wealth of gold and jade.
清代嘉慶朝生產(chǎn)的粉彩瓷器。從傳世品看，無(wú)論是器形還是紋飾題材，都以前朝作品為藍(lán)本，沒(méi)有大的突破，尤其是嘉慶早期，乾隆太上皇健在時(shí)與乾隆朝作品基本一致，因此有“乾嘉不分”的說(shuō)法。嘉慶的精品如不看款識(shí)，很容易與乾隆相混淆。嘉慶粉彩官窯款識(shí)多數(shù)在器底，為紅彩或金彩或青花篆書“大清嘉慶年制”六字款，字體工整，結(jié)構(gòu)嚴(yán)謹(jǐn)。值得提出的是嘉慶民窯款識(shí)，常見一種青花篆書的“大清嘉慶年制”六字款，筆畫不齊，均用六字的半邊字組成，草率松散，有的還不易識(shí)別。
Pink Porcelain Produced by Jiaqing Dynasty in Qing Dynasty. From the perspective of handed down works, no matter the shape or decorative theme, the works of the former dynasty were the blueprint, and there was no major breakthrough. Especially in the early Jiaqing period, Emperor Taihuangjian of Qianlong was basically the same as the works of the Qianlong Dynasty, so there was a saying that "Qianlong and Jiaqing are indiscriminate". Jiaqing's boutiques are easily confused with Qianlong's if they don't look at money. Jiaqing Pink Official Kiln is mostly at the bottom of the wares. It is a six-character style of red or gold or blue and white seal book "Jiaqing Year System of the Qing Dynasty", with neat font and rigorous structure. It is worth pointing out that Jiaqing folk kiln fund recognition, a common blue and white seal book "Qing Jiaqing Annual System" six-character paragraph, uneven strokes, are composed of six-character half-edge characters, rash and loose, and some are not easy to identify.
嘉慶前期粉彩器物的胎質(zhì)基本保持乾隆中晚期較為細(xì)膩潤(rùn)澤的質(zhì)感，至后期胎體略顯粗糙，厚薄不一。此時(shí)粉彩瓷器以色地為主，不甚平整，有波浪感，白地粉彩器物相對(duì)較少，釉面細(xì)潤(rùn)多白中閃青，釉面較薄勻。大體前期作品釉層較為密致，后期釉面多粗松。此時(shí)官窯粉彩器物的口沿處多施以金彩、內(nèi)里與器底部分常施以松石綠釉，只是色澤比乾隆時(shí)期略顯深重且稍欠勻凈。
In the early period of Jiaqing, the texture of the pastel utensils basically maintained a more delicate and moist texture in the middle and late period of Qianlong, but in the later period, the body was slightly rough and varied in thickness. At this time, the pastel pottery is mainly of color, not very flat, with a wave feeling. The white pastel pottery is relatively few, and the glaze is fine and moist, white and shiny blue, and the glaze is thin and even. Generally, the glaze of the earlier works is denser, and the glaze of the later works is more loose. At this time, gold, Turquoise and green glaze were often applied along the mouth, inside and bottom of the pink ware in the official kiln, but the color was slightly deeper and less uniform than that in the Qianlong period.
《陶雅》一書有云： “（清代）中葉以后，深厚故不如康熙，美麗也不及雍正，惟以不惜工本之故，猶足以容與中流。嘉（慶）、道（光）以降，畫工、彩料直愈趨愈下，而極精之品，猶自有不可埋沒(méi)處。”正如該書中所言，盡管嘉慶年間燒造的瓷器大不如前，但仍有許多不可埋沒(méi)的佳作精品，作為歷史遺留給我們的寶貴財(cái)富，應(yīng)受到重視。
Tao Ya is a book with clouds: "After the middle of the Qing Dynasty, it was not as deep as Kangxi, nor as beautiful as Yongzheng, but at the cost of work, it was enough to be tolerant and middle-class. Since Jia (Qing) and Dao (Guang), painters and colours have been declining, while the most exquisite products have their own place to bury. As stated in the book, although the firing of porcelain in Jiaqing was much worse than before, there are still many excellent works which can not be buried. As a precious wealth left to us by history, we should pay attention to them.
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