70周年国庆 特别推荐：明末清初蓝釉香炉

中国传统制瓷工艺的珍品。又称“积蓝釉”、“祭蓝釉”、“霁青釉”。明、清蓝釉习称“霁蓝”，一种高温石灰碱釉。其生坯施釉，1280～1300℃高温下一次烧成。色泽深沉，釉面不流不裂，色调浓淡均匀，呈色较稳定。其釉色蓝如深海，釉面匀净，呈色稳定，后人称其为“霁青”，又因其呈色稳定明亮如宝石，又被举为把它和白釉和红釉并列，推为宣德颜色釉瓷器的三大“上品”。工艺继承元代传统，延烧不断，主要造型为祭器和陈设用瓷。

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.

【藏品名称】：明末清初蓝釉香炉

[Collection Name]: Blue Glaze Incense Furnace in Late Ming and Early Qing Dynasty

【类别】：瓷器

[Category]: Porcelain

此香炉是一个流传市面多年，第一眼看上去一眼老、非常开门。 其次，这个器形一眼看去周正规整，釉色纯正，施釉均匀，炉口沿微圆，俗称灯芯口，特征比较明显。再看底足，清带香炉器一般足底不施釉，露胎，胎质致密，有明显的旋削痕。修足规整，干净利落，圈足足背呈微弧形，可见做工比较精细，虽为民窑，也反映了清早期时期制作严谨的风格，基本可断定为景德镇窑口产品。

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、清蓝釉习称“霁蓝”，色泽深沈，釉面不流不裂，色调浓淡均匀。其釉色蓝如深海，釉面匀净，呈色稳定，又因其呈色稳定明亮如宝石，故与白釉和红釉并列，推为宣德颜色釉瓷器的三大“上品”。清代霁蓝釉瓷器常见造型仍是宫廷祭器和陈设用瓷。官窑霁蓝釉瓷多有官款，且做工十分精细，民窑也有霁蓝釉瓷多是庙堂所用的祭器，以炉、瓶最多，无官款、有纪年款的。此次出展的霁蓝釉香炉色泽古朴深沉、湛蓝深邃，使人感到平静、和谐。炉身与三足浑然一体的造型设计，使作品简洁大方、庄重文雅。从炉内到炉底整体施釉，且釉质均匀、细腻、晶莹剔透般的釉面上几乎没有划痕，使人爱不释手。更难得的是，在日本藏家收藏时期，得到了精心呵护，并为其配做了底座及盖子，盖子上以珊瑚作为装饰，再为作品添上一抹亮彩。

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。一般来说，雍正时期的瓷器，施釉厚薄适中，器形弯曲处没有明显积釉，底足没有流釉现象。若施釉过厚，过于肥腻，则有可能是乾隆时期的风格，施釉过薄，则可能是晚明或清早期风格。香炉腹部外鼓，形状偏于矮墩圆扁，这亦是早期器的主要特点。香炉表面有一层岁月侵蚀的包浆，使用痕迹明显，具备真品特征，尤为可贵的是霁蓝釉，这种釉色比较稀见，因此，更显珍贵，具有极高的收藏价值，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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