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（名称）：乾隆锦地洋彩开光四季花鸟纹方尊

Square Zun with Flower and Bird Patterns

 

 

洋彩，顾名思义，从“洋彩”的“洋”字上，便知其与西洋有关。清代曾为雍正、乾隆两朝皇帝烧制瓷器的督陶官唐英曾这样表述：“洋彩器皿，本朝新仿西洋珐琅画法，圆琢白器，五彩绘画，摹仿西洋，故曰洋彩。人物、山水、花卉、翎毛无不精细入神，所用颜料与珐琅色同。”清代曾为雍正、 乾隆两朝皇帝烧制瓷器的督陶官唐英曾这样表述：“洋彩器皿，本朝新仿西洋珐琅画法，圆琢白器，五彩绘画，摹仿西洋，故曰洋彩。人物、山水、花卉、翎毛无不精细入神，所用颜料与珐琅色同。”

 

Yangcai, as the name implies, from the word "foreign" in "Yangcai", it is known that it is related to the West. In the Qing Dynasty, the pottery governor Tang Ying, who made porcelain for the emperors of the Yongzheng and Qianlong dynasties, once stated: The figures, landscapes, flowers and feathers are all meticulously immersed, and the pigments used are the same color as the enamel." In the Qing Dynasty, the pottery governor Tang Ying, who made porcelain for the emperors of Yongzheng and Qianlong, said:

"Foreign-colored vessels, this dynasty's new imitated Western enamel painting method, round cut whiteware, multicolored paintings, imitated Western, so it is called Yangcai. The figures, landscapes, flowers, and feathers are all fine and delicate, and the pigments used are the same color as the enamel.

 

gdezhen imperial kilns fired a batch of hollowed spinners known as "spiritual craftsmanship". It is particularly worth mentioning that Tang Ying also created an "icing on the cake" engraving

 

乾隆皇帝即位之初，意气风发。无论是文治武功，还是艺术创作都极欲有所作为。为了秉承上意，督陶官唐英在江西景德镇监造御用瓷器时不断推陈布新。在唐英的用心之下，景德镇御窑烧制出了一批被誉为“鬼斧神工”的镂空转旋器。特别值得一提的是，唐英还开创了一种“锦上添花”剔刻技法，将洋彩的华贵绚丽臻于极致。所谓锦上添花，就是在密布锦纹的隙处，再添纹饰。乾隆六年（1741）开始，这种技法被大量使用于瓷胎画珐琅和洋彩瓷器上。锦上添花纹饰分剔地锦纹与描画锦纹二种。剔地锦纹纹饰微凹，描画锦纹则略凸。二者皆精雕细琢、笔触细腻。各式锦地纹包括凤尾形卷草纹，卍字锦纹、绣球花纹、六角龟甲纹、方形柿蒂纹、花叶纹，修饰边沿的有莲瓣纹、回纹、云纹等，都剔工精妙，一丝不苟。据悉，锦上添花的制作工序十分费工，必须经过一次高温烧制瓷胎，二次以上的低温烧造纹饰，至少三次以上的烧成工序。

 

When Emperor Qianlong came to the throne, he was full of spirits. Whether it is Wenzhi Wugong, or artistic creation, they are eager to make a difference. In order to uphold the above intention, Tang Ying, the superintendent of pottery, kept pushing the old and the new while supervising the production of imperial porcelain in Jingdezhen, Jiangxi. Under Tang Ying's intentions, Jintechnique to maximize the luxury and splendor of Yangcai.

The so-called icing on the cake is to add decorations in the gaps of dense brocade patterns. Since the sixth year of Qianlong (1741), this technique has been widely used in porcelain painting enamel and foreign color porcelain. There are two types of decorative patterns on the brocade, namely, picking and drawing brocade patterns. The embossed brocade pattern is slightly concave, while the brocade pattern is slightly convex. Both are meticulously crafted, with delicate brushwork. All kinds of brocade patterns include phoenix tail-shaped curled grass pattern, swastika brocade pattern, hydrangea pattern, hexagonal tortoise shell pattern, square persimmon stalk pattern,

Mosaic patterns, lotus petal patterns, fret patterns, and moire patterns decorate the edges, all of which are delicate and meticulous. It is reported that the production process of the icing on the cake is very labor-intensive. It must go through a high-temperature firing of the porcelain body, two or more low-temperature firing patterns, and at least three or more firing processes.

 

 

乾隆年间，督陶官唐英每年春秋两季，亲自前往江西景德镇监造御用瓷器”，为了博得君心，唐英不断推陈布新、研究新技法，绞尽脑汁设计新样式，烧制出一批被誉为‘鬼斧神工’奇巧的镂空转旋器；他又开创‘锦上添花’剔刻技法，将洋彩的华贵绚丽臻于极致。‘洋彩’就是唐英创新运用的名词。唐英之后，景德镇官窑再也无法烧出如乾隆早期的精美绝世之作。

 

During the Qianlong period, the pottery officer Tang Ying personally went to Jingdezhen, Jiangxi Province to supervise the production of imperial porcelain in spring and autumn.” In order to win the king’s heart, Tang Ying kept pushing new ideas, researching new techniques, racking his brains to design new styles and firing them. A batch of hollowed spinners known as the "ghost and axe workmanship" Kit Qiao; he also pioneered the "icing on the cake" engraving technique to maximize the luxury and splendor of Yangcai. "Yangcai" is the noun used by Tang Ying innovatively. After Tang Ying , Jingdezhen official kiln can no longer be burned as exquisite and peerless works of the early Qianlong perio

 

 

 

 

乾隆时期装饰的图案追求华丽繁缛的风格，题材内容广泛，在传统的花卉、禽鸟、山水、人物的基础上，增加了大量寓意福禄寿、太平盛世、伦理道德等方面的内容，很多纹饰运用谐音来表达吉祥的祝愿，脍炙人口。犹如此件乾隆锦地洋彩开光四季花鸟纹方尊，四方口，折沿，束颈，折肩，四方体下收，圈足外撇。造型规整，蓝釉为地，以缠枝花鸟纹装饰，寓意吉祥。瓶身部分采用轧道工艺，腹部开光绘花鸟纹饰，纹饰布局繁密，生动优美，意境深远，栩栩如生，色彩鲜艳，富有层次感，前方和背景均为花簇盛开的牡丹，挺拔的竹子，虚实结合，意境彰显。作品不仅表现出孔雀的优美、高贵以外，还以雌雄为主体，牡丹、竹子为附属构成作，整体构图疏朗秀雅，花朵鲜艳，草木碧翠，工艺繁杂精细之极，尽显乾隆粉彩瓷器富丽优雅之魅力。古人对孔雀的理解为基甸，表现出孔雀的优美、高贵以外，还以雌雄为主体，牡丹、竹子为附属，构成作品。孔雀是神圣的，是神话中“凤凰”的化身，雌雄一对，象征着阴阳结合，代表家庭相结合，表现出人们对婚姻，对爱情的神圣、严谨感，也有着成双成对，好事成双的寓意。整体制作工艺精湛，为大清乾隆时期粉彩瓷器精细之作，具有极高的收藏价值和升值空间。

 

The decorative patterns in the Qianlong period pursued a gorgeous and complex style, with a wide range of subjects. On the basis of traditional flowers, birds, landscapes, and characters, a large number of content implying happiness, longevity, peace and prosperity, ethics and morality were added, and many decorative patterns The use of homophonic sounds to express auspicious wishes is very popular. Just like this, a square statue with four seasons of flowers and birds in the Qianlong brocade and foreign colors, with a square mouth, a folded edge, a neck, a folded shoulder, a square body closed downward, and a circle foot outside. The shape is regular,

The blue glaze is the ground, decorated with flowers and birds, which means auspiciousness. The bottle body adopts the rolling process, the belly is decorated with flowers and birds, the layout is dense, vivid and beautiful, the artistic conception is profound, lifelike, colorful, rich in layering, the front and the background are full of blooming peonies, tall bamboo, a combination of virtual and real , The artistic conception is highlighted. The work not only shows the beauty and nobility of peacocks, but also takes male and female as the main body, with peony and bamboo as subsidiary compositions.

The overall composition is sparse and elegant, with bright flowers, verdant vegetation, and extremely complicated craftsmanship, which fully demonstrates the rich and elegant charm of Qianlong famille rose porcelain. The ancients understood the peacock as Gideon, showing the beauty and nobility of the peacock, but also the male and the female as the main body, and the peony and bamboo are attached to form the works. The peacock is sacred and the incarnation of the "phoenix" in the myth. A male and female pair symbolizes the combination of yin and yang, represents the combination of family, and shows people's attitude towards marriage.

The sacred and rigorous sense of love also has the meaning of being in pairs and good things in pairs. The overall craftsmanship is exquisite, and it is a fine piece of famille rose during the Qianlong period of the Qing Dynasty, which has extremely high collection value and appreciation s

 

 

洋彩瓷因其原料珍贵、工艺繁杂、精美绝伦而被称作“彩瓷之冠”，与“彩瓷皇后”珐琅彩有着异曲同工之妙，乃盛清宫廷工艺的旷世杰作，是乾隆至爱，藏之于乾清宫，供皇帝闲暇赏玩，是极其珍贵稀有的艺术精品。作为中国古陶瓷顶峰时期的作品，代表了中国陶瓷制作的最高水平，蕴涵着皇家的艺术性情，显示着皇权至高无上的尊严。被称为“洋彩”的瓷器，烧制量非常稀少，由乾隆皇帝亲自指导定名、配座、装匣、评列等级，绝大部分珍藏于乾清宫端凝殿与养心殿，除少数陈设圆明园，后遭入侵者掠夺之外，基本上流失于外者少之又少，坊间难得一见。

 

Foreign colored porcelain is called the "Crown of Colored Porcelain" because of its precious raw materials, complex craftsmanship, and exquisite exquisiteness. It has the same effect as the "Queen of Colored Porcelain" enamel. It is a masterpiece of Qing court craftsmanship, and is the favorite of Qianlong. , Hidden in the Palace of the Qing Dynasty, for the emperor's leisure time to enjoy and play, is extremely precious and rare art works. As the work of the peak period of Chinese ancient ceramics, it represents the highest level of Chinese ceramics production, contains the royal artistic disposition, and shows the supreme dignity of imperial power.

Porcelain known as "foreign color", the amount of firing is very rare. Emperor Qianlong personally guided the naming, seating, boxing, and ranking. Most of them are collected in the Duanning Hall and Yangxin Hall of Qianqing Palace, except for a few The Old Summer Palace was looted by the invaders after its furnishings, and there were very few people who were basically lost to the outside world.

 

规格尺寸

Specification and size

底经：13.7cm 高:44cm 口经：12.4cm

 

Base: 13.7cm Height: 44cm Mouth: 12.4cm

 

藏品持有人： 刘国先生

 

Owner: Mr. Liu Guo

 

联系电话️：15027619837

 

CONTACT: Mr. 15027619837

 

 

 

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