清三代瓷器——瓷器中魁宝

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清三代瓷器——瓷器中魁宝

中国是瓷器的故乡，瓷器是中国劳动人民的一个重要的创造。瓷器的发明是民族对世界文明的伟大贡献，在英文中“瓷器（china）”与中国（China）同为一词。大约在公元前16世纪的商代中期，中国就出现了早期的瓷器。因为其无论在胎体上，还是在釉层的烧制工艺上都尚显粗糙，烧制温度也较低，表现出原始性和过渡性，所以一般称其为“原始瓷”。

清三代康熙、雍正、乾隆时期，是一个太平盛世的社会，皇帝更是十分喜爱瓷器，且当时的瓷器烧制技术已臻成熟，积累了前人的制瓷经验，在技艺上无可挑剔，加上皇帝的喜爱对瓷器的制作是不计成本的投入，工匠们精心制作，烧制出来的瓷器精美别致，这也就是清三代瓷的艺术价值所在。下面我们来看看2018年新成交的清三代瓷器。

China is the home of porcelain, and porcelain is an important creation of the Chinese laboring people. The invention of porcelain is a great contribution of the Chinese nation to world civilization. In English, "China" is the same word as "China". About the middle of the Shang Dynasty in the sixteenth Century B.C., early porcelain appeared in China. It is generally called "primitive porcelains" because of its roughness in the matrix and glaze firing process, low firing temperature and primitive and transitional characteristics.

During the reign of Kangxi, Yongzheng and Qianlong in the Qing Dynasty, it was a peaceful and prosperous society. The emperor loved porcelain very much. At that time, the firing technology of porcelain had matured, accumulated the experience of the predecessors in making porcelain, which was impeccable in technology. In addition, the emperor's love for making porcelain was an investment regardless of cost, and the craftsmen carefully made it. The porcelain made by firing is exquisite and unique. This is also the artistic value of the three generation porcelain of Qing Dynasty. Now let's take a look at the latest three generation porcelain in the 2018.




清康熙 粉红地珐琅彩开光花卉盌

器形雅正，弧壁浑圆，高岭为胎，质密细腻，诚景德镇御窑佳品，皑白美如雪。跋涉送京，宫中添珐琅，外壁涩胎厚施彩，匀净透亮。着粉红为地，嫣绯嫩色，彷佛半怯羞容，庸须胭脂红。画四面梅花形开光，轻抹碧蓝，内绘群芳，恰似倚窗观晴空，青云映花浓。朱槿裙下难自珍，百合岂羡虞美人，玫瑰栀子不相让，水仙月季共幽香。花窗外，绀蓝雏菊俯压枝，瞰洋花卷叶，暗溢西风。妙笔下，或含苞、或盛绽，渲染细腻，纤瓣柔叶姿婀娜，意雅趣真。盌内巧留白，外底红料书「康熙御制」双行四字宋体款，罩双方框，字体挺拔隽朗，照证清宫绝艺。

此盌与台北故宫博物院藏品，纹饰皆见洋风，施艺创新，，且以红料书款，可悉当时尚未受后来蓝款法规所限，也未见因循拘谨，应属康熙年间珐琅作早期御瓷。此盌年代虽早，却又胎佳色雅，艺技，远胜试验雏例，极其珍罕。


清乾隆 御制珐琅彩虞美人题诗盌

此盌器形雅正，弧壁浑圆略撇，胎质细密，均净如雪。从景德镇御窑跋涉上送京师，宫中妙画珐琅彩，外壁写生虞美人，黄自矜持、白怯羞绯、红恃娇纵、紫尚雅风，翠叶间，纤花或含蕾、或盛绽，曲茎摇曳微风中，石半掩、蝶萦绕，渲染描绘细腻如生。另一面墨题明人徐桂〈咏虞美人草〉诗二句，曰：「迎风似逐歌声起，宿雨那经舞袖垂」，既咏虞美人随风起舞之妍姿雅貌，又是借花怀古。诗前有「佳丽」，后添「翠铺」与「霞映」，共红料印三枚。盌心加缀三多瑞果，更显清朗秀逸。足底双方框内蓝料书「乾隆年制」四字宋体款。

The shape is elegant, the arc wall is round and slightly skimmed, and the weight of the embryo is fine. From Jingdezhen Royal Kiln to Jingshi on the trek, the palace painted enamel, the outer wall painted beautiful women, Huang Zizhi, white shy, red indulgence, purple elegant wind, green leaves, fine flowers or buds, or blooming, twisting stems in the breeze, stone half hidden, butterflies lingering, rendering delicate depictions like life. On the other hand, the two lines of Xu Gui's poem "Yongyu Beauty Grass" are inscribed on the other side. They say, "The wind seems to be singing, while the sleeves of the Sutra dance are drooping." They not only chant the beautiful appearance of Yumei's dancing with the wind, but also cherish the past through flowers. Before the poem, there were "beautiful", and then added "Cui Pu" and "Xia Ying" with three red prints. The heart is decorated with more than 3 fruits, which is more clear and elegant. The blue book "the Qianlong year system" is composed of four characters.



清乾隆 洋彩黄地粉青透龙夹层吉庆有余玲珑尊

玲珑尊撇口折沿，宽颈溜肩，黄地细描锦地，沿下环绘如意云头，渲染得宜，立体逼真，挂缀璎珞串珠，其中四组配饰吉字，并有磬如祥蝠，且添盛绽番莲四朵，橘红亮蓝，清新婉丽。另间饰双鱼四组，更添祥瑞，辅以卷延洋花，异风漫溢。纵然满饰繁密，却有条不紊，井然见序。斜肩下渐敛，器腹外层绿地红龙之间，粉青描金镂空夔纹，并缀四面浮雕开光，妙绘丰鱼成双，畅泳柔波微浪中，穿梭落花水藻间，其中鳜鱼两相对、红鲤同游伴，悠然自得，栩栩如生。从镂空间隙，可窥见内瓶仿明青花缠枝花卉，朵妍各异，妙然生趣。足上加缀黄地锦纹转枝洋花，洋菊、银莲，雅致缱绻，与颈上饰纹相呼应。内颈及器底均施松石绿彩，底署蓝料双方框六字篆款，殊为罕稀。

乾隆一朝（1736-1795年），宫中崇尚新颖之品，务必精益求精，为悦龙颜、得君心，瓷匠费煞思量，方制得如此玲珑尊之妙品佳器，尽显神工鬼斧。华饰绚烂，兼具古今韵致，以妙趣巧思，昭扬乾隆盛世。此尊，及与此成对者，正如与其他洋彩瓷器，形饰特，别例无寻，应乃景德镇供御特别烧造之品。


清乾隆 斗彩加粉彩暗八仙缠枝莲纹天球瓶

瓶圆鼓腹，直颈，内圈足。通体斗彩加粉彩纹饰。腹部绘暗八仙纹，各缠绶带，包括铁拐李的葫芦、张果老的鱼鼓、钟离权的葵扇、吕洞宾的宝剑、何仙姑的莲蓬（上托灵芝及仙桃）、蓝采和的花篮、韩湘子的笛子和曹国舅的玉笏，周边饰缠枝莲纹。近足处饰莲瓣一周，肩部饰如意云肩，内绘花卉纹。颈部饰如意璎珞纹，间以双鱼及磬，口沿画黄地绿彩如意云头一周。

Bottle belly, straight neck, inner ring foot. The whole body is decorated with colorful decorations. The abdomen is painted with dark eight immortal patterns, each wrapped with ribbons, including the gourd of Tieguai plum, the fish drum of Zhang Guolao, the sunflower fan of Zhong Liquan, the sword of Lu Dongbin, the lotus Peng of He Xiangu (Shangtuo Ganoderma lucidum and fairy peach), the flower basket of Lan Caihe, the flute of Han Xiangzi and the jade pole of Uncle Cao, and the surrounding decorations are wrapped with branches and lotus patterns. The lotus petals should be decorated for nearly a week, and the shoulders should be decorated with cloud like shoulders. The neck is decorated with Ru Wen, with a pair of fish and chime, the mouth painted yellow green clouds, like a cloud head.


清乾隆 黄地青花穿花龙纹天球瓶

天球瓶耀眼灿目，难得，成器瑰丽雄浑，如颂乾隆盛世及天子声威。中国帝王笃信君权天授，此瓶所用之天球器形、穿花龙纹及黄地，彰显乾隆帝真龙天子之尊。此类黄地青花瓷别具一格，采明初青花瓷之长，技艺超卓，出心裁，乃景德镇御窑督陶官唐英治下之傲绩；唐英颖慧，恪尽职守以投圣意。器形、纹饰借鉴前朝经典，黄釉生趣盎然，合而为一，成器似曾相识，亦耳目一新。


清乾隆 青花春耕图双福如意大抱月瓶

这件珍罕之作器身敦硕，釉下钴蓝画工娴熟，前后腹各饰一面大型圆形开光，内绘耕耘图，边框环饰规整的缠枝牡丹纹。颈侧对称置蝙蝠耳，衔一枝喻长生的灵芝，瓶颈前后亦各绘一只蝙蝠。这些蝠纹与蝠耳俱上下倒垂，皆因「蝠」象征「福」，而「倒」谐「到」，故「蝠倒」喻指「福到」。瓶耳下方各绘莲花一朵，花下所悬饰物样式繁复，似结合了「卍」（音同「万」）及「寿」字，合指万寿无疆。其下悬磬音同「庆」，暗指「吉庆」。瓶腹前后的两面大型开光，描绘的是一派闲适自在的田园耕耘景致，对于渴望返璞归真、远离案牍之苦的中国文人来说，观之定然心驰神往。实则，其寓意之深远，远不仅止于此。





清雍正 粉彩过枝八桃五蝠福寿双全盘成对

雍正一朝，世宗为证继位正统，笃信祯符，复兴祥瑞饰纹，此风延至乾隆时，更是俯拾皆见。世宗也重启赐赏如意之习，并时命画师绘其像，画中置身祥纹瑞饰之间。五蝠意喻五福，高寿、康宁、富贵、好德、善终。五蝠纹饰搭配寿桃，象征福禄寿三喜兼备。另见盘上桃花盛开，比拟灵芝仙物，更添庆贺之意。

本品盘为一对，敞口，弧壁，圈足。盘心以粉彩绘一株苍茂桃树，沿盘壁蜿蜒伸展至外壁，枝上雅绘盛开桃花，缤纷花蕾，八颗嫣红桃实，五颗于盘内，三颗于盘外，浑然一体；桃枝盈间，以矾红绘就三只蝙蝠飞舞于盘心，另有两只绘于外壁，底足青花双倭角方框内书「大清雍正年制」六字三行楷书款。

清乾隆 青花缠枝莲绶带耳如意尊



中国制瓷业经过漫长发展后，到康熙、雍正、乾隆三朝时达到历史顶点，无论是斗彩、五彩、素三彩，还是珐琅彩、粉彩和釉下三彩，质量和数量都为前代不可比拟，当时的官窑瓷器代表了当时中国瓷器的高水平。可以毫不夸张地讲，清三代是中国瓷器的黄金时代。

蒜头形口，束颈，颈凸起弦纹，圆腹，圈足；因瓶口与肩所饰对称绶带耳形似如意，故称「如意尊」。通体绘青花缠枝莲纹，辅以如意云头、卷草纹莲瓣纹等边饰。底青花书「大清乾隆年制」篆书款。此器承前朝之遗风，造型高雅隽美，青花呈色艳丽，釉色莹润，纹饰线条流畅，充分展示了清代许之衡在《饮流斋说瓷》中所形容：「至乾隆，精巧之至，几于鬼斧神工」。传世品中乾隆朝如意尊如凤毛麟角，甚为珍罕。



在目前的艺术品拍卖市场，藏家对清三代瓷器的关注与日俱增，即便是民窑，市场价格也达到相当高位，许多藏家"只进不出"，导致清三代瓷器价位还将不断拉高。

多姿多彩的瓷器是中国古代的伟大发明之一，"瓷器"与"中国"在英文中同为一词，充分说明中国瓷器的精美绝伦完全可以作为中国的代表。 瓷器拥有远一般瓷器的制作工艺难度，因此在古代中也不乏精美瓷器的收藏。作为古代中国的特产品之一，瓷器通过各种贸易渠道传到各个国家，精美的古代瓷器作为具有收藏价值的古董被大量收藏家所收藏。中国古代瓷器有曾拍出天价的，但部分国宝级瓷器并不在中国国内。欧美人士在结婚时，便特别喜欢送赠瓷器茶具。