拍卖信息

藏品描述

青花釉里红始见于元代，乃是以铜红釉在青花间加绘点饰，经高温还原焰烧成。因制作工艺繁杂复而苛刻，故明永宣后少有成器者。至康熙时，釉里红呈色渐趋稳定，厥青花釉里红之烧造亦见成熟，亦可表现大幅山川景象与人物故事场面。纵是如此，釉里红局部发色或是漫漶或是晦暗，仍然难免，故全面呈色妍丽秀美者，百中仅得一二。雍正御瓷推崇宣窑三鱼三果之器，大力摹造，青花釉里红器愈显炉火纯青，层次分明，不见浑浊、浸漫，成一王之神貌，尤开一代风气之先。乾隆朝承前余绪，青花釉里红烧制更见随心，题材丰富，构图繁复，且画工求精求细，甚得后人称誉。Blue and white underglaze red was first seen in the Yuan Dynasty. It was made by adding dots between the blue and white with copper red glaze and firing it in a high-temperature reducing flame. Due to the complex and demanding production techniques, there were few successful artifacts after the Yongxuan reign of the Ming Dynasty. By the time of Kangxi, the color of underglaze red gradually stabilized, and the firing of jue blue and white underglaze red also became mature, and it could also express large-scale mountain and river scenes and character story scenes. Even so, the partial color of underglaze red may be overshadowed or dull, which is still inevitable. Therefore, only one or two out of a hundred people have a comprehensive and beautiful appearance. Yongzheng Imperial Porcelain highly praises the three fish and three fruits of the Xuan kiln, and vigorously imitates them. The blue and white underglaze red ware becomes more and more pure, with clear layers, without any turbidity or immersion. It has become a divine appearance of a king, especially pioneering a generation of culture. During the Qianlong Dynasty, it was inherited from the previous Yu Xu period, and the blue and white underglaze red firing system was more flexible, with rich themes, complex composition, and meticulous painting techniques, which were highly praised by later generations.