奧斯汀拍賣青花釉里紅龍紋賞瓶

雍正四年至十三年間景德鎮御窯廠不間斷的燒造，奠定了清代乾隆瓷器盛世的技術基礎，加之雍正六年(1728)年，47歲的唐英以內務府郎中的身份派駐景德鎮御廠佐理窯務。乾隆元年至二十年以唐英為代表的一批督窯官，嚴格遵奉皇帝的旨意製作和燒造精美的宮廷瓷器，同時吸收西方優秀的工藝美術，創造出新穎奇特的乾隆宮廷陶瓷精品。

Yong Zheng four years to thirteen years of Jingdezhen kiln factory uninterrupted production, laid the technical foundation for Emperor Qianlong in the Qing Dynasty porcelain flourishing, and Yong Zheng six years (1728 years), the 47 year old Tang Ying nawufu doctor identity in Jingdezhen imperial kiln affairs sukemasa factory. Qianlong reign to twenty years to Tang Ying as the representative of a group of Du kiln officer, strict observance of the emperor"s will in production and exquisite porcelain palace, while absorbing the excellent western arts and crafts, to create a unique boutique Qianlong imperial porcelain.

唐英精心掌管和嚴格的把關使得乾隆的官窯瓷器和燒造與雍正朝官窯的燒造水平幾乎不相上下，如果不書款是很難區分的。最重要的是，促使乾隆官窯保持著雍正官窯的燒造之勢，乾隆皇帝是一位與其祖父一樣有著對藝術品狂熱喜愛的君主，他喜愛瓷器甚至超越了其祖父和他的父親，所以無論是皇家內府庫藏的歷代名窯瓷器，還是景德鎮新行燒制或是創新的瓷器，均有濃厚的玩賞情趣，從清宮內務府檔案中的《乾隆紀事》中還可以看出皇帝直接干預製瓷事宜，皇帝對部分粉彩器的用途，行體，花紋等常有御旨，製作前須進呈木樣，審定後才交景德鎮壓燒造成，器物款式，配襯紋飾以及題詩等在馬事檔中均有記載，如：乾隆十三年，皇帝傳旨：「唐英進呈瓷器仍系舊樣，為何不照所發新樣燒造進呈，將這次進呈瓷器錢糧不準報銷，著伊賠償。」如此嚴格乃至苛刻的要求使得乾隆瓷器至始至終均保持著精良，優越的品質，無可挑剔。

Tang Ying is in charge of careful and strict control of the Qianlong porcelain kiln and firing with Yong Zheng at kiln firing level almost be roughly the same if not money, it is difficult to distinguish. The most important is that prompted Qian Long to keep Yong Zheng Guan kiln Shaozao potential, Emperor Qian Long was one of his grandfather as a love of art fanatic monarch, his favorite porcelain even beyond his grandfather and his father, so whether it is the Royal Palace of the ancient porcelain kilns of Treasury, or Jingdezhen or new firing China has strong innovation, enjoying the taste, from the Qing Imperial Palace in the archives of the "Qian Long Chronicle" also can be seen the emperor directly uses dry prefabricated porcelain matters, the emperor on the part of the line pattern pastel body, and often have the decree, made before submission for approval after wood kind, only pay Jingdezhen pressure burning cause, utensil style, costume and decoration in horse stalls. Poems in both records, such as: thirteen years, Emperor Qian Long regards: "Tang Yingjin was still the old porcelain department, why not as A new kind of Shaozao was, this was not a porcelain tax reimbursement, compensation for iraq." So strict and even demanding, so Qianlong porcelain from beginning to end are maintained excellent, superior quality, impeccable.

釉里紅，是指用銅的氧化物(銅花)為著色劑配製的彩料，在坯體上(或先施以青白釉的坯胎土)描繪紋樣，再蓋一層青白釉，然後裝匣入窯，經1250℃～1280℃的強還原焰氣氛，使高價銅還原成低價銅，呈現嬌妍而沉著的紅色花紋。

Underglaze red, refers to the use of copper oxide (copper flower) as the color material colorant formulation, in the green body (or pre treated with blue and white glaze green earth) painted patterns, and then covered with a layer of blue and white glaze, then pack into the kiln, by 1250 to 1280 DEG C strong reductive atmosphere, so that high price of copper was reduced to low copper, show charming and calm red pattern.

釉里紅系創燒於六百三十多年前的元末，流行於明初。也許是釉里紅燒制難度大、成品率低的緣故，至明中期後便逐漸消失了。在雍正、乾隆期間，又推出了青花釉里紅。所謂青花釉里紅，是將青、紅兩種釉下彩繪於同一器物上的裝飾。青花彌補了釉里紅呈色層次變化的不足，而釉里紅則豐富了青花瓷的色彩。其特點既有青花的「幽靚雅緻，沉靜安定」的特色，又增添了釉里紅的渾厚壯麗，豐富了色彩效果，形成了高雅而又樸實的藝術風格，也使之成為一個全新的瓷器藝術品種。

Underglaze red, a burning in the more than 630 years before the end of the Yuan Dynasty, popular in the early Ming dynasty. Perhaps it is difficult to make the sauce in the glaze, and the rate of finished products is low. It will gradually disappear after the middle of Ming dynasty. During the reign of Yong Zheng and Qianlong, underglaze blue and red glaze were also introduced. The so-called blue and white glaze, red, red, red, two kinds of underglaze painted on the same object decoration. Blue and white make up for the deficiency of red and color gradation in glaze, while underglaze red enriches the color of blue and white porcelain. The characteristics of both blue and white "pretty quiet and elegant, quiet and stable" features, and add underglaze red. The magnificent, rich color, form elegant and simple style, has become a new type of art porcelain.

此青花釉里紅龍穿花紋鼻涕瓶，撇口，長頸，鼓腹，撇足。釉色瑩潤，胎足潔白細膩，底部書寫「大清乾隆年制」六字楷書款。設計者充分藉助青紅二色之對比，以青花花卉紋作襯托，以釉里紅龍紋作主體，層次分明，發色自然，其運筆生動流暢，饒有風姿，布局虛實相宜，益生清新之氣。釉里紅一色妍麗而不炫，恰如其分，含蓄之美宛如美人初醉，與青花蒼妍深沉之色，相互輝映。此燒造工藝繁複，講究物理變化之妙，本品二色俱佳，殊為不易，顯示出乾隆朝御窯對釉里紅這一高難度品種的掌控已然成熟。在乾隆初年，乾隆帝對御窯廠作品「遠遜雍正年間所燒者」的現象頗為不滿，屢屢責問唐英。在乾隆三年十月，明確下旨說：釉里紅梅瓶紅龍顏色不好，往好里燒造。在這種壓力下，唐英必當努力恢復青花釉里紅的製作，以復皇命，遂有此「花紋清真，釉水肥潤，顏色鮮明」之御窯精絕之作。

This underglaze red nose wear pattern bottle, pie mouth, long neck, drum abdomen, left foot. Glaze Yingrun, fetal foot white and delicate, the bottom writing "in the Qianlong" six word mark. The designers make full use of green and red color contrast two, with the blue flower pattern as a foil, with underglaze red dragon as the main body, clear, natural hair color, the pen vivid and smooth, with grace, the layout of actual affordable, probiotic fresh air. Underglaze red color and beautiful dazzle, subtle beauty of beauty to a proper extent, like a drunk, with blue and white Cang Yan deep color, embraced. In this complicated process, pay attention to the physical changes of the wonderful, the two color and taste, it is not easy to control, shows the Qianlong imperial kiln of underglaze red in this difficult already mature varieties. In the Qianlong Dynasty, Emperor Qianlong of the burning kiln factory works "inferior Yong Zheng years" phenomenon is quite dissatisfied, repeatedly asked Tang ying. In October three years of Qianlong, clear message said: underglaze red plum bottle color is not good, in a good way in. Under this pressure, Tang Yingbi when making efforts to restore the red and blue glaze, with complex imperial life, then there is the "pattern of halal, water embellish bright color glaze," imperial kiln for jingjue.

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