乾隆時(shí)期瓷器的生產(chǎn)進(jìn)入了最輝煌的時(shí)期。乾隆皇帝常有親下諭旨指定瓷器器型、品種燒造之事。乾隆一朝瓷器的生產(chǎn)達(dá)到了歷史的頂峰，品種之豐富，種類之多樣，裝飾之華麗，都是歷朝所難以相比的。
The porcelain production in Qianlong period entered the most glorious period. Emperor Qianlong often gave orders to specify the type and variety of porcelain ware. The production of porcelain in Qianlong Dynasty reached the peak of history. The variety, variety and decoration of porcelain in Qianlong Dynasty were incomparable.
在五彩繽紛的顏色釉中，窯變釉瓷器以其斑斕的色彩，光滑瑩潤(rùn)的釉面，吸引了大眾的眼球。窯變釉，顧名思義，就是器物在窯里燒造的時(shí)候出現(xiàn)了意想不到的效果 。北宋時(shí)期出產(chǎn)的鈞瓷為一種典型的窯變釉。當(dāng)時(shí)的鈞瓷胎體厚重，釉層肥厚呈乳濁狀，不透明，釉色呈現(xiàn)玫瑰紫閃天青、天藍(lán)為最珍貴，釉面存在細(xì)小棕眼和蚯蚓走 泥紋。明代時(shí)期，瓷器燒造過(guò)程中，無(wú)法預(yù)料窯變的發(fā)生，出產(chǎn)的窯變瓷器被人們認(rèn)為是不祥的怪胎。
Among the colorful colored glazes, the glazed porcelain with its colorful color and smooth glaze surface has attracted the public's attention. As the name implies, the glaze of kiln changes is that the unexpected effect appears when the ware is fired in the kiln. Jun porcelain produced in the Northern Song Dynasty is a typical kiln glaze. At that time, Jun porcelain had a thick body, a thick glaze layer, which was opaque and opaque. The color of the glaze was rose purple, flashing, azure and sky blue. There were small brown eyes and earthworm walking mud patterns on the glaze surface. In the Ming Dynasty, porcelain was produced in a process that people could not foresee.
此乾隆窯變釉花樽，尺寸高23cm，腹18cm，口徑4.5cm，底經(jīng)9.5cm，重1299克。窯變佳器，外形俊秀挺拔，線條優(yōu)美流暢，予人高貴靜穆之美。釉色艷麗，垂流似霞若焰，典雅雋秀的器形與瑰麗明艷的窯變釉完美地結(jié)合，達(dá)到了“合于天造，厭于人意”的藝術(shù)境界。通體色澤有如紅寶石之妍麗，紅、藍(lán)二彩斑斕交融，動(dòng)感強(qiáng)烈，富于韻味，喻為“火焰紅”。
The size of the vase is 23cm in height, 18cm in abdomen, 4.5cm in diameter, 9.5cm in bottom diameter and 1299g in weight. The kiln is a good ware with beautiful and straight appearance and beautiful and smooth lines, which gives people the beauty of noble and quiet. The glaze color is gorgeous, and the vertical flow is like a flame. The elegant and elegant shape of the ware is perfectly combined with the magnificent and bright glaze, which reaches the artistic realm of "conforming to the nature and disgusting with the people". The color of the whole body is like the beauty of ruby. The red and blue colors blend with each other. It is dynamic and full of charm. It is called "flame red".
色澤瑰麗明艷，紫、藍(lán)、月白交織富于動(dòng)態(tài)，紅紫交融，藍(lán)白相掩，縱橫變化，無(wú)有窮竟，此等虛幻之景，惟畫師為能狀其微妙，惟文人為能聞其精深。
The color is magnificent and bright. Purple, blue and moon white are interwoven and dynamic. The red and purple blend, the blue and white cover each other, and there is no limit to the vertical and horizontal changes. Only the painter can describe the subtle scenery, but only the literati can hear the depth.
乾隆皇帝自幼深受胤禎的熏陶，追求風(fēng)雅，于宋人之花事尤為鐘情，每一次出宮巡幸各地，皆喜歡采摘沿途各式野花，點(diǎn)綴輦輿，增添意趣，還賦寫 ：“飽參秋卉春葩，貯就常看不謝”。之句盛贊唐英新制的插花轎瓶。在清宮舊藏《弘歷古裝像圖》之中，乾隆皇帝一手執(zhí)筆，若有所思地坐在案前，左側(cè)出現(xiàn)“旁有一瓶梅，橫斜數(shù)枝入”的瓶花情景，極見(jiàn)逸意，由此觀之，乾隆皇帝對(duì)趙宋風(fēng)雅的刻意追求深深體現(xiàn)在花道之中。
Emperor Qianlong was deeply influenced by Yin Zhen when he was young. He pursued elegance. He was especially fond of flowers in Song Dynasty. Every time he went out to visit all over the country, he liked to pick all kinds of wild flowers along the way, decorate chariots and add interest. He also wrote: "when you are full of autumn flowers and spring flowers, you will always see them.". He praised Tang Yingxin's flower arranging sedan bottle. In the old picture of Hongli ancient costume collected by the Qing palace, Emperor Qianlong wrote a pen and sat thoughtfully in front of the case. On the left side, there was a vase of plum blossom beside it, with several branches in the horizontal direction. It is very easy to see that Emperor Qianlong's deliberate pursuit of the elegance of Zhao and Song Dynasties is deeply reflected in the flower ceremony.
窯變釉開創(chuàng)于我國(guó)陶瓷釉彩裝飾的新途徑，它突破了傳統(tǒng)的單一色釉，是青瓷工藝的創(chuàng)新和突破，為中國(guó)陶瓷工藝美學(xué)開辟了一個(gè)新境界。宋代鈞窯器稀少名貴，有“家有錢財(cái)萬(wàn)貫，不如鈞窯一片”之說(shuō)。鈞窯等宋代名窯色釉瓷為世人所推崇，后世多極力仿燒。明清時(shí)期景德鎮(zhèn)窯仿鈞始于明宣德時(shí)期，清代雍正、乾隆兩朝，復(fù)古之風(fēng)盛行，仿宋代五大名窯的顏色釉瓷取得了輝煌成就。
The kiln changing glaze is a new way of ceramic glaze decoration in China. It breaks through the traditional single color glaze. It is the innovation and breakthrough of celadon technology and opens up a new realm for the aesthetics of Chinese ceramic technology. In the Song Dynasty, there are few famous kilns. Jun kiln and other famous kilns in Song Dynasty were highly praised by the world, and later generations tried to imitate firing. In the Ming and Qing Dynasties, Jingdezhen kiln imitation Jun began in Xuande period of Ming Dynasty. In the Yongzheng and Qianlong dynasties of Qing Dynasty, the style of reviving the ancients prevailed. The color glaze porcelain imitated the five famous kilns of Song Dynasty made brilliant achievements.
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