海水龙纹青花撇口瓶

海水龙纹青花撇口瓶

Seawater Dragon Blue and White Skim Bottle

高18.9cm 底径：8.3cm 口径：4cm

High 18.9 cm bottom diameter: 8.3 cm diameter: 4 cm

此藏品为“海水龙纹青花撇口瓶”，瓶口微撇，长颈，溜肩，弧腹下敛，圈足。胎体施白釉，通体以青花为饰，龙头苍老凶猛，栩栩如生周围飞舞，龙身下是翻滚汹涌的海水，水波翻滚气势磅礴，绘画精湛传神，生动逼真底部书“大明万历年制”六字，款字书写工整。但从瓶身以及器型上来说它是更偏向于清代的整体工艺，整体色釉清风淡雅，效果大气，线条勾勒细致，图案布局疏密有致，气势磅礴，层次分明，繁而不乱，富有浓郁的韵味，充分给人们以美的艺术享受，彰显了皇家气派与风范，极具收藏价值。

This collection is a "sea water dragon blue and white skimming bottle", slightly skimmed bottle mouth, long neck, shoulder slippage, arc belly convergence, circle foot. The carcass is white glaze, the whole body is decorated with blue and white flowers, the dragon head is fierce and fierce, lifelike flying around, under the dragon body is the rolling sea, the water waves are surging, the painting is superb and vivid, vivid and lifelike. The bottom book "Daming Wanli year system" is six characters, and the characters are neat and neat. But from the bottle body and device type, it is more inclined to the whole process of the Qing Dynasty. The overall color and glaze is elegant and elegant, the effect is atmospheric, the lines are meticulous, the layout is dense, the atmosphere is magnificent, the level is clear, the complex is not chaotic, the rich flavor, fully gives people the artistic enjoyment of the beauty, has manifested the royal style and the demeanor, extremely has the collection value.

据悉景德镇御窑厂烧造的青花瓷器，在中国陶瓷发展史上具有很重要的地位。它以其古朴，典雅的造型，晶莹艳丽的釉色，多姿多彩的纹饰而闻名于世，与明代其他各朝的青花瓷器相比，其烧制技术达到了最高峰，成为我国瓷器名品之一，其成就被称颂为“开一代未有之奇”。《景德镇陶录》评价宣德瓷器：“诸料悉精，青花最贵。” 成书于清代的《南窑笔记》宣窑中讲宣德青花“宣窑一种，极其精雅古朴，用料有浓淡，墨势浑然而庄重，青花有渗青，铁皮锈者”。明张应文《清秘藏》论窑器中描述“我朝宣庙窑器，质料细厚，隐隐橘皮纹起，冰裂鳝血纹者，几与官、汝窑敌。即暗花者、红花者、青花者、皆发古未有，为一代绝品”。清乾隆年间朱琰《陶说》谈宣德窑“按此明宣窑极盛时也，选料、制样、画器、题款无一不精

It is learnt that the blue and white porcelain produced by the kiln is very important in the history of Chinese ceramics. It is famous for its simple, elegant shape, brilliant glaze color and colorful decoration. Compared with the blue and white porcelain of other dynasties in Ming Dynasty, its firing technology reached the peak and became one of the famous products of China's porcelain. Its achievement was praised as "the beginning of a generation without wonder". "Tao Tao Lu" evaluated Xuan de porcelain: "all materials are refined, and blue and white are the most expensive." In the Xuan kiln of Nanyao Notes written in the Qing Dynasty, Xuande's blue and white kiln is said to be "a kind of Xuande kiln, extremely elegant and simple, with rich and weak materials, vigorous but solemn ink, with blue and white seeping green, rusty iron skin". Zhang Yingwen's "Qing Secret Storage" in the Ming Dynasty describes the kiln implements in "Xuanmiao kiln implements of my dynasty, which are thin in material, with hidden orange peel lines, ice-cracked eel blood lines, and several enemies of officials and Ru kilns. That is, the dark flower, the safflower, the blue and white, all of them are unprecedented, and they are the best products of a generation. During the reign of Qianlong in Qing Dynasty, Zhu Yan's Tao Shuo talked about Xuande kiln: "According to the peak of Xuande kiln in Ming Dynasty, material selection, sample preparation, painters and inscriptions are all excellent."

撇口瓶，是清雍正时期非常流行的瓶式之一，基本造型为撇口，束颈，长弧腹，腹下内收，外撇式高圈足。撇口瓶的颈、肩分别以青花绘蕉叶纹、花草纹和如意云纹，腹部主题纹饰是云龙纹。瓶腹部五条形态各异龙腾跃与云间，云龙的相互映衬，使得主题纹饰更加鲜明。尤其是五条龙纹，同在一件器物上的采用的表现形式、绘画技法各有千秋，在乾隆时期十分罕见。
正面龙，龙首为正面，前肢左右对称而舞，俯视张嘴，龙首端正威仪，绘线分明，展示了王者的霸气。这种绘画形式要求画工思维要用脱俗技法，体现出龙之威严和至高无上皇权的尊贵。
行龙，龙体矫健、飘逸，腾于云间遨游。流畅的画工，加上浑厚的展示效果，完美地体现了传统概念龙的神秘色彩。
回首龙，原本游戏于云间，它似乎发现神秘的信息，引颈回首，前肢做探取状，灵动的肢体翻卷自然，极为生动传神。
出水龙，苍龙破海而出，气势威猛。周身环视祥云，交叠悬停，气韵生动，渲染匀称，愈显得神龙腾云驾雾，气势神圣不可侵犯。
应龙，又称“翼龙”、“飞龙”。 屈原《天问》中曾述应龙助大禹治水之功。又《述异记》云：“龙五百年为角龙，千年为应龙”。汉史学家班固在《汉书>叙传》第七十中有记述。“应龙潜于潢污，鱼鼋媟之，不睹其能奋灵德，合风云，超忽荒，而躔苍也。故夫泥蟠而天飞者，应龙之神也……。”纹饰为张翼振翅之飞龙，即“应龙”，神态凶猛，矫健有力。“应龙”为龙中寿命最长之龙。

The mouth flask is one of the most popular bottle styles in the Qing Dynasty. The basic shape is the left mouth, the neck, the long abdomen, the lower abdomen, and the outside. The neck and shoulder of the skimming bottle are painted with blue and white banana leaf pattern, flower and grass pattern and wishful moire pattern respectively. The theme of the abdomen is moire dragon pattern. The five shapes of the abdomen of the bottle are different between the Dragon leaping and the clouds. The contrast between the dragon and the cloud makes the theme decoration more distinct. In particular, the five dragon patterns have different forms of expression and painting techniques on a utensil, and are very rare in the Qian Long period.

The front dragon, the head of the dragon is on the front, the forelimbs are symmetrical and dancing, looking down at the mouth, the head of the dragon is dignified, the lines are clear, showing the tyranny of the king. This form of painting requires that the painter's thinking should be refined and the dignity of the dragon and the supremacy of the imperial power are reflected.

The dragon body is vigorous and elegant, soaring through the clouds. Fluent painters, coupled with a rich display effect, perfectly reflect the mysterious color of the traditional concept of dragon.

Looking back on the dragon, the original game in the clouds, it seems to find mysterious information, lead the neck back, forelimbs do exploratory, flexible body roll up naturally, very vivid and vivid.

Out of the water dragon, out of the sea, the dragon is powerful. The whole body looks around at Xiangyun, hover and hover, and its vivid and vivid expression makes the Dragon go on cloud and fog. The momentum is sacred and inviolable.

Yinglong, also known as pterosaur and flying dragon. In Qu Yuan's "Tian Wen", he said that the dragon should help Da Yu to control the water. "The dragon is a horn dragon in 500 years, and the dragon is a corresponding dragon in 1000 years" in Shuyiji. Han historian is described in seventieth of Han Shu Zhuan Zhuan. "Yinglong is hidden in the decoration, and the fish are in the wrong place. We can't see that it is able to work hard and keep pace with the wind and the clouds. It is negligent and unreasonable. So the man who flies in the sky with mud is the God of dragon. The decoration is a flying dragon with flapping wings, i. e. Yinglong. It has a fierce and vigorous manner. Yinglong is the longest-lived dragon in Longzhong.

应龙的神话传说流传很久，其图案纹饰也较早就出现在铜器、漆器以及石雕和绘画当中。相比之下，官窑瓷中应龙的出现却略有些晚。明永宣时期，应龙被纳入官窑瓷制作中。与永宣时期相比，清三代瓷器中采用应龙做装饰的器物流传下来的比较少。
这件器物上的应龙绘制精美，将帝王的威武与神秘庄严的形象隐喻化地呈现。张翅飞舞的应龙，跃于波涛上，大有摄海之威猛，给人深刻而震撼的印象。瓶身下方的海水纹样，以浅蓝色调细描的浪花飞沫，生动地展示了浩瀚海洋与神龙共生的物华诗境。

撇口瓶是乾隆朝经典的陈设瓷，品类多样，装饰丰富，而且量少而质精，其中青花一项多为摹古之作，传世多见为两类，一是青花折枝花果纹，一是龙纹，而存世数量后者远逊于前者，异常珍稀。乾隆一朝六十年（公元1736～1795年），是清代封建社会发展的鼎盛时期。此时，景德镇御窑厂规模庞大，在督陶官的管理下，每年烧造各种瓷器都在数十万以上，烧出的瓷器无论是工艺技巧还是装饰艺术都已达到了炉火纯青的地步。乾隆官窑青花瓷既与清幽的康熙青花有别，又与淡雅的雍正青花不同，它是以纹饰繁密、染画工整、造型新奇取胜。特别是对钴料的把握得心应手，依据需要，彰显乾隆青花瓷器稳定、浑厚、沉着的元素。

Yinglong's myths and legends have been circulating for a long time. Its patterns and decorations also appeared in bronze ware, lacquerware, stone carvings and paintings earlier. In contrast, the appearance of Zhonglong in official kiln porcelain is a little late. In Yongxuan period of Ming Dynasty, Yinglong was included in the production of official kiln porcelain. Compared with Yongxuan period, there were fewer articles handed down from the Qing Dynasty that adopt Yinglong as decoration.

The Yinglong on this artifact is beautifully painted, which metaphorically presents the majesty and mysterious and solemn image of the emperor. The flying dragon Ying wing, leaping over the waves, has a strong and impressive impression of the sea. The sea pattern under the bottle body vividly shows the Wuhua poetry scene in which the vast ocean and the divine dragon coexist with each other, with the spray droplets carefully depicted in light blue tone.

Skipping bottle is the classic display porcelain of Qianlong Dynasty. It has various kinds, rich decoration, small quantity and high quality. Among them, blue and white are mostly ancient works, which are handed down from generation to generation in two categories: blue and white broken branches, flower and fruit patterns, dragon patterns, and the number of the latter is far less than the former, which is extremely rare. Sixty years of Qianlong Dynasty (1736-1795 A.D.) was the heyday of feudal social development in the Qing Dynasty. At this time, the size of the kiln is huge. Under the supervision of the pottery officials, the porcelain is fired more than hundreds of thousands of times a year. The porcelain burnt out has reached the stage of perfect technology, whether it is craftsmanship or decoration art. The blue and white porcelain of the Qianlong official kiln is different from the delicate blue and white flowers, and is different from the elegant blue and white flowers. It is decorated with dense patterns, dyed paintings and neatness. Especially the cobalt material is handy, according to the needs, highlighting the Qianlong blue and white porcelain stable, thick, calm elements.

此款“海水龙纹青花撇口瓶”周身饰以海水龙纹，碗内底部描绘了姿态不一的海水龙纹图案，碗下部及圈足饰浪花纹图案。碗腹部描绘两条矫健威猛的神龙在苍茫无际的大海中遨游，神龙回首曲体，须发飘扬，四肢伸张，呼之欲出。龙首威武昂扬，龙嘴高翘，头发长而向上飘起，有双角，龙身舒展修长，矫健勇猛，多见五爪，体现宫廷龙纹的威慑感。造型厚重古朴，青花釉润浓重，是不可多得珍品！

This "seawater Dragon Blue and white skimming bottle" is decorated with seawater dragon pattern. The bottom of the bowl depicts the seawater dragon pattern with different postures, and the bottom of the bowl and the circle foot decorative wave pattern. The bowl of abdomen depicts two vigorous and mighty dragons in the boundless sea. The dragon goes back to the tune, with its hair flying and limbs stretched out. The dragon head is mighty, the dragon mouth is high, the hair is long and flutters upwards, with two horns, the dragon body is stretched and slender, vigorous and brave, often see five claws, reflecting the deterrent feeling of the court dragon pattern. The modelling is thick and simple, the blue and white glaze is moist and thick, is rare treasure!