中国瓷器收藏界黑马—大清乾隆年制粉彩人物故事六方瓶

中国瓷器收藏界黑马—大清乾隆年制粉彩人物故事六方瓶

工笔画，又有渗入淋漓挥洒，简洁洗练的写意画，还有夸张变形的装饰画风。甚至把版画，水彩画，油画以及水彩画等姐妹艺术都加以融汇运用，精微处，丝毫不爽；豪放处，生动活泼。粉彩的绘制，一般要经过打图，升图，做图，拍图，画线，彩料，填色，洗染等工序。其中从打图到拍图，是一个用墨线起稿，进行创作构思，如绘瓷决定装饰内容与形象构图的阶段。正式绘制时的定稿叫“升图”，把描过浓墨的图样从瓷器上拍印下来叫“做图”。接着把印有墨线的图纸转拍到要正式绘制的瓷胎上去即“拍图”，这样就可进行绘瓷。粉彩的描绘，着色技法是比较复杂细致的，一般如画，彩，填，洗，扒，吹，点等技法。其所用工具有画笔，填笔，洗笔，彩笔，笃笔，赤金笔，金水笔，玛瑙笔，扒笔等许多特制笔。

The washing and dyeing of pastel porcelain decoration paintings absorb the nutrition in the sister arts, and adopt the methods of spot dyeing and color matching, so that the objects to be portrayed, regardless of the characters, landscapes, flowers, birds and insects, have a strong texture, bright and dark ,Structured. The painting methods used are not only strict and meticulously portraying delicate subtle strokes, but also infiltrating dripping, simple and refined freehand painting, and exaggerated and deformed decorative painting styles. Even the sister arts such as prints, watercolors, oil paintings and watercolors have been combined and used. The subtlety is uncomfortable; the boldness is lively and lively. The drawing of pastels generally needs to go through the process of drawing, rising, drawing, drawing, drawing, coloring, coloring, washing and dyeing. Among them, from drawing pictures to making pictures, it is a stage in which a manuscript is drawn with ink lines to create a creative idea, such as painted porcelain to determine the decoration content and image composition. The final draft at the time of formal drawing is called "drawing pictures", and the drawings painted with thick ink from the porcelain are called "making pictures". Then transfer the drawings printed with ink lines onto the porcelain tire to be formally drawn, that is, "take a picture", so that the porcelain can be painted. Pastel painting and coloring techniques are more complicated and detailed. They are generally picturesque, colored, filled, washed, grilled, blown, and dotted. The tools used are brushes, refills, wash pens, colored pens, Tuk pens, red gold pens, gold fountain pens, agate pens, grilled pens and many other special pens.

文人画的风格，而粉彩则是沿用青花的绘画风格。从磨损程度而言，浅绛彩更易受磨损，往往脱彩严重。人物或者花鸟都到了看不清的地步。粉彩由于彩料较厚，相对较易保存完好。

Both pastel porcelain and light-colored porcelain are overglaze colored porcelain. The difference is that before the pastel is filled with glass white, it is also said that lead powder is added to make the color look very tender. It is not necessary to use light crimson color. It is to directly paint pale alum red, water green and other colors directly on the porcelain tire, so the pastel color will be rendered and light crimson is generally not. Pastels generally have a strong sense of touch, especially the pastels of Yongzheng Qianlong, which have many materials and appear thick and thick. Qian Jiang's sense of prominence is extremely weak. In the late Qing Dynasty and early Republican period, the light Jiangcai mostly added the style of literati painting, while the pastel colors followed the blue and white painting style. In terms of the degree of wear and tear, light crimson color is more susceptible to wear and tear, and often has severe discoloration. People, flowers and birds have reached a point where they cannot see clearly. Pastels are relatively easy to keep intact due to the thicker colors.

乾隆时期除了白地绘粉彩外，还有色地粉彩或色地开光中绘粉彩等品种。乾隆朝粉彩的创新品种是在黄、绿、红、粉、蓝等色地上用极细的工具轧出缠枝忍冬或缠枝蔓草等延绵不断的纹饰，且多和开光一起使用，人称轧道开光。这一工艺的出现，将粉彩推上了更加富丽繁缛的顶峰，一直延续到民国。另外，乾隆朝还有部分在粉彩瓷器的内壁及底足内施绿彩，俗称“绿里绿底”，一直流行到清末、民国。乾隆朝的“绿里绿底”极浅淡，迎光侧看釉面有极细小的皱纹，像微风吹过平静的湖面而形成的细波。绿彩附着在白釉上非常紧密，几乎没有爆釉现象。乾隆朝粉彩的常见纹饰有山水、婴戏、九桃、瓜蝶、百鹿、花鸟、仕女、百花（亦称“百花不露地”）、八仙、云蝠、福寿、缠枝花、皮球花、花蝶等。除了常见的器型以外，新颖造型还有贲巴壶、交泰瓶、转颈瓶。款识有青花、红彩、金彩、六方瓶等种类，此件藏品正是乾隆年制粉彩人物故事六方瓶收藏价值极高！

In the Qianlong period, in addition to white-painted pastels, there are also various types of pastels painted in color or painted pastels painted in color. The innovative varieties of pastel in Qianlong dynasty use the extremely thin tools to roll out the endless patterns such as twigs of honeysuckle or twigs of grass on the grounds of yellow, green, red, pink and blue. They are often used together with Kaiguang, known as rolling Dao Kaiguang. The advent of this craft has pushed pastels to the top of a more affluent complex, which has continued into the Republic of China. In addition, some of the Qianlong dynasty applied green colors to the inner walls and bottom feet of the pastel porcelain, commonly known as "green li green bottom", which was popular until the end of the Qing Dynasty and the Republic of China. The Qianlong dynasty's "green lining and green bottom" are very light, and the glaze has very fine wrinkles when viewed from the light side, like a fine wave formed by the breeze blowing across the calm lake. The green color is very close to the white glaze, and there is almost no glaze explosion. The common patterns of pastel in Qianlong Dynasty are landscape, baby play, nine peach, melon butterfly, hundred deer, flowers and birds, ladies, hundred flowers (also known as "hundred flowers"), eight immortals, cloud bats, longevity, twig flowers, ball flowers , Flowers and butterflies. In addition to the common shapes, the novel shapes include Benba pots, Jiaotai bottles, and neck bottles. There are blue and white, red, gold, andsix-party bottles. This collection is the story of the pastel figures made in the Qianlong year. The six-party bottle is extremely valuable!