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文物歷史

據雍正(zheng)十三年(nian)（1735年(nian)）督陶官唐(tang)英撰《陶成(cheng)紀事》載：“洋(yang)(yang)彩(cai)(cai)器皿，新仿西洋(yang)(yang)琺瑯畫(hua)法，人(ren)物(wu)(wu)、山水、花卉、翎毛無不精細(xi)入神(shen)。”可(ke)見瓷(ci)(ci)胎洋(yang)(yang)彩(cai)(cai)在雍正(zheng)時已開始燒造。從清宮(gong)內務府造辦處(chu)《各作(zuo)(zuo)成(cheng)做活計清檔(dang)》來看，瓷(ci)(ci)胎洋(yang)(yang)彩(cai)(cai)瓷(ci)(ci)器大都制(zhi)(zhi)(zhi)作(zuo)(zuo)于乾(qian)(qian)(qian)隆(long)(long)(long)(long)六年(nian)（1741年(nian)）之后，系在當時由督陶官唐(tang)英督理的(de)景德鎮御窯(yao)(yao)(yao)廠內制(zhi)(zhi)(zhi)作(zuo)(zuo)完(wan)成(cheng)。這種洋(yang)(yang)彩(cai)(cai)瓷(ci)(ci)器深(shen)受乾(qian)(qian)(qian)隆(long)(long)(long)(long)帝(di)的(de)喜愛。乾(qian)(qian)(qian)隆(long)(long)(long)(long)十三年(nian)（1748年(nian)），年(nian)已六十六歲的(de)唐(tang)英接到乾(qian)(qian)(qian)隆(long)(long)(long)(long)帝(di)的(de)旨(zhi)意，負責燒制(zhi)(zhi)(zhi)清乾(qian)(qian)(qian)隆(long)(long)(long)(long)各種釉(you)彩(cai)(cai)大瓶。為了達到這一(yi)目的(de)，唐(tang)英廣泛派遣得力助手去(qu)哥窯(yao)(yao)(yao)、汝窯(yao)(yao)(yao)、鈞窯(yao)(yao)(yao)、定窯(yao)(yao)(yao)、龍泉窯(yao)(yao)(yao)、湘湖窯(yao)(yao)(yao)等全(quan)國各大名窯(yao)(yao)(yao)搜羅(luo)配方或瓷(ci)(ci)片標本，或者仔(zi)細(xi)研(yan)究古(gu)代文獻的(de)相關記述，然后反復研(yan)制(zhi)(zhi)(zhi)、試(shi)驗(yan)，燒制(zhi)(zhi)(zhi)成(cheng)功。清乾(qian)(qian)(qian)隆(long)(long)(long)(long)各種釉(you)彩(cai)(cai)大瓶現藏于北京故宮(gong)博物(wu)(wu)院。

文物特征

清乾隆各(ge)種釉(you)(you)彩(cai)(cai)大(da)瓶(ping)(ping)(ping)高86.4厘米(mi)，口徑27.4厘米(mi)，足徑33厘米(mi)。洗口瓶(ping)(ping)(ping)，長(chang)頸，長(chang)圓腹(fu)，圈(quan)足外撇，頸兩(liang)側(ce)各(ge)置一(yi)螭耳。器身自上而(er)下裝(zhuang)飾的(de)(de)釉(you)(you)、彩(cai)(cai)達(da)17層之(zhi)多。所使(shi)用的(de)(de)釉(you)(you)上彩(cai)(cai)裝(zhuang)飾品(pin)種有(you)金彩(cai)(cai)、琺瑯彩(cai)(cai)、粉彩(cai)(cai)等(deng)；釉(you)(you)下彩(cai)(cai)裝(zhuang)飾品(pin)種有(you)青(qing)花；還有(you)釉(you)(you)上彩(cai)(cai)與釉(you)(you)下彩(cai)(cai)相結合的(de)(de)斗彩(cai)(cai)。所使(shi)用的(de)(de)釉(you)(you)有(you)仿(fang)哥釉(you)(you)、松石綠釉(you)(you)、窯變釉(you)(you)、粉青(qing)釉(you)(you)、霽(ji)藍釉(you)(you)、仿(fang)汝釉(you)(you)、仿(fang)官釉(you)(you)、醬釉(you)(you)等(deng)。清乾隆各(ge)種釉(you)(you)彩(cai)(cai)大(da)瓶(ping)(ping)(ping)主題紋飾在瓶(ping)(ping)(ping)的(de)(de)腹(fu)部，為(wei)霽(ji)藍釉(you)(you)描(miao)金開(kai)光粉彩(cai)(cai)吉祥圖(tu)案(an)，共12個開(kai)光，其中6幅(fu)為(wei)寫實圖(tu)畫，分別(bie)為(wei)“三陽(yang)開(kai)泰”、“吉慶有(you)余”、“丹鳳(feng)朝陽(yang)”、“太平有(you)象(xiang)”、“仙山(shan)瓊(qiong)閣(ge)”、“博古九(jiu)鼎”。另6幅(fu)為(wei)錦地“卍”字、蝙蝠、如(ru)意(yi)、蟠螭、靈芝、花卉，分別(bie)寓意(yi)“萬(wan)”、“福”、“如(ru)意(yi)”、“辟邪”、“長(chang)壽”、“富貴”。瓶(ping)(ping)(ping)內及(ji)圈(quan)足內施松石綠釉(you)(you)，外底(di)中心(xin)署青(qing)花篆書“大(da)清乾隆年制”六(liu)字三行款(kuan)。

制作技巧

清乾隆各種(zhong)釉(you)(you)(you)(you)(you)(you)(you)(you)彩(cai)(cai)(cai)大瓶運用了色地琺瑯彩(cai)(cai)(cai)、松(song)石地粉彩(cai)(cai)(cai)、仿(fang)哥釉(you)(you)(you)(you)(you)(you)(you)(you)、金釉(you)(you)(you)(you)(you)(you)(you)(you)、青花(hua)、松(song)石釉(you)(you)(you)(you)(you)(you)(you)(you)、窯變釉(you)(you)(you)(you)(you)(you)(you)(you)、斗彩(cai)(cai)(cai)、冬青釉(you)(you)(you)(you)(you)(you)(you)(you)暗(an)刻、祭蘭描金、開光繪(hui)粉彩(cai)(cai)(cai)、仿(fang)官(guan)釉(you)(you)(you)(you)(you)(you)(you)(you)、綠釉(you)(you)(you)(you)(you)(you)(you)(you)、珊瑚紅釉(you)(you)(you)(you)(you)(you)(you)(you)、仿(fang)汝(ru)釉(you)(you)(you)(you)(you)(you)(you)(you)、紫金釉(you)(you)(you)(you)(you)(you)(you)(you)等(deng)十幾種(zhong)施(shi)釉(you)(you)(you)(you)(you)(you)(you)(you)方法，集高低(di)溫(wen)釉(you)(you)(you)(you)(you)(you)(you)(you)、彩(cai)(cai)(cai)于一身(shen)，其燒(shao)造(zao)工(gong)(gong)藝(yi)繁復至極。從燒(shao)造(zao)工(gong)(gong)藝(yi)上看，青花(hua)與仿(fang)官(guan)釉(you)(you)(you)(you)(you)(you)(you)(you)、仿(fang)汝(ru)釉(you)(you)(you)(you)(you)(you)(you)(you)、仿(fang)哥釉(you)(you)(you)(you)(you)(you)(you)(you)、窯變釉(you)(you)(you)(you)(you)(you)(you)(you)、粉青釉(you)(you)(you)(you)(you)(you)(you)(you)、祭藍釉(you)(you)(you)(you)(you)(you)(you)(you)等(deng)均(jun)屬于高溫(wen)釉(you)(you)(you)(you)(you)(you)(you)(you)、彩(cai)(cai)(cai)，需先高溫(wen)焙燒(shao)。而(er)(er)洋彩(cai)(cai)(cai)、金彩(cai)(cai)(cai)及(ji)松(song)石綠釉(you)(you)(you)(you)(you)(you)(you)(you)等(deng)均(jun)屬于低(di)溫(wen)釉(you)(you)(you)(you)(you)(you)(you)(you)彩(cai)(cai)(cai)，應后(hou)入低(di)溫(wen)炭爐焙燒(shao)。這件各種(zhong)釉(you)(you)(you)(you)(you)(you)(you)(you)彩(cai)(cai)(cai)大瓶集10多種(zhong)高低(di)溫(wen)釉(you)(you)(you)(you)(you)(you)(you)(you)、彩(cai)(cai)(cai)于一身(shen)，而(er)(er)且各種(zhong)釉(you)(you)(you)(you)(you)(you)(you)(you)、彩(cai)(cai)(cai)均(jun)發色純(chun)正(zheng)，如此復雜的工(gong)(gong)藝(yi)只(zhi)有在全(quan)面掌握各種(zhong)釉(you)(you)(you)(you)(you)(you)(you)(you)、彩(cai)(cai)(cai)化學性能(neng)的情況下才能(neng)順利完成。

文物價值

藝術價值

清乾(qian)隆各種釉彩(cai)(cai)(cai)(cai)大瓶是古代官窯(yao)(yao)瓷(ci)器(qi)中(zhong)裝飾層次最多、釉彩(cai)(cai)(cai)(cai)用(yong)料最考究、設計復雜、制(zhi)作(zuo)(zuo)難(nan)度極(ji)高(gao)的(de)(de)瓷(ci)器(qi)，包括琺瑯彩(cai)(cai)(cai)(cai)、洋(yang)彩(cai)(cai)(cai)(cai)、仿宋(song)(song)代哥釉、松石綠釉、仿宋(song)(song)代鈞窯(yao)(yao)窯(yao)(yao)變釉、斗彩(cai)(cai)(cai)(cai)、粉(fen)青釉、霽藍釉、仿宋(song)(song)代官釉、粉(fen)彩(cai)(cai)(cai)(cai)、珊瑚(hu)紅釉、仿宋(song)(song)代汝釉、醬釉等燒(shao)制(zhi)難(nan)度較高(gao)的(de)(de)釉彩(cai)(cai)(cai)(cai)，制(zhi)作(zuo)(zuo)中(zhong)不(bu)考慮批量(liang)生產，創(chuang)作(zuo)(zuo)重心在外形上，為少數權貴(gui)服(fu)務，推崇對傳統(tong)的(de)(de)繼承和發展。素有“瓷(ci)母”之美稱，集中(zhong)體現了(le)當時高(gao)超的(de)(de)制(zhi)瓷(ci)技藝，傳世僅(jin)此(ci)一件，彌足珍貴(gui)。

社會價值

清乾隆各(ge)種釉彩大瓶的(de)社會(hui)意義大于審美意義。其色彩繁冗復雜、題材偏多，導致缺乏內(nei)涵，并且(qie)在(zai)藝術上缺乏較高(gao)的(de)美學境界，沒有(you)把藝術性和(he)(he)技(ji)術性相結合(he)。但其社會(hui)意義巨大，在(zai)工藝技(ji)術綜合(he)應用上時(shi)代特征明顯，展(zhan)現了(le)當時(shi)頂尖(jian)的(de)制(zhi)作(zuo)(zuo)工藝和(he)(he)海納百川的(de)文(wen)化(hua)(hua)自信，提高(gao)了(le)中(zhong)國制(zhi)造在(zai)世(shi)界上的(de)知名度，在(zai)中(zhong)國文(wen)化(hua)(hua)的(de)發(fa)展(zhan)中(zhong)起到了(le)非常重要的(de)作(zuo)(zuo)用，為中(zhong)國瓷器文(wen)化(hua)(hua)和(he)(he)世(shi)界瓷器文(wen)化(hua)(hua)的(de)繁榮(rong)與發(fa)展(zhan)作(zuo)(zuo)出了(le)巨大貢獻。

文物鑒賞

清(qing)乾隆各種釉彩(cai)(cai)大(da)瓶(ping)的(de)眾多(duo)裝飾(shi)中(zhong)，最引人注目的(de)是口部(bu)和腹部(bu)的(de)各種色地(di)“洋彩(cai)(cai)錦上(shang)添花”裝飾(shi)。清(qing)乾隆各種釉彩(cai)(cai)大(da)瓶(ping)的(de)六福寫(xie)實(shi)畫(hua)和六福錦地(di)的(de)主題反映了(le)人們(men)對生活的(de)美好向往。寫(xie)實(shi)畫(hua)構圖飽(bao)滿，人物(wu)形象細(xi)致(zhi)；錦地(di)紋(wen)飾(shi)民族特色鮮明，自然主義傾向較強。其他部(bu)位(wei)的(de)紋(wen)飾(shi)如胭(yan)脂紫地(di)纏枝(zhi)寶相(xiang)花紋(wen)、乾隆風格(ge)的(de)青(qing)花、貼(tie)塑、仿(fang)明代永宣(xuan)風格(ge)的(de)青(qing)花、金彩(cai)(cai)回紋(wen)、金彩(cai)(cai)卷草(cao)紋(wen)等，裝飾(shi)動機源于(yu)自然。其制作水平遠超前代，體現了(le)中(zhong)國(guo)古代的(de)科學技術(shu)成果和對美的(de)追(zhui)求(qiu)。