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瓷器交易

清代民窑青花瓷器

时间:2018-04-18 17:33:25   作者:清代民窑青花瓷器   来源:www.rongyi.org   阅读:28726   评论:0
内容摘要:清代民窑青花瓷器
清代早期景德镇窑的瓷器生产,也像明代推行“官搭民烧”的制度,这不仅充分释放了民窑的生产潜力,调动了工匠的积极性,提高了民窑作坊的规模及烧造精细瓷器的技术,而且由于当时官窑民窑相互影响,相互促进,无形中也刺激了民窑青花瓷器业的进一步发展,这也是清初青花瓷器生产以民窑居多的一个重要原因。清初青花瓷器胎体厚重呈灰白或灰黄色,瓷化程度较好,胎釉结合紧密,多数釉面呈鸭蛋青,透明度较差,光泽度不强,个别釉面有缩釉,大部分有酱口,同时许多大件琢器底部不施釉,修胎也不太规整,盘碗底部厚重,口沿逐渐扁薄,圈足稍微向内收,有的器物足沿经过工匠仔细修琢后,还出现有泥鳅背现象,较光滑,底边还带有窑红即火石红。清初青花瓷器大部是使用国产浙料绘制,大致有青翠淡雅与灰篮等种,总体呈色稳定,少数趋于灰暗,也有一些青花晕散和纹饰模糊现象。清初青花瓷器多以生活用器为主,陈设器为辅,造型侧重于实用性,基本是延续明代的传统式样,形制上还多具有明代古朴浑厚之遗风。
此藏品为清代民窑青花盘,青花纹饰质朴自然,绘画一反已往单线平涂的方法,而是釆用多线平涂的技法,讲究匀称,疏密有致,相互辉映,粗犷豪放。具有很高的收藏价值。
 
The production of porcelain in Jingdezhen kiln in the early Qing Dynasty was also like the system that the Ming Dynasty carried out "the people burning the people" in the Ming Dynasty, which not only fully released the production potential of the kilns, mobilized the enthusiasm of the craftsmen, raised the scale of the folk kiln workshops and the technology of making fine porcelain, and because of the mutual influence, mutual promotion and Invisibles of the folk kiln of the official kiln at that time. It also stimulated the further development of folk kiln, blue and white porcelain industry, which is also an important reason for the production of blue and white porcelain in the early Qing Dynasty. At the beginning of the Qing Dynasty, the carcass of the Qing Hua porcelain was gray or gray, the degree of porcelain was better, the glaze was tightly combined, the most glaze was duck egg green, the diaphaneity was poor, the gloss was not strong, the glaze had a low glaze, and most of the glaze was glazed. At the same time, there were no glaze at the bottom of the large chisel, and the trimming was not very neat, the bottom of the bowl was heavy and the mouth along the bottom. Gradually thin and thin, the foot of the foot slightly to the collection, some objects foot along the craftsman carefully repaired after carefully, there are still loach back phenomenon, more smooth, the bottom also with kiln red that is flint red. In the early Qing Dynasty, the large part of the Qinghua porcelain was made with domestic Zhejiang materials. There were roughly green and elegant and gray baskets and other kinds. In the early Qing Dynasty, most of the Qinghua porcelain was based on the living apparatus, the furnishings were supplemented by the furnishings, and the shape focused on the practicality, which was basically the continuation of the traditional style of the Ming Dynasty.
This collection is the Qing Dynasty folk kiln green flower plate, green flower ornamentation simple nature, painting one counter to the past single line flat coating method, but the use of multi line flat coating techniques, well leveled, dense, mutual reflection, bold and bold. It has a high collection value.
 
清朝初期の景徳鎮の窯の磁器の生産、も明代推進「官と民焼き制度」だけでなく、十分に釈放した分の生産可能性を引き出した職人の積極性を高めた分、工場の規模や烧造精細磁器の技術、そして当時の磁器を検索相互の影響、相互促進、知らず知らずのうちに刺激しても分靑絵業の発展は、これも清朝初期靑絵生産は分が多いひとつの重要な原因。清朝初期靑絵胎の体は灰白や重厚に見え、磁器の化の程度はわりに良くて、胎児の釉を緊密に結合して、多数の施釉がアヒル靑、透明度が高くて、光沢は強くありませんて、個別の施釉が縮釉、ほとんどあるちゃん口、同時に多くの粗大琢器の底がない施釉、修胎もあまりキチンと行い、碗の底盤重厚で、口に沿って平たい薄くて、少しに圈足内転、ある足を経て器物に沿って職人よく修琢後、まだ出てくるどじょうバック現象は、より滑らかな、底辺もある赤すなわちフリント赤窯。清朝初期靑絵大部は国産浙江料を、大体が靑々とあっさりと灰かごなどの種類、全体の色の安定に傾いて、少数は暗くも、少し靑と白のブルーミングと紋様ぼやけ現象。清朝初期靑絵の多くは生活で器を主として、調度器補佐するため、造形の重点は実用性は、基本的に続く明代の伝統的なデザインは、形式には明代古風で質樸雄渾の遺風。
このコレクションを靑と白の清朝分盤、靑と白のシンプルな自然紋、絵画一反已往単線平塗りの方法ではなく、多い線平塗りの技法を重んじ、均等で、密度が緻し、互いに照り映えて、豪快豪放。高いコレクションの価値を持っています。

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