展会精品推荐： 乾隆五彩云龙纹带盖梅瓶

 此藏品图片为马先生实物拍摄,(实物与图片一致)

藏品名称:乾隆黄釉云龙纹带盖梅瓶

藏品编号:XAHYJY201030-43

藏品规格:以实物为准

藏品重量:以实物为准

藏品估价:议价

梅瓶是传统名瓷,梅瓶是一种小口、短颈、丰肩 、瘦底、圈足的瓶式,以口小只能插梅枝而得名。因瓶体修长,宋时称为“经瓶”,作盛酒用器,造型挺秀、俏丽,明朝以后被称为梅瓶。

梅瓶也称"经瓶",最早出现于唐代,宋辽时期较为流行,并且出现了许多新品种。近代许之衡在《饮流斋说瓷》一书中详细地描述了梅瓶的形制、特征及名称由来:"梅瓶口细而颈短,肩极宽博,至胫稍狭,抵于足微丰,口径之小仅与梅之瘦骨相称,故名梅瓶。"关于梅瓶的用途,磁州窑白地黑花梅瓶器腹有“清沽美酒”与“醉乡酒海”的诗句。梅瓶既是酒器,又是一件令人爱不释手的观赏品。因此,这类器多制作精美,不但考虑到贮酒容量,还要注意造型优美。

The plum bottle is a traditional famous porcelain. The plum bottle is a bottle style with a small mouth, short neck, full shoulders, thin bottom, and round feet. It is named after the small mouth can only insert plum branches. Because of its slender body, it was called the "Jing Ping" in Song Dynasty. It was used as a wine container, and its shape was pretty and pretty. It was called Mei Ping after Ming Dynasty.

Mei Ping, also known as "Jing Ping", first appeared in the Tang Dynasty. It was more popular during the Song and Liao Dynasty, and many new varieties appeared. In modern times, Xu Zhiheng described in detail the shape, characteristics and name origin of the plum bottle in his book "Yin Liu Zhai Shuo Porcelain": "The mouth of the plum bottle is thin, the neck is short, the shoulders are extremely wide, and the shin is slightly narrow, reaching the foot. Feng, the small caliber is only commensurate with the thinness of plum, hence the name plum bottle." Regarding the use of plum bottle, the belly of Cizhou kiln white ground black flower plum bottle has the verses of "Qinggu wine" and "Drunk country wine sea". The plum bottle is not only a wine vessel, but also an admiration that makes people love it. Therefore, most of these devices are exquisitely made, not only considering the wine storage capacity, but also paying attention to the beautiful shape.

此梅瓶其釉色浇黄,外壁粉彩描绘云龙纹图。可见其釉色娇嫩,釉下可见开片纹,其明黄色地道艳丽,釉光晶莹剔透,亦可见哈喇光绽放,滋润而自然。敲击其声如磐,金属之声悠长。纹饰来看,云龙图案勾画自然生动,活灵活现。纵观瓶之底款,铭“大清乾隆年制”六字楷书款识,底釉色青中带灰白,青料书写,书意端庄。其釉在灯光近照之下,黄正色满,彰显色正品尊。胎体匀称,金黄色之蛤喇宝光绽放,浑然皇家神器,十分显贵夺目。

The plum bottle has a yellow glaze, and the outer wall depicts a cloud and dragon pattern in pastels. It can be seen that its glaze color is delicate and delicate, with open flakes under the glaze, and its bright yellow is authentic and gorgeous, and the glaze is crystal clear. It can also be seen that the hala light blooms, moisturizing and natural. The sound of percussion is like a rock, and the sound of metal is long. From the perspective of ornamentation, the outline of the cloud dragon pattern is natural and vivid. Looking at the bottom of the bottle, the six-character regular script inscription "Qing Qianlong Years" is inscribed. The bottom glaze is blue with gray and white, and the writing is dignified. Its glaze is under the light of recent light, and the yellow color is full, highlighting the authentic color. The carcass is well-proportioned, and the golden clams are blooming, like a royal artifact, very noble and dazzling.

唐代

梅瓶出现于唐代,盛行在宋代。在宋朝,民间生产了很多梅瓶,一般在大小酒铺里都能见到。宋代的梅瓶,器体一般高且偏瘦,肩部向下斜,足部长而接近于直线,底部比较小,器体的最小直径在肩部之上至口下部,处理手法多样,常有棱角分明的转折。各地瓷窑都有烧制,但以景德镇青花梅瓶最为精湛。

宋代

梅瓶在宋代就十分盛行,在宋朝时期梅瓶也叫经瓶,明朝以后被称为梅瓶.在宋朝,民间生产了很多梅瓶,一般在大小酒铺里都能见到。

南宋梅瓶:多为窄肩、瘦长的鸡腿式。

元代

梅瓶:继承宋代形制,只是肩部更加丰满,带盖,盖成钟形,中有管柱形子口,盖可倒过来当酒杯用。元代除圆形梅瓶外,还有平口梅瓶、八方形梅瓶、八方倭角梅瓶,有青花、青花釉里红、釉里红等釉色。

明清

到了明清,御窑厂大量制造各式各样的梅瓶,而且造型越来越优美。有的用来装酒,供皇帝使用。有的便成为了宫廷陈设品。

明代的梅瓶造型,比例偏低;口部圆浑厚实,没有明显的线角转折;肩部向上抬起,线条饱满而有力;腹部之下,呈垂直状,有的微向里收;在足部的结束部分,稍向外撇。有的白釉梅瓶肩部有青花楷书“内府”二字,当属宫内用器。

清乾隆的梅瓶肩部特别丰满,几乎成一条直线,腰部以下收得较直。梅瓶讲究图案化,龙纹较死板。

清嘉庆年间的梅瓶造型多样,有的向宽短型发展,有的向瘦长型发展,胎体与乾隆时期区别不大,釉色的白度较乾隆时高,而釉的质地较乾隆时有所下降。梅瓶花纹比较多样,但艺术品位较乾隆时期差。

如果说宋代的梅瓶造型挺秀、俏丽,富于女性的特征的话,那么明代的梅瓶则是雄健、敦厚,富于男性的特征。至于清代的梅瓶,由于造型比例不当,给人以不谐调和不完整的感觉,不及明代的水平。

明清梅瓶在器形上略有区别,明代梅瓶,肩部较丰,胫部肥硕。清代梅瓶,肩丰硕而挺阔,胫部内收,至近底处又微撇。以景德镇窑制品最佳,有各色釉和彩绘装饰。其中,肩部有墨书或青花楷书“内府”二字者,是宫内用器。清人因瓶口小仅能插入梅花枝而叫“梅瓶”。清乾隆的梅瓶肩部特别丰满,几乎成一条直线.腰部以下收得较直.梅瓶讲究图案化,龙纹较死板。嘉庆年间的梅瓶造型多样,有的向宽短型发展,有的向瘦长型发展,胎体与乾隆时期区别不大,釉色的白度较乾隆时高,而釉的质地较乾隆时有所下降。梅瓶花纹比较多样,但艺术品位较乾隆时期差。

梅瓶插花观赏的模式延续了几百年,子仁在研究梅瓶后,则将其功能归纳为三类:实用功能、礼仪功能、审美功能。

在实用功能方面,梅瓶的器型特征适合盛贮挥发性液体。唐代,盛酒成为梅瓶的最主要功能,梅瓶因此逐渐成为日常酒器。

五代至北宋,梅瓶与酒注、台盏组合使用。从北宋晚期至元明,玉壶春瓶、酒杯等酒具参与到这一组合内。这一演变过程也从侧面反映了梅瓶盛贮的酒品质发生了重大变化:从酒精含量低的酿造酒,变成了酒精含量大幅度提高的蒸馏白酒。

梅瓶的礼仪功用,表现为明器和供器。作为明器的梅瓶,首先与儒家重礼的正统要求有关,同时被唐宋时期堪舆家利用。

除明器外,梅瓶还可以作为墓葬、佛教供器。梅瓶的审美功能表现为插花、清供、陈设等。从酒瓶向花瓶的转变,与宋金时期赏花饮酒的风尚有关。

除了插花,梅瓶还可作为纯粹的观赏器。当梅瓶主要作为实用性盛酒器而大量使用的时候,一些品质较高的古代梅瓶被古玩化。

在楼钢看来,到了明代,则大大强化了梅瓶的装饰功能,实用功能逐渐被淡化。而到了清代以后,梅瓶已经被称为“瓶之王”,“这说明梅瓶充当插花器或观赏器的模式已经延续了几百年”。

Tang Dynasty

The plum bottle appeared in the Tang Dynasty and prevailed in the Song Dynasty. In the Song Dynasty, many plum bottles were produced by the people, and they can be seen in liquor shops and liquor stores. The plum bottle of the Song Dynasty is generally tall and thin. The shoulders are inclined downward, the feet are long and close to a straight line, and the bottom is relatively small. The smallest diameter of the vessel is from the shoulders to the lower part of the mouth. There are various handling methods, often An angular turn. Porcelain kilns are fired everywhere, but the Jingdezhen blue and white plum vase is the most exquisite.

Song Dynasty

Mei Ping was very popular in the Song Dynasty. In the Song Dynasty, the Mei Ping was also called Jing Ping, and after the Ming Dynasty, it was called Mei Ping. In the Song Dynasty, many plum bottles were produced by the people, and they can be seen in liquor shops and liquor stores.

Southern Song Mei Ping: mostly narrow-shouldered, elongated chicken legs.

Yuan Dynasty

Plum Bottle: Inherited the Song Dynasty shape, but the shoulders are fuller, with a lid, the lid is bell-shaped, with a pipe-shaped spigot in the middle, and the lid can be turned upside down and used as a wine glass. In addition to the round plum vase in the Yuan Dynasty, there were also flat-mouth plum vases, octagonal plum vases, and octagonal Japanese-cornered plum vases with blue and white, blue and white glaze red and red glaze.

Ming Qing

In the Ming and Qing Dynasties, the imperial kiln factory produced a large number of various plum bottles, and the shapes became more and more beautiful. Some were used to hold wine for the emperor. Some became palace furnishings.

The plum bottle shape of the Ming Dynasty is low in proportion; the mouth is round and thick, without obvious turning of the line angle; the shoulders are lifted up, and the lines are full and powerful; under the abdomen, it is vertical, and some are slightly retracted inward; on the feet The ending part of the part, slightly outward. Some white-glazed plum vases have blue and white regular script "Neifu" on the shoulders, which are used in the palace.

The shoulders of the plum bottles of Qianlong Emperor Qianlong of the Qing Dynasty were particularly plump, almost in a straight line, and were collected straight from the waist. The plum bottle pays attention to patterning, and the dragon pattern is more rigid.

The plum vases in the Jiaqing period of the Qing Dynasty were diverse in shape, some developed into a wide and short shape, and some developed into a slender shape. The carcass is not much different from the Qianlong period. The whiteness of the glaze is higher than that of the Qianlong period, and the texture of the glaze is higher than that of the Qianlong period. The drop. The plum vase pattern is more diverse, but the artistic style is worse than that of Qianlong period.

If the Mei Ping of the Song Dynasty is quite beautiful, pretty and full of feminine characteristics, then the Mei Ping of the Ming Dynasty is strong, honest, and full of male characteristics. As for the plum bottle in the Qing Dynasty, due to its improper proportions, it gave people a sense of disharmony and incompleteness, not as good as the Ming Dynasty.

There is a slight difference in the shape of the Mei Ping in the Ming and Qing Dynasties. In the Ming and Qing Dynasties, the Mei Ping had ample shoulders and plump shin. The plum bottle in the Qing Dynasty had ample and broad shoulders, and the shin was retracted, and it was slightly curled near the bottom. The Jingdezhen kiln products are the best, with various glazes and painted decorations. Among them, those with the words "Neifu" in ink or blue and white regular script on the shoulders are used in the palace. The Qing people called the "Plum Ping" because the mouth of the bottle was small and could only insert plum blossom branches. The shoulders of the plum bottle of Qianlong in the Qing Dynasty were particularly plump, almost in a straight line. Close up straighter below the waist. The plum bottle emphasizes patterning, and the dragon pattern is more rigid. The plum vases in the Jiaqing period were diverse in shape, some developed into a wide and short shape, and some developed into a slender shape. The carcass is not much different from the Qianlong period. The whiteness of the glaze is higher than that of the Qianlong period, and the texture of the glaze is different than that of the Qianlong period. decline. The plum vase pattern is more diverse, but the artistic style is worse than that of Qianlong period.

The pattern of flower arrangement with plum vase has lasted for hundreds of years. After studying the plum vase, Ziren summarized its functions into three categories: practical function, etiquette function, and aesthetic function.

In terms of practical functions, the plum bottle is suitable for storing volatile liquids. In the Tang Dynasty, wine-making became the main function of the plum bottle, and the plum bottle gradually became a daily wine vessel.

From the Five Dynasties to the Northern Song Dynasty, the plum bottle was used in combination with Jiuzhu and Taizhan. From the late Northern Song Dynasty to the Yuan and Ming Dynasties, Yuhuchun bottles, wine glasses and other wine utensils participated in this combination. This evolution process also reflects a major change in the quality of the wine stored in plum bottles: from a low-alcohol brewed wine to a distilled liquor with a greatly increased alcohol content.

The ceremonial function of the plum bottle is manifested as a ming vessel and an offering vessel. The plum bottle as a Ming ware was firstly related to the orthodox requirement of Confucian rituals, and it was also used by the Kanyu scholars in the Tang and Song Dynasties.

In addition to Ming vessels, plum bottles can also be used as tombs and Buddhist offerings. The aesthetic function of the plum bottle is represented by flower arrangement, clear offering, and furnishings. The change from bottle to vase is related to the fashion of enjoying flowers and drinking during the Song and Jin Dynasties.

In addition to arranging flowers, plum bottles can also be used as pure ornamental devices. When the plum bottle was mainly used as a practical wine container, some ancient plum bottles of higher quality were antiqued.

In Lou Gang's view, in the Ming Dynasty, the decorative function of the plum bottle was greatly strengthened, and the practical function was gradually diminished. After the Qing Dynasty, the plum bottle has been called the "king of the bottle", "this shows that the pattern of the plum bottle as a flower arrangement or ornamental device has continued for hundreds of years."

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