首页资讯【精品推荐】清代罗汉碗

【精品推荐】清代罗汉碗

来源：爱乐趣网时间：2021-01-30 12:59

原标题：【精品推荐】清代罗汉碗

黄釉是以适量的铁为着色剂，在氧化焰中烧成，分高温、低温两种。高温黄釉是含适量氧化铁的石灰釉，在高温氧化气氛中生成三氧化二铁，呈黄色。早在唐代时期已能烧制出高温黄釉瓷器，如安徽寿州窑、白土窑，河南密县窑、郏县窑，陕西铜川玉华宫窑，山西浑源窑和河北曲阳窑等。低温黄釉是一种以氧化铁为着色剂，以氧化铝为助熔剂的颜色釉。最早见于汉代陶器上，显橙红色。唐三彩和宋三彩陶器上已有深浅不同的黄褐色釉。瓷器上纯正的低温黄釉始见于明代洪武官窑瓷器上，其后都有烧造。

Yellow glaze is a proper amount of iron as the coloring agent, fired in the oxide flame, high temperature, low temperature two kinds. High temperature yellow glaze is a lime glaze containing an appropriate amount of iron oxide. It produces iron trioxide in a high temperature oxidizing atmosphere and is yellow. As early as the Tang Dynasty, high-temperature yellow-glazed porcelain could be fired, such as Shouzhou Kiln and Baitu Kiln in Anhui Province, Mixian Kiln and Jiaxian Kiln in Henan Province, Yuhuagong Kiln in Tongchuan, Shaanxi Province, Hunyuan Kiln in Shanxi Province and Quyang Kiln in Hebei Province. Low temperature yellow glaze is a color glaze with iron oxide as the coloring agent and alumina as the fluxing agent. It was first seen on pottery of the Han Dynasty and is orange-red. Tri-colored pottery of the Tang and Song dynasties has different shades of yellow and brown glazes. Pure low-temperature yellow glaze on porcelain was first seen in the Ming Dynasty Hongwu official kiln porcelain, and then were fired.

明清两代官窑生产的颜色釉瓷器，民窑不许生产。《明英宗实录》卷一六一记载，正统十一年时下令：“禁江西饶州府私造黄、紫、红、绿、青、蓝、白地青花瓷器……首犯凌迟处死，籍其家赀，丁男充军边卫，知而不以告者，连坐。”明清时期宫廷对黄釉瓷器的使用略有不同，明代黄釉瓷器主要作为皇室的祭器。清代宫廷黄釉瓷器除了祭器外，还成为日常生活用器。在皇宫中，颜色釉瓷器的使用，也有严格的等级之分。如《国朝宫史》卷十七记载，里外黄釉器专供皇帝、皇后、皇太后享用；而里白釉外黄釉器专供皇妃使用；贵妃用黄地绿龙器；嫔妃用蓝地黄龙器；贵人和常在都不用黄器，前者用绿地紫龙，后者用绿地红龙器。尊卑有别，不可僭越。黄色是历朝帝王所崇尚的专属颜色，成为权力、尊贵的象征。黄釉瓷是皇家尊严的一种体现，被宫廷垄断，严禁民间使用。

Color-glazed porcelain produced by the official kilns of the Ming and Qing dynasties was not allowed to be produced by the civilian kilns. According to the Records of Emperor Yingzong of the Ming Dynasty (1661), in the 11th year of the reign of Emperor Yingzong of the Ming Dynasty, an order was issued: "It was forbidden to make yellow, purple, red, green, blue, blue and white blue and white porcelain in Rao Prefecture of Jiangxi Province... The chief criminal is executed by Ling Chi, his family is rich, and Ding men become the border guards. He knows this and does not accuse him. The use of yellow-glazed porcelain by the court was slightly different in the Ming and Qing dynasties, and yellow-glazed porcelain was mainly used as sacrificial vessels for the royal family in the Ming Dynasty. In Qing Dynasty, yellow-glazed porcelain was not only used for sacrifice but also for daily life. In the imperial palace, the use of colored glazed porcelain was also strictly graded. As recorded in Volume 17 of "History of the Palace of the State", the yellow glaze inside and outside was exclusively for the emperor, empress and empress dowager to enjoy; In the white glaze outside the yellow glaze for the use of imperial concubine; The imperial concubine uses the yellow earth green dragon ware; The concubines use blue ground and yellow dragon ware; Noble and often in all do not use yellow, the former with green purple dragon, the latter with green red dragon. There are distinctions between senior and inferior, and they should not be arrogated. Yellow is the exclusive color advocated by emperors in all dynasties, and it has become a symbol of power and dignity. The yellow glaze porcelain was a reflection of the royal dignity and was monopolized by the royal court and was strictly prohibited to be used by the people.

此乾隆款黄釉罗汉碗，高13cm、口径26cm、足径12.5cm；敛口，深腹，圈足；足内“大清乾隆年制”三行篆书款。外壁施黄釉，乾隆官窑黄釉器因釉中掺有玻璃白，使釉汁混而不透，呈色嫩莹。腹部罗汉人物，所绘诸尊者姿态各异，持不同法器以明身份，或坐或立，或挥手相招，或相视密语，神态各不相同，生动传神，人物刻画细腻，肌肤纹理，无一不栩栩如生。

This Qianlong style yellow glaze arhat bowl is 13cm in height, 26cm in diameter and 12.5cm in diameter. Collect mouth, deep belly, circle foot; Foot "Qing Qianlong year" three lines of seal script. Yellow glaze was applied on the outer wall. The glaze of the yellow glaze of the Qianlong official kiln was mixed with glass white, so that the glaze juice was mixed and opaque, and the color was tender and brilliant. The abdominal arhat figures are painted with different postures, holding different instruments to show their identity, sitting or standing, waving to each other, or talking to each other in secret. Their expressions are different and vivid. The characters are depicted delicately and the skin texture is all lifelike.

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