粉彩瓷是琺琅彩之外，清宮廷又一創燒的彩瓷，早在清康熙年間，粉彩作為瓷器釉上彩繪藝術已開始了萌芽;到雍正時期，已趨成熟，並形成粉彩裝飾的獨特風格;乾隆時期粉彩已非常興盛。粉彩的藝術效果，以秀麗雅緻，粉潤柔和見長，這與潔白精美的瓷質分不開，它們相互襯托，相映成趣，有機地結合起來。
As early as Kangxi period of the Qing Dynasty, the art of pastel painting on the glaze of porcelain had begun to sprout; by Yongzheng period, it had matured and formed a unique style of pastel decoration; in Qianlong period, pastel was very prosperous. The artistic effect of pastels is beautiful, elegant and soft, which is inseparable from the white and exquisite porcelain. They set off each other, contrast each other and combine organically.
粉彩是中國陶瓷最後創燒的一個主要類型，它的出現成為了所有瓷器中的一個特色類型，以獨特的貼近自然的顏色過渡，這也是粉彩極為重要得表現力，其柔和的色彩表現非常符合大眾的欣賞水平，具有廣泛親近群眾生活的基礎，深的百姓的追逐喜愛。
Pastel is one of the main types of Chinese ceramics, which has become a characteristic type of all ceramics. It has a unique color transition close to nature, which is also an extremely important expressive force of pastel. Its soft color performance is very consistent with the public's appreciation of water level, has a broad basis close to the people's life, and is deeply loved by the people.
瓷器釉色名。傳統黃釉有兩種：一，以三價鐵離子著色的石灰釉，屬高溫釉；二，以含鐵的天然礦物為著色劑，但基礎釉是鉛釉，屬低溫黃釉。明、清黃釉都是以鐵為著色劑的鐵黃，用氧化焰低溫燒成，色黃潤光滑，釉面晶瑩透澈。黃釉器製作方法有二：一是燒成的白瓷釉面上塗以含鐵色料，再低溫燒成；二是在素燒過的澀胎上直接施黃釉，但釉色不及前者潔潤。
Glaze name of porcelain. There are two kinds of traditional yellow glaze: one is the lime glaze colored by ferric ion, which belongs to high temperature glaze; the other is the natural mineral containing iron as colorant, but the basic glaze is lead glaze, which belongs to low temperature yellow glaze. Ming and Qing yellow glazes are all made of iron yellow with iron as colorant. They are fired with oxidation flame at low temperature. The color is yellow and smooth, and the glaze is crystal clear. There are two ways to make yellow glaze ware: one is to coat the white porcelain glaze with iron colored material, and then burn it at low temperature; the other is to directly apply yellow glaze on the astringent tire burned by vegetable, but the glaze color is not as clean and moist as the former.
早在清康熙年間，粉彩作為瓷器釉上彩繪藝術已開始了萌芽;到雍正時期，已趨成熟，並形成粉彩裝飾的獨特風格;乾隆時期粉彩已非常興盛。粉彩的藝術效果，以秀麗雅緻，粉潤柔和見長，這與潔白精美的瓷質分不開，它們相互襯托，相映成趣，有機地結合起來。
As early as in the Kangxi period of the Qing Dynasty, pastel as the art of porcelain glaze painting has begun to sprout; to the Yongzheng period, it has become mature and formed a unique style of pastel decoration; in the Qianlong period, pastel has been very prosperous. The artistic effect of pastels is beautiful, elegant and soft, which is inseparable from the white and exquisite porcelain. They set off each other, contrast each other and combine organically.
乾隆時期粉彩的特徵主要表現在以下幾個方面：
The characteristics of pastels in Qianlong period are as follows:
首先在用色和施彩的工藝方面有了新的發展，除以粉彩繪畫為主，還常加繪料彩、金彩或黑彩，或與青花五彩、鬥彩並施於一器。
First of all, there is a new development in the use of color and the application of color technology. It is divided by pastel painting. It is often added with material color, gold color or black color, or applied together with blue and white color and fighting color.
其次，在裝飾方法上出現多種色地“開光”粉彩，如紅、黃、藍、綠、紫及多種色釉為地，可達十多種。
Secondly, there are many kinds of "open light" pastels in decoration methods, such as red, yellow, blue, green, purple and many kinds of colored glazes.
第三，乾隆粉彩利用粉彩粉潤柔和的質感，用粉化的各種彩料仿製各種工藝品。
Thirdly, Qianlong pastels make use of the soft texture of pastels to imitate various handicrafts with various pastels.
第四，乾隆粉彩有一個獨有的特徵，即器物口部及底部都施松石綠釉。
Fourth, the Qianlong pastel has a unique feature, that is, both the mouth and the bottom of the utensil are covered with turquoise green glaze.
第五，乾隆官窯粉彩的紋飾一般是“大內”送來的圖樣，主題紋飾按不同時節都有嚴格規定。
Fifthly, the patterns of Qianlong official kiln pastels are generally the patterns sent by "Da Nei". The theme patterns are strictly regulated according to different seasons.
第六，乾隆粉彩的造型工藝更是精益求精，不論是高達一米多的大型陳設瓷，還是小至幾釐米的扳指、鼻菸壺，造型都非常規整，很少出現夾扁或歪塌現象。
Sixthly, the modeling technology of Qianlong pastel is more refined. Whether it is a large-scale display porcelain with a height of more than one meter, or a flip finger and snuff bottle with a size of as small as a few centimeters, the modeling is very regular, with little flattening or tilting.
專家推薦：粉彩花鳥紋賞瓶直頸微敞，鼓腹，圈足，通體工筆彩繪盛牡丹樹一株，樹幹茁壯伸展，點綴盛開牡丹，樹樁旁伴有兩隻孔雀民間渭之“富貴呈祥”，寓意愛情甜蜜、婚姻幸福的象徵，寓意富貴呈祥。底書“大清乾隆年制”六字款，滿工工藝製作，素雅含蓄，外施黃釉做底，縱觀整器清新脫俗，瑞祥喜氣，賞心悅目。通體施滿釉，釉色純淨，十分雅觀；色澤豔麗，整體層次清晰，佈局疏密有致，乾隆朝繼承前朝制瓷工藝，同樣大量採用祥瑞題材作主裝飾，藉助自然之物寓意吉祥安康，加之繪工精細，創新發展，為古代制瓷業的一座高峰。
Experts recommend: the pink flower and bird pattern bottle is straight neck and slightly open, with belly bulging and feet encircling. There is a peony tree with full-bodied and meticulous painting. The trunk of the tree is strong and stretchy, decorated with peonies in full bloom. Beside the tree stump are two peacocks, a symbol of folk Wei's "prosperity and auspiciousness", implying sweet love and happy marriage, implying prosperity and auspiciousness. The bottom book "made in Qianlong of the Qing Dynasty" has six characters. It's made by full craftsmanship. It's simple, elegant and implicit. It's covered with yellow glaze as the bottom. Throughout the whole machine, it's fresh and refined, auspicious and pleasant. The whole body is covered with glaze, the glaze color is pure, very elegant; the color is gorgeous, the overall level is clear, the layout is dense, and the Qianlong Dynasty inherited the porcelain making process of the previous dynasty, and also a large number of auspicious themes are used as the main decoration, with the help of natural things to symbolize good luck and well-being, coupled with fine painting and innovative development, it is a peak of the ancient porcelain making industry.
黃釉瓷在古陶瓷藝術中佔有很重要的位置，黃色一向是帝王專用色，黃釉瓷器更是明清宮廷用瓷，決不許民間使用。即使在叛亂不斷的嘉靖時期，也嚴禁民間使用，民窯即使可用金彩，也不可以用黃釉瓷。明中期三朝在黃釉瓷的基礎上還大量燒製了黃釉青花、黃釉綠彩、黃釉紅彩、黃釉紫彩等黃釉彩瓷，這些瓷器在明以後也多有燒製
Yellow glazed porcelain occupies a very important position in the ancient ceramic art. Yellow has always been the emperor's special color, and yellow glazed porcelain is also the court porcelain of Ming and Qing Dynasties, which must not be used by the people. Even in the period of Jiajing, where the rebellion continued, it was strictly forbidden to use folk wares. Even if gold color could be used for folk kilns, yellow glazed porcelain could not be used. In the middle Ming Dynasty, on the basis of the yellow glazed porcelain, a large number of yellow glazed blue and white porcelain, yellow glazed green porcelain, yellow glazed red porcelain, yellow glazed purple porcelain and other yellow glazed colored porcelain were also fired in large quantities. Most of these porcelain were also fired after the Ming Dynasty
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