精品推荐——清代铜胎抱月扁瓶

月瓶是清代的一种瓷器。亦称“宝月瓶”。小口、直颈，颈侧双耳，因瓶腹似圆月，故名。外形最早源自宋元时期流行于西夏的陶制马挂瓶，左右双系，用以挂于马鞍之侧，极具民族特色。明代永乐、宣德景德镇窑常见器物之一，雍正早期烧制，后停烧。乾隆时又有烧制，多为青花。

Moon bottle is a kind of porcelain in Qing Dynasty. Also known as "the moon bottle ". Small mouth, straight neck, neck side double ear, because bottle abdomen looks like round moon, so name. The shape first originated from the Song and Yuan dynasties popular in the Xixia pottery horse hanging bottle, left and right double system, used to hang on the side of the saddle, very national characteristics. Yongle Ming Dynasty, Xuande Jingdezhen kiln one of the common objects, Yongzheng early firing, after stopping burning. Qianlong also fired, mostly blue and white flowers.

月瓶外形最早源自宋元时期流行于西夏的陶制马挂瓶，左右双系，用以挂于马鞍之侧，极具民族特色。明代以青花为装饰，结合抱月瓶自身独特风格，将色彩与器形完美融于一体，使其发展成为陈设用的艺术品。抱月瓶以永宣时期最负盛名，其中蒜头口抱月瓶于康熙、雍正两朝多有仿制。乾隆皇帝更是喜爱有加，因此抱月瓶成为清代乾隆一朝重要的陈设瓷器之一，外形与花样也随着御窑厂不断创新而变化多样，异彩纷呈。

The shape of the moon bottle originated from the pottery horse hanging bottle popular in Xixia in Song and Yuan dynasties, which was used to hang on the side of the saddle and has national characteristics. In the Ming Dynasty, the blue and white flowers were decorated, combined with the unique style of the moon bottle, the color and the shape of the instrument were perfectly integrated, which made it develop into the art of Chen Shi. The moon bottle is most famous in Yongxuan period, in which the garlic mouth holds the moon bottle in Kangxi and Yongzheng dynasties. Emperor Qianlong loved it, so the moon bottle became one of the important furnishings of the Qianlong Dynasty in Qing Dynasty.

乾隆时期，铜胎工艺才全面兴盛，并正式达到巅峰，并形成了内府造办处、广州、扬州、苏州等几个工艺中心。乾隆朝除了继续仿制前朝的各种器皿外，还从事仿古铜器和宗教仪典方面所用的佛像、佛龛、佛塔、满达、七珍八宝等供具之制作，更另辟蹊径，烧制各种动物造型的实用兼陈设的器皿。一般日常生活用具，例如饮食用器、文房用具、日用的花瓶、花盆、轿瓶、香薰、脸盆、浑天仪、暖手炉、渣斗、镜子、挂屏、灯座、帽架、鱼缸、如意、斋戒牌、鼻烟壶、钟表、及翎管、班指、指甲套、发簪等装饰品等，不胜枚举。其装饰繁缛，纹样采用传统的螭龙、兽面、吉祥纹饰、莲塘、山水、番莲及莲瓣、菊瓣和各种西洋式花朵。而且乾隆常把古代书画名迹巧妙地运用到铜胎中，以追求绘画艺术与铜胎工艺的完美结合。掐丝的技术更为娴熟，粗细均匀而流畅，色釉种类多样，釉色艳丽、洁净，但大多数缺透明温润的质感。同时结合錾胎和铜胎之制作技巧于一体，使铜胎工艺之发展臻于极境。

During the Qianlong period, the copper tire technology flourished in an all-round way, and formally reached its peak, and formed several craft centers, such as Neifu Building Office, Guangzhou, Yangzhou and Suzhou. In addition to continuing to copy the various vessels of the previous dynasty, the qianlong dynasty also engaged in the production of buddha statues, niches, pagodas, manda, seven treasures and eight treasures used in antiquated bronze vessels and religious ceremonies. General daily living appliances, such as food utensils, stationery, vase for daily use, flowerpot, sedan chair bottle, aromatherapy, washbasin, muddy sky, warm-hand stove, slag bucket, mirror, hanging screen, lamp holder, hat rack, fish tank, Ruyi, Zhai ring card, snuff pot, clock, and feather tube, finger, nail cover, hair hairpin and other ornaments, too numerous to enumerate. Its decoration is elaborate, the pattern adopts the traditional chi dragon, the animal surface, the auspicious pattern decoration, the lotus pond, the landscape, the lotus and the lotus petal, the chrysanthemum petal and each kind of western style flower. And Qianlong often skillfully applied the ancient calligraphy and painting to the copper tire in order to pursue the perfect combination of painting art and copper tire technology. The technique of pinching silk is more skillful, the thickness is even and smooth, the color glaze variety is diverse, the glaze color is gorgeous, clean, but most lack transparent and warm texture. At the same time, combined with chisel and copper tire production skills in one, the development of copper tire technology to the extreme.