详细说明
明弘治朝的彩瓷基本是成化风格的延续,其中最有特色的品种是刻花填彩。刻花填彩的制作方法是在胎上先刻出所需图案纹样,上透明釉时将刻好的图案留出,将其用高温烧成后再在白釉露胎的瓷器上施彩并用低温烧烤即可。台北故宫博物院所藏明弘治款五彩云龙纹盘便是典型一例,龙纹在釉下胎上刻成,釉上用孔雀绿、矾红、黄等色彩绘,它标志着釉上五彩的制作已进入成熟时期。台北故宫博物院所藏的另一件黄地绿彩器娇黄地堆花绿彩赶珠龙高足碗,侈口窄唇,深碗壁,高圈足;碗外壁堆饰双龙戏珠,间饰云纹;内壁光洁无饰,薄胎黄釉,花纹以绿彩填饰。碗心有“弘治年制”四字篆书款,加填绿彩。这些白地绿彩、黄地绿彩为弘治时最主要的品种。 明正德时烧造的彩瓷,其造型、装饰除继承前代传统外,还在创新中确立了正德朝独特的风格。正德五彩是在白釉器上直接另绘五彩纹饰,这种工艺,采用较广。正德白釉五彩器制作精细,使用较多的是红、绿、黄三彩,绿色多为翠绿和孔雀绿,绿色浅且闪黄。有些器物重用黄绿彩,红彩做点缀,或以套色来烘托纹饰,增加装饰画面生动活泼之感。
正德五彩瓷的装饰,除传统的花鸟和穿花龙、翼龙纹饰外,还以阿拉伯文或伊斯兰图案为纹样作装饰,成为正德五彩瓷又一鲜明特征。
折叠嘉靖、万历时期的五彩瓷
明代五彩瓷器经过数朝的发展,到嘉靖、万历时已是相当成熟,质量和数量蔚然可观,开创了五彩瓷制作的新局面,在陶瓷史上做出了杰出贡献。
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