珐琅彩特的魅力不愧为瓷器中的贵妇

Jingdezhen, known as China's capital of porcelain, has been making porcelain since the Han Dynasty. It has a long history of over two thousand years ago. Because of its unique natural conditions and strong technical strength, the song and Yuan Dynasties were famous for its exquisite porcelain. During the Ming and Qing Dynasties, the imperial court set up the official kiln in Jingdezhen, which not only brought together the exquisite craftsmen of domestic skill, but spared no spares, invested a large amount of money and excellent porcelain raw materials, and burned out the porcelain of the official kiln for the royal court and the royal family, and reached the peak of the Ming and Qing Dynasty's porcelain development. Porcelain, not out of Jingdezhen.
In the aspect of porcelain decoration, the porcelain of Jingdezhen official kiln is also the leader of the porcelain industry. Symbolizing the rich peony pattern, the pure lotus pattern, the nine peach pattern symbolizing longevity and so on, its ornamental themes are rich, colorful and auspicious. At the same time, it shows the brilliant achievements of the imperial porcelain in the two dynasties of the Ming and Qing Dynasties, and also shows the brilliant achievements of the imperial porcelain era, which vividly reproduces. The palace life and culture of the Ming and Qing Dynasties behind the porcelain.
Lotus pattern, one of the most important decorative patterns in ancient China, is also common in Jingdezhen porcelain. This is the Ming Wanli blue and flower flower pattern plate (Figure 1), the inner wall and the inner bottom are painted for two weeks respectively. The inner wall is decorated with bamboo lines, and the inner bottom is four lotus patterns with different shapes. The outer edge of the mouth and the foot wall are decorated with string patterns, and the lotus wall is painted with eight treasures on the outer wall. The blue and white "Wanli year" system is written in four characters.
Lotus pattern is also the main symbol of Buddhism. Lotus has the meaning of "pure land" in Buddhism, which means purity and auspiciousness. From the Yuan Dynasty to the Qing Dynasty, there were many changes in lotus patterns on porcelain, including patterns of lotus, lotus and other patterns. And the lotus shaped eight treasures pattern on the outer wall of the dish is also a reflection of social development needs. Since the lotus and the eight treasures respectively represent the two religions of Buddhism and Taoism, and the Taoism flourished in the Ming Dynasty, the period of the Ming Dynasty and the Wanli period is the flourishing period of the development of Taoism in the Ming Dynasty. The eight treasures of lianto is integrated with Buddhism and Taoism. In the porcelain of the official kiln, it can reflect the religious culture and spiritual letter advocated by the ruling class at that time. Look up.
被誉为中国“瓷都”的景德镇，从汉朝开始制瓷，距今已有两千多年的悠久历史。由于其得天厚的自然条件和雄厚的技术力量，宋元时期就以精美的瓷器而天下。明清时期，朝廷相继在景德镇设置官窑，不仅汇集了国内技艺的能工巧匠，更是不惜工本，投入了大量的资金和的制瓷原料，烧造出宫廷和享用的官窑瓷器，达到了明清瓷器发展的鼎盛时期，有“至精至美之瓷，莫不出于景德镇”的说法。
在瓷器的纹饰方面，此时的景德镇官窑瓷器亦是名符其实制瓷业的。象征富贵的牡丹纹、象征纯洁的莲纹、象征的九桃纹等等，其纹饰题材之丰富、色彩之绚丽、寓意之吉祥，在展现明清两代景德镇御瓷的制作工艺和高超的装饰艺术的同时，也展示了御瓷时代的辉煌成就，生动再现了瓷器背后的明清宫廷生活与文化。
作为我国古代瓷器的重要装饰纹样之一的莲纹，在景德镇官窑瓷器中亦是常见。这只明万历青花花卉纹盘（图1），盘内壁及内底分别绘弦纹两周，内壁饰串枝竹纹，内底为形态各异的四朵莲花纹。盘外口沿及足墙亦以弦纹为饰，外壁绘莲托八宝图案。外底书青花“万历年制”四字双行楷款。
莲纹也是佛教的主要标志，莲花在佛教中有“净土”之意，寓意纯洁、吉祥。元代到清代时期，瓷器上莲花纹的变化较多，出现了缠枝莲、把莲等图案，还有与动物纹样相结合的图案。而该盘外壁的莲托八宝纹样，也是社会发展需要的体现。由于莲花和八宝分别代表了佛教和道教两种宗教，而明代道教盛行，嘉靖和万历时期更是明代道教发展的繁盛时期，莲托八宝纹样融合了佛教和道教于一体，在官窑瓷器中则更能反映出当时统治所倡导的宗教文化和精神信仰。

图1 明万历青花花卉纹盘 口径19.2厘米，底径13.5厘米，高3.6厘米
Figure 1 the blue and white flower plate of Ming Wanli is 19.2 cm in diameter, 13.5 mm in diameter and 3.6 centimeters in height.

图2 清雍正青花卷草纹瓶 口径5.4厘米，底径5.3厘米，高12.7厘米，腹围30厘米 清雍正青花卷草纹瓶（图2），直口，短颈，溜肩，长腹。整体青花装饰。腹部绘卷草纹。外底书“大清雍正年制”青花双圈双行楷书竖款。 卷草纹的绵延不绝与循环往复，寓意生机勃勃、福寿延绵。由于清代社会经济的发展，皇帝审美趣味以强调富贵为美，体现在纹饰上面也出现了较具代表性的变化。以比较常见的卷草纹为例，清代瓷器的卷草纹饰则更显得繁复华丽，优美。而雍正时期的青花纹饰一向以简洁清晰、高雅细腻著称，属于清代青花瓷烧造的，该瓶虽然卷草纹饰繁复华美，但留白较多，画面疏朗，更显得清新淡雅，十分美观。 清咸丰青花缠枝花卉纹赏瓶（图3），撇口，长颈，圆腹，圈足。肩部凸起弦纹两道。通体青花装饰。口沿绘海浪纹、如意头纹，颈绘蕉叶纹，肩部分别饰以回纹、缠枝莲纹、如意头纹，腹部绘缠枝莲纹，近底部绘莲瓣纹，足墙为卷草纹。外底书青花“大清咸丰年制”六字双行楷体竖款。该赏瓶上的植物纹饰以缠枝莲纹为主，辅以蕉叶纹、莲瓣纹和卷草纹。 缠枝莲纹以藤蔓缠绕莲花形成图案，其连绵不断、高雅吉祥的特征，一直备受帝王的喜爱，“和文人士大夫认为其端庄、高雅、中正、平和，内敛沉静又收放自如，其品性很符合对官员的要求以及文人士大夫为人处世的分寸感，地体现了儒家的中庸思想。”[1]同样受到社会经济繁荣的影响，清代的缠枝莲纹更加繁茂，花枝缠绕，姿态万千，而缠枝莲纹体现在青花瓷器上，以对称或平行的形式展开，“青”“白”颜色对比更能体现出延绵不断、流畅灵动的美学特征，表现了清代帝王富丽堂皇的风范。 除了莲花和牡丹，菊花也是古人常用的装饰花卉之一。清乾隆斗彩团菊纹盖罐（图4），直口，短颈，鼓腹，圈足，盖面微隆。通体以斗彩装饰。器身饰八组团菊纹，每组由两朵组成。间饰八组莲花纹。肩、底部各绘一圈青花装饰带。色彩柔和，制作精美，为仿明成化斗彩比较成功的作品。外底书“大清乾隆年制”六字三行青花篆书款。该罐身上的团菊纹和莲花纹，画笔精美细致，布局疏密得体，色彩明快艳丽。 西晋周处《风土记》中就有云：“汉俗九月九日饮菊花酒，以拔除不详。”重阳节饮菊花酒用以消灾是古人的重要传统之一，在清代这种赏菊之习尤为盛行。而菊花耐寒高洁的特性，更被许多文人士大夫赋予了君子的气质。周墩颐在《爱莲说》中写到：“菊，花之隐逸者也。”陶渊明也以菊花的素雅坚贞的品性来代表自己不为五斗米折腰的傲然骨气。由于乾隆帝对仿古器的钟爱，导致当时的景德镇官窑出现了很多仿明成化斗彩的瓷器，不仅继承了当时的技法，更是别具风格，御窑厂良工以其炉火纯青的技艺，将团菊纹描绘得灵动逼真，色彩清丽雅致，为乾隆时期官窑斗彩类之。 清乾隆斗彩如意耳尊（图5），器上部呈圆形，下部为半圆形，扁腹广底，中间束腰，形似葫芦。一对如意式双耳连接上下两部分，造型新颖。通体斗彩装饰，主题纹饰为宝相花图案，绘画精细。外底书“大清乾隆年制”六字三行青花篆书款。藏品交易出手《pk4260》
Figure 2 clear Yong Zheng green flower curling bottle caliber 5.4 cm diameter, bottom diameter 5.3 cm, 12.7 cm high, abdominal circumference of 30 cm Yong Zheng green flower vase bottle (Figure 2), straight mouth, short neck, shoulder, long abdomen. The whole green flower decoration. The abdomen is painted with grasses. Outlying book "Qing Dynasty Yong Zheng year" blue and white double circle regular script. The winding grass pattern is continuous and continuous, meaning vigorous and longevity. Due to the development of social economy in the Qing Dynasty, the aesthetic taste of emperors emphasized the beauty of luxury and riches. For example, the curly grass ornamentation of Qing Dynasty porcelain is more complex, gorgeous and exquisite. The green flower ornamentation of the Yong Zheng period is famous for its simplicity and elegance. It belongs to the peak of the Qing Dynasty blue and white porcelain. Although the vase is beautiful, it is more white and more beautiful. Qingxianfeng blue and white flower binding flower bottle (Figure 3), left mouth, long neck, round abdomen, foot. The shoulder is raised in two lines. The whole body is decorated with green flowers. The mouth is painted along the sea wave pattern, as well as the head, and the neck is painted with banana leaf. The shoulder is decorated with the back lines, the twining lotus lines, the head lines, the abdomen drawing lotus seeds, the near bottom drawing lotus leaf, and the foot wall of the curling grass. The outgoing book "blue and white", "the Qing Xianfeng year system", is composed of six characters and two lines. The ornamentation on the vase is mainly composed of lotus leaf pattern, lotus leaf pattern and curly grass pattern. The lotus flower pattern, with the vine twining and the lotus flower pattern, has been a continuous, elegant and auspicious feature that has always been popular with the emperors. "The Royal and literati think it is dignified, elegant, moderate, flat, quiet and quiet, and its character conforms to the demands of the royal officials and the literati and doctors." The sense of propriety reflects the Confucian doctrine of the mean. [1] is also influenced by social and economic prosperity. The twicentangled lotus lines in the Qing Dynasty are more luxuriant, twig twined, and thousands of gestures, while the twig lotus lines are embodied in the blue and white porcelain. The color contrast of "green" and "white" is more able to reflect the aesthetic characteristics of continuous, smooth and active, and show the Qing Dynasty. The magnificent royal style of the emperor. Besides lotus and peony, chrysanthemum is also one of the decorative flowers commonly used by the ancients. The chrysanthemum cover pot of Qing Qianlong lottery group (Figure 4), straight, short necked, drums, covered and covered with micro jar. The whole body is decorated with color. The body is decorated with eight groups of chrysanthemum, each group consists of two. Between eight groups of lotus flowers. The shoulder and the bottom are painted with a circle of green flowers. The color is soft and beautifully made, which is a more successful work for imitation and Ming Hua Dou. The outlying book "the Qing Dynasty Qianlong system" has six characters and three rows of blue and white seal script. The jar of chrysanthemum and lotus pattern on the pot can be exquisitely meticulous, the layout is dense and appropriate, and the colors are bright and gorgeous. In the west of Jin Dynasty, there was a cloud in the notes of the Customs: "the Chinese custom drank chrysanthemum wine in September 9th to remove the unknown." It is one of the important traditions of the ancients to use the chrysanthemum wine to reclaim the evil spirits in the Chongyang Festival, especially in the Qing Dynasty. And the character of chrysanthemum Hardy Gao Jie is endowed with the temperament of a gentleman by many literati. Zhou Dunyi wrote in "love lotus" that "chrysanthemum and hermit of flowers are also." Tao Yuanming also represented the unyielding character of the chrysanthemum with the plain and elegant nature of the chrysanthemum. Because of the love of Emperor Qianlong to the archaize, the Jingdezhen official kiln at that time had appeared a lot of porcelain that imitated the Ming Dynasty. It not only inherited the techniques of the time, but also had a different style. The imperial kiln works, with its pure skill, depicted the regiment chrysanthemum with vivid and vivid colors, and the color of the imperial kiln in the Qianlong period. Quality of the class. In the Qing Emperor Qianlong, the color of the rhyme is as good as its ears (Figure 5). The upper part of the device is round, and the lower part is a semicircle. A pair of Ruyi binears connect two parts, which are novel in shape. The whole body is decorated with colorful decorations, with the theme ornamentation as the flower design and fine painting. The outlying book "the Qing Dynasty Qianlong system" has six characters and three rows of blue and white seal script. Pk4260

图3 清咸丰青花缠枝花卉纹赏瓶 口径9.5厘米，底径12.5厘米，高37.8厘米，腹围73.4厘米
Figure 3 Qingqingfeng blue and white flowers and flowers, the diameter of the bottle is 9.5 cm, the bottom diameter is 12.5 cm, the height is 37.8 cm, and the girth is 73.4 cm.

图4 清乾隆斗彩团菊纹盖罐 口径5.8厘米，底径6.5厘米，高11.2厘米，腹围37.5厘米 遍布器身的宝相花图案，和莲纹一样，同属于受到佛教装饰艺术中盛行的一种纹饰。宝相花是魏晋南北朝以来伴随佛教盛行的流行图案，集中了莲花、牡丹、菊花、石榴等花的特征，经过艺术处理组合而成，寓意圣洁端庄、吉祥美满。由于花纹整体看上去犹如闪闪发光的宝珠，浑圆的造型也符合中国人传统的追求“圆满”的观念。其花朵层叠交错，花瓣卷曲结合，在瓷器中更多以满密繁复的特征表现，更显得富贵华丽，为历代帝王所喜爱。
Figure 4 the Qing Qianlong fight color group chrysanthemum cover caliber 5.8 cm caliber, 6.5 centimeters in the bottom diameter, 11.2 centimeters high, the belly of 37.5 cm around the body of Bao Xiang flower pattern, and lotus lines, the same belongs to a kind of ornamentation popular in the art of Buddhist decoration. Bao Xiang flower is a popular pattern with Buddhism in the Wei, Jin and Northern and Southern Dynasties. It concentrates the characteristics of lotus, peony, chrysanthemum, pomegranate and other flowers. It has been made through the combination of art. Because the overall pattern looks like a sparkling pearl, the round shape is also in line with Chinese traditional pursuit of "perfect" concept. Its flowers are stacked and interlaced, and the petals are curled together. They are more dense and complex in porcelain. They are more luxuriant and magnificent, and are loved by emperors of all ages.

图5 清乾隆斗彩如意耳尊 口径4.4厘米，底径15.6厘米，高18.2厘米，腹围51.5厘米
Figure 5 Qianlong long, the size of 4.4 cm, the bottom diameter is 15.6 cm, the height is 18.2 cm, and the girth is 51.5 cm.

图6 清雍正粉彩花蝶纹盘 口径15.2厘米，底径9.5厘米，高3.5厘米 清雍正粉彩花蝶纹盘（图6），敞口，浅弧腹，圈足。通体白釉为地，粉彩装饰。内壁及底心绘山石花蝶纹。花叶饰以深绿、浅绿二色；花朵则分别饰以胭脂红、黄、蓝等色；山石以黑彩勾边，蓝彩渲染；蝴蝶饰以蓝、绿、黄、紫红等色。色调鲜丽柔和，充分表现出花叶深浅不一、阴阳向背的质感与姿态。外底书青花“大清雍正年制”六字双行楷书竖款。 清代寂园叟在其《陶雅》一书中称：“粉彩以雍正朝美，，，鲜艳夺目。”雍正时期的粉彩花鸟纹饰可谓是美名远扬，不仅花卉清新雅致，在整体构图上更注意留白，极富文人气息，经常搭配蜂蝶鸟虫等装饰其中，花朵的静和昆虫的动相搭配，更显得画面栩栩如生、生机盎然，展示出大自然的协调之美。题材上以喜庆吉祥含义为主。在色彩上，随着制瓷技术的发展，雍正时期的御窑厂已经拥有10余种彩料：釉里红、天蓝、豆青、粉青、茶叶末、月白等丰富多彩。图六的花蝶纹就使用了多种鲜艳色彩的搭配，辉映成趣、额外热闹，为前代所不及。 清乾隆粉彩描金花卉诗文鼻烟壶（图7），撇口，束颈，溜肩，扁圆腹，圈足。整体以珍珠状松石绿釉为地，腹部凸起部分涂描金彩，形成开光图案。一面绘牡丹花纹，另一面墨书乾隆御制诗文。口沿及足部涂有金彩。外于底书“乾隆年制”四字红彩篆书款。 讲到植物纹，就不能忽视了牡丹纹。牡丹作为我国的国花，从古至今都受到了上至皇宫下至平民百姓的喜爱。“牡丹真国色”，牡丹花朵饱满艳丽，香味浓郁，被誉为花中，成为富贵美好的象征。从宋代开始，牡丹题材就成为了许多文人创作的题材，明清时期，景德镇窑为烧制的瓷器中的牡丹纹样更加丰富多彩，有折枝牡丹、缠枝牡丹等，牡丹纹饰之精美，可以说达到制瓷的顶峰。清代对牡丹纹的喜爱，表现了封建统治者对国家繁荣昌盛、自己永保富贵的追求。乾隆时期官窑瓷器的牡丹纹，构图饱满，色泽鲜艳，繁缛富丽，还有与御题诗文相结合的作品，诗、书、画结合，不仅显示出皇帝的喜好和趣味，器物本身也更具气派。 清乾隆黄地青花九桃纹盘（图8），撇口，斜腹，圈足。黄地青花装饰。其工艺过程是先高温烧成青花纹饰，再用黄釉填满纹饰外的空间，二次低温烧成。盘内底饰青花九桃纹，外壁绘青花缠枝牵牛花纹。娇嫩的黄釉衬托着青翠的青花图案，显得格外艳丽。盘底亦施黄釉，并书青花“大清乾隆年制”六字三行篆款。
Figure 6 clear Yong Zheng pink butterfly disc diameter 15.2 cm diameter, 9.5 centimeters in the bottom diameter, 3.5 centimeters high in height (Figure 6), open, shallow arc abdomen, circle foot. The white glaze is ground and decorated with pink. The inner wall and the bottom heart painted mountain stone sphenoid. The flower leaves are decorated with dark green and light green two colors; the flowers are decorated with carmine, yellow, blue, etc.; the rocks are painted with black color and blue color, and the butterfly ornaments are blue, green, yellow and purple. The colors are bright and soft, which fully show the texture and posture of the flowers and leaves with different shades, Yin Yang and back. Outlying book blue and white "big Qing Yong Zheng year" six character double line regular script. In the book "Tao Ya" in the Qing Dynasty, silent garden old man said: "Pastel is the most beautiful and unprecedented in Yong Zheng's Dynasty, but no one comes after it." The pink and bird ornaments of the Yong Zheng period are not only beautiful and elegant, not only fresh and elegant, but also in the whole composition. They are more attention to white, rich in literati flavor, often adorned with bees and butterflies and other ornaments. The quiet of the flowers and the moving of insects are more vivid and vivid, showing the harmony of nature. Beauty. The main theme is to celebrate the auspicious meaning of the celebration. In color, with the development of porcelain making technology, Yong Zheng's imperial kiln has already had more than 10 kinds of color materials: red in the glaze, sky blue, bean green, powder green, tea and moon and other colorful. Figure six shows a variety of Colourful Coloured coloured flowers, which are more interesting than the previous generation. Qing Qianlong painted flowers, poetry, and snuff bottles (Figure 7). The whole area is made of pearl shaped pine green glaze, and the convex part of the abdomen is painted with gold color to form an open pattern. One side draws the peony pattern, the other side of the book is written by Qianlong. The edge of the mouth and the foot are painted with gold. Outside the book, "Qianlong year" four character red seal seal. As to the plant pattern, the peony pattern can not be ignored. Peony, as the national flower of our country, has been loved by people from the royal palace to the common people from ancient times to the present. "Only peony is a real national color". Peony flowers are full of showy and rich fragrance. They are known as the king of flowers and become a symbol of wealth and prosperity. From the Song Dynasty, the peony theme has become a theme for many literati. In the Ming and Qing Dynasties, the peony patterns in the porcelain of the Royal kiln made by the Jingdezhen kiln were more colorful. There were branches of peony and peony, and the exquisite ornamentation of peony could be said to be the peak of porcelain. The royal family's love for peony patterns in the Qing Dynasty reflected the pursuit of the feudal rulers to the prosperity of the country and their eternal wealth. The peony pattern of the porcelain of the official kiln in the Qianlong period was full, colorful and rich, and the combination of the poems, poems, books and paintings, not only showed the taste and taste of the emperor, but also the royal style. Qing Emperor Qianlong yellow and blue nine peach stripes (Figure 8), slanting, oblique abdomen, foot. The yellow and green flowers are decorated. The process is to heat blue and white ornamentation at high temperature and fill the space with the yellow glaze before the two low temperature firing. The bottom of the dish is decorated with blue and white nine peach patterns, and the outer walls are painted with blue and white flowers. The delicate yellow glaze is decorated with green blue and white patterns. The bottom of the plate is also yellow glaze, and the six words and three lines of the blue and white "Qing Dynasty Qianlong system".

图7 清乾隆粉彩描金花卉诗文鼻烟壶瓶 口径1.6厘米，底径1.81厘米，高5.5厘米，腹围12厘米
Figure 7 Qing Qianlong painted flowers, poetry and snuff bottle caliber 1.6 cm, bottom diameter 1.81 cm, 5.5 cm high, abdominal circumference 12 cm

图8 清乾隆黄地青花九桃纹盘 口径26.7厘米，底径17.9厘米，高5.1厘米 桃纹在古代也有着丰富的历史文化内涵，包括桃木驱邪、桃源为纯洁避世之地、健康等。《神农本草经》甚至将桃称为“玉桃，服之长生不死”，桃作为的象征，成为古人喜闻乐见之物。而在瓷器中的五桃、六桃、八桃、九桃的区别，不仅是祝寿时年龄的代表，更有吉祥之意。古人认为，九在奇数中大，有尊贵之意，九还代表了“多”，与“久”谐音，既尊贵又长久，这种寓意一直备受帝王的喜爱，和桃的之意相结合，更代表了人们对长命百岁的追求。 明清官窑瓷器的纹饰式样都发自内廷之中，《大明会典》中曾记载：“明承元制，凡朝廷烧制瓷器，必由内府定夺样制。”这“样制”里就包含了纹饰的选择。《清史稿》中亦有“时江西景德镇开御窑，源呈瓷样数百种，参古今之式，运以新意，备储巧妙，于彩绘人物、山水、花鸟，尤各极其胜”的说法[2]。不仅官窑有专人供奉瓷样，皇帝有时也会亲自参与到瓷样的创作中来，使得官窑瓷器装饰愈加繁复、纹饰丰富多彩。在明清景德镇官窑瓷器的植物类纹饰中，牡丹纹、菊花纹、桃纹、缠枝莲纹、瓜果纹、松竹梅岁寒三友等寓意吉祥的纹饰更为常见，主要选择祥花瑞草，讲究图必有意、意必吉祥，用以借物喻情，物以咏志。牡丹代表的富贵繁华、九桃所代表的、花蝶所代表的喜气洋洋，都代表了对吉祥如意、福寿安康、富贵荣华的恒古不变的追求。而莲花的高洁质朴、菊花的傲岸君子、梅花的坚贞无私，都成为古人用以明志，表明自身操守的好方式。 直接为统治服务的景德镇官窑，瓷器纹饰也是统治文学底蕴、艺术修养和审美趣味的直接表现，在某种程度上代表了当时文人雅士的精神追求和社会风尚。上述几件器物虽不足以代表景德镇官窑瓷器植物纹饰的全部特点，但管中窥豹，可见一斑。不同皇帝掌权时期，官窑瓷器纹饰在题材选择、绘制的疏密程度、颜色的鲜艳浅淡上都是受到影响的。例如雍正时期的清新淡雅，乾隆时期的华丽繁缛，皇帝的品位和审美直接影响了该时期瓷器纹饰的风格。总体上来说，由于统治亦属于当时文人士大夫的代表，这些植物纹饰都颇有文人审美的雅致之感，或华贵，或，或庄重，富有宫廷雍容华贵、中和大气之风。
Figure 8 the Qing Qianlong yellow ground green flower nine peach disc diameter 26.7 cm, the bottom diameter 17.9 cm, high 5.1 centimeters of peach pattern in ancient times also has a rich historical and cultural connotation, including peach wood exorcism, Taoyuan as a pure land, healthy longevity and so on. "Shennong's herbal scripture" even called peach "jade peach, the immortality of life." peach, as a symbol of longevity, has become an object loved by the ancients. The difference between five peach, six peach, eight peach and nine peach in porcelain is not only representative of the age of birthday, but also auspicious. The ancients believed that nine in the odd number, the most honorable, nine also represented "more", and the "long" homonym, both noble and long, this allegory has always been the love of the emperor, and the meaning of the longevity of peach, more representative of the long life of the pursuit of the age. The decorative patterns of the porcelain in the Ming and Qing Dynasties were all from the inner court. In the Ming Dynasty, the Ming dynasty recorded that "Ming Chengyuan system, where the imperial court burned China, it must be made by the inner government." This "sample system" contains the choice of ornamentation. In the manuscript of the history of Qing Dynasty, there are also "Jiangxi Jingdezhen Kai Yuk kilns, hundreds of porcelain samples from the source, the ancient and modern style, with new ideas, ingenious reserves, painted figures, mountains and rivers, flowers and birds, especially the extreme" [2]. Not only the official kiln has special people to serve porcelain, but sometimes the emperor personally participates in the creation of porcelain samples, making the decoration of the official kiln more complex and rich in ornamentation. In the plant ornamentation of Jingdezhen official kiln in Ming and Qing Dynasties, the auspicious ornamentation of peony, chrysanthemum, peach, lotus seed, melon and fruit, Matsutake Metokanmiyu and other auspicious ornamentation is more common. The richness and prosperity of the peonies, the longevity of the nine peach and the joy of the butterfly represent the eternal pursuit of the royal family for the good luck, the well-being, the prosperity and the prosperity of the royal family. And Gao Jie's simplicity of lotus, the pride of the chrysanthemum, the steadfast and selfless of the plum blossom have all become the best way for the ancients to express their own integrity. The Jingdezhen official kiln, which serves directly to the ruling class, is the most direct expression of the literary details, artistic accomplishment and aesthetic taste of the ruling class, and to some extent represents the spiritual pursuit and social customs of the literati and scholars at that time. Although the above objects are not enough to represent all the characteristics of the ornamentation of the porcelain of Jingdezhen's official kilns, it is obvious that they can be seen in the picture. During the period of different emperors' power, the porcelain decoration of official kilns was affected by the choice of subjects, the density of plotting, and the bright colourful colors. For example, the freshness and elegance of the Yong Zheng period, the gorgeous and complicated period of the Qian Long era, the taste and aesthetic of emperors directly affected the style of porcelain decoration in this period. Generally speaking, because the ruling class also belongs to the elite representatives of the literati and officials at that time, the ornamentation of these plant ornamentation has the aesthetic feeling of literati, or precious, or exquisite, or solemn, rich in imperial court, and in the atmosphere of the atmosphere.