粉彩工艺产生于清代康熙晚期，雍正时期发展成熟，并一直延续至今。粉彩工艺的产生直接受到清宫画珐琅和景德镇传统五彩的双重影响，其工艺技法和艺术风格独具特色。粉彩瓷在长期的发展中，由于生产对象和使用目的的差异，呈现出官窑和民窑丰富多彩的艺术形式和功能多样的产品面貌。如何看待和理解粉彩工艺和艺术风格在连续的历史文化情境中的不断演化，是本文主要的研究目的。本文试图从工艺技术、艺术形式和文化情境等三方面，对粉彩艺术的风格形成和发展演变展开具体分析。在分析中，涉及了陶瓷工艺学、陶瓷艺术学和历史文化等学科，借助各种数据、图像和历史文献，并通过实物的对比，反映粉彩瓷不同时代的工艺和艺术形式特征，从而揭示粉彩艺术发展和演化过程中彼此的区别和联系。为此，本文首先回顾粉彩工艺如何产生，具有哪些技术特征，由此追溯清宫画珐琅技艺以及传播到景德镇御窑厂以后转变为粉彩工艺的具体过程。再从彩绘颜料、彩绘技法和纹饰彩烧等方面，描述粉彩工艺的技术特征。随后，分别从官窑和民窑粉彩两个系统，阐述粉彩艺术风格的不断演变和动态发展。前者分为雍正、乾隆、嘉道、同光四个时期，论述了各自时期特定的文化背景，并以清新雅正、繁缛纤秾、删繁从简和清秀绮丽的不同风格，总结官窑粉彩艺术各个时期的艺术特征。后者先是简要分析民窑粉彩艺术发展的经济、文化等背景，再对外销粉彩瓷、浅绛彩、新粉彩等具有鲜明的民窑风格和时代特征的粉彩艺术展开论述。本文认为，粉彩既是一种独特的工艺技法，又是一种随时代变迁的装饰艺术。文化往往会决定工艺技术的发展趋向，同时工艺也在反映着人们的文化意识。十八世纪雍正、乾隆时期以及二十世纪初期的民国时期是粉彩艺术发展历程中两个高潮期，这两个时期的粉彩艺术风格特征鲜明、时代感强烈，分别表现出不同文化情境下粉彩艺术的创作活力。总之，粉彩艺术的发展演化表明，文化的开放是促进粉彩艺术自由创作的关键，并使瓷艺家在传统基础上，有更大的灵活空间去运用粉彩技艺，丰富其艺术的表现形式，创作出既能呈现自我又贴近生活的粉彩艺术作品。
Famille rose techniques developed at the end of Kangxi’s reign, and became important techniques of decoration on porcelain after Yongzheng. Famille rose techniques have affected by painting enamel of the palace and famille verte in Jingdezhen. Famille rose porcelain in imperial kiln and people’s kiln all have mass production in the long-term development. Because of different historical periods and different production purposes and different cultural environment and many other reasons, they present a rich art characteristics and the diversified appearance of products. The imperial famille rose porcelain and people’ kiln porcelain and qianjingcai porcelain, new Famille rose art all show the distinct era characteristic. How to see and understand Famille rose techniques and artistic style in the historical and cultural situation of continuous evolution is the purpose of this study. This paper, on the whole, with technology, artistic style and cultural situation three perspectives on the development of famille rose art style evolution is analyzed. It involves the ceramic technology and ceramic art and historical and cultural areas, with the aid of all kinds of data, images and historical documents. Also through some kind of contrast at the same time, to find their respective characteristics in technology and the artistic performance form, thus found the famille rose development and evolution process of differences and relationship between each other. Firstly, this paper represent the origin of famille rose and the technical factors including colored paste, painted techniques and colored firing. Furthermore, it researches the evolution of famille rose’s the artistic style which are the imperial kiln and the people’s kiln respectively. The former is grouped into four periods which are yongzheng, qianlong, jiadao period and tongguang, and summarizes their artistic style what are respectively fresh and elegant, elaborate and ostentatious, simplifying, pretty. The latter briefly analyzes the factors what impacted artistic style of famille rose in the people’kiln, which are such as economy, culture and the others. It discussed the unique art of famille rose in the each historical period of people’s kiln, such as export porcelain of famille rose, qianjingcai porcelain and new famille rose porcelain. This paper argues that famille rose is not only a decorative technology, but a kind of decoration culture with the era change. Culture determines the development of technology, meanwhile technology is also in the shape of people's consciousness. Yongzheng, qianlong period of the eighteenth century and early 20th century is two peak in famille rose art developing process. In the two periods the art style is distinct and times feeling is strong. In a word, open culture promoted the development of famille rose techniques, and makes the ceramic artists applying more flexible famille rose techniques basing on the traditional, and enriching its artistic forms of expression, closing to the life and self creative inspiration.
