“粉彩”(famille-rose),又称“软彩”，是在康熙五彩的基础上发展，从“珐琅彩”中引进玻璃白(主要成分是氧化铅PBO、氧化硅Si2O3、氧化砷ASO2)及在其表面洗染、用煤油将胭脂红、锡黄、海碧蓝等各种颜色渲染出浓淡深浅，并且烧制780-790度左右而产生的陶瓷作品;始于康熙，成熟于雍正。“珐琅彩”与“粉彩”不同在与：其黑料中含铁(Fe)、钴(Co)、锰(Mn)和铜(Cu)。因此，从工艺流程的角度来说，区别不大。

　　一、传统陶瓷艺术--“粉彩、珐琅彩”

　　传统粉彩的绘制是在事先准备好的瓷瓶上绘制粉彩传统洋“洋纹”等图案的手法。粉彩所用的“料”是无机金属氧化物，所以不太容易掌握“料性”，在描绘线条及填色时都有一定的困难。粉彩的工艺流程分为：画(用珠明料勾线，要求勾勒出的线条均匀流畅、有灵动感)、彩(用“彩”笔“彩”出底色明暗关系)、填(需要掌握水料，平涂均匀，厚薄一致)、洗(用煤油在玻璃白上洗染出各种颜色的明暗深浅)、扒(又称“轧道工艺”，用绣花针在未烧的水颜色上勾扒出花纹)、吹(用吹管在瓶口或瓶底吹出所需颜色)、点(用玛瑙红或宝石红在玻璃白上点染出明暗)等。

　　二、现代陶瓷艺术--“粉彩、珐琅彩”

　　现代陶瓷艺术强调的是对材质的新运用、造型的新设计以及思想内涵的表达。以下为从设计艺术学的角度简单分析景德镇陶瓷学院研究生院专业为传统陶艺与现代陶艺的研究生高雪雯的几套有关“粉彩、珐琅彩”工艺的作品。

作品《龙魂》

作品《星空梦》

    1、作品《龙魂》—全手工水晶吊灯

　　作品灵感来源于《周易》中的第一卦象，乾卦，是人的形成过程，想要表达的人生的数个阶段，从潜龙、见龙、飞龙、亢龙的雏形展开出景德镇传统粉彩描金中龙的数个形、神、态。作品一共分为四个部分：第一部分是最外圈的龙须造型的小钩，上面分别用七种颜色绘制小祥云和火焰数朵;第二部分是龙身形状的异形，上面用粉彩描金画龙七种颜色，它们分别是：宝石红、绿、紫、黑、橘、蓝、和矾红;龙麒、龙须、龙爪、龙牙分别用本金描绘;第三部分是小圆球，上面用珠明料勾线粉彩绘制各式现代杂花数朵，每只小球上的花色都不一样;第四部分是用本金绘制的龙的大球，象征着无限的权威。本作品想要表达的是人生中漫长的道路，有时低谷有时高潮，但是作为炎黄子孙的龙的传人的中国人，不能丢弃自己的精神，魄力是最重要的，同时作者也想表达“路漫漫其修远，吾上下而求索”的求知态度。

　　2、作品《星空梦》—粉彩描金双面开光瓷瓶

　　作品造型鼓腹圆肩，象征聚财和圆满，口部和开光花边处描本金，颈部绘制描本金芭蕉叶，象征着无尚的荣耀和权势，肩部用轧道工艺绘制卷草纹，中间用粉彩绘制各色西洋小花，并用粉彩玉如意作为装饰纹，开光部分分别绘制寿桃和蓝色小祥鸟，鸟头部的点缀灵感来自舍利，象征着长寿，鸟的羽毛颜色为贵族蓝色，腹羽和尾巴均为金色，象征着王子和公主，非开光部分灵感来源自梵高的《星空》，鸟的眼神均望向远方。整幅作品灵感来源于毕加索的《梦》;瓷瓶底部用清朝官服装饰纹装饰，瓷瓶整体看上去颜色艳丽，历时一整月完成。

　　3、作品影青釉绘制粉彩两面开光茶酒具《昂首挺胸歪歪斜斜向前冲 》

　　作品造型拟人化，壶头部造型灵感来源于将军罐，壶体鼓腹，体态丰满，象征圆满，呈不均匀对称状，如人昂首挺胸，微笑的生活态， 作品通体为影青釉两面开光，粉彩绘制春天花卉和小蝴蝶，象征着繁荣和昌盛，鼓鼓的肚子和三只底足，挺立和坚定，象征着“路漫漫其修远，吾上下而求索”，灵感源自作者对艺术的追求之路，作者本科为英语专业，研究生才开始真正专业涉及陶艺创作，即使如此，仍旧一刻不停、不断努力，此作品表达了作者对陶艺热爱的态度，同时也想表达“萌萌的、可爱的状态”，“即便歪歪斜斜我也要向前冲”!

　　三、总结

　　作为中国“非物质文化遗产”的传统粉彩、珐琅彩工艺以其鲜明亮丽的色彩、华丽的装饰而驰名于世，在如何传承的角度上，高雪雯的作品强调用传统陶艺与现代陶艺相结合，在设计现代造型的同时坚持中国传统文化的不传统表现，用粉彩、珐琅彩的传统工艺表达了中华民族源远流长的、深厚的文化底蕴。

高雪雯作品  影青釉绘制粉彩两面开光茶酒具

　　参考文献：

　　1、李砚祖，《工艺美术概论》，中国轻工业出版社，1998。

　　2、李文跃，《景德镇粉彩瓷绘艺术》，江西高校出版社，2004。

　　3、叶佩兰，《珐琅彩•粉彩》，上海科技出版社，1999。

　　4、何炳钦，《现代陶艺教学》，武汉理工大学出版社，2005。

　　5、李家治，《中国古代陶瓷科学技术成就》，上海科技出版社，1985。

　　6、George Charles Williamson,《The Book of Famille Rose》， Rutland, Vt., Tuttle, [1970]。

    英文对照：

　　Abstract. Jingdezhen is a bright star to make ceramic products among all cities of the world. The actual inheritance of the famille rose decoration and color enamel craftsmanship as China's "intangible cultural heritage" is restricted not only by historical change and geographical conditions and also by how to inherit the craftsmanship. In this paper, through the literature studies, sociology investigation, market research, and comparative analysis of the traditional pastel industry in Jingdezhen, the making flows of famille rose decoration and color enamel are introduced plus the author’s understanding of famille rose decoration and color enamel, and also the understanding and inheritance of Jingdezhen traditional famille rose decoration and color enamel craftsmanship as "intangible cultural heritage" are discussed. Therefore, theoretical basis and practice guidance are provided for famille rose decoration and color enamel craftsmanship to develop toward the cultural industry, and also a reference in theory and practice is available for the inheritance and development of the handmade ceramic products as "intangible cultural heritage".

　　1. The background of the subject and the problems

　　According to figure 1, it is seen that ceramic products are dominant in the whole auction industry, but famille rose decoration and color enamel products occupy the vast majority of the total ceramic products. A deal of 115.48 million Hong Kong dollars for the colored two-ear enamel pot with the golden pheasant pattern in Sotheby's HK auction was clinched, in which the economic values of famille rose decoration and color enamel were promoted to a new peak again. The "intangible cultural heritage" features unique and non-artificial reconstruction, so that the special characteristics of famille rose decoration and color enamel are not only decided, and also they are of higher existence value, and then the corresponding economic value is produced.

　　Fig.1.The report of a survey on Chinese art auction market

　　1.1 Research methods

　　In this research, through anthropology, art culture, social economics, game theory, aesthetics, cultural anthropology, educational anthropology, literature analysis, and field investigation, the origin, development, and decline of famille rose decoration and color enamel are systematically analyzed, and also how to correctly inherit and development famille rose decoration and color enamel is elaborated.

　　2. Explanation to related concepts

　　2.1 Explanation to "intangible cultural heritage"

　　Intangible cultural heritages first appeared in Unesco files in 1982. The concept of intangible cultural heritage was proposed at the world heritage committee meeting for the first time in 1982. Convention on the Protection of Intangible Cultural Heritage, Book on Ceramics, and Reviewing Ceramics in Yinliuzhai can be used as references for the definition on intangible cultural heritage. The evolution process of "enamel" is as follows: Linqian—Lin—Falan—Folangqian—Franc—Enamel.

　　3. The science, technology, and art of famille rose decoration and color enamel

　　3.1 Analyzing the "materials" of famille rose decoration and color enamel from the perspective of material science

　　The main raw materials used in the traditional famille rose decoration colors include silica, crystal materials, lead powder, and white arsenic sublimate, and the metal oxides such as cobalt, iron, gold, copper, tin, and antimony are used as coloring agents. The materials are produced after preparation and finishing.

　　Table 1: Comparison between famille rose decoration and color enamel

　　Comparison

　　on materials Color enamel Famille rose decoration

　　Cosolvent B2O3—K2O--PbO PbO—K2O

　　Colorant Copper oxide (CuO), Iron oxide (Fe2O3), cobaltous oxide (CuO), manganese oxide (MnO2), gold (Au), antimony oxide (Sb2O3), and other metal oxides or salts

　　Main opacifier White arsenic, commonly known as white glass

　　Golden red Carmine, and pink

　　Ingredients: nitrate powder, graphite, borax, pink gold, etc

　　Yellow Stone powder + flux+ colorants antimony, known as antimony yellow, and opacifying

　　Pink opacifying agent is interpolated into transparent and translucent colors to be uniformly translucent pink. All sorts of colors and enamel colors of famille rose decoration and color enamel are called as pink

　　Black Iron, cobalt, and manganese, and a small amount of copper are contained High-quality Zhumingliao is crushed into fine powder, and its chemical composition is basically the same to that of Color enamel

　　Red from iron oxide It is refined using nitre, green vitriol, and alum lead powder, and all of them are used in five colors, famille rose decoration, and color enamel

　　Preparation methods Boron oxide (boric acid or boron salts) is soluble in water, so enamel materials should be configured first, and then placed into crucible and melted into blocks (shaped as colored glass). Then, melted blocks are crushed into extremely thin color powder, which is called as clinker. The colors changed nothing basically before and after the clinker is used as decoration firing. Clinker was mostly used in the periods of Kangxi, Yongzheng and Qianlong. The self-made famille rose pigments in the royal plant might absorb Kangxi five-color preparation method. As late as the Qing Dynasty, pigments were not made into melted block, and the purpose was achieved as long as all pigments were grounded into fine powder, known as raw material. The colors changed nothing before and after decoration firing.

　　From the comparison between famille rose decoration and color enamel in table 1, it is seen that famille rose decoration and color enamel are equal to a certain extent, and the only difference lies in if there are the metallic elements such as iron, cobalt, manganese, and copper in black materials. Also, through the investigation, the author discovers from the local masters in Jingdezhen that the difference between famille rose decoration and color enamel lies in the brightness of colors. That is, more bright colors tend to be used in color enamel. From the comparison between famille rose decoration and color enamel in figure 2, it can be generally seen that the colors of famille rose decoration and color enamel are different not largely and also their properties are basically identical before firing.

　　Fig.2.The comparison between famille rose decoration and color enamel (the upper pigments introduced from France are enamel materials, and the lower pigments are used as famille rose decoration materials in Jingdezhen)

　　3.2 Analyzing the traditional craftsmanship of famille rose decoration and color enamel from the perspective of technology

　　The pigments used in famille rose decoration are prepared using all kinds of metal oxide compounds and are uneasy to control, so there are certain difficulties in painting and coloring. The nature of some pigment is different. For example, the natures of golden red (pink) and iron oxide red (scarlet) are obviously different, and thus the operating methods are also different. The painting and coloring techniques are more complicated and meticulous, and generally include drawing, coloring, filling, washing, scrabbling, blowing, pointing, etc.

　　Fig.3.The decoration technology with liquid gold

　　Fig.4.The scrabbling technology (adding decoration)

　　4. Famille rose decoration and color enamel understood and used by the author

　　In the modern ceramic art, the new use of material, the new design of modeling, and the expression to the connotation of thoughts are mainly focused. In the following, the famille rose decoration and color enamel works of Xuewen GAO who are studying the traditional ceramic art and the modern ceramic art in Graduate School of Jingdezhen Ceramic Institute is simply analyzed from the perspective of art design.

　　4.1 "Dragon? Soul" — a full-handmade crystal chandelier

　　The works sources from the first image of the hexagrams in Zhouyi and describes the formation process of human for the purpose of expressing several stages of human life; many shapes, spirits, and states in the traditional famille rose decoration of Jingdezhen are shown from the rudiments of hidden dragon, stegosaurus, flying dragon, and proud dragon.

　　4.2 "Starry?dream"—porcelain brightened with two sides of famille rose decoration

　　The modeling of the works with bulging middle part and round shoulder symbolizes the abides enrichment and perfect; liquid gold is sketched on the mouth and brightened parts, and gold banana leaves are painted on the neck, which symbolize noble glory and power; rolling grain pattern is painted on the shoulder using rolling process, and various middle Atlantic floret is painted using famille rose decoration in the middle and also decorative jade is used as a decorative pattern; longevity peach and little blue auspicious bird are painted respectively on the brightened parts, and the ornament inspiration on the head of the bird sources from sarira, which symbolize longevity; bird's feather color is noble blue, and abdominal feather and tail are golden, which symbolize the prince and the princess; the inspiration of the non-brightened parts sources from Van Gogh's "Starry Sky", in which the bird's eyes are looking into the distance. The whole works is inspired by Picasso's "Dream"; the bottom of the porcelain is decorated with Qing dynasty’s official uniform, and the porcelain looks very gorgeous as a whole and is completed in a whole month.

　　4.3 Rush forward with chin up and chest out—tea and wine sets of blue glaze

　　The modeling of the works is anthropomorphic. The modeling of the head is inspired by a general pot; the body is plumped up and the posture is of fullness, symbolizing perfect. It is shaped unevenly symmetrically, and is likes a person of chin up and chest out in a smiling life state. The whole body of the works is brightened with blue glaze on two sides: the flowers and small butterflies are painted with famille rose decoration, symbolizing prosperity; the bulging belly and three bottom feet symbolize the truth of "the way ahead is long; I see no ending, yet high and low I’ll search with my will unbending", which is inspired by the creator’s pursuit of the art.

　　5. Conclusion

　　Jingdezhen is the origin and inheritance of famille rose decoration and color enamel craftsmanship. Through field investigation and literature consultation, a series of data about the traditional porcelain making with famille rose decoration and color enamel craftsmanship. From the history to the preparation of raw materials, the traditional famille rose decoration and color enamel craftsmanship, as China's "intangible cultural heritage", have been well-known in the world by relying on the bright, beautiful, and magnificent decoration. In how to inherit the craftsmanship, the works of Xuewen GAO attaches high importance to the combination of the traditional ceramic art with the modern ceramic art, and the non-traditional elements of traditional Chinese culture are always kept in designing modern modeling, and the long and profound cultural foundation of Chinese nation is expressed using the traditional technologies of famille rose decoration and color enamel.

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