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.
被譽為中國“瓷都”的景德鎮(zhèn)，從漢朝開始制瓷，距今已有兩千多年的悠久歷史。由于其得天厚的自然條件和雄厚的技術(shù)力量，宋元時期就以精美的瓷器而天下。明清時期，朝廷相繼在景德鎮(zhèn)設(shè)置官窯，不僅匯集了國內(nèi)技藝的能工巧匠，更是不惜工本，投入了大量的資金和的制瓷原料，燒造出宮廷和享用的官窯瓷器，達到了明清瓷器發(fā)展的鼎盛時期，有“至精至美之瓷，莫不出于景德鎮(zhèn)”的說法。
在瓷器的紋飾方面，此時的景德鎮(zhèn)官窯瓷器亦是名符其實制瓷業(yè)的。象征富貴的牡丹紋、象征純潔的蓮紋、象征的九桃紋等等，其紋飾題材之豐富、色彩之絢麗、寓意之吉祥，在展現(xiàn)明清兩代景德鎮(zhèn)御瓷的制作工藝和高超的裝飾藝術(shù)的同時，也展示了御瓷時代的輝煌成就，生動再現(xiàn)了瓷器背后的明清宮廷生活與文化。
作為我國古代瓷器的重要裝飾紋樣之一的蓮紋，在景德鎮(zhèn)官窯瓷器中亦是常見。這只明萬歷青花花卉紋盤（圖1），盤內(nèi)壁及內(nèi)底分別繪弦紋兩周，內(nèi)壁飾串枝竹紋，內(nèi)底為形態(tài)各異的四朵蓮花紋。盤外口沿及足墻亦以弦紋為飾，外壁繪蓮托八寶圖案。外底書青花“萬歷年制”四字雙行楷款。
蓮紋也是佛教的主要標志，蓮花在佛教中有“凈土”之意，寓意純潔、吉祥。元代到清代時期，瓷器上蓮花紋的變化較多，出現(xiàn)了纏枝蓮、把蓮等圖案，還有與動物紋樣相結(jié)合的圖案。而該盤外壁的蓮托八寶紋樣，也是社會發(fā)展需要的體現(xiàn)。由于蓮花和八寶分別代表了佛教和道教兩種宗教，而明代道教盛行，嘉靖和萬歷時期更是明代道教發(fā)展的繁盛時期，蓮托八寶紋樣融合了佛教和道教于一體，在官窯瓷器中則更能反映出當時統(tǒng)治所倡導的宗教文化和精神信仰。

圖1 明萬歷青花花卉紋盤 口徑19.2厘米，底徑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.

圖2 清雍正青花卷草紋瓶 口徑5.4厘米，底徑5.3厘米，高12.7厘米，腹圍30厘米 清雍正青花卷草紋瓶（圖2），直口，短頸，溜肩，長腹。整體青花裝飾。腹部繪卷草紋。外底書“大清雍正年制”青花雙圈雙行楷書豎款。 卷草紋的綿延不絕與循環(huán)往復，寓意生機勃勃、福壽延綿。由于清代社會經(jīng)濟的發(fā)展，皇帝審美趣味以強調(diào)富貴為美，體現(xiàn)在紋飾上面也出現(xiàn)了較具代表性的變化。以比較常見的卷草紋為例，清代瓷器的卷草紋飾則更顯得繁復華麗，優(yōu)美。而雍正時期的青花紋飾一向以簡潔清晰、高雅細膩著稱，屬于清代青花瓷燒造的，該瓶雖然卷草紋飾繁復華美，但留白較多，畫面疏朗，更顯得清新淡雅，十分美觀。 清咸豐青花纏枝花卉紋賞瓶（圖3），撇口，長頸，圓腹，圈足。肩部凸起弦紋兩道。通體青花裝飾。口沿繪海浪紋、如意頭紋，頸繪蕉葉紋，肩部分別飾以回紋、纏枝蓮紋、如意頭紋，腹部繪纏枝蓮紋，近底部繪蓮瓣紋，足墻為卷草紋。外底書青花“大清咸豐年制”六字雙行楷體豎款。該賞瓶上的植物紋飾以纏枝蓮紋為主，輔以蕉葉紋、蓮瓣紋和卷草紋。 纏枝蓮紋以藤蔓纏繞蓮花形成圖案，其連綿不斷、高雅吉祥的特征，一直備受帝王的喜愛，“和文人士大夫認為其端莊、高雅、中正、平和，內(nèi)斂沉靜又收放自如，其品性很符合對官員的要求以及文人士大夫為人處世的分寸感，地體現(xiàn)了儒家的中庸思想?！盵1]同樣受到社會經(jīng)濟繁榮的影響，清代的纏枝蓮紋更加繁茂，花枝纏繞，姿態(tài)萬千，而纏枝蓮紋體現(xiàn)在青花瓷器上，以對稱或平行的形式展開，“青”“白”顏色對比更能體現(xiàn)出延綿不斷、流暢靈動的美學特征，表現(xiàn)了清代帝王富麗堂皇的風范。 除了蓮花和牡丹，菊花也是古人常用的裝飾花卉之一。清乾隆斗彩團菊紋蓋罐（圖4），直口，短頸，鼓腹，圈足，蓋面微隆。通體以斗彩裝飾。器身飾八組團菊紋，每組由兩朵組成。間飾八組蓮花紋。肩、底部各繪一圈青花裝飾帶。色彩柔和，制作精美，為仿明成化斗彩比較成功的作品。外底書“大清乾隆年制”六字三行青花篆書款。該罐身上的團菊紋和蓮花紋，畫筆精美細致，布局疏密得體，色彩明快艷麗。 西晉周處《風土記》中就有云：“漢俗九月九日飲菊花酒，以拔除不詳。”重陽節(jié)飲菊花酒用以消災是古人的重要傳統(tǒng)之一，在清代這種賞菊之習尤為盛行。而菊花耐寒高潔的特性，更被許多文人士大夫賦予了君子的氣質(zhì)。周墩頤在《愛蓮說》中寫到：“菊，花之隱逸者也?！碧諟Y明也以菊花的素雅堅貞的品性來代表自己不為五斗米折腰的傲然骨氣。由于乾隆帝對仿古器的鐘愛，導致當時的景德鎮(zhèn)官窯出現(xiàn)了很多仿明成化斗彩的瓷器，不僅繼承了當時的技法，更是別具風格，御窯廠良工以其爐火純青的技藝，將團菊紋描繪得靈動逼真，色彩清麗雅致，為乾隆時期官窯斗彩類之。 清乾隆斗彩如意耳尊（圖5），器上部呈圓形，下部為半圓形，扁腹廣底，中間束腰，形似葫蘆。一對如意式雙耳連接上下兩部分，造型新穎。通體斗彩裝飾，主題紋飾為寶相花圖案，繪畫精細。外底書“大清乾隆年制”六字三行青花篆書款。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

圖3 清咸豐青花纏枝花卉紋賞瓶 口徑9.5厘米，底徑12.5厘米，高37.8厘米，腹圍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.

圖4 清乾隆斗彩團菊紋蓋罐 口徑5.8厘米，底徑6.5厘米，高11.2厘米，腹圍37.5厘米 遍布器身的寶相花圖案，和蓮紋一樣，同屬于受到佛教裝飾藝術(shù)中盛行的一種紋飾。寶相花是魏晉南北朝以來伴隨佛教盛行的流行圖案，集中了蓮花、牡丹、菊花、石榴等花的特征，經(jīng)過藝術(shù)處理組合而成，寓意圣潔端莊、吉祥美滿。由于花紋整體看上去猶如閃閃發(fā)光的寶珠，渾圓的造型也符合中國人傳統(tǒng)的追求“圓滿”的觀念。其花朵層疊交錯，花瓣卷曲結(jié)合，在瓷器中更多以滿密繁復的特征表現(xiàn)，更顯得富貴華麗，為歷代帝王所喜愛。
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.

圖5 清乾隆斗彩如意耳尊 口徑4.4厘米，底徑15.6厘米，高18.2厘米，腹圍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.

圖6 清雍正粉彩花蝶紋盤 口徑15.2厘米，底徑9.5厘米，高3.5厘米 清雍正粉彩花蝶紋盤（圖6），敞口，淺弧腹，圈足。通體白釉為地，粉彩裝飾。內(nèi)壁及底心繪山石花蝶紋?；ㄈ~飾以深綠、淺綠二色；花朵則分別飾以胭脂紅、黃、藍等色；山石以黑彩勾邊，藍彩渲染；蝴蝶飾以藍、綠、黃、紫紅等色。色調(diào)鮮麗柔和，充分表現(xiàn)出花葉深淺不一、陰陽向背的質(zhì)感與姿態(tài)。外底書青花“大清雍正年制”六字雙行楷書豎款。 清代寂園叟在其《陶雅》一書中稱：“粉彩以雍正朝美，，，鮮艷奪目?！庇赫龝r期的粉彩花鳥紋飾可謂是美名遠揚，不僅花卉清新雅致，在整體構(gòu)圖上更注意留白，極富文人氣息，經(jīng)常搭配蜂蝶鳥蟲等裝飾其中，花朵的靜和昆蟲的動相搭配，更顯得畫面栩栩如生、生機盎然，展示出大自然的協(xié)調(diào)之美。題材上以喜慶吉祥含義為主。在色彩上，隨著制瓷技術(shù)的發(fā)展，雍正時期的御窯廠已經(jīng)擁有10余種彩料：釉里紅、天藍、豆青、粉青、茶葉末、月白等豐富多彩。圖六的花蝶紋就使用了多種鮮艷色彩的搭配，輝映成趣、額外熱鬧，為前代所不及。 清乾隆粉彩描金花卉詩文鼻煙壺（圖7），撇口，束頸，溜肩，扁圓腹，圈足。整體以珍珠狀松石綠釉為地，腹部凸起部分涂描金彩，形成開光圖案。一面繪牡丹花紋，另一面墨書乾隆御制詩文。口沿及足部涂有金彩。外于底書“乾隆年制”四字紅彩篆書款。 講到植物紋，就不能忽視了牡丹紋。牡丹作為我國的國花，從古至今都受到了上至皇宮下至平民百姓的喜愛?！澳档ふ鎳保档せǘ滹枬M艷麗，香味濃郁，被譽為花中，成為富貴美好的象征。從宋代開始，牡丹題材就成為了許多文人創(chuàng)作的題材，明清時期，景德鎮(zhèn)窯為燒制的瓷器中的牡丹紋樣更加豐富多彩，有折枝牡丹、纏枝牡丹等，牡丹紋飾之精美，可以說達到制瓷的頂峰。清代對牡丹紋的喜愛，表現(xiàn)了封建統(tǒng)治者對國家繁榮昌盛、自己永保富貴的追求。乾隆時期官窯瓷器的牡丹紋，構(gòu)圖飽滿，色澤鮮艷，繁縟富麗，還有與御題詩文相結(jié)合的作品，詩、書、畫結(jié)合，不僅顯示出皇帝的喜好和趣味，器物本身也更具氣派。 清乾隆黃地青花九桃紋盤（圖8），撇口，斜腹，圈足。黃地青花裝飾。其工藝過程是先高溫燒成青花紋飾，再用黃釉填滿紋飾外的空間，二次低溫燒成。盤內(nèi)底飾青花九桃紋，外壁繪青花纏枝牽?；y。嬌嫩的黃釉襯托著青翠的青花圖案，顯得格外艷麗。盤底亦施黃釉，并書青花“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".

圖7 清乾隆粉彩描金花卉詩文鼻煙壺瓶 口徑1.6厘米，底徑1.81厘米，高5.5厘米，腹圍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

圖8 清乾隆黃地青花九桃紋盤 口徑26.7厘米，底徑17.9厘米，高5.1厘米 桃紋在古代也有著豐富的歷史文化內(nèi)涵，包括桃木驅(qū)邪、桃源為純潔避世之地、健康等?！渡褶r(nóng)本草經(jīng)》甚至將桃稱為“玉桃，服之長生不死”，桃作為的象征，成為古人喜聞樂見之物。而在瓷器中的五桃、六桃、八桃、九桃的區(qū)別，不僅是祝壽時年齡的代表，更有吉祥之意。古人認為，九在奇數(shù)中大，有尊貴之意，九還代表了“多”，與“久”諧音，既尊貴又長久，這種寓意一直備受帝王的喜愛，和桃的之意相結(jié)合，更代表了人們對長命百歲的追求。 明清官窯瓷器的紋飾式樣都發(fā)自內(nèi)廷之中，《大明會典》中曾記載：“明承元制，凡朝廷燒制瓷器，必由內(nèi)府定奪樣制。”這“樣制”里就包含了紋飾的選擇。《清史稿》中亦有“時江西景德鎮(zhèn)開御窯，源呈瓷樣數(shù)百種，參古今之式，運以新意，備儲巧妙，于彩繪人物、山水、花鳥，尤各極其勝”的說法[2]。不僅官窯有專人供奉瓷樣，皇帝有時也會親自參與到瓷樣的創(chuàng)作中來，使得官窯瓷器裝飾愈加繁復、紋飾豐富多彩。在明清景德鎮(zhèn)官窯瓷器的植物類紋飾中，牡丹紋、菊花紋、桃紋、纏枝蓮紋、瓜果紋、松竹梅歲寒三友等寓意吉祥的紋飾更為常見，主要選擇祥花瑞草，講究圖必有意、意必吉祥，用以借物喻情，物以詠志。牡丹代表的富貴繁華、九桃所代表的、花蝶所代表的喜氣洋洋，都代表了對吉祥如意、福壽安康、富貴榮華的恒古不變的追求。而蓮花的高潔質(zhì)樸、菊花的傲岸君子、梅花的堅貞無私，都成為古人用以明志，表明自身操守的好方式。 直接為統(tǒng)治服務的景德鎮(zhèn)官窯，瓷器紋飾也是統(tǒng)治文學底蘊、藝術(shù)修養(yǎng)和審美趣味的直接表現(xiàn)，在某種程度上代表了當時文人雅士的精神追求和社會風尚。上述幾件器物雖不足以代表景德鎮(zhèn)官窯瓷器植物紋飾的全部特點，但管中窺豹，可見一斑。不同皇帝掌權(quán)時期，官窯瓷器紋飾在題材選擇、繪制的疏密程度、顏色的鮮艷淺淡上都是受到影響的。例如雍正時期的清新淡雅，乾隆時期的華麗繁縟，皇帝的品位和審美直接影響了該時期瓷器紋飾的風格。總體上來說，由于統(tǒng)治亦屬于當時文人士大夫的代表，這些植物紋飾都頗有文人審美的雅致之感，或華貴，或，或莊重，富有宮廷雍容華貴、中和大氣之風。
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.

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