席琳

在威尔士国家博物馆的50万件藏品中，最值得看的一件是乾隆晚期（1775-1790）的广彩人物外销瓷碗：

尽管威尔士国家博物馆对这件藏品的来龙去脉文档都做的很好，但是对瓷器知识的介绍寥寥，如云山雾罩。

• Bowl in hard-paste porcelain with raised footring, the body a rounded ogee shape, the upper body flaring and with an upturned rim; the exterior is painted in polychrome enamels with two 'Mandarin' style genre scenes, one of tea being served in an interior, the other showing a scholar standing at a table outside a pagoda with an attendant, these are framed by a simple black line border, between these are two areas of a diaper pattern in black enamel, with three reserves, at the center is a large reserve framed with a red enamel border with scrolling 'T' pattern in gilt, in which is a landscape composition in orange enamel, above and below this are two small cartouches with scroll borders in black enamel, framing stylized branches and foliage in orange enamel, at the interior rim is a simple stylized flower border in black and red enamel with a band of gilt beneath, at the interior base is a single flower painted freely in puce.

类似的广彩人物外销瓷，在威斯康星大学博物馆里，也看到一只盘子，构图繁缛、色彩浓艳，雍容华贵，富有立体感、用暖色调，使人有过目不忘，似曾相识的心跳感觉：

威斯康星大学博物馆对这件藏品的断代是十八世纪的清叁代早期广彩：

• Qing Dynasty (1644-1912); Kangxi (1662-1722), Yongzheng (1723-1735), or Qianlong (1736-1795) Reign Period。

广彩瓷器的断代和粉彩瓷器不同，粉彩瓷器的高峰是雍正，广彩瓷器的高峰是乾隆和嘉庆，所谓式多奇巧，岁无定样，个性化强，是早期广彩瓷器典型特征。

乾隆广彩瓷器

广彩前后叁百年，在乾隆晚期及稍后的嘉庆二十多年时间内，才出现一批纹饰绘画非常精细，令人眼前一亮的珍贵外销广彩瓷器，把广彩瓷艺术推向了一个高峰，用的是珐琅颜料，其采用大面积金彩和洋彩绘制多重边饰而成，外围边饰以金彩织洋莲锦地，间以麻色及红色中式山水开光；中心主题图桉多为珐琅彩绘中式庭院故事人物纹、山水纹、花卉纹，内边饰多以茄紫色织鲨鱼皮锦地，间以小型花鸟开光，整体图桉金碧辉煌，富有立体感，面向世界市场，迎合了国际上流行的享乐主义、东方神秘和炽烈的洛可可风格，受欧美富豪们追捧，在当时被称做王室瓷，被大量定制华人珍藏，最近才被称为是洛克菲勒纹饰风格的广彩。

乾隆晚期和嘉庆早期风靡一时的洛克菲勒纹饰广彩外销瓷盘

• In 1964, dealer and collector J.A. Lloyd Hyde published one of the first scholarly books on Chinese export porcelain, which he illustrated with pieces of palace ware from Junior Rockefeller’s collection. The collecting community took note of the porcelain and its association with the famous American family, and the pattern — with lavish gilt and sepia borders enclosing unique Chinese figure scenes in colored enamels — began to be called Rockefeller.

嘉道之后，广彩瓷的色调趋于冷酷，图桉也趋于格式化，十字开幅、斗方，加上花果、蝴蝶织金做底成为固定风格；色彩较多地使用了绿色，采用豆青胎上加彩甚为普遍；之前暖色调的风貌被大红大绿的风貌代替，之前工、意结合的彩绘技法被勾勒填涂的中国传统彩绘技法代替，颜料完全由广彩艺人自行配制，岭南折枝花果、鸟虫、暗八仙等被大量用作地饰。其间虽有创新，但因为不注重国际市场需要，都没有持久的艺术生命力。

广东省河源市博物馆藏嘉庆广彩人物花卉纹碟

广东省河源市博物馆藏同治广彩人物花卉纹碟

广彩的日子，也就每况愈下，为欧洲瓷器让路了。