元青花龙纹大罐:尺寸： 高度: 28cm, 宽度: 31.5cm; 外口径: 20.5cm, 底外径: 21cm。特征：罐器圆口折沿，丰肩，鼓腹，收腰，圈足。胎体坚质，造型规整，青花发色蓝艳。器口沿处绕一圈锦纹，整个腹身绘有一只叱咤风云，威猛异常的三足龙纹，穿梭于云雾之间，画面丰富饱满，富有韵味。 此罐即为元代青花瓷器中的三大经典造型之一，罐器造型大、沉重厚实。口沿和脖颈都线条流畅，外型圆润。罐器腹部留下拼接痕迹。下腹部为不相连的变体莲瓣纹，每瓣独立，由外粗内细双框组成。莲瓣肩部方折。内框线条和莲瓣内纹饰连笔。 莲瓣内填云头，云头下加一圆圈。画笔轻松自如，酣畅自然，不做作，不像瓷工所绘，而似文人画家在瓷片上作画。整器青花色泽淡雅，层次丰富，纹饰规整自然，形象生动，令人过目难忘。 元青花瓷器总体分两种色调，一种呈灰蓝色，较浅淡，一种是深蓝色，较艳丽。传统概念中，呈色灰蓝者为国产料，呈蓝艳者为进口料。对照于进口料的浓艳特点，此罐的青花发色为蓝艳丽的进口料。 罐器内壁不施釉，内壁口沿胎釉结合部的一线有明显自然的火石红色。 元代器物采用手工拉坯或脱坯成型工艺，在罐器物内壁留下明显的指纹和旋纹。 罐器口部釉厚薄不匀，釉薄处显米黄色。器物口边有的有毛边现象。 器底浅圈足，宽矮足墙，双面斜削，但坡面很小。器底隐约可见较粗较疏螺旋状的旋削纹。 元青花瓷的器底不施釉，称之糙底或砂底，胎釉结合部的一线胎红和釉下胎红(火石红), 器底部有釉斑。釉斑或多或少，大小不等，形状不规则，呈青白釉色。 元代青花瓷的胎质胎质重而坚，器壁较厚，沉重厚实，大器较多。由于含杂质多，胎上大多有铁褐色小点。器底表面有铁锈斑点。锈斑坚硬，不易去除，锈色极深，呈黑褐色。 元青花大罐绘画龙纹图案，稀罕珍贵。----------------------------------------------------- Yuan blue and white dragon pattern large jar: size: height: 28cm, width: 31.5cm; outer diameter: 20.5cm, bottom outer diameter: 21cm. Features: The pot is round and folded, shoulders, belly, waist, and feet. The carcass is firm, the shape is regular, and the blue and white hair is blue and gorgeous. There is a brocade pattern around the mouth of the vessel, and the whole belly is painted with a powerful and mighty three-legged dragon pattern, which shuttles between the clouds and fog. The picture is rich and full and full of charm. This jar is one of the three classic shapes of blue and white porcelain in the Yuan Dynasty. The jar shape is large, heavy and thick. The edges of the mouth and the neck are smooth and rounded. Stitching marks are left on the abdomen of the can. The lower abdomen is a pattern of unconnected variant lotus petals, each of which is independent, composed of double frames with thick outer and inner thin. The lotus petals are folded at the shoulder. Inner frame lines and lotus petal inner patterns with pen. The lotus petals are filled with a cloud head, and a circle is added under the cloud head. The brush is relaxed, smooth and natural, not artificial, not like a porcelain painter, but like a literati painter painting on porcelain. The overall blue and white color is elegant, rich in layers, regular and natural, and vivid, which is unforgettable. Yuan blue and white porcelain is generally divided into two tones, one is grayish blue, which is lighter, and the other is dark blue, which is more colorful. In the traditional concept, those with grayish blue color are domestic materials, and those with bright blue color are imported materials. In contrast to the rich and gorgeous characteristics of imported materials, the blue and white hair color of this pot is blue and gorgeous imported materials. The inner wall of the pot is not glazed, and the mouth of the inner wall has an obvious natural flint red along the line of the glaze joint. The artifacts of the Yuan Dynasty adopt manual drawing or stripping forming process, leaving obvious fingerprints and swirling patterns on the inner wall of the pot. The lotus petals are filled with a cloud head, and a circle is added under the cloud head. The brush is relaxed, smooth and natural, not artificial, not like a porcelain painter, but like a literati painter painting on porcelain. The overall blue and white color is elegant, rich in layers, regular and natural, and vivid, which is unforgettable. Yuan blue and white porcelain is generally divided into two tones, one is grayish blue, which is lighter, and the other is dark blue, which is more colorful. In the traditional concept, those with grayish blue color are domestic materials, and those with bright blue color are imported materials. In contrast to the rich and gorgeous characteristics of imported materials, the blue and white hair color of this pot is blue and gorgeous imported materials. The inner wall of the pot is not glazed, and the mouth of the inner wall has an obvious natural flint red along the line of the glaze joint. The artifacts of the Yuan Dynasty adopt manual drawing or stripping forming process, leaving obvious fingerprints and swirling patterns on the inner wall of the pot.Condition Report