粉彩无双谱铺首耳四方瓶，为传世瓷中重器，是清代文人题材陈设瓷的经典范本。器身为方正挺拔的四方形制，口沿外撇，束颈，直腹下敛，方圈足，棱角分明，刚劲沉稳，打破圆器的柔和温婉，自带庄重端方的庙堂气质。瓶身颈部两侧设铺首衔环耳，兽首塑绘精巧，蓝彩敷色饱满，兽面威严古朴，口中衔置圆环，环身温润，将上古青铜礼器的元素融于瓷作之中，古意盎然。四方瓶成型难度远高于圆器，坯体棱角处极易在窑火中开裂变形，能烧制规整、历经岁月完整留存，足见古时窑场高超的制瓷功底，是旧时厅堂陈设的上品雅器。
The Famille Rose Square Vase with Pushou Handles and Figures from the Wushuang Pu is a treasured handed-down porcelain masterpiece and a classic example of decorative porcelain featuring literati themes of the Qing Dynasty. The square vessel has flared rim, contracted neck, straight tapering belly and square ring foot. Its distinct edges present solemn and steady bearing, different from the softness of round porcelain wares, carrying the dignified aura of ancient ritual vessels. On both sides of the neck are beast-head pushou handles with suspended rings. The beast heads are exquisitely modelled and painted with rich blue pigment, looking solemn and primitive. The smooth hanging rings incorporate the aesthetic of ancient bronze ritual vessels into porcelain creation, brimming with antique charm. Square porcelain vessels are far harder to produce than round ones. The edges of clay bodies tend to crack and deform during firing. This well-shaped intact surviving piece fully demonstrates the extraordinary craftsmanship of ancient kilns, and it was a premium decorative artwork for ancient halls.
整器通体施温润白釉，釉面莹净细腻，如凝脂美玉，为粉彩绘画铺垫出绝佳的底色。瓶身四面分绘无双谱人物图像，搭配长篇题跋诗文，书画合一，是这件器物最动人的艺术内核。无双谱源自清代版画，遴选历代功勋卓著、品格卓绝的英雄名士，一图一赞，记述人物生平事迹，赞颂其盖世风骨，取“独一无二，举世无双”之意。瓷绘匠人以细腻柔润的粉彩料，勾勒人物形貌，衣纹线条流畅婉转，服饰色彩层次丰富，红、蓝、紫、赭诸色相互映衬，人物神态生动传神，或静坐沉思，或仗剑而立，将历史人物的气韵风骨定格于瓷面之上。每一位人物旁都配有墨书题诗，文字书写工整秀雅，记述人物典故，诗、书、画、瓷四艺汇聚一器，尽显清代文人审美的雅致追求。
The whole vessel is covered with mild white glaze, whose surface is lustrous and delicate like solid jade, forming an ideal background for famille rose painting. The four sides of the vase are painted with figures from the Wushuang Pu, accompanied by lengthy inscriptions and poems, integrating painting and calligraphy, which forms the core artistic charm of this artwork. Originating from Qing Dynasty woodblock prints, Wushuang Pu selects outstanding heroes and scholars of past dynasties with remarkable achievements and noble characters. Each figure is paired with eulogy recording their life stories and praising their peerless integrity, meaning “unmatched and unparalleled in the world”. The porcelain painter used soft and delicate famille rose pigments to depict figures. The flowing lines of robes and layered colours of costumes, with red, blue, purple and ochre set off each other, vividly capturing the demeanour of historical figures. Some sit in meditation, others stand with swords, freezing the spirit of historical characters on porcelain. Beside every figure are neatly written poems recording historical stories. The integration of poetry, calligraphy, painting and porcelain craft fully reflects the refined aesthetic taste of Qing literati.
无双谱题材盛行于清代，是彼时文人圈层广为喜爱的经典艺术母题。古人陈设绘有无双谱的瓷器，并非只为观赏画工，更是借器物承载价值取向，以古贤人物的事迹自勉。瓶身绘写的先贤，跨越千载岁月，有谋定天下的谋臣，有巾帼不让须眉的英杰，他们的故事随笔墨流转于瓷面。四方瓶的形制恰好适合分面绘写不同人物，四面独立画面又共成一体，移步换景，每一面观赏，都能读到一段厚重的历史故事。将版画题材移植于陶瓷之上，是清代瓷绘艺术极具创造力的表达，画师兼顾版画叙事性与瓷绘独有的色彩质感，让这件器物跳出单纯陈设瓷的范畴，成为可以品读历史、观照先贤的立体书卷。
The Wushuang Pu theme was widely popular in the Qing Dynasty and became a classic artistic motif beloved among literati. For ancient people, displaying porcelain painted with Wushuang Pu figures was not merely for admiring painting skills, but also for carrying moral values and drawing inspiration from ancient sages. The wise men and heroines painted on the vase span thousands of years of history, including resourceful strategists and valiant heroines. Their stories flow on porcelain with brushstrokes. The square shape of the vase is ideal for painting different figures on each side. The four independent scenes form a complete whole. Viewing from different angles, viewers can read profound historical tales. Transforming woodblock print themes onto porcelain was a highly creative expression of Qing porcelain painting art. Painters balanced the narrative quality of woodblock prints and the unique texture of porcelain colours, elevating this vessel beyond a simple decorative ornament, turning it into a three-dimensional scroll to read history and admire ancient worthies.
细观底足，修胎规整利落，胎质致密坚实，底心钤盖朱红印章，为旧藏鉴藏印记，是这件器物代代递藏的实物凭据。历经漫长岁月流转，釉面生出温润内敛的传世包浆，粉彩色彩历经时光沉淀，褪去新料的鲜亮浮躁，色泽柔和醇厚，彩料与釉面相融，岁月痕迹自然含蓄。铺首耳的塑造同样见匠心，兽面的眉眼、纹饰雕琢细致，彩料堆叠层次分明，并非浅淡平涂，立体浮雕感十足，为素雅的瓶身增添雄浑古朴的气韵。每一处彩绘笔触，每一行墨书文字，都是当年窑上画师亲手落笔，凝聚着那一时代高超的瓷绘技艺与深厚的人文底蕴。
Looking closely at the base, the trimmed clay foot is neat and regular with dense and solid body clay. A vermilion seal at the base serves as an authentic collecting mark, physical proof of its successive inheritance across generations. After long years of circulation, the glaze has developed mild and restrained handed-down patina. The famille rose pigments have mellowed over time, losing the gaudiness of fresh pigments and turning soft and rich. The pigments merge with glaze naturally, bearing subtle traces of time. Great craftsmanship is also seen in the pushou handles. The facial features and patterns of beast heads are finely sculpted with layered pigments instead of flat colouring, presenting strong three-dimensional relief texture, adding vigorous antique charm to the plain vase body. Every painted stroke and every line of calligraphy was hand-drawn by ancient painters, embodying superb porcelain painting techniques and profound humanistic heritage of that era.
四方重器烧制本就千难万险，器身高大，四面纹饰与诗文需一一布局，绘制工程量浩大，对画师构图、色彩、书法功底皆是严苛考验。入窑烧制之时，坯体应力不均极易造成器物歪斜开裂，彩料烘烧温度稍有偏差，便会令人物发色晦暗。这件铺首耳四方瓶器型周正，四面画面完好，诗文清晰，人物神采依旧，完整留存至今，殊为难得。匠人将青铜礼器符号、版画故事、文人诗文融汇于一方瓷瓶之中，一器容纳千年人物风骨，是清代瓷艺与人文艺术交融的绝佳见证。
Producing large square porcelain vessels was extremely challenging. The tall body required elaborate layout of patterns and poems on four sides, demanding tremendous painting work and testing painters’ ability in composition, colour matching and calligraphy. During firing, uneven stress on clay bodies often caused tilting or cracking of wares. Minor temperature error in pigment firing would darken the colours of figures. This pushou-handled square vase retains regular shape, intact paintings and legible calligraphy, with vivid figures. Its survival through centuries is quite rare. Craftsmen integrated symbols of bronze ritual vessels, woodblock stories and literati poems into this porcelain vase. One vessel carries the noble spirit of historical figures across millennia, serving as remarkable witness of the integration of porcelain craft and humanistic art in the Qing Dynasty.
时至今日，这件粉彩无双谱铺首耳四方瓶静静伫立，瓶上先贤依旧栩栩如生。当目光落于瓶身的彩绘与诗文，我们得以透过瓷釉，触摸清代文人的精神世界。瓷为载体，画为叙事，字为咏叹，跨越百年光阴，这件传世古瓷依旧诉说着先贤的千古事迹，将华夏历史人物的品格与风骨永久留存，向今人展现清代粉彩瓷独有的人文风华。
Today, this Famille Rose Square Vase with Pushou Handles and Wushuang Pu Figures stands quietly, and the ancient worthies painted on it remain vivid. When gazing at the paintings and poems on the vase, we can touch the spiritual world of Qing literati through the glaze. Porcelain acts as carrier, painting tells stories, and calligraphy expresses praise. Across hundreds of years, this handed-down ancient porcelain still narrates the timeless deeds of ancient sages, preserving the moral integrity of historical Chinese figures, and showing the unique humanistic grace of Qing famille rose porcelain to modern viewers.
