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青花釉裏紅雲海騰龍紋天球瓶清宮造辦處文檔對此類「摹古還需出新」的指示即有明确記述：「雍正七年四月十一日郎中海望持出葫蘆式磁壺一件。奉旨：将此壺交年希堯照其款式仿燒造幾件，其釉水如不能十分像，些須深淺亦可，将原壺上添一蓋。」 本品亦是這一指導思想之下的産物，其器形、龍紋形象、寫款方式即是對永宣禦窯的繼承，而青花加釉裏紅的表現形式則是「摹古而不泥古」的創新，除本例外，北京故宮收藏數例雍正禦窯佳作，其設計理念亦是如此，如「清雍正 青花海水白龍紋天球瓶」、「清雍正 青花釉裏紅海水龍紋天球瓶」，紋飾、布局相同，母本皆自永宣禦窯而來，創新在于白龍采用剔刻工藝，紅龍以銅紅繪就，兩相對照，令人耳目一新。 胤禛作爲皇子，自幼受到良好的漢文化教育，熟讀儒、道、釋各家經典，繼位之後，遵循聖祖康熙皇帝以程朱理學爲理論基礎的以儒治國方略，以「人心惟危，道心惟微，惟精惟一，允執厥中」作爲個人修養和國家治理的思想原則，勤于政事，在位雖僅十三年，朱批奏折達兩萬多件。勤政之餘，從事藝術鑒賞當是他的大愛好，内府的豐富收藏也爲他藝術修養的養成提供了得天厚的條件，品味不凡，宋代美學追求空靈之美，平淡自然，注重自我表達的美學訴求與雍正皇帝的審美趣味爲契合。The document of the Qing Dynasty Palace Office for the Blue and White Glazed Red Cloud Sea Teng Dragon Pattern Celestial Sphere Bottle clearly states that such a "new need for antique imitation" instruction: "On April 11, the seventh year of the Yongzheng reign, Lang Zhonghai hoped to produce a gourd style magnetic pot. The order is to hand over this pot to Nian Xiyao to imitate and burn several pieces according to its style. If the glaze water cannot be very similar, some of the depth can be added to the original pot. This product is also a product of this guiding ideology, and its shape The image and writing style of the dragon pattern are the inheritance of the Yongxuan Imperial Kiln, while the expression form of blue and white with underglaze red is an innovation of "imitating the ancient but not sticking to the ancient". Except for this, the Beijing Palace Museum collects several excellent works of the Yongzheng Imperial Kiln, and the design concept is also the same. For example, the "Qing Yongzheng Blue and White Seawater White Dragon Pattern Celestial Ball Bottle" and the "Qing Yongzheng Blue and White Seawater Red Seawater Dragon Pattern Celestial Ball Bottle" have the same pattern and layout, and the mother text is all derived from the Yongxuan Imperial Kiln, The innovation lies in the use of carving techniques for the white dragon, while the red dragon is painted in copper and red, creating a refreshing contrast between the two. As the prince, Yin Zhen received a good education in Han culture from a young age and was familiar with the classics of Confucianism, Taoism, and Buddhism. After succeeding to the throne, he followed the Confucian governance strategy based on the Cheng Zhu Neo Confucianism theory of Emperor Kangxi, the sage. He regarded "the human heart is at risk, the Dao heart is small, the essence is unique, and he is willing to speak out" as his personal cultivation and national governance principles. He was diligent in political affairs, and although he reigned for only thirteen years, there were over 20000 Zhu Pi memorials. In addition to being diligent in politics, engaging in artistic appreciation is his great hobby. The rich collection in the inner court also provides him with excellent conditions for cultivating his artistic cultivation. His taste is extraordinary, and the aesthetics of the Song Dynasty pursued the beauty of emptiness, simplicity, and naturalness. The aesthetic pursuit of self-expression is in line with Emperor Yongzheng's aesthetic taste for aesthetic appreciation