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青花釉里红云海腾龙纹天球瓶清宫造办处文档对此类「摹古还需出新」的指示即有明确记述：「雍正七年四月十一日郎中海望持出葫芦式磁壶一件。奉旨：将此壶交年希尧照其款式仿烧造几件，其釉水如不能十分像，些须深浅亦可，将原壶上添一盖。」 本品亦是这一指导思想之下的产物，其器形、龙纹形象、写款方式即是对永宣御窑的继承，而青花加釉里红的表现形式则是「摹古而不泥古」的创新，除本例外，北京故宫收藏数例雍正御窑佳作，其设计理念亦是如此，如「清雍正 青花海水白龙纹天球瓶」、「清雍正 青花釉里红海水龙纹天球瓶」，纹饰、布局相同，母本皆自永宣御窑而来，创新在于白龙采用剔刻工艺，红龙以铜红绘就，两相对照，令人耳目一新。 胤禛作为皇子，自幼受到良好的汉文化教育，熟读儒、道、释各家经典，继位之后，遵循圣祖康熙皇帝以程朱理学为理论基础的以儒治国方略，以「人心惟危，道心惟微，惟精惟一，允执厥中」作为个人修养和国家治理的思想原则，勤于政事，在位虽仅十三年，朱批奏折达两万多件。勤政之余，从事艺术鉴赏当是他的大爱好，内府的丰富收藏也为他艺术修养的养成提供了得天厚的条件，品味不凡，宋代美学追求空灵之美，平淡自然，注重自我表达的美学诉求与雍正皇帝的审美趣味为契合。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