琺瑯彩為中國陶瓷史上最為璀璨的一顆明珠，康熙一朝創燒瓷胎琺瑯彩器，選珠山禦窯白膩素胎，燒成於紫禁城內養心殿側造辦處中，專為帝王御用，存世稀少，至為珍貴。彩料及繪畫均吸收西方工藝技法，題材甚具異域西洋意趣，並化裁宮廷院畫風致，畫法著重寫真自然，以光影明暗營造質感、深度及透視，彩料明麗凝膩，氣息妍美清新，其品質精絕，驚豔古今，煥發彩瓷魅力之新姿采，下啟雍幹御窯華麗彩瓷之先聲，為清代彩瓷之冠。

此拍品康熙御制的琺瑯彩胭脂紫地牡丹盌，是清代康熙年間官窯瓷器中的珍品，盡顯皇家禦瓷的高貴與典雅。盌以細膩潔白的瓷胎為基礎，外壁以獨特的胭脂紫釉為底色，色彩濃郁而不失沉穩，為整器奠定了華麗莊重的基調。其上以琺瑯彩精心繪製綻放的牡丹，牡丹作為“花中之王” ，在中國傳統文化中象徵著富貴、吉祥與繁榮。畫師運用精湛的技藝，將牡丹的花瓣描繪得層次分明，形態逼真。粉色、黃色、藍色的牡丹相互映襯，搭配翠綠的枝葉，色彩鮮豔豐富，對比鮮明又和諧統一，展現出極強的藝術感染力。底部可見“康熙御制”紅彩印章款，字體規整，彰顯著皇家禦窯的身份與地位。其製作工藝極為複雜，融合了康熙時期高超的制瓷技術與琺瑯彩繪畫技藝，代表了當時制瓷業的頂尖水準。不僅具有極高的藝術價值，更是研究清代宮廷審美、制瓷工藝以及歷史文化的重要實物資料。

中国陶瓷研究权威、苏富比及众多大型博物馆学术顾问雷吉娜·克拉尔 (Regina Krahl) 的评价是：“珐琅彩瓷器代表了清宫御瓷艺术的巅峰，它们在紫禁城内，由皇帝直接监督烧造，且产量极少，专供皇帝享用。”

牛津大学荣誉教授、阿什莫林艺术与考古博物馆前馆长杰西卡·罗森 (Jessica Rawson) 也同样认为：“清宫廷通过珐琅彩瓷器，实现了中国陶瓷传统与西方珐琅彩技艺的融合，创造出了至今仍珍稀绝伦、美不胜收的艺术珍品。”

This falangcai bowl is a work of supreme imperial manufacture (yuzhi) under the reign of the Kangxi Emperor (1662–1722).  Made from the finest white porcelain body produced at the Imperial Kiln in Jingdezhen, the vessel was then brought into the Zaobanchu (Imperial Workshop) within the Forbidden City, where enameling was carried out under the Emperor’s personal review and direct supervision.

Its most remarkable feature lies in the red seal mark “Kangxi yuzhi” (Made for the Kangxi Emperor) printed on the base.  In the history of falangcai porcelain, only two types of reign marks exist:Blue marks: written under the glaze at Jingdezhen, more commonly found. Red marks: painted in overglaze enamel within the Forbidden City, denoting the highest imperial grade and exceptionally rare.

The bowl is covered with a refined “peach-blossom purple” ground, upon which are painted blooming peonies – the “King of Flowers,” symbolizing wealth and auspiciousness.  Layered petals in pink, red, and white, harmonized with emerald-green leaves, create a vision that is both radiant and elegant.

Because such pieces were produced in extremely limited numbers and reserved exclusively for the Emperor, falangcai with red “Kangxi yuzhi” marks are considered as some of the rarest and most treasured porcelains in the entire history of Chinese ceramics.  They embody not only the pinnacle of artistic refinement but also serve as direct historical testimony to the authority and aesthetic taste of the Kangxi Emperor.

Regina Krahl – leading scholar of Chinese ceramics, academic consultant to Sotheby’s and numerous major museums – observations:“Falangcai porcelain represents the very peak of Qing imperial ceramic art, created within the walls of the Forbidden City under direct imperial supervision, and produced in minute quantities for the emperor’s exclusive enjoyment.”

Jessica Rawson – Professor Emerita at the University of Oxford and former Director of the Ashmolean Museum of Art and Archeology – similarly affirms:“With falangcai porcelains, the Qing court achieved a fusion of Chinese ceramic tradition and Western enamelling, creating works of art that remain unparalleled in their rarity and beauty.”