中國古代所謂的白釉，並非現代陶瓷工藝學所謂的白釉。現代陶瓷工藝學所說的白釉是指乳白色的乳濁釉，而古代所謂的白釉實際上都是透明釉，其白色效果是靠白瓷胎映襯的，也習稱為白釉。中國白瓷的起源可以追溯至北朝，隋唐宋元時白釉瓷器一直是中國北方地區的主要產品。元以後景德鎮和德化窯分別創燒了一些白釉品種，著名的有元代樞府釉，明代甜白釉和明清的德化窯白釉等，其精美之作多為宮中收藏。此件即為明代永樂時期官窯白釉瓷器的經典之作。

The so-called white glaze in ancient China is not the so-called white glaze in modern ceramic technology。 The white glaze in modern ceramic technology refers to milky white opalescent glaze， while the so-called white glaze in ancient times is actually transparent glaze， the white effect of which is set off by the white porcelain body， also known as white glaze。 The origin of China‘s white porcelain can be traced back to the Northern Dynasties。 White glazed porcelain was always the main product in northern China during Sui， Tang， Song and Yuan Dynasties。 After the Yuan Dynasty， Jingdezhen and Dehua kilns respectively created and burned some white glaze varieties。 The famous ones are Yuan Dynasty Tang Dynasty glaze， Ming Dynasty sweet white glaze and Ming and Qing Dehua kiln white glaze。 Most of their exquisite works are collected in palaces。 This piece is a classic work of white glazed porcelain from official kilns in Yongle period of Ming dynasty。

名稱：甜白釉暗花龍紋碗

年代：明代

造型優美，撇口，線條流暢，口邊鋒利。淺弧腹，圈足，底“官“款，修胎工整。比例協調，胎體輕薄，釉質潔白，溫潤似玉，肥厚如脂。此種品類的白釉器，為永樂甜白瓷器的典型特徵。盤內底暗刻如意雲三朵，壁飾二龍，遊弋於如意雲朵之間，若隱若現，即為工細，須仔細審視或借光線透視方可看出，正為永樂真品的獨到之處。 明代永樂時，景德鎮窯採用當地產的優質原料製作瓷器，在白瓷的製作上取得重大突破。

Beautiful shape， curled mouth， smooth lines and sharp edges。 Shallow arc abdomen， full circle， bottom ”official“ style， neat tire repair。 The proportion is coordinated， the matrix is light and thin， the enamel is white， moist and jade-like， and thick and fat。 This kind of white glaze ware is typical of Yongle sweet white porcelain。 The inner bottom of the plate is dark engraved with three Italian clouds and decorated with two dragons。 It swims between Ruyi clouds。 If it appears， it is fine。 It must be carefully examined or can be seen through light perspective。 It is the unique feature of Yongle’s genuine article。 When Yongle was in the Ming Dynasty， Jingdezhen kilns made porcelain from high-quality local materials， making a major breakthrough in the production of white porcelain。

景德鎮窯工在瓷胎中用較多的高嶺土，使三氧化二鋁的含量增加，瓷胎機械強度因而提高，胎質變得潔白緻密；又在瓷釉中減少了傳統助溶劑石灰石的量，改用鉀長石作主要或全部的助溶劑，從而避免了瓷釉白中泛青的情況，使產品潔白純淨，與白砂糖的顏色非常相似，故所造白釉又有“甜白”的美名。 此件胎體輕重適度，造型秀美優雅，清秀、圓潤、靈巧。釉麵肥厚、瑩潤、平淨，無桔皮紋。永樂時期注意淘煉瓷土，此器胎質細膩潤滑，胎色潔白，採脫胎技法制作，脫胎輕巧，器型規整，較之後來的宣德瓷器更為胎薄體輕。永樂脫胎器名傳於世，胎體薄如蛋殼，極為輕盈，俗稱“卵幕”，清人詩中甚至形容它“只恐風吹去，還愁日炙消”，可見其精巧。胎體雖薄，器型卻規整，還能在器上印、刻花紋和款識，技藝可謂精湛絕倫。脫胎器的製法為：胎體成型後施釉，待器內掛釉乾涸，即刮除未卦釉的那面胎體，颳得幾乎只剩一層釉，再在刮削面上施以釉汁。燒成後，似抽去胎骨，薄如兩層燒結一體的釉面，瑩澈透亮，故曰“脫胎”。此種製法始於永樂時期，以後成化及清代康熙、雍正乃至民國時期都有製作，但都不及永樂器圓潤精細。 此件白釉盤處處體現了永樂脫胎甜白瓷器的獨特特點，薄釉施於脫胎圓器上，釉面平整晶瑩，器口邊沿微顯胎骨，以手拭之有鋒利感，這種器口特點為永樂器所獨有，而後仿製器口多圓潤，不見稜角。足邊沿的釉面截削整齊，施釉不淌。線條流暢的暗刻花紋，須仔細審視或借光線透視，方可看出紋飾來。迎光透視，胎釉呈現肉紅或粉紅色，這是永樂白釉器的顯著特徵。器物足邊和折角積釉處，閃爍灰青的光澤，釉面偶然顯現如同青、灰、白三色交織在一起的極淡的蝦青色，甚為奇特。永樂甜白釉瓷以其出色的胎釉質地、獨到的造型設計、難以複製的釉色品質而享譽古今，永樂之後各朝各代均有仿製，但無論所仿永樂白釉厚胎、薄胎或脫胎器，迎光透視胎體，均不具有永樂真品的那種紅潤光澤，並且仿品的透影性較真品更高。因此，這種永樂甜白瓷器極為名貴。本件作品在各個方面均完美展示了這種永樂甜白瓷。是極其罕見精品，見證了中華文明的歷史，具有極高的代表性，收藏及歷史價值。出土有很大的偶然性，是隻可遇而不可求的。

Jingdezhen kiln workers use more kaolin in the porcelain body， which increases the content of aluminum oxide， thus improving the mechanical strength of the porcelain body and making the body white and compact。 In addition， the amount of limestone， the traditional cosolvent， is reduced in the porcelain glaze， and potassium feldspar is used as the main or all cosolvents instead， thus avoiding the phenomenon of greenness in the porcelain glaze white， making the product white and pure and very similar to the color of white granulated sugar， so the white glaze made has the good name of ”sweet white“。 This carcass is of moderate weight， beautiful and elegant shape， delicate and pretty， round and smart。 The glaze is thick， smooth， smooth and clean without orange peel。 During the Yongle period， attention was paid to the scouring of porcelain clay。 The porcelain body was fine and smooth with white color。 It was made by bodiless technique。 It was light and light with regular shape。 Compared with later Xuande porcelain， it was thinner and lighter。 The name of Yongle bodiless vessel has been passed down to the world。 Its carcass is as thin as an eggshell and extremely light。 It is commonly known as the ”egg curtain“。 In Qing poetry， it is even described as ”fearing the wind will blow away and worrying about the sun‘s scorching away“。 This shows its delicacy。 Although the carcass is thin， the shape of the device is regular， and it can be printed， engraved and recognized on the device。 The skill is superb。 The preparation method of the bodiless device comprises the following steps of： glazing the body after molding， drying up the glaze hung in the device， namely scraping off the body without hexagram glaze to almost leave only one layer of glaze， and applying glaze juice on the scraping surface。 After firing， it looks like the fetal bones have been removed。 It is as thin as two layers of sintered glaze。 It is clear and transparent， so it is called ”bodiless“。 This method of making began in Yongle period， and was made in Chenghua， Kangxi， Yongzheng and even the Republic of China in the Qing Dynasty。 However， it was not as mellow as Yongle musical instruments。 This white glaze plate embodies the unique characteristics of Yongle bodiless sweet white porcelain everywhere。 The thin glaze is applied to the bodiless round ware。 The glaze surface is smooth and crystal clear。 The edge of the ware mouth slightly shows the shape of the fetus。 It feels sharp when wiped by hand。 This kind of ware mouth is unique to Yongle musical instruments， and then the imitation ware mouth is round without edges and corners。 The glazed surface at the foot edge is cut neatly， and the glazed surface does not drip。 Dark carved patterns with smooth lines can only be seen through careful examination or light perspective。 Yingguang perspective shows that the fetal glaze is red or pink， which is the prominent feature of Yongle white glaze。 The glaze at the foot edge and the folded corner of the utensil gleamed with gray-green luster。 The glaze occasionally appeared as a very pale shrimp cyan mixed with green， gray and white， which was very strange。 Yongle Sweet White Glaze Porcelain is famous in ancient and modern times for its excellent enamel ground， unique modeling design and difficult-to-duplicate glaze color quality。 After Yongle， it has been imitated in all dynasties。 However， no matter whether the imitated Yongle White Glaze thick tire， thin tire or bodiless device， the Yingguang perspective tire body does not have the ruddy luster of the genuine Yongle， and the transparency of the imitated product is higher than that of the genuine Yongle。 Therefore， this Yongle sweet white porcelain is extremely rare。 This work perfectly shows this Yongle sweet white porcelain in all aspects。 It is an extremely rare quality product and has witnessed the history of Chinese civilization。 It has extremely high representativeness， collection and historical value。 There is a great chance of unearthed， which is only to be found but not to be found。