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用工匠精神开出的艺术之花：扒花｜Craftsmanship nurtures 'Pahua' porcelain carving

花匠小妙招
2026-01-24 20:06

清代乾隆年间，陶瓷发展的黄金时期，此时的官窑瓷器以丰富的品种和制作精美著称于世。其中，有一种奢华繁缛的装饰工艺——粉彩扒花。关于粉彩，有“始于康熙，精于雍正，胜于乾隆”的说法。扒花瓷器绚丽的颜色、繁缛的装饰和复杂的工序，使其成为当时专供皇室贵族赏玩的珍贵工艺品，具有名副其实的“贵族”血统。北方称之为“轧道”，南方称之为“扒花”，宫中称锦上添花，工艺最为精细的“扒花”手艺是粉彩工艺和轧道工艺的完美结合。

During the reign of Emperor Qianlong (1711-1799) of the Qing Dynasty (1644-1911), the porcelain industry enjoyed a "golden era" of development. Ceramics made by then state-run porcelain kilns were known for their large variety and exquisite craftsmanship. "Colorful Pahua", a luxurious and complicated design technique used to carve natural landscapes, birds, flowers and other designs with steel knives and diamond blades on a piece of porcelain ware, came into being during the reign of Emperor Kangxi (1654-1722), became popular during the reign of Emperor Yongzheng (1678-1735) and reached its peak during the reign of Emperor Qianlong. Because of their fine color, elaborate designs and complicated process of production, ceramics associated with "Colorful Pahua" became valuable and rare products collected by the imperial family and the aristocracy. The special porcelain carving technique was known as "Zhadao" in northern China and "icing on the cake" in the royal court. The unique carving craft of "Pahua" has been incorporated with porcelain painting and "Zhadao" techniques.

粉彩是用玻璃白料为底色，运用中国传统绘画技法中的没骨法彩绘渲染图饰的彩瓷，这种瓷器的特点是画面阴阳突出，浓淡分明，立体感强，色泽柔和，淡雅又明亮。

Colorful ceramics are made of white primacy porcelain and painted in the Mogu style of Chinese painting. They are reputed for their sharp contrast between the usage of different pigments, strong three-dimensional effect, soft color, and elegant and bright visual image.

扒花

Pahua

一般而言，扒花是刻画单一的连续纹饰，最常见的是卷草纹、金钱纹、锦地纹等。扒花的“花”就出于此。这种装饰手法的历史，或许是传统陶瓷刻花工艺的一种延伸和极致的表现。这种装饰手法，在单一的色釉上，远看并不显著；近赏方能细细品玩，体现出一种含续的意韵。看似不起眼的一个单色釉小件，细审之下，却发现非同寻常的工艺之难，技艺之巧，令人赞叹不已。扒花的工艺，是这个大潮中的一个细小支流，它的创新、它的精巧，为陶瓷史增添了几点亮色。

Generally speaking, the carving craft of "Pahua" involves singular interlinking decoration patterns on the surface of porcelain vases. The most common patterns include scroll designs, coin patterns and brocade-ground patterns. The history of this special porcelain carving method represents an extension and exquisite expression of traditional porcelain painting in China. It is not easy for people to notice the application of the carving skill on a singular colorful glaze from a distance. However, a closer look will enable people to appreciate the beauty of the carving craft and unusual difficulties in the making of such a small object with a singular glaze. The carving craft, a creative and elaborate branch of porcelain carving, has added special highlights to Chinese porcelain's history.

津沽扒花是南北工艺相结合的产物，津沽扒花的技艺包括选材、胎体加热、工艺吹颜色，工艺构图、工艺清图、在胎体上工艺复图、工艺扒草、填色、烧制共九道工序。津沽扒花传承人康意平改进了粉彩扒花材料的配比，加入了天津的气候和水质的融合，使作品更加精美。陶瓷粉彩扒花工艺作品为中华传统文化增添了一抹靓丽的色彩。

As a hybrid product of traditional handcraft from south and north China, the carving handicraft of "Pahua" in Tianjin consists of nine procedures, which are the selection of materials, the heating of porcelain bodies, configuration coloring, glazing and reglazing, pattern portrayal, painting and firing. Kang Yiping, an inheritor of Tianjin-style "Pahua" carving, has taken into consideration the natural climate and water quality in the coastal city in an effort to redesign the composition of relevant materials and produce more exquisite products.

津沽陶瓷扒花工艺落在天津源于一次偶然的机会，2003年，康意平到天津江西会馆参加一次笔会活动时发现天津人对陶瓷粉彩扒花尤为爱好，虽有收藏但实际上对扒花工艺并不了解。当时，康意平就产生了一个念头──在天津打造一个陶瓷体验馆，让更多的人能够深入了解这门工艺，并且可以进行深度尝试体验。目前在天津成立的津沽陶瓷扒花博物馆涵盖展品500余件，填补了天津陶瓷博物馆收藏的空白。

It was an accidental opportunity for "Pahua" porcelain carving to land in Tianjin. Kang found that local people were interested in the craft, but they didn't know much about it when he attended a calligraphy and painting gathering for people hailing from Jiangxi and working in Tianjin in 2003. Therefore, he came up with a proposal for founding a porcelain experience museum in an effort to deepen the understanding of the craft and spread knowledge of the vocational skill. The museum is home to over 500 pieces of porcelain.

康意平一直在为技艺的传承与发展努力奔走，他在天津挖掘了很多陶瓷爱好者并定期组织培训。他还致力于将陶瓷博物馆设立成为各大院校的参观实习基地，把技艺带入学校，以讲座、座谈会等方式与学生进行互动交流。

Kang has fostered a rising number of porcelain enthusiasts and held regular training sessions for the public in a drive to promote the inheritance and development of the craft. In addition, he has been committed to transforming the museum into an internship base for college students, bringing the craft closer to the campus and holding interactions with college students via lectures and symposiums.

Sources: 天津日报、津云

Image: VCG

Video: 津云

Translated by ITianjin

监制：田晓璇、廖媛

编辑：王简

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