The blue-and-white porcelain of the Yongzheng period, regardless of its shape and decoration, can be summed up with a "show" character, which is quite different from the style of Kangxi blue and white, which is quite straightforward and sturdy. Instead, it is replaced by a soft and handsome style.

        清雍正时期为时虽然短暂，但经济发展，社会安定，政府财力雄厚，国内外市场活跃，制瓷工艺突飞猛进，在继承康熙朝制瓷工艺的基础上，又有了许多创新、变化和提高，不仅品种多、题材广泛、造型多样，而且原料的选择和加工也比以前更讲究。

      Although the Qing Emperor Yongzheng period was short-lived, but economic development, social stability, the government has strong financial resources, the domestic and international markets are active, and the porcelain manufacturing process has advanced by leaps and bounds. On the basis of inheriting the Kangxi Dynasty porcelain-making process, there have been many innovations, changes and improvements. Not only the variety, the subject matter is wide, the shape is diverse, and the selection and processing of raw materials are more elaborate than before.

       下图是王先生所藏的青花过墙龙纹碗，底款“大清雍正年制”。

      The picture below shows the blue-and-white dragon-shaped bowl hidden by Mr. Wang, and the bottom section is “Da Qingzheng Zhengnian System”.

口径：18cm 高：8.1cm 底径：9cm

Caliber: 18cm Height: 8.1cm Bottom diameter: 9cm

      “过墙龙”是从雍正时期开始流行的一种瓷器绘画技法，即龙的头部及前半截身体画在盘心，后半部分经过盘口转折后画在外壁上，称为“过墙龙”，官窑的粉彩器物上也常常见到过枝花卉的画法，这种绘画技法一直延续至清末。

     "Crossing the Wall Dragon" is a kind of porcelain painting technique popular from the Yongzheng period. The dragon's head and the first half of the body are painted on the inner core, and the second half is turned on the outer wall after being turned over by the mouth. "Dragon", the paintings of the branches of the official kiln are often seen in the paintings of the branches and flowers. This painting technique continues until the end of the Qing Dynasty.

      盘心绘一条青花四爪劲龙，体态饱满，龙须及发描绘细腻，鳞片均匀，龙身置于卷云纹之间，龙尾由内蜿蜒至器外，谓之“过墙”。器内外纹饰布局精巧，浑然一体，层次分明，可谓独具匠心，表现出神龙见首不见尾的神秘感，恰似神龙从天而降。

     The heart of the heart draws a blue-and-white clawed dragon, full body, dragons and hairs are delicately depicted, scales are even, the dragon body is placed between the cirrus, and the dragon tail is from the inside to the outside, which is called “over the wall”. The interior and exterior of the ornamentation are exquisitely arranged, and the layers are distinct. It can be described as unique and ingenious, showing the mysterious feeling that the dragon is not seeing the tail, just like the dragon descends from the sky.

        整体来看，青花过墙龙纹碗形制敦实大方，釉面光亮润泽，青花呈色淡雅沉稳，纹饰描绘流畅飘逸，器表包浆老化迹象明显，有磨损，胎釉质感及制作工艺富有时代特征。

      On the whole, the blue-and-white dragon-shaped bowl shape is solid and elegant, the glazed surface is bright and moist, the blue-and-white color is light and elegant, the texture is smooth and elegant, the signs of aging of the table are obvious, the wear and tear, the texture of the enamel and the craftsmanship are rich in the times. .