本文嘗試從人與物互為關係的角度，來探討雍乾之際清宮琺瑯彩瓷的繪製與燒造。 清官窯瓷器的生產，自雍正四年督陶官年希堯上任之後，逐漸建立起由內廷主導，御窯廠相應配合的生產機制。而雍正時期深受皇室關注的琺瑯彩瓷的繪製與燒造，透過《造辦處各作成做活計清檔》及相關資料的比對，顯示其多數完成於清宮之內，而非景德鎮。同時以皇室為主導的生產背景中，宮中主其事者亦有從怡親王允祥至雍正皇帝的變化。在此之下，督陶官年希堯及其助手唐英，其實未有機會監造琺瑯彩瓷的繪製。 此情況至乾隆時期，方始出現轉變。特別是透過對琺瑯彩瓷裝飾紋樣之一的錦上添花的觀察，除能從中了解此類紋飾的發展、演變與流行外。也因此而能掌握景德鎮官窯於乾隆時期生產琺瑯彩瓷類型作品的可能性。儘管清宮繪製者和景德鎮生產者，在品名上曾存在琺瑯彩和洋彩的不同，但從乾隆皇帝整理收藏時，以均一的態度同等對待，而得知錦上添花或是乾隆時期新興的裝飾風格。與此一新風格同時出現的，不僅將雍正九年以來蔚為流行的題句詩畫組合，導向以裝飾為主的調性。更重要的是唐英監造錦上添花，也讓我們據此得以重新思索〈陶成紀事碑〉和〈圓琢洋彩〉的內涵。

This article attempts to investigate the painting and production of Imperial colored enamel (fa-lang) porcelain of the Yung-cheng and Ch'ien-lung reigns from the perspective of the relation-ship between man and things. In 1726, Nien his-yao assumed the office of superintendent at the official Imperial factory. Starting at this time, the inner court gradually assumed leadership over the manufacture of porcelain, including production methods used at these Imperial kilns. Also, during the Yung-cheng period, the Imperial court took a deep interest in the painting and creation of fa-lang porcelain. From a comparison with the Archives of the Imperial Workship (or Huo-chi-tang 活計檔), and other documents, the majority of fa-lang porcelain was completed in the Imperial palace, not in Ching-te-chen (Jingdezhen). At the same time, taking the leadership of the Imperial court as a background, Emperor Yung-cheng and Prince Yün-hsiang weree also responsible for instituting changes. One result of this phenomenon is that the supervisory official, Nien His-yao, and his assistant, T'ang Ying, did not have the chance to supervise the painting and final manufacturing process of fa-lang wares. This situation began to change during the reign of Emperor Ch'ien-lung, especially with respect to observation over the designs on decorative patterns of fa-lang wares. In addition to developing an understanding of the development, evolution, and spread of these patterns from their origin in the palace, it should be possible to examine whether fa-lang-type wares during the time of the Ch'ien-lung Emperor had any connection to the official kilns at Jingdezhen. Although Ch'ing palace artisans and producers at Jingdezhen produced wares with different names, fa-lang wares and yang-ts'ai wares respectively, when the Ch'ien-lung Fmperor systematically arranged his collection, he gave them the same level of treatment. He also knew that these new designs on decorative patterns were a new technique from the Ch'ien-lung period. At the same time this new style arose, it became popular starting in 1726 to write poems and paint on these works. Also, there was also a stylistic movement towards stressing the design elements in them. More important is T'ang Ying's supervision over the decorative patterns. This can help us to once again consider the deeper meanings of "The memorial of Achievement in Porcelain" and "Thoughts on Yang-ts'ai Wares".