“大雅斋”瓷作为清末宫廷瓷的代表，无论从造型、纹饰、工艺等方面都体现出当时最高的制瓷水平。本文将视角放在封建王朝末期这一特殊的环境背景中，以慈禧这一特殊女性身份为审美主体作为切入点，结合“大雅斋”瓷实际器物，从女性审美意识角度，综合分析“大雅斋”瓷艺术风格的形成原因，一探晚清彩瓷的独特魅力。%The porcelain of Daya House, as the representative of imperial porcelain at the end of the Qing Dynasty, indicates the highest level at that time regardless in view of the shaping, patterns or of the technological process. Setting in the late Qing Dynasty as a special background, taking the persperctives of Empress Dowager Cixi as a starting point, seeing from the special female identity and combining concrete Daya House porcelain objects, this article focuses on the comprehensive analysis on how the artistic style of Daya House porcelain came into being and how it was related to Empress Dowager Cixi's aesthetics so as to explore the unique charm of soft color porcelain in the late Qing Dynasty.
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