Qing Yongzheng blue and white honeysuckle pattern small bowl.
The era is Qing Yongzheng.
Size diameter 10cm
Yongzheng year of the Qing Dynasty "six-character double-line regular book, Yongzheng Ben Dynasty blue and white honeysuckle pattern small bowl extravagant, arc belly, circle foot, the outer wall is decorated with blue and white flowers, the main body of the outer wall is painted with honeysuckle pattern, the stems and leaves are luxuriant, the lines are smooth, the layout is sparse and dense, and the blue and white hair color is calm. The six-character regular script of the book "Yongzheng Year of the Great Qing Dynasty" is written in regular letters. During the Ming and Qing dynasties, porcelain had an obvious inheritance relationship in the production. This type of small bowl was first seen in the Ming Chenghua Dynasty, which is decorated with blue and white painting entwined branches and lotus patterns, folded branches and lotus patterns, clear and elegant, eternal and handsome, and the artistic pursuit of Emperor Yongzheng of the Qing Dynasty coincides, so the Yongzheng Dynasty also made this kind of blue and white entwined branches and lotus pattern small bowls. However, it is relatively rare to be decorated with honeysuckle patterns, which should be Yongzheng's originality. Honeysuckle is a kind of creeping plant, commonly known as "honeysuckle", "gold and silver vine", its flowers have long petals and weeping whiskers, yellow and white, because of the name honeysuckle. And because it is not carved in winter, it is called honeysuckle. Because of its wintering immortality, the honeysuckle pattern was originally widely used in Buddhist decoration, compared to the immortality of the human soul and the reincarnation of eternal life, and some studies indicate that it was first introduced to China from India. As the imperial kiln decoration of the Qing Dynasty, honeysuckle should start in the Yongzheng Dynasty, the "Compendium of Materia Medica" cloud, honeysuckle "long-term clothing and light body, long life". Therefore, it also has the auspicious meaning of prolonging life. Emperor Yongzheng was extremely reverent of Taoism and longed to seek immortality from Taoist alchemy, which also had this factor. In addition to the blue and white decoration, this type of honeysuckle pattern small bowl also has blue and white colorful categories, which can refer to the collection of Nanjing Museum, and there are also blue and white colorful honeysuckle plates, but in comparison, blue and white ware is less than blue and white colorful dishes.
Qing Kangxi blue and white entwined flower pattern bowl pair.
Era Qing Kangxi.
Size diameter 13cm
Kangxi Year of the Qing Dynasty "six-character double-line regular book, Kangxi Dynasty **Scotland Sir Lawrence Edward Coleman (awarded on January 1, 1943) old collection, obtained in Penang, Malaysia before 1939, inherited by the family This pair of bowls open arc belly, its quality is excellent, warm and moist like jade, the inner wall is light, the outer wall is decorated with blue and white entwined branches and floral patterns, petals are in full bloom, branches and leaves are vines, stretching freely, delicate and moving, the whole shape is Peugeot, the brushstrokes are delicate and quiet, the blue and white are elegant and elegant, The composition is full and orderly, and it is very rare to have the character of a kiln. The bottom of the foot book "Kangxi year of the Qing Dynasty" regular script literacy. In the nineteenth year of Kangxi, Jingdezhen restored the imperial kiln factory, so far, Kangxi blue and white porcelain has been continuously innovating on the basis of inheriting the skills of the previous dynasty. During the 61 years of Kangxi's reign, the cobalt blue tones of blue and white ware varied greatly, from bright to gray, including a variety of different shades, but eventually the verdant and bright, colorful, fresh and pleasing and layered colors were the mainstream, and became the crown of the Qing Dynasty. At this time, with only one kind of blue and white pigment, the yin and yang of the scene can be fully depicted, and the distance and distance are dense, making the picture rich in three-dimensionality. This kind of multi-color graded blue and white has clear layers, breaking through the monotony of traditional flat painting, making the blue and white color as colorful as colorful, so Kangxi blue and white is also known as "colorful blue and white". Therefore, Kangxi blue and white often have the artistic conception of literati painting, and the late Qing Dynasty connoisseur Lin Yuansuo once praised Kangxi blue and white as "quite interesting", which means that it can achieve a wonderful and natural effect in porcelain painting. This work makes full use of the multi-end changes of blue and white tones, although it is monochrome, there are shades, shades, virtual and real, rich layers, blue and white are ink, ink and wash freehand, chic and free. The upper and lower parts of this product are simply decorated with string patterns and echo the entwined floral pattern. The painted flowers bloom beautifully, the branches stretch gently, and the pitch has a posture, fully drawing on the brush and ink rhyme of Chinese painting, and getting its law, hooking, strangle, pointing, dyeing all the methods, and the use is appropriate. The combination of thick and thin lines, and the use of both shades of green materials, make the picture full of verdant interest, revealing a dignified and majestic beauty, just like the prosperity of Kangxi and the momentum of the four seas. In this way, the blue and white color and painting effect belong to the best products in the blue and white of Kangxi kiln, and the beauty of Kangxi blue and white is fully prepared.
Qing Yongzheng Doucai Fushou pattern small bowl.
The era is Qing Yongzheng.
Size diameter 105cm
Yongzheng Year of the Great Qing Dynasty "Six-character Double-line Regular Script, Yongzheng Ben Dynasty **Taiwan Huang Dingxuan Collection Bibliography: "Huang Dingxuan Collection Exhibition", Kaohsiung Municipal Museum of History, 1999, p. 65 Exhibition: "Huang Dingxuan Collection Exhibition", Kaohsiung Municipal Museum of History, February 13-March 21, 1999 Bowl open, deep belly, circle feet. The carcass is delicate and delicate, the glaze is moist like jade, and the glaze is sweet and white. The inner wall is plain white, the outer wall is painted with blue and white to deform the longevity character pattern, and the red, green, blue three colors are filled, and the red color bat is painted to form the Fushou pattern, the drawing is neat and exquisite, and the production is fine. At the bottom of the "Yongzheng Year of the Great Qing Dynasty" six-character double-line regular book. Yongzheng Dynasty porcelain has always been delicate and delicate as the biggest feature, this small bowl is no exception, its fetal quality is fine, painting and color are good, for the Yongzheng Dynasty Doucai porcelain classics. The outer wall of the bucket color through the set of floral patterns, meaning "endless" and "blessing is connected". In the center of each set of ornaments is an artistic symbolic floral pattern. The caliber of the Yongzheng Dynasty Doucai Fushou pattern bowl is from 10-14 cm, the decoration is similar, and the glaze color matching in the blue and white line is slightly different. This product is the smallest size of its kind that can be seen, and it is very cute and cute. Compare a pair of slightly larger examples, caliber 128 cm, formerly owned by Mr. Qiu Yanzhi, sold at Christie's Hong Kong, 1 June 2016, lot 3351.
Qing Qianlong blue and white foreign color wear a pair of dragon pattern cardia bottles.
Chronology: Qianlong of the Qing Dynasty.
Size 27cm in height
Qianlong Year of the Qing Dynasty "Six Characters and Three Lines of Seal Books, Qianlong Dynasty **Sotheby's New York, March 1998, lot637 Asian Private Collection Qianlong Dynasty, porcelain art is intensive, the pottery supervisor Tang Ying is exhausted, antique and modern, set the masterpieces of famous kilns in the past dynasties, including the essence of Chinese and foreign good vessels, and create a brilliant encounter through the ages. Emperor Qianlong has a wide range of hobbies, so that the skilled craftsmen of the imperial kiln factory, with porcelain as the womb, laying color glaze, drawing on the West, and then becoming a foreign color, is a famous product of Chinese colored porcelain. Benpa bottle is an important instrument of Tibetan Buddhism, which is the gold is to determine the ** and the Panchen reincarnation of the spirit child program of the "gold bottle lot" system of holy relics, this product is to imitate the metal Benba bottle with porcelain, compared with the porcelain of the same kind, its uniqueness has two: one is the white ground color, this kind of ritual to carmine, turquoise green, delicate yellow, pink and other colors are common, and the white ground is rare. The second is that the motif is a dragon wearing flowers instead of the traditional auspicious eight treasure patterns of entwined branches and lotus holders, and the similar ornamentation can be seen on a peacock green land Fushou ear bottle from the Qianlong period, sold at Sotheby's Hong Kong, November 1, 1999, lot 401. There is only one example from the Alfred Morrison Collection, sold at Christie's London, 9th November 2004, lot 46, which is identical to this piece in shape and ornamentation, but with a slight difference in colour. The abdomen of this product is painted with a pair of carmine red painted dragons, across the lotus flower far away, limbs rolled, holding curly grass, the rest of the picture is embellished with all kinds of entwined floral patterns, tactfully stretched, quite feminine. The painting is meticulous and neat, the craftsmanship is exquisite, the white glaze is evenly and thick, and the colors are gorgeous and rich. The use of ornamentation and pigment techniques highlights the characteristics of typical foreign colors in many aspects: first, the painting techniques imitate the Western light and shadow painting method, focusing on the light and shade of branches and leaves and the three-dimensional level of flower petals; the second is the use of round dots of light decoration unique to the neck and abdomen; The third is to paint the dragon pattern in carmine and foreign color, which is also the most representative color in the copper and porcelain enamel under the influence of the West. The near foot is decorated with a banana leaf pattern and decorated with blue dots. The bottom is turquoise greenery, and the blue and white book "Qianlong Year of the Qing Dynasty" seal book. This type of Benba vase has been recorded in the "Qing Palace Porcelain Files". In the first month of the 47th year of Qianlong, the Buddha Hall collected a book of porcelain, iron, wood and stone offerings: "(46th year of Qianlong) on the seventh day of October to receive the temple of Zongjing Jokhang was replaced, and three Yangcai magnetic towers (February 26, 50th year of Qianlong) were ......A pair of red dragon Benba pots on white ground (February 26, 50th year of Qianlong on the red sandalwood seat, the square pot is shengjing offering)". The "white ground red dragon Benba pot" mentioned in this clear file is speculated to be the style of this product. Originally for the temple of Zongjing Jokhang, Qianlong 46 years into storage. Zongjing Jokhang Temple was built by the Qing Dynasty court to receive the 6th Panchen Lama to Beijing. In the 43rd year of Qianlong (1778), the 6th Panchen Lama learned that the celebration of the 70th birthday of Emperor Qianlong was about to be held, and took the initiative to request to go to Beijing to participate in the celebration, and asked Zhangjia Ruobi Dorjee to report to Emperor Qianlong: "Panchen Erdeni wants to come to Beijing to make a pilgrimage to the Great Emperor." Emperor Qianlong was very happy, and immediately ordered: "In two years, I will live 700,000 years, and invite him to meet in Rehe." Considering that Rehe (now Chengde) and Beijing were hotter than **, and for the summer vacation of the sixth Panchen Lama, Emperor Qianlong aimed to build the Temple of Fushou in Sumeru in Rehe, and built the Temple of Zongjing Jokhang in Jingyi Garden (now Xiangshan Park) in Xiangshan, Beijing, as the summer residence of the Panchen, and the Xihuang Temple in Beijing as the winter residence of the Panchen. On September 19, the 45th year of Qianlong (1780), the Zhao Temple was opened, and Emperor Qianlong rewarded the 6th Panchen Lama and his party. "Selected Archives of the Sixth Panchen Lama" includes the "Yongying Song Obeying the Decree to Prepare for the Panchen Opening of the Sutra in the Zhao Temple of Xiangshan" on September 17, the 45th year of Qianlong: "On the 18th of the Qin Dynasty, he began to chant the scriptures in the Zhao Temple, and on the 19th Panchen Erdeni greeted him in the Zhao Temple, opened the light and satirized the scriptures, and after three days, the Panchen Erdeni returned to the Yellow Temple on the 21st. Judging from the current documents and physical materials, the Qianlong Emperor was particularly pious and respectful to such ritual utensils as Benba bottles and pots. It is recorded in "Qianlong's Fifty Years of Doing Work and Clearing Files: Jin Yu Works": "On October 24, Langzhong Wude, Yuanwai Lang Da Dase, Zhangku Fuhai, and Changshu came to say, and the eunuch Oroli handed over a handful of blue and white geomagnetic Benba pots (red sandalwood seat, spring coupling fast, and the spout was broken and broken). Message: Glue the wounds well, grind the defects on the edge of the spout, and present. Chin this. "This article clears the file and orders the repair of the damaged, which shows that the king of the prosperous world cherishes this category. Porcelain painted Benba vase for the Qianlong Dynasty of the first creation, as the heart of the Buddha - a gift of the Hongli and recorded in the history of porcelain, in addition to their own practice of Buddhism, the Qing palace Buddha offerings, but also as a senior royal gift **, Qinghai and other places of religious leaders, is the Qing royal family and Tantric upper class of the ideological and emotional exchange of witnesses, the common belief of both sides. This product is depicted with a dragon pattern that represents the palace pattern, and it has been passed down in pairs to this day, which is worth cherishing.
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