Tang Ying, the word Jungong, the number of the old man. From "serving the heart palace since childhood, more than 20 years" to "relying on the high and generous grace, pulling out the Lang Department" and "Yu since Yongzheng six years Wushen August, sent to Jiangxi, monitoring pottery", and opened his life in Zhushan Changshui and porcelain as a companion. Tang Ying has been pottery for 28 years, as a "potter" self-style, day and night dedicated to the porcelain industry, become the longest pottery supervisor in history, for the Yongqian two generations to create incomparable exquisite porcelain, the achievement of the Qing Dynasty porcelain industry of the golden age. This time, there are many collections in the "Chen Reward" special session that have an indissoluble bond with Tang Ying.
Tang Ying (1682-1756), the name Jungong, the name of the old man, Tao Cheng Jushi, the hall name "Tao Chengtang". Since the sixth year of Yongzheng (1728), Zuoli kiln affairs, has been pottery for more than 20 years, deeply appreciated by the Yong, Qiandi two emperors, is the history of the imperial kiln factory to supervise the kiln for the longest time, the highest achievement of the pottery officer, known as the "Tang kiln" in history.
As the supervisor of the kiln, Tang Ying was able to design and create all kinds of imperial porcelain that won the heart of the emperor, which was not unrelated to his worship of the inner court when he was young. In particular, he has profound attainments in poetry, calligraphy and painting, and drama. According to the Qing Dynasty Peng Yuncan's "Historical Biography of the Painting History of the Past Dynasties", "the landscape characters of the Song Dynasty can be written", and also see the Qing Dynasty Zaiying's "Painting Jingxuan Reading Paintings" and Li Fang's "Eight Banners Paintings" praised that "his paintings are not worked, and they are good at dividing their books", but they are only covered by the fame of the pottery, and few people know about it. In the special session, this Tang Ying black lacquer sand floor inlaid white porcelain calligraphy poetry couplet is the best interpretation of the combination of Tang Ying porcelain technology and calligraphy skills.
Lot 1183
Qianlong of the Qing Dynasty and the Tang Dynasty made black lacquered sand inlaid with white porcelain calligraphy poetry couplets
Inscription: "A few plum blossoms add Yixing, and the number of birds helps to chant Huai." Tang Yingshu"
Seals: "Imperial Gift of Turquoise Cui", "Seal of Tang Ying", "Jun Gong"
161×44 cm(2)
Source:
Tian Lu Monday old collection;
Yiqing Pavilion Collection;
Hong Kong Auction, 29 May 2013, Lot 2012
Description:
Qing Dynasty Porcelain, by Tian Lu Zhou, Bobao Museum, 1976, fig. 164;
"A Collection of Selected Tang and Ying Private Objects from the Public and Private Collections Seen in the Past Forty Years", Tang Ying Society, Jingdezhen Ceramics, 2022, No. 2 (No. 198), cover 3, fig. 2/p. 34, fig. 8
Exhibit:
The Messenger of Pottery - Tang Ying Memorial Exhibition, Jingdezhen Tang Ying Society, October 18-November 18, 2017, no. 1
The couplet is based on black sand lacquer, which is inlaid with white glaze poetry and text porcelain plate, Lianyun "a few plum blossoms add Yixing, a few birds help to chant Huai", the calligraphy is broad and deep, and the pen is hearty and mellow. The first "Imperial Gift Yujin Jicui" is a plain tire Yang text seal, and the end of the text is a Yin text "Tang Ying's Seal" and a Yang text "Jun Gong" two plain tire seals. In the calligraphy works of Tang Ying paper and silk that have been seen in the world, these two chapters are often used to compose the tail seal.
Couplet seal
The porcelain hanging screen and couplet are two types of highly decorative works made during the Tang Yingyu pottery period, which are different from the imperial and self-made scholars. Not only is it labor-intensive and time-consuming, but the yield is extremely low. As far as the production of porcelain text is concerned, the porcelain blank plate is first pressed out, and equal squares are cut according to the font size, half of the thickness is used for engraving, and the other half is used as a base plate for the purpose of supporting firing. Then the glyph is outlined on the porcelain plate for subtraction Yang inscription, and the bottom plate is cut off with the glyph to remove the excess part, and then glazed on the word, and then burned by a special flat sagger bowl.
Due to the different glyph structures, uneven width, narrowness, and uneven thickness, the firing process is very easy to deform and crack, and the yield is low. Therefore, although this craft was first established in Kangyong and prevailed in Qianjia, it could not be produced as a new category, so it was rarely seen in the world.
This product
Excerpt from the manuscript of Tang Ying's "Tao People's Heart".
Most of the Tang Ying inlaid porcelain seen in the world is a seven-character line book with white glazed porcelain characters, and the inscription is seen in two categories: "Snail Tang Ying" and "Tang Ying Book". The method and content of the seal are basically the same. In addition, from the National Museum of China in the collection of Tang Ying's "Tao Xinyu Manuscript" in several poems and texts written by Tang Ying, "plum blossom", "help", "point" and other excerpts with the content of this product for comparison, it is not difficult to find that its consistency is extremely high.
Collection of the Palace Museum
In addition, compared with the words "point" and "flower" in the Tang and British imitation official glaze ink color calligraphy in the collection of the Palace Museum, it can also be seen that it came from the hand of one person. This also further proves the fact that this product is written by Tang Ying and made into porcelain. A search of public and private collections shows that there are few materials in the collection of such porcelain couplets, and even fewer are clearly made by Tang Ying. At present, most of the sights are privately owned, and even less are in market circulation.
This product is a flower and bird couplet made by Tang Ying in the inlaid porcelain couplet, or made by Tang Ying, or made by friends, used to decorate the courtyard room. The calligraphy of the porcelain characters embedded in it is vigorous, the pen is vigorous and free, the level of ticking and copying is extremely high, and the charm is no different from the real handwriting. It not only highlights Tang Ying's profound calligraphy skills, but also highlights his superb porcelain-making skills, which are worth cherishing.
Qing Dynasty Porcelain, by Tian Lu Yi, Bobao Museum, 1976, fig. 164
In particular, this product is from the collection of the famous Japanese collector Mr. Taji Tsuyoshi (1912-1994), who devoted his life to the collection and research of ancient Chinese art. In his later years, he compiled and published various collections, among which "Qing Dynasty Porcelain" and "Continuation of Qing Dynasty Porcelain" are the most famous, and many precious collections recorded in the book have become the objects sought and sought by collectors and museums at home and abroad.
"A Collection of Selected Tang and Ying Private Objects from the Public and Private Collections Seen in the Past Forty Years", Tang Ying Society, Jingdezhen Ceramics, 2022, No. 2 (No. 198), cover 3, fig. 2/p. 34, fig. 8
And this product has been exhibited as the No. 1 exhibit of the "Pottery Messenger - Tang Ying Memorial Special Exhibition" held by the Tang Ying Institute in 2017.
Lot 1190
Qing Qianlong Tang Ying supervised the production of blue and white entwined branches and floral pattern skimming flat bottles
"Qianlong Year of the Qing Dynasty" six-character three-line seal book, Qianlong Dynasty
H: 24 cm
Skimming flat bottle, straight shape. Decorated with blue and white flowers, the decoration is sparse and dense, fresh and elegant. This product is quite unique, the "dry" word seal method is unique, the left side of the "said" written as "Tian", commonly known as "Tian character paragraph", is the unique style of Tang Ying ware. Inspecting the surviving objects, there are only more than ten pieces of Qianlong Dynasty artifacts written in the same way, including the Shanghai Museum's collection of "Pastel Mi Fu Ci Yan Tang Ying Inscription Poetry Pen Holder", the National Museum of China Collection of "Blue and White Glaze Red Linsun Guoting Book Pen Holder", and the Qing Palace of the Palace Museum in Beijing "Blue and White Glaze Red Peony Pattern Vase". These three respectively have "Shenyang Tang Ying", "Tao Chengtang", "Tao Cheng Treasure" and other styles, it can be known that this style of seal script utensils is Tang Ying's careful supervision of the work, for the early years of Qianlong Tang Ying when the Tao was used.
This product is a picture
A search of literature shows that the Qianlong Imperial Kiln originally did not have a fixed rule in the style, continuing the tradition of using the Yongzheng Imperial Kiln with a seal, and the writing style was not uniform. According to the records of the Qing Palace's Internal Affairs Office, it can be known that the early seal script of the Qianlong Imperial Kiln should be made according to the sample paper of the edict in October of the second year of Qianlong, so there is a view that the seal script before the paper pattern was issued is the seal script of the "Tian" character of the instrument, and the use time is less than two years. However, this archival record is an example of the continued use of regular script before October of the second year of Qianlong.
Collection of the Shanghai Museum
According to the blue and white glazed red pen holder of the poem "Early Dynasty" on New Year's Day in the collection of Shangbo, its seal is "Tao Chengtang Yin" and "Jinlan's work", which is more important, so it can be speculated that this kind of "Tian" character works should be carefully made by Tang Ying for friends, which is rare and worthy of cherishing.
Lot 1196 Qianlong of the Qing Dynasty Colorful Flower Pattern Roll Cylinder
D: 39.5 cm
Source:
Private British Collection;
London Auction, 13 May 2009, Lot 205;
Suiyuanzhai old collection;
London Auction, 11 May 2015, Lot 35
Tang Ying made this comment in the seventeenth part of the "Pottery Atlas" compiled and completed in the eighth year of Qianlong, "Rounded and Western": "Rounded white ware, five-color painting, imitation of Western painting, so it is called foreign cai." Must be a master of painting, the various pigments are carefully blended, painted and dyed with white porcelain plates, and must be familiar with the pigments and the nature of the fire. The pigment used is the same as the color of the farlang......"
This product is the Qianlong period of Tang Yingyu pottery created by the imperial kiln Yangcai desk Jun product, because it is placed on the desk, so it is commonly called "case jar" or "volume cylinder", for the emperor to place the trumpet calligraphy and painting handscroll for the use, as a scholar's elegant vessel.
The inner wall of the cylinder is glazed with pine green, the mouth edge is painted with gold, the outer wall is decorated with foreign colors, the theme is decorated with several clusters of entwined flowers, depicted in shades of blue-green, pink and other Western tones, and the beads of the stamen are decorated with enamel dots, which fully expresses the three-dimensional painting techniques of Western light and dark. The surrounding branches and leaves are entwined, which has a light and graceful feeling of Western rococo art, and adds a sense of interest in the gorgeousness.
Qianlong foreign colored porcelain, deeply favored by Gaozong, often seen in the Forbidden City Inner Court Qianqing Palace and the Old Summer Palace. It was recorded in the "Qing Palace Office Work Clearance" that Qianlong had a decree to burn a lot of "water sheng" in the early years, and according to its items, it should be this kind of case tank. This Western style injected a pure and lively atmosphere into the solemn court aesthetics of the Kangyong and Yong dynasties.
China Guardian, 18 November 2021, Lot 3231 (sold for $4.6 million)
Check the public and private collections, Qianlong Imperial Kiln foreign color jar is rare, because this large vat type of utensils because of the shape of the huge, thick carcass, so in the firing process is very easy to burst deformation, the yield is very low, if this product is like a good shape, the color of the color is beautiful, after a hundred years of still preserved, it is very rare. The similar mouthware type can refer to the Yiyang Caibao Phase Pattern Cylinder, which is similar in size, and was sold at the China Guardian 2021 Autumn Auction, with a transaction price of up to 4.6 million yuan, which shows the market's recognition of such works.
Lot 1184
Qing Jiaqing Inner Alum Red Five Bats Holding Shou Tu Outer Palace Powder Ground Yangcai has more than one big bowl for many years
"Jiaqing Year System of the Great Qing Dynasty" six-character three-line seal book, Jiaqing Dynasty
D: 18.2 cm
Source:
阿尔弗雷德·莫里森（Alfred Morrison）（1821－1897）旧藏，编号296/11；
Rt. Hon. Margadale of Islay勋爵旧藏；
Hong Kong Auction, 14 November 1983, Lot 173 (one of a pair);
Hong Kong Auction, 29 April 1997, Lot 689 (one pair);
Hong Kong Auction, 1 May 2000, Lot 737 (one of a pair);
Hong Kong Auction, 8 April 2014, Lot 3054 (one of a pair)
The Jiaqing period perfectly continued the grace and luxury of the Qianlong Dynasty's foreign color ware, the decoration layout is compact, the color is full of decoration, and the decoration is more auspicious, which has a sense of wealth and festivity, and is also the focus of the collection in the art market. This product is full of Shi palace powder glaze for the ground, the abdomen is painted between the two blooming lotus flowers, and the two catfish under the branches are connected, meaning "more than one year in a row", and the heart is red with five bats surrounding a group of longevity words, meaning "five blessings hold longevity".
Looking at the decoration skills of this product, the basic pattern is dominated by the repeated continuous decoration of the complex and gorgeous, but this decoration is not boring and similar, but gives people a unique and exquisite visual experience in many details, which is beautiful and eye-catching.
Collection of the Palace Museum
China Guardian, 11 June 2023, Lot 2880 (Sold for $3,565,500)
The size, shape, ornamentation and style of this product are very similar to the collection of the Palace Museum, but its color and place are different, and the surviving of this kind of palace powder is quite rare. For a similar example, China Guardian released a Qianlong period work that was once treasured by Tianmin Lou in Hong Kong in the spring of 2023, and the transaction price was as high as 3.565 million yuan, which shows the market's recognition of such works.
Yongxuan blue and white crown is eternal, and later generations have admired it, and then imitated it, and masterpieces have come out one after another. Under the dedication of Tang Ying, the two emperors of Yongqian and Qianqian both imitated the ancient fire, each with its own merits. In particular, Yongzheng is a good antiquity, the taste is quite high, and the character of Yongxuan ware Cangyan is the most favored by Yongzheng, and this product is one of the best examples.
Lot 1202
Qing Yongzheng imitates Yongxuan blue and white folded branches and fruit pattern scroll cylinder
"Yongzheng Year System of the Great Qing Dynasty" six-character three-line seal book, Yongzheng Dynasty
D: 41 cm
Source:
Qingkuan family collection;
China Guardian, 9 May 1998, Lot 718;
Beijing Auction, 5 December 2020, Lot 1821
The coil cylinder has plump shoulders and oblique closure, and the shin is convex. The edge of the mouth and the waist of the shin are painted with blue and white sea lines, and the abdomen is painted with folded branches of longevity peach, pomegranate and loquat, and the flowers are folded between them, and the flower style is graceful, and the fruit is full and fruitful. In the traditional pattern, it is often matched with three kinds of fruits, such as peach, pomegranate and bergamot, which respectively imply longevity, sons, and blessings, and this product replaces Buddha's hand with loquat, and paints flowers between them, which is particularly unique. The shape of loquat fruit resembles a pipa, the color is golden, implying abundance and auspiciousness; the pomegranate seeds are abundant, symbolizing many sons and grandchildren, and the heirs of the family dynasty are prosperous; the longevity peach is said to be given by the Queen Mother of the West, and the essence of the sun and the moon is collected for 3,000 years before the flowers bloom and bear fruit, and the eater prolongs life.
This product focuses on using brushstrokes to imitate the painting of Yongxuan, and deliberately pursues the beauty of Yongxuan blue and white in Cangjian and deep, especially the depiction of seawater, which is deeply dyed and has won the essence of Xuanqing.
According to the archives of the Qing Palace, in the eleventh year of Yongzheng, "the Old Summer Palace came to post that the eunuch Jiao Jin had a blue and white magnetic cylinder in the court, a piece of the cylinder head with paste, a piece of warm water pumping and a cylinder frame...... A piece of Nanmu cylinder frame was made on August 24 ......" The "blue and white geomagnetic cylinder" mentioned in the file may belong to this product, and by mentioning the addition of "paste yarn cylinder head", "heater", "water pump", etc., it can be speculated that this type of large tank may have a built-in smoker, or have the effect of incense, and may also be a tea prop. In the Palace Museum's collection of "Hongli Dynasty Xingle Map", there are three layers on the left side of the Qianlong Emperor, which are all tea sets, and the bottom layer is a lapis blue glaze jar.
Image of the Qing Dynasty (detail)
In addition, a review of public and private collections shows that the works with the same shape as this product can be found in the Palace Museum's collection of blue and white jars of the same size, and the theme decoration of the two is the same, except for the auxiliary decoration of the mouth and shin is the entwined flower pattern, the ruyi pattern and the deformed lotus petal pattern.
Collection of the Palace Museum
There is also a blue and white glaze red style, and the mouth is slightly constricted. There are also Shanghai Museum Tibetan gray and blue glaze works, the same type. This also shows that this type of cylinder is the most popular in the court, and it will use the same type of vessel with different decoration techniques.
Collection of the Palace Museum
Collection of the Shanghai Museum
The source of this product is reliable, the circulation is orderly, this product was originally the late Qing Dynasty internal affairs department director Qingkuan family collection. Qingkuan (1848-1927), affiliated to the Yellow Banner, served in the Alcohol Prince's Mansion, entered the Qing Palace's Internal Affairs Office from the Alcohol Prince's Mansion, and successively served as the Secretary of the Three Courts of Neilang, Tang Langzhong, and Jin. Qingkuan was good at painting all his life, and he was good at identifying ancient artifacts. After the Gengzi Incident, Qingkuan, who was deeply trusted by the Empress Dowager Cixi, was ordered to be responsible for collecting the artifacts scattered outside the palace. The Ming and Qing Dynasty official kiln collection of the Qingkuan family has also become one of the most important collections in Beijing in the past century.
Lot 1203
Qing Qianlong blue and white entwined flower pattern ear bottle
"Qianlong Year of the Qing Dynasty" six-character three-line seal book, Qianlong Dynasty
H: 19.3 cm
This product type is born from the bronze style used in the "pitching pot". Pitching pots was a literati game that lasted from the pre-Qin period to the end of the Qing Dynasty. During the feast, the host uses a pitcher instead of a bow, and the guests are entertained to learn etiquette. Later, in the Song Dynasty, this shape was absorbed and fired by the official kiln, the brother kiln, and the Longquan kiln, and then became a vase style. Jingdezhen Imperial Kiln Factory in the Ming Dynasty, take the type of pierced ear bottle, with the theme of the honeysuckle pattern, with banana leaves, waves and other auxiliary patterns, the finished product can be seen in the Beijing Palace Museum collection of Xuande blue and white twined branch pattern through the ear bottle.
The Palace Museum collects Xuande's works
The above-mentioned Xuande example of the Forbidden City is the mother of this lot. Qianlong Mugu, Tang Ying in order to cater to the emperor's preferences and burned many antique artifacts. In the third year of Qianlong's "Clearing the Files of Each Work and Doing Work", it contains: "On June 25, the leader of the seven products, Samuha, and Bai Shixiu, the chief of the seven products, said that the eunuch Gao Yujiao: ...... Xuanyao blue and white double-tube Guanyin bottle...... Tang Ying, who was instructed to hand over the firing of magnets...... All are still burned and sent, and when the burning is finished early, the original magnet will be handed over, and the magnet will still be handed over to the magnet library. There are large vessels in this magnetic vessel, which should be brought with them by the drawing, and each of its small magnetic vessels should be brought with them." According to this, it can be seen that the "Xuanyao blue and white double-barreled Guanyin bottle" mentioned in the archives is the Ming Xuande blue and white twined branch pattern piercing ear bottle mentioned above, and this product is the finished product of "all the same firing". The blue and white ear vase of the Qianlong Dynasty is wider than the neck of the Xuande mother, and the rest are faithfully depicted. In addition to the shape and pattern of the vessel, it also deliberately imitates the rust spots unique to Yongxuan blue and white by means of heavy brush dyeing, which is full of antiquity.
Monochrome glazed porcelain is pure and elegant, few craftsmen are intentional and rich in natural charm, and it has always been valued by the world, and Emperor Yongzheng is also favored. After Tang Ying's painstaking study, in the thirteenth year of Yongzheng (1735), Tang Ying made "Taocheng Chronicle Tablet", which listed 57 kinds of glaze colors of "antique mining", and the antique innovation set the culmination of all colors, so that the production of monochrome glazed porcelain in the Qing Dynasty entered the peak of history, and later generations could not reach it.
Lot 1216
Qing Yongzheng crab shell green glaze melon edge olive
"Yongzheng Year System of the Great Qing Dynasty" six-character three-line seal book, Yongzheng Dynasty
H: 22 cm
It is a melon prism, and there is no pattern in the plain ground. Its shape in the Qing Dynasty imperial kiln means "melon and gourd". The whole body and the inner wall are glazed. Factory official glaze is one of the important varieties of iron crystal glaze, the glaze yellow and green are doped, like the color of fine tea, so the factory official glaze is also called tea glaze. This glaze firing began to be seen in the Tang Dynasty, and the Song Dynasty and Ming Dynasty continued to be burned, with the best products in the Yongzheng and Qianlong periods of the Qing Dynasty. The end glaze of tea leaves is called "factory official kiln glaze" in Tang Ying's "Taocheng Chronicle Tablet". "South Kiln Notes" contains: "The factory official kiln, its color has eel yellow, oil green, purple gold colors, out of the Zhili factory kiln burning, so the name of the factory official, multiple cylinders, bowls and the like, glaze canggu ......." Yongzheng Dynasty factory official glaze, more yellowish hue, that is, eel yellow examples, such as this product glaze color green examples. This greenish glaze color of the factory is also known as "crab shell green", such as jasper, mottled and quaint in brilliance.
Collection of the Palace Museum
This type of melon bottle is rare, there is an example in the Palace Museum, and there is a pair in the National Palace Museum in Taipei, the shape, glaze color and size are the same as this product, which can be compared. Examples of the same type and different glaze colors as this product can also be found in the Palace Museum, such as a pink green glaze, a collection 00151933 number, and a malachite green glaze.
It is particularly worth mentioning that this product is different from the common way of payment of the official glaze of Yongzheng Chao factory. Most of the official glazes of Yongzheng Factory are engraved, and this product and other glaze colors with the same type as this product are all in the six-character seal book blue and white model, which is very special.
Lot 1218
Qianlong of the Qing Dynasty imitates the head of the glazed deer
"Qianlong Year of the Qing Dynasty" six-character three-line seal book, Qianlong Dynasty, with a wooden seat
H: 29 cm、H: 30.7 cm（含座）
Source:
A private collection in Japan, in 1975, it was once identified as a Qianlong imperial kiln work
Deer head is often seen in the Yongqian Imperial Kiln, pastel, blue and white, all colors of glaze are available, but most of them are wide-mouthed style, such as this product is extremely rare. This product has a straight mouth and a long neck, and the shoulders are decorated with double deer ears. The whole body of light element, the imitation Ru glaze of the application of optoxation and opacity, the glaze color is uniform and pure, the history of Ru kiln in the Song Dynasty, the imperial kiln of the Ming and Qing dynasties are imitated, especially the Qianlong Emperor Ya good antiques, the imperial kiln is based on the precious porcelain of the Song Dynasty in the palace collection, the antique skills are pure, and the antique skills are pure, and they can be chaotic and true.
This product is particularly wonderful because of the deer ears decorated on both sides, the image is vivid and realistic, and the fresh and elegant imitation Ru glaze color is quite suitable, which is a rare product. "Deer" is homophonic to "Lu", and there is a symbol of power of "chasing the deer in the Central Plains", so its image is highly favored in the Qing court. This product combines the deer head, a symbol of Manchu safari culture, with the Ru glaze, a spiritual model of the Han nationality, into one vessel, and also skillfully conveys the deep political concept of the Manchu emperor to the Manchu and Han people, which shows that the relationship between this kind of artifact and the king must be very close and extraordinary.
Collection of the National Palace Museum, Taipei
Throughout the public and private collections at home and abroad, the surviving similar deer ear is rarely seen in the Qianlong Dynasty, and the glaze color, the shape of the similar straight mouth deer ear is even rarer, there is almost no similar product, at present, it can be known that the Taipei National Palace collection of a case of blue glaze deer ear flat pot, is also a combination of deer ear and antique glaze, and the design concept of this product is consistent, should belong to the Qianlong Emperor cherished things.
Lot 1217
Qianlong of the Qing Dynasty imitates Ru glazed melon bottle
"Qianlong Year of the Qing Dynasty" six-character three-line seal book, Qianlong Dynasty, with Japanese packaging
H: 27.3 cm
The bottle is a ten-petal melon ridge type, the mouth of the sunflower, the bottom is also concave, and the bottom has ten circular burn marks. The whole body imitates Ru azure glaze, and the glaze color is quiet and elegant, like the sky.
Ru kiln is the first of the five famous kilns of the Song Dynasty, because of its delicate and elegant shape and pure and ethereal glaze color and was admired by the emperors of the past dynasties, the Ming Dynasty court has sent the old collection of Song porcelain samples in the palace to make the Jingdezhen Imperial Kiln Factory imitate, the literature called "Song ware". The Manchu Mugu style prevailed, and the Yongzheng period began to fire imitation Ru kiln porcelain. In the thirteenth year of Yongzheng (1735), Tang Ying's "Taocheng Chronicle Tablet" contained "imitation copper bone without pattern Ru glaze, imitation Song ware cat food plate, human face wash color; This product should belong to the category of "imitation copper bone caviar glaze". Emperor Qianlong also highly respected, issued many orders to imitate burning, and once wrote a poem to sigh "the official is called a famous product, and the new bottle system is more beautiful".
National Palace Museum, Taipei
During the Qianlong period of Yongzheng, the production of the imperial kiln factory is ancient but not muddy, although the glaze imitates the Song Dynasty, but the shape is mostly new to the dynasty. This product is the Qianlong Dynasty innovative type, and the National Palace Museum in Taipei has a Qianlong Dynasty imitation brother knot bottle, which is similar to the type of this product.
Cocoon Mountain Longquantang Collection
This two-type melon bottle or from the Song Dynasty green and white melon ridge pot cut, with reference to the cocoon mountain Longquan Hall collection of a Song Dynasty green and white porcelain melon-shaped water injection, the body of the pot is very similar to this product, the open mouth is slightly skimmed, the neck is tied, the shoulders are folded, the abdomen is melon prism, and the bottom is adducted. The method of burning at the bottom of this product is also the meaning of antique.
The work file of the Qing Palace Office
In addition, the "Qing Palace Office Work File" contains that on February 26, the fourth year of Qianlong (1739), "on the 27th of this month, the eunuch Hu Shijie handed over a sunflower petal sac to Ruyao...... On the sixth day of the first month of March, a piece of Ru kiln sunflower petal flower sac will be worthy of a seat", which mentions that "Ru kiln sunflower petal flower capsule" may be the mother of this product.
Lot 1219
Qianlong of the Qing Dynasty imitates the glazed flea ear pomegranate zun
"Qianlong Year of the Qing Dynasty" six-character three-line seal book, Qianlong Dynasty
H: 20 cm
Source:
Private collection, Hong Kong
The pomegranate was burned in the Xuande Imperial Kiln of the Ming Dynasty, and there were many firing in the Yong and Qian dynasties, becoming the classic porcelain type of the Imperial Kiln of the Qing Dynasty. Named because it resembles a pomegranate, the pomegranate seeds are full, and it is an auspicious fruit from the Western Regions, which has the auspicious meaning of "many sons and grandchildren, and a hundred sons of pomegranate", symbolizing the prosperity of descendants.
This product is full of imitation glaze, the glaze is elegant and fresh, like ice like jade, and the ice cracks on the surface are like gold wires, which are scattered. The two generations of emperors of Yongqian are good and elegant and ancient, so the antique glaze process of Yongzheng and Qianlong imperial kilns is pure, and it has both form and spirit.
Hong Kong Auction, Lot 1528 29 May 2007 (sold for HK$1,440,000)
Consult the public and private collections, and there is no one with the same glaze color and shape, which proves that this product is rare. It is very rare to see the same kind of ware with the opening pattern of the Qianlong year, which can refer to a larger imitation glaze example, with a long neck and decorated with animal faces, which is the old collection of the Asukai family, sold at the Hong Kong auction on May 29, 2007, lot 1528, and sold for HK$1.44 million.
This product is applied to the new style of the dynasty with imitation Song glaze color, and uses a wide mouth worm ear, which is more elegant and elegant, which can be described as a unique face of melting the ancient and casting the present, and is a masterpiece of the Qianlong Imperial Kiln.
China Guardian Spring Auction 2024
Shanghai Boutique Exhibition, April 27-29, Grand Ballroom, 2nd Floor, Shanghai Tower (501 Yincheng Middle Road, Pudong New Area, Shanghai)
Phase 1: 20th Century & Contemporary Art, Porcelain & Antiques, Treasures, Classical Furniture & Crafts, Jewellery & JadeWatchesPreview: 7 May – 10 MayAuction: 11 May – 12 MayVenue: Guardian Art Center
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Online Auction Consultation: 15010006220 / 15910807786 ext. 9
Official website: www.cguardian.com
Contact Email: [email protected]
Address: No. 1, Wangfujing Street, Dongcheng District, Beijing
China Guardian (Hong Kong) International Auction Co., Ltd
Customer Enquiries: (852) 2815 2269
Contact Email: [email protected]
Address: 5th Floor, Lippo Centre One, 89 Queensway, Hong Kong
Liaison with regional offices
Shanghai
Tel: (86-21) 5466 0508
E-mail: [email protected]
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Guangzhou
Tel: (86-20) 3808 8589
Email: [email protected]
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nanking
Tel: (86-25) 8670 2356
Email: [email protected]
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Hangzhou
Tel: (86-571) 8535 9925
Email: [email protected]
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Xiamen
Tel: (86-592) 566 9168
E-mail: [email protected]
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Taiwan
Tel: (886) 2 2757 6228
Email: [email protected]
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Japan
Tel: (81-3) 6206 6682
Email: [email protected]
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United States
Tel: (212) 308 8889 / (888) 799 8830
E-mail: [email protected]