The yongzheng and Qianlong periods of the imperial kiln pastel porcelain technology has been very mature, firing all kinds of exquisite and elegant patterns comparable to the brush scroll, is a previous generation of miracles, the emperor is also very favored by this. Like the pattern of the hibiscus dragonfly in this product, it also pins on the elegance of the emperor.
Qingqianlong Pastel over branches autumn water hibiscus dragonfly picture plate
"Qianlong Year system of the Great Qing Dynasty" six-character three-line seal book, Qianlong Ben Dynasty
Diameter D13 .6cm
This Qingqianlong pastel over-branch hibiscus flower dragonfly pattern plate, which will be presented to collectors at the 2017 Spring Auction--- of China Guardian, is an unforgettable gem in the pastel of the Qing Dynasty Imperial Kiln. The pastel of the Imperial Kiln of the Qing Dynasty, which began in the late years of the Kangxi Dynasty, is a new product based on the five-colored porcelain and the fusion of enamel color techniques. Yongzheng shi pastel skills are perfect, well-made, famous in later generations, and there are many imitators in later generations, which is best made by the Qianlong Dynasty.
Qingqianlong Pastel over the branches of autumn water hibiscus dragonfly picture plate back
In the porcelain work files and furnishing files of the Qing Palace Interior Affairs Office, there is no pastel name, but there is a so-called "foreign color", and all kinds of literature written by Tang Ying, the overseer of the kiln at that time, also do not see pastel, and the Tao Cheng Chronicle Record Yun "Foreign color vessels, new imitation of Western enamel painting methods, figures, landscapes, flowers, feathers, all are exquisite. Therefore, some scholars believe that this "foreign color" is what later generations call pastel. In the section on pigments in the Statutes of the Imperial Kiln Factory composed by Tang Ying, it is mentioned that "if there is a kind of five colors in the kiln, it is necessary to paint a vessel with one hand, and if the foreign color vessel is tied to the top of the fine work, after painting as usual, it is also necessary to paint the hand coloring and dyeing." Therefore, if you paint color and fill in the two items separately, you will calculate the size price for the item. "As for the process involving pastels such as color blowing and cone brocade, due to the complexity of the process, the production is difficult, and the labor price must be calculated separately." In the eighth year of Qianlong (1743), Tang Ying was ordered to compile the "Taoye Atlas", saying that Yangcai porcelain "must be a master of painting, finely blend all kinds of pigments, paint and burn with white porcelain pieces, and must be familiar with the nature of pigments, which can be from coarse and fine, mature and skillful, always with clear eyes and hearts, and accurate hands."
Qianlong Pottery Atlas
Although the production is cumbersome and difficult, the cost is not cheap, but the pattern effect presented by pastel porcelain is indeed excellent. Such as this product - pastel over the branches of hibiscus dragonfly pattern plate, a bush of hibiscus mixed with a few strands of reed grass, starting from the outside of the bottom edge, flowers and leaves are sparse, exquisite over the branches, the front branches are covered with delicate and soft breeze, two blooming hibiscus flowers are fresh and feminine, such as the beauty is relatively smiling after drunkenness. A few buds are shy to be put away. There was a dragonfly in the air, flapping its wings and flying, its whiskers slightly open, and its body slightly arched, as if it would fall on the flowers. The brushstrokes are delicate and clear, the delicate lines of the petals and branches are unambiguous, and the texture on the wings of the dragonfly and the protrusions on the claws are also delicate. The color is also soft and changeable, and the hibiscus flower is known for its shades of color, and has the name of "three changes in one day".
Qingqianlong Pastel Over Branches Autumn Water Hibiscus Dragonfly Picture Plate Dragonfly Partial
The hibiscus petals painted on the plate are white and slightly yellow-green near the center of the flower, the tips of the petals are like the rouge of the beautiful lips, the bottom of the flowers is covered with glass white, and the transparent veins are scratched in the direction of the petals stretched by the tip, making the flowers suddenly add vitality as if they were true. The green leaves are intended to set off the flowers, but the shape, color, and back of each piece are different, or verdant, or slightly yellowish green, looking elegant and natural, without the slightest sense of pretentiousness.
Qingqianlong Pastel over branches Autumn water hibiscus dragonfly picture plate flower part
Before pastel porcelain is applied, the "glass white" mixed with arsenic powder is used as a base, and the color grading is sometimes repainted with oil and brushwork, and there is a difference between yin and yang to the back. In addition, some of the pastel pigments use Western formulas, rich colors, so the flowers, birds and cordyceps painted are more vivid and realistic, and a large number of techniques have been explored and innovated to achieve this light and soft pastel over-branch hibiscus dragonfly pattern plate.
The beauty of the layout and composition of this product is seen in the use of the "over-branch" technique. The branch is also known as "over the wall", that is, the flower painting layout connects the inner and outer walls of the bowl, and the pattern stretches from the outer wall of the plate to the edge of the plate, so that the inner and outer patterns are both independent and integrated. In the late Qing Dynasty, Chen Liu's "Tao Ya" recorded: "After gengzi, there are colorful branches and bowls. Those who pass through the branches and clouds, from this side to the other side, the branches are connected, and the flowers and leaves belong to each other, all of which are Yongzheng Guan Kiln. "The use of the branching technique first appeared in the late Kangxi Dynasty, especially multicolored porcelain, and those who use this method are of extraordinary quality. The Yongzheng Dynasty's branches were obviously derived from this, and combined it with the essence of the Song people's realistic flower and bird paintings, thus creating a new aesthetic mood. The Qianlong Dynasty was followed, mainly in the early vessels that are still used, such as this product.
Autumn water hibiscus, also known as wood hibiscus, its flowers bloom in late autumn, frost invaded Luling but plump and beautiful, occupying the late autumn style, so there are poems that say that it is "a thousand forests sweep a yellow, only hibiscus alone fang". Especially suitable for planting waterside, when flowering, sparkling flowers and shadows, reflecting each other, extraordinarily charming, so the "Long Thing Chronicle" cloud: "Hibiscus should be planted on the shore of the pond, the water is better, if you plant it elsewhere, there is no abundance." The Song people's poem "Ice Bright Jade Run Natural Color" is described as beautiful and natural as ice, describing it as clear and flawless as ice, and as moist and radiant as jade. In addition, the fu of fu is pronounced "fu", "fu", "rong" and "rong" homophonous, so it has become a symbol of "wealth and glory".
According to the work records of the Qing Palace Office, on May 24, 10th year of Yongzheng, "the chief Samuha held a four-inch porcelain plate with a painting of enamel hibiscus, and passed on the instructions: According to the size of this plate, draw a pair of four-inch porcelain plates of black and white plum blossoms." "Hibiscus patterns are also often seen on the enamel and pastel porcelain used by the Qing Palace. Dragonflies are a common object in Wing Chun poetry, Liu Yuxi's "Spring Words" poem "New makeup should be under the Zhu Lou, deep lock spring light a courtyard sorrow." Walk to the atrium to count the flowers, and the dragonflies fly up to the jade scratch their heads. "The most famous, but in painting and crafts is far less common than butterflies and dragonflies symbolizing many children, it can be seen that this product Is qianlong pastel over the branches of hibiscus dragonfly pattern plate is particularly rare."
Jiang Tingxi Flower Cordyceps Book Collection of the Palace Museum
This kind of elegance is pleasing to Yin Chan, and he moves it to a porcelain plate, which can be appreciated and interesting all year round. At that time, the royal utensils undertaken by the manufacturing office, and the production of each piece, need to go through the procedure of "submitting the core and then doing it". If the production of this product must first be drawn by the court painter, it will be approved by Yin Chan and then sent to the Royal Kiln Factory for firing. The design of his drawings often has to be revised several times before it has the beauty of the qingyan seen today. The paintings will surely come from the hands of the court painters Jiang Tingxi and Zou Yigui of the current dynasty, and the two teachers will be under the yun shouping door, emphasizing the style of shape and shape, and their flower and bird paintings follow the boneless painting method of Xu Chongsi of the Southern Tang Dynasty. Qing Qin Zuyong's "Tong Yin On Painting" commented that Zou Yigui's flowers "dot petals with heavy powder." It is later dyed in a pale color. The powder protrudes from the enzyme. "This style of creating texture with heavy powder and rendering in light colors is the same as the Qingqianlong pastel over-branch hibiscus dragonfly pattern plate we saw, and I think its powder should have a great relationship with Zou's." His painting style conforms to the aesthetic orientation of the Yongzheng Emperor and also integrates the appreciation charm of the Yongzheng Emperor. Shengping Shengshi Tianzi was elegant, and the court painters and the imperial kiln masters cooperated seamlessly, and finally achieved this exquisite and wonderful pastel porcelain like a sketch.
Zou Yigui Flowers eight open Tianjin Museum collection
Hongli has been deeply influenced by his father's aesthetic since childhood, and his love for autumn water hibiscus is difficult to retreat. When he was still a prince, he gave a poem praising Qiushui Furong, see Qianlong's second year of the "Complete Collection of Imperial Music and Shantang", volume 35 of the "Present Body Poem" • "Autumn Water Furong", a poem is "Autumn water is full of water in the sky, Furong is lonely and blue in the waves." It is difficult to offer the cold to the crowd, and take advantage of the cold to put the evening bush. The green cover light is heavy and the jade dew is deep, and the neon clothes are faded with old golden phoenixes. Love to see three or five stars like, long memories of bustling ten miles red. ”
Qianlong Second Year Edition "The Complete Collection of Imperial Music And Shan Tang" Volume 35 of "Present Body Poems" • "Autumn Water Furong"
In the Qianlong period, this poem of praise appeared on important imperial porcelain many times alone or in combination, echoing the picture of autumn water hibiscus, which can be seen in the depth of his love for this object.
Qingqianlong Pastel Flower Poetry Gua Ridge Bottle Local Picture
This product inherits the same kind of utensils from the Yongzheng Dynasty, and there are only a few examples of hibiscus painted by the Yongzheng Dynasty pastel over-branched vessels, and the two examples similar in layout, ornamentation and style are the "Kiyoyongshi Pastel Peony Dragonfly Chart Plate" in the Tokyo Umezawa Memorial Museum, and the "Qingyongzheng Pastel Over-branch", "Okra Dragonfly" Plate in the Meiyin hall Collection. It can be seen that the facsimile of this product should have come from the above-mentioned Yongzheng Imperial Porcelain object, which is an example of the aesthetic overlap between Yongqian's father and son.
Tokyo Umezawa Memorial Museum Collection "Kiyoyongzheng Pastel Peony Dragonfly Picture Plate"
Mei Yin Tang Collection "Qing Yongzheng Pastel Over-branch "Okra Dragonfly" Picture Plate "A Pair (Front and Back)
The same as the same imperial porcelain as Yongzheng, Qianlong's autumn water hibiscus dragonfly chart disk is also extremely rare, reviewing public and private publishing materials, there are currently four cases of the same as this product, namely:
In the Victoria and Albert Museum, United Kingdom, in Rose Kerr, Chinese Ceramics.Porcelain of the Qing Dynasty 1644-1911, London, 1986, p. 112, plate 97.
Collection of the National Museum of Victoria and Albert, UK
2. In the Metropolitan Museum of Art, New York, in Oriental Ceramics: The World's Great Collections, Tokyo, New York, San Francisco, 1980-82, Vol. 11, No. 158;
The Metropolitan Museum of Art in New York holds the Qianlong Autumn Water Hibiscus Dragonfly Plate
In the Asian Art Museum of San Francisco, USA, in Heraey, Chinese Ceramics.A New Standard Guide, London, 1996, plate 673.
The Asian Art Museum of San Francisco holds the Qianlong Autumn Water Hibiscus Dragonfly Plate
4. Collected in the Changshu City Museum of Jiangsu Province, included in "Changshu City Museum Collection of Porcelain", Figure 80, People's Fine Arts Publishing House, 1999, Beijing.
Changshu City Museum Qianlong Autumn Water Hibiscus Dragonfly Picture Plate
Among them, the Victoria and Albert Museum in the United Kingdom, and the Changshu City Museum in Jiangsu Province, two cases of "Qingqianlong enamel color over-branch hibiscus pattern plate", the size is consistent with this product, its color, the characteristics of color, color, whether on the hibiscus with the grass or in the smell of incense floating on the dragonfly, all show the same charm of the times, the bottom of the two writing height is consistent, must come from the same person's hand, the overall writing of this style is tough, the pen is broken, of which "dry" is quite unique, Just as the qing palace collection clearly recorded as the writing of foreign color porcelain fired between the third and eighth years of Qianlong, so all such porcelain should belong to the early Qianlong period, but originated from a generation of pottery officials Tang Ying supervised the production of masterpieces.