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国内拍卖首页 > Dore & Rees > 精美亚洲艺术（一） > Lot 202

A LIME-GREEN GROUND FAMILLE ROSE 'LOTUS' VASE JIAQING SEAL MARK IN IRON-RED AND POSSIBLY OF THE

英国

05月19日晚上6点30分开拍

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拍品描述: PERIOD 粉彩‘连年有鮽“缠枝花卉纹天球瓶? 大清嘉庆年制款 enamelled with four large lotus blossoms borne on scrolling tendrils, flanked a divided by double-catfish symbols between ruyi and lappet bands, the neck is decorated with similar lotus blooms beneath bats and a stylised pink rim 39.5cm high PROVENANCE:?Private collection, England Ex private London collection, acquired prior to 1920 and thence by descent within the family until acquired by the current owner in 2010.? NOTE: This vase was acquired from Lyon & Turnbull Scotland on the 3rd June 2021, lot 249. It was subsequently offered for sale with China Guardian Beijing, 27th June 2022, lot 2838. The above provenance was provided by Lyon & Turnbull at the original sale.? The vase is now being re-offered for sale by the family. ? The globular vase, known as a tianqiuping originated during the Yongle and Xuande periods of the Ming dynasty at the imperial kilns of Jingdezhen. Inspired by similar forms in West Asian metalwork, the tianqiuping quickly became a classic object of imperial display, admired and emulated by subsequent generations. During the Yongzheng and Qianlong reigns of the Qing dynasty, in addition to reproducing Ming blue-and-white examples, the imperial workshops also innovated new varieties of tianqiuping in underglaze red, monochrome glazes, famille rose (fencai), and doucai techniques, in various sizes to suit courtly taste. Among these, the famille rose examples with colored grounds were among the most prestigious and highly esteemed. Bold and sumptuous, this superb tianqiuping exemplifies the technical and artistic brilliance of the imperial kilns at Jingdezhen during the early Jiaqing reign. The elegant globular body, surmounted by a tall slender neck, rises from a recessed foot, all brilliantly enamelled against a lustrous celadon-green ground. The design is meticulously rendered in famille-rose enamels: bats fluttering amidst lotus scrolls encircle the neck, while the body is adorned with passionflowers entwined with auspicious fishes and treasure motifs, forming the rebus liannian youyu (连年有余), conveying wishes for blessings and abundance. The interior and recessed base are covered in a vibrant turquoise glaze, and the rim and foot are gilded, highlighting the vessel’s courtly opulence. A six-character iron-red seal mark reading Da Qing Jiaqing nianzhi is inscribed on the base. This splendid vase features a straight mouth, a long slender neck, and a full globular body, all resting on a neatly recessed foot. The rim and foot are gilded, enhancing its luxurious and noble appearance. The interior mouth and base are covered in a rich turquoise glaze of a luminous, jade-like quality. The exterior is fully decorated in famille rose enamel against a bright celadon-green ground: the neck is encircled with lotus scrolls interspersed with bats; the body is adorned with a luxuriant design of passionflowers entwined with fishes and auspicious emblems, conveying the wish for "abundant blessings and prosperity". The shoulder and lower body are further embellished with peony scrolls on a pink ground and stylized lotus petal panels. The six-character reign mark "Made during the Jiaqing reign of the Great Qing" (Da Qing Jiaqing nianzhi) is inscribed in iron red in seal script within three vertical lines on the recessed base. The entire composition is characterized by meticulous linework, rich and vibrant colors, and masterful layering of enamels. Though highly ornate, the decoration is arranged with perfect balance and order, demonstrating the extraordinary technical prowess of the imperial workshops. The bats (fu) combined with the pendant fishes (yu) under the passionflowers form a rebus for "abundant blessings and surplus," embodying the Qing dynasty’s deep preoccupation with auspicious symbolism. The pursuit of auspicious themes reached a zenith during the Qianlong period, where "every decoration must bear an auspicious meaning." Imperial archives, such as the Palace Memorials and Drafts, record that in the 12th year of Qianlong (1747), palace officials were instructed: "During New Year offerings, works using yangcai (foreign enamels) and auspicious new motifs may be freely submitted." This decree underscores Emperor Qianlong’s special favor toward yangcai innovations incorporating auspicious themes. Yangcai (literally "foreign colors") refers to porcelain painted in famille rose enamels using Western-inspired painting techniques, a precious artistic innovation born from cultural exchanges between the Qing court and Europe during the 18th century. The introduction of colored-ground famille rose tianqiuping dates from the Qianlong reign. According to the Archives of the Imperial Workshops, an edict issued in 1737 (Qianlong 2nd year) commanded the production of large vases modeled after yangcai examples with flower scroll designs. Similarly, in 1738, orders were placed to create enlarged versions of Xuande-style globular vases. A comparable green-ground famille rose tianqiuping is recorded as having been submitted to the Ningshou Palace in 1784 (Qianlong 49th year). By the Jiaqing reign, the imperial kilns at Jingdezhen no longer had a dedicated supervisor; production was overseen by local officials. Though the scale and quantity of output diminished, stylistic continuity with the Qianlong era was rigorously maintained. Early Jiaqing porcelain sometimes continued to bear Qianlong reign marks, and the high technical standards of the Qianlong period were largely preserved, giving rise to the term "Qian-Jia ware". Nonetheless, reflecting the gradual decline of Qing imperial strength, production budgets were reduced: records show that by 1799, the annual kiln budget was cut from 10,000 to 7,000 taels of silver, and later to just 5,000 taels. By 1806, it was decreed that the quantity of porcelain offered to the court should be halved. Despite these constraints, the production of highly challenging and costly pieces such as this green-ground famille rose tianqiuping with the auspicious "abundance" motif continued during the Jiaqing era — a testament to the court’s enduring fondness for these luxurious, symbolically charged creations. Surveying both public and private collections, it is notable that among Jiaqing yangcai wares, examples with green grounds appear in relatively greater numbers, suggesting that this color was particularly favored by the Jiaqing emperor. This magnificent vase, crafted according to imperial specifications and rooted in the courtly aesthetics of the Qianlong era, reflects both adherence to tradition and the artistic ingenuity of Jingdezhen potters. Judging from its form, decoration, and reign mark, it likely dates to the early Jiaqing period. Its refined shape — with a longer neck and slightly tapering lower body, enhancing the globular fullness — lends it a stately yet graceful air. The lush decoration, rich in auspicious symbolism, and the exceptional quality of the enameling mark this as an outstanding example of early 19th-century imperial porcelain, fully worthy of the highest appreciation.
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