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AUSPICIOUS FLOWERS - TIMELESS POEMS
During the Kangxi period finely potted wine cups were produced at the imperial kilns that were painted in underglaze blue and overglaze famille verte enamels in wucai style with individual flowers that designated each of the twelve months of the year. The design format of these cups with a pictoiral composition on one side and a poetic inscription ending in a seal mark on the other was inspired by the long tradition in classical painting and was an innovation of the Kangxi period. The use of poetry, calligraphy, painting and seals on porcelain adds an extra dimension in the appreciation of these otherwise utilitarian vessels. The body of these cups is so thin that it appears almost bodiless when held against the light. The effect of the underglaze blue is soft and delicate, while on wucai types, there is a pleasing contrast between the soft blue and the bright enamels. The Kangxi emperor was very fond of them, to the extent that they accompanied him on several of his Southern Tours.
The twelve flowers painted on these cups are selected following the traditions of the Flower Festival, which falls on the 15th day of the second month in the Chinese calendar and is said to be the birthday of all flowers, signifying the arrival of springtime. Each of the flowers represents a month, and The Y.C. Chen Collection includes those decorated with peony (fourth month), pomegranate (fifth month), lotus (sixth month), orchid (seventh month), chrysanthemum (ninth month), rose (eleventh month), and prunus (twelfth month) in both blue and white and wucai examples.
Although the tradition of celebrating the Flower Festival has disappeared from the modern calendar, it was well celebrated during the Qing Dynasty. On this day, people would make coloured paper flowers or use coloured ribbons to decorate trees and plants; memorials would also be held for the Gods of Flowers. Temples dedicated to the Gods of Flowers can be found in the Summer Palace in Jehol, attesting to the popularity of this festival at court. It is quite possible that these cups may have been commissioned to be used as part of the ceremony to commemorate these Flower Gods.
The Kangxi Emperor regarded Tang poems with high esteem. They were the subject of many of his calligraphic works, which he often gave as gifts to his ministers. He also favoured the use of these poems to decorate panelled screens or porcelains, although none are as refined as these 'month cups.' The verses on the cups are carefully chosen to describe or allude to the characters of the flowers, without ever mentioning their names directly. They not only complement the painted decoration, but can also be read as a kind of puzzle - only those who are well versed in Tang poetry can tell instantly which flowers the poems are describing (the answer to which is provided by the pictorial representation on the reverse), providing added pleasure for a learned scholar. The combination of poems and enamelled decoration on fine porcelain was a new invention on Imperial wares during the Kangxi period, and this decorative theme served as the prototype to the celebrated falangcai wares of the later periods.
A FINE FAMILLE VERTE 'PEACH BLOSSOM' CUP
KANGXI SIX-CHARACTER MARK WITHIN DOUBLE-CIRCLES AND OF THE PERIOD (1662-1722)
细节
A FINE FAMILLE VERTE 'PEACH BLOSSOM' CUP
KANGXI SIX-CHARACTER MARK WITHIN DOUBLE-CIRCLES AND OF THE PERIOD (1662-1722)
The cup is delicately potted with flaring sides, with the exterior painted and enamelled representing the third month with a luxuriant blossoming peach tree growing from a grassy plane. The reverse has an inscription which may be translated to 'The swallow returns when the blossoms sway in the breeze; the farmer returns to his field in this season late in Spring', followed by a seal mark reading Shang, 'Appreciation'.
2 7/16 in. (6.5 cm.) diam.
KANGXI SIX-CHARACTER MARK WITHIN DOUBLE-CIRCLES AND OF THE PERIOD (1662-1722)
The cup is delicately potted with flaring sides, with the exterior painted and enamelled representing the third month with a luxuriant blossoming peach tree growing from a grassy plane. The reverse has an inscription which may be translated to 'The swallow returns when the blossoms sway in the breeze; the farmer returns to his field in this season late in Spring', followed by a seal mark reading Shang, 'Appreciation'.
2 7/16 in. (6.5 cm.) diam.
荣誉呈献
Nick Wilson
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