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拍品專文
A chrysanthemum-shaped bowl with the same poem gilded on the interior is in the Percival David Foundation, British Museum, included in the exhibition, For the Imperial Court, 1997, and illustrated by R. Scott in the Catalogue, no. 19, where the author translates the poem as follows:
It is made in the form of a fragrant chrysanthemum,
And yet it is even more delicate,
Drinking tea from it may be likened to sipping dew,
from a newly plucked blossom.
Imperially inscribed in the Spring of the Bingshen year of the Qianlong reign.
The present dish belongs to a group, either produced in ceramics or lacquer, that were inspired by early lacquerwares that were made using a tuotai or 'bodiless' technique. Porcelain was often made to simulate the shape and texture of other media, especially since it was a medium that was relatively easy to control and decorate to the high standards of Imperial quality. Related to the present porcelain dish and illustrated in Zhongguo Qiqi Quanji, vol. 6, Fujian Meishu Chubanshe, 1993, are a chrysanthemum-shaped lacquer covered bowl inscribed in gilt with the same poem, no. 3; and a similarly shaped dish with a poem dated to 1774 in praise of early lacquerware, no. 2. Another lacquer example, also with an inscription dated to 1776, was exhibited at the 1935-36 International Exhibition in London, and published in A Commemorative Catalogue of the International Exhibition of Chinese Art, no. 2957; and another is illustrated by Wan-go Weng and Yang Boda in The Palace Museum, Peking, Treasures of the Forbidden City, pl. 174. A fine lacquer dish with an imperial poem dated to 1774, was sold at Christie's London, 6 June 2000, lot 207.
Compare the present dish with other slighly larger porcelain examples that are glazed coral-red and gilt with poems. Cf. the dish in the Baur Collection, illustrated by M. Beurdeley and G. Raindre, Qing Porcelain, Famille Verte, Famille Rose, Thames and Hudson, 1987, no. 224; the covered bowl and dish in the Palace Museum, Beijing, illustrated in Kangxi Yongzheng Qianlong, 1989, p. 402, pl. 102; and a pair of bowls with covers, also bearing a cyclical dated to 1776, are illustrated in Qingdai Ciqi Shangdian, 1994, no. 217. Such dishes have also been sold at auction, such as the pair from the Jingguantang Collection, sold at Christie's Hong Kong, 5 November 1997, lot 865, dated to 1774.
R. Scott also mentions, op. cit., 1997, p. 76, that the chrysanthemum, together with bamboo, orchid and prunus, is regarded as one of the "four gentlemen of flowers" and was a favourite subject of painters and craftsmen. It is mentioned in early classical Chinese literature such as The Book of Odes, and is a symbol of autumn and longevity.
It is made in the form of a fragrant chrysanthemum,
And yet it is even more delicate,
Drinking tea from it may be likened to sipping dew,
from a newly plucked blossom.
Imperially inscribed in the Spring of the Bingshen year of the Qianlong reign.
The present dish belongs to a group, either produced in ceramics or lacquer, that were inspired by early lacquerwares that were made using a tuotai or 'bodiless' technique. Porcelain was often made to simulate the shape and texture of other media, especially since it was a medium that was relatively easy to control and decorate to the high standards of Imperial quality. Related to the present porcelain dish and illustrated in Zhongguo Qiqi Quanji, vol. 6, Fujian Meishu Chubanshe, 1993, are a chrysanthemum-shaped lacquer covered bowl inscribed in gilt with the same poem, no. 3; and a similarly shaped dish with a poem dated to 1774 in praise of early lacquerware, no. 2. Another lacquer example, also with an inscription dated to 1776, was exhibited at the 1935-36 International Exhibition in London, and published in A Commemorative Catalogue of the International Exhibition of Chinese Art, no. 2957; and another is illustrated by Wan-go Weng and Yang Boda in The Palace Museum, Peking, Treasures of the Forbidden City, pl. 174. A fine lacquer dish with an imperial poem dated to 1774, was sold at Christie's London, 6 June 2000, lot 207.
Compare the present dish with other slighly larger porcelain examples that are glazed coral-red and gilt with poems. Cf. the dish in the Baur Collection, illustrated by M. Beurdeley and G. Raindre, Qing Porcelain, Famille Verte, Famille Rose, Thames and Hudson, 1987, no. 224; the covered bowl and dish in the Palace Museum, Beijing, illustrated in Kangxi Yongzheng Qianlong, 1989, p. 402, pl. 102; and a pair of bowls with covers, also bearing a cyclical dated to 1776, are illustrated in Qingdai Ciqi Shangdian, 1994, no. 217. Such dishes have also been sold at auction, such as the pair from the Jingguantang Collection, sold at Christie's Hong Kong, 5 November 1997, lot 865, dated to 1774.
R. Scott also mentions, op. cit., 1997, p. 76, that the chrysanthemum, together with bamboo, orchid and prunus, is regarded as one of the "four gentlemen of flowers" and was a favourite subject of painters and craftsmen. It is mentioned in early classical Chinese literature such as The Book of Odes, and is a symbol of autumn and longevity.