International studio (60.1916/1917)

Chinese Ceramic Collections in Museums

plates of the “rose-back” variety, centred by one
of the famed “seven border” plates, its reverse
border showing a rouge d’or souffle glazing of typ-
ical quality. The decoration on the face, in deli-
cate and half-toned enamel colours of the
famille rose palette, includes seven distinct bor-
ders of varying designs, which frame the white
leaf-shaped centre; this
panel is separately paint¬
ed and represents a do¬
mestic scene, with young
lady in rich Manchurian
attire, seated midst ele¬
gant surroundings. Near
her are two young boys,
one of them holding a
lotus blossom (while a
favourite symbol, it also
indicates the season to be
summer). The other boy
is pictured playing with
a golden toy-like sceptre
(jwT), introduced as an
emblem for his future de¬
sired station. The table
close by is laden with art
objects and books, also a
dragon jar that holds
manuscript scrolls, while
a purplish-blue vase con¬
tains the “coral stick”
and “peacock feather”
emblems. These care¬
fully rendered accessories
indicate that the children
belong to the mandarin
class and that their
father has reached high
scholarly attainment
with a “three grade”
promotion. This plate
dates from the eighteenth
century (early Ch’ien-
lung period) and its di¬
ameter is 8^2 inches.
The other famille rose
eggshell plate, shown to the right, is also dec-
orated in delicate overglaze colours. The centre
presents a landscape with two young girls, one
a flower girl and the other a shepherdess, whose
flock is represented by three sheep. The wide
framing border sustains a pink diaper of honey-

comb pattern, relieved by white reserves, in oval
and oblong vignette shapes, enclosing orchids
and other flowers. Era of Ch’ien-lung (1736-95).
The eggshell porcelain plate to the left, includ-
ing a rose (rouge d’or) back, with delicate over-
glaze decoration in varied enamel colours of the
famille rose palette, represents a richly attired
lady of the mandarin
class seated midst varied
objects of luxury and
use, together with her
three children; the
youngest boy is pictured
with a ju-i (sceptre) as
an emblem for the de-
sired future (that all
things may be as wished
for). Of the surrounding
three borders, the widest
sustains a delicate pink
honeycomb, interrupted
by three petal-shaped
white reserves enclosing
varied floral details in
harmony with the cen-
tre; the two flanking
borders are narrow. Era
of Ch’ien-lung.
Cut No. 2 presents an
eggshell porcelain cup
and saucer, together with
two eggshell porcelain
plates. The deep-shaped
plate to the right with
rich overglaze decoration
in brilliant colours of the
famille rose palette, pre-
sents a yellow and black
Cochin Chinese rooster
standing on the ground
close by a pink peony.
This bird’s head is turned
as he looks at his fellow
perched on an open rock-
ery of bright blue, close
to which spring pink and
white peonies with bluish-green leaves growing
amid yellow and purple asters, I he diapered
border shows flowers in black on pale-blue ground,
interrupted by three white oblong reserves with
foliated ends, involving sprays of red peony flow-
ers, chrysanthemum and fruit details. Era of Ch’ien-

NO. 7


LXXIV