International studio (60.1916/1917)

Chinese Ceramic Collections in Museums

lung. The eggshell porcelain cup and saucer shown
in the centre of cut is described with overglaze dec-
oration in varied delicate and half-toned colours
of the famille rose palette. The exterior of cup
displaying an escalloped and minutely diapered
light-blue rim border with black “T” pattern,
whilst the reciprocal white field below displays
two Cochin Chinese roosters, painted in varied
plumage of nature, midst rose-coloured peony
flowers which grow near rocky blue ledges. The
inner rim shows a red honeycomb border, inter-
rupted by three floral vignettes and a spray of
magnolia blossoms. The saucer shows a red
honeycomb rim border and three white floral
reserves, together with a similar escalloped bor-
dering and white foliated panel, enclosing the
rooster and peony flower motif, to match the cup.
Ascribable to the era of Ch’ien-lung (1736-95).
The second eggshell plate with “rose-back” and
with a charming overglaze decoration in famille
rose colours of the eighteenth century (era of
Ch’ien-lung). The face with pellucid white
ground presents a scroll with a brilliant plumaged
fly-catcher bird perched upon a flowering peony
twig, doubtless copied from a painting, together
with flowering buds and young bamboo shoots,
while the outer border is filled with plum blos-
soms and foliage.
Cut No. 3 presents a large decorated famille
rose plaque of shallow form and fine white Ta
Ch’ing dynasty porcelain. The opulent decora-
tion rendered in delicate and light half-tones of
the famille rose palette, including a series of five
borders with varied diaper and floral details; in-
volving miniature landscape and floral vignettes.
The centre panel displaying a felicitous entwining
of peony and plum trees, filled with blossoms that
have attracted a pair of white birds of paradise
and two roosters, as seen amid the rich symbolical
flowers. Diameter, 2ij^ inches. Early Ch’ien-
lung period.
Cut No. 4 presents an imperial palace jar (one
of a pair), described as oviformed with short
everted necks and broad bell-shaped cover. Made
for the palace, to imitate fa-lan or French champ-
leve enamelling on gold. The incised decoration
being filled with varied enamel colours on a deep
lapis lazuli blue ground, relieved by pink nelum-
biun flowers and turquoise-blue leafage; repre-
sented as growing in a pond where small white
egrets appear wading in the shallow waters, or
flying over the flowers. The shoulder sustains a

festooning of beads hung with turquoise-coloured
pendants; while the neck displays the symbolism
of detached cloud patches and the base is bor-
dered by an ornate palmation in harmony with
the flower motif above. The foot underneath
bears an impressed (nien hao) seal mark. Made
era of Ch’ien-lung. Height, 17^ inches with
cover.
Cut No. 5 presents a superlative famille verte
bottle of graceful gourd shape with two bulbous
segments ending in a short tubular neck. The
clear white Ta Ch’ing dynasty porcelain sustain-
ing a remarkable overglaze decoration in translu-
cent colours of the famille verte (juan ts’ai) vari-
ety. A light sea-green “frog spawn” ground is
displayed with floweral sprays, including small
red plum blossoms, chrysanthemums, yellow
asters and butterflies, executed in varied green
and yellow tones of translucent quality, together
with black. This decoration is relieved on the
lower segment by four large reserves, shaped to
resemble leaves and fruit, upon which appear
flowers of the four seasons (notably the peony,
lotus, chrysanthemum and prunus), with appro-
priate birds. The shoulder is bordered with red
and white semi-blossoms and conventionalized
red and yellow prunus-like rosettes, including
green leaves that are introduced in triplet forms
between four white reserves, alternately shaped as
pomegranate and “hand of Buddha” fruit that
separately contain sprays of red prunus and yel-
low lotus blossoms. This example is no less
remarkable for its wealth of detail than for its
delicate rendering in translucent glazes. Height,
17 inches. Date: era of K’ang-hsi (1662-1722).
Cut No. 6 presents a cylindrical club-shaped
vase with yellow ground, sloping shoulder and
attenuated mortar-like neck. Early Ta Ch’ing
dynasty porcelain, invested with a broad pano-
ramic landscape painting (the Chinese shan-shui),
“hills and water” motif, rendered in san-ts’ai
(three colours) and showing the elements of early
Chinese canons for simplicity in composition. A
picturesque mountain scene is depicted inter-
sected by a winding lake and slope of adjacent
green hills, while more lofty peaks appear in the
distance amid cloud strata. Narrow passes lead-
ing to habitations show two travellers climbing the
hills and admiring the prospect before them; other
figures appear below coming away from the lake
and their boats. The neck displays a green ground
with black bamboo motifs, below which the shoul-

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