A fine doucai and famille-rose 'floral' jardinière, Seal mark and period of Qianlong | 清乾隆　鬪彩加粉彩捲草團花紋缸　《大清乾隆年製》款

A Japanese private collection.

Kochukyo Co., Ltd, Tokyo.

Shincho Kogei no bi [The Beauty of Qing Dynasty Art: Masterpieces of Exquisite Qing Porcelain], Osaka Municipal Museum of Fine Arts, Osaka, 1992, cat. no. 131.

5th Anniversary Exhibition. All-Stars of the Okada Collection: Masterworks of Korin, Jakuchu, Hokusai and the Ru Ware Kilns, Okada Museum of Art, Hakone, 2018-19, exh. no. 152 (unillustrated).

Kobayashi Tadashi, ed., Masterpieces of the Okada Museum of Art, vol. 2, Tokyo, 2018, no. 19.

The present jardinière belongs to a small group of vessels that successfully incorporates two decorative styles – the doucai palette invented in the Ming dynasty, and famille-rose enamels developed in the Yongzheng period. The sturdily potted vessel, densely painted with Rococo-inspired composite floral scrolls outlined in cobalt blue and enhanced by bright, opaque enamels, represents the Qianlong Emperor's eclectic taste that shaped the development during his reign. 

Xu Zhiheng of the Republican period noted in Yinliuzhai Notes on Porcelain: "After the Qianlong reign, floral medallions became fashionable. While these gradually lost some innate elegance over time, they nevertheless retained a vibrant freshness within their opulence, making them truly refined objects for scholarly appreciation, all the more precious for their distinctive charm."

A few similar jardinières are preserved in major museums, including one from the J.M. Hu collection in the Shanghai Museum, published in Selected Ceramics from the Collection of Mr and Mrs J.M. Hu, Shanghai, 1989, cat. no. 68; another in the Idemitsu Museum, Tokyo, illustrated in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, pl. 947; and a further example in Sekai toji zenshu / Ceramic Art of the World, vol. 15, Tokyo, 1983, pls 94 and 95. Comparable jardinières were sold in these rooms, 27th April 1999, lot 432, and 2nd May 2000, lot 675. A similar example was sold at Christie’s Hong Kong, 28th November 2006, lot 1546.

來源

日本私人收藏

壺中居，東京

展覽

《清朝工芸の美—秀麗な清朝陶磁を中心に》，大阪市立美術館，大阪，1992年，編號131

《開館5周年記念展―美のスターたち―光琳．若冲．北斎．汝窯など名品勢ぞろい》， 岡田美術館，箱根，2018-19年，展覽編號152（沒載圖）

出版

小林忠編，《岡田美術館名品撰》，卷2，東京，2018年，編號19

本品紋飾結合鬪彩及粉彩，前者創於大明，後者完備於大清雍正一朝，釉彩繽紛奪目，宛若百花爭妍，團花卷草紋飾見西洋洛可可風格，青花細膩勾勒，輝映明豔釉彩，富麗豐華，反映乾隆皇帝之品味。民國許之衡著《飲流齋說瓷》曰：「至乾隆以後喜作團彩，稍久風致矣，然于華麗之中別饒蔥茜之致，足為清供雅品，彌可寶貴也。」

比較胡惠春舊藏一例，現為上海博物館藏品，出版於《胡惠春先生王華雲女士捐贈瓷器精品選》，上海，1989年，編號68；東京出光美術館藏一例，錄於《世界陶磁全集》，卷15，東京，1983年，圖版94、95。參考香港蘇富比售出類例，1999年4月27日，編號432，及2000年5月2日，編號675。香港佳士得亦曾售一例，2006年11月28日，編號1546。