Period:Qing dynasty Production date:1736-1795
Materials:porcelain
Technique:glazed, painted,
Dimensions:Diameter: 142 millimetres Height: 33 millimetres
Description:
Porcelain saucer-shaped dish. The dish has a fine, thin, white body. There is a poetical inscription, three seals, and a blossoming magnolia and peach spray in ‘Gu Yue’ style ‘famille rose’ palette enamel on the interior, and four lotuses reserved in a pale green diaper enamel ground with a reserve quatrefoil pattern on the exterior. Pair with PDF.857.
IMG
![图片[1]-dish BM-PDF.856-China Archive](https://chinaarchive.net/Qin dynasty/Ceramics/mid_00536537_001.jpg)
![图片[2]-dish BM-PDF.856-China Archive](https://chinaarchive.net/Qin dynasty/Ceramics/mid_00536536_001.jpg)
![图片[3]-dish BM-PDF.856-China Archive](https://chinaarchive.net/Qin dynasty/Ceramics/mid_00539125_001.jpg)
Comments:Additional information from PDF : See PDF.857, which has a variant of this design. Room 95 label text:PDF 856 One of a complimentary pair of falangcai saucer-dishes Palace porcelain painters added a delicately drawn design of blossoming magnolia and peach, together with a ten-character inscription, and with three seals in red enamel inside. The poems both read 影轉團團月,香含細細風 (yingzhuan tuan tuan yue, xianghan xixi feng ‘Their shadows go round and round with the moon,Their fragrance soft and subtle fills the breeze.’). The seal preceding the poem reads 佳麗 (jiali ‘beautiful’ ) and the two after read 霞 (xia ‘clouds’) and 映(ying ‘reflection’). Outside there are four lotuses reserved in a pale green diaper enamel ground, which carries a reserve quatrefoil pattern. Palace porcelain painters used this same poem already on a Yongzheng (AD 1723–35) mark and period saucer-dish. The source for this couplet is an eight-line poem by Xue Hui 薛蕙 (AD 1489–1541) titled 海棠畫扇 (Haitang hua shan ‘Fan painted with crabapple’), where it appears as lines 5-6. This poem was part of the 《佩文齋詠物詩》(‘Peiwenzhai collection of poems’) – a collection of poems compiled by the Kangxi Emperor in AD 1706. which was in turn compiled into the Siqu quanshu (‘Qianlong Encyclopedia’). This poem is from juan 318. The practice of using poems from the Peiwenzhai collection on falangcai pieces started in the Yongzheng reign. Porcelain with transparent glaze made in Jingdezhen, Jiangxi province, overglaze enamels added in Beijing素瓷器: 江西, 景德鎮燒製; 北京加琺瑯彩Qing dynasty, blue enamel Qianlong mark and period, AD 1736–95 PDF 856琺瑯彩托盤（一對之一）宮廷瓷器畫師們以精緻的筆觸在內部描繪了盛開的木蘭及桃花，伴隨十字詩文及紅印三方。詩文為“影轉團團月，香含細細風”（意為影子伴隨月光旋轉不止，微風飄來柔軟且微妙的芬芳）。詩前有印文款“佳麗”（意為美麗），詩尾附“霞”（意為雲霞）、“映”（意為映射）印款兩方。外壁在淺綠錦地琺瑯彩上繪四朵蓮花圖案，留白呈四瓣花形。在雍正時期（1723-1735年）的一件署款托盤上宮廷匠師們曾使用過同樣的詩文。此聯句源于薛蕙（1489-1541年）五言律詩《海棠畫扇》（意為繪有海棠圖案的扇面）的第五及第六句。此詩出自《佩文齋詠物詩》，詩集編纂於康熙時期（1706年），後編入《四庫全書》（乾隆的百科全書）。此詩收錄於卷三一八。琺瑯彩器物上使用引自佩文齋的詩文開始于雍正時期。瓷器，江西省景德鎮燒制素瓷，北京加釉上琺瑯彩清代，乾隆，乾隆藍料款，1736-1795年
Materials:porcelain
Technique:glazed, painted,
Dimensions:Diameter: 142 millimetres Height: 33 millimetres
Description:
Porcelain saucer-shaped dish. The dish has a fine, thin, white body. There is a poetical inscription, three seals, and a blossoming magnolia and peach spray in ‘Gu Yue’ style ‘famille rose’ palette enamel on the interior, and four lotuses reserved in a pale green diaper enamel ground with a reserve quatrefoil pattern on the exterior. Pair with PDF.857.
IMG
Comments:Additional information from PDF : See PDF.857, which has a variant of this design. Room 95 label text:PDF 856 One of a complimentary pair of falangcai saucer-dishes Palace porcelain painters added a delicately drawn design of blossoming magnolia and peach, together with a ten-character inscription, and with three seals in red enamel inside. The poems both read 影轉團團月,香含細細風 (yingzhuan tuan tuan yue, xianghan xixi feng ‘Their shadows go round and round with the moon,Their fragrance soft and subtle fills the breeze.’). The seal preceding the poem reads 佳麗 (jiali ‘beautiful’ ) and the two after read 霞 (xia ‘clouds’) and 映(ying ‘reflection’). Outside there are four lotuses reserved in a pale green diaper enamel ground, which carries a reserve quatrefoil pattern. Palace porcelain painters used this same poem already on a Yongzheng (AD 1723–35) mark and period saucer-dish. The source for this couplet is an eight-line poem by Xue Hui 薛蕙 (AD 1489–1541) titled 海棠畫扇 (Haitang hua shan ‘Fan painted with crabapple’), where it appears as lines 5-6. This poem was part of the 《佩文齋詠物詩》(‘Peiwenzhai collection of poems’) – a collection of poems compiled by the Kangxi Emperor in AD 1706. which was in turn compiled into the Siqu quanshu (‘Qianlong Encyclopedia’). This poem is from juan 318. The practice of using poems from the Peiwenzhai collection on falangcai pieces started in the Yongzheng reign. Porcelain with transparent glaze made in Jingdezhen, Jiangxi province, overglaze enamels added in Beijing素瓷器: 江西, 景德鎮燒製; 北京加琺瑯彩Qing dynasty, blue enamel Qianlong mark and period, AD 1736–95 PDF 856琺瑯彩托盤（一對之一）宮廷瓷器畫師們以精緻的筆觸在內部描繪了盛開的木蘭及桃花，伴隨十字詩文及紅印三方。詩文為“影轉團團月，香含細細風”（意為影子伴隨月光旋轉不止，微風飄來柔軟且微妙的芬芳）。詩前有印文款“佳麗”（意為美麗），詩尾附“霞”（意為雲霞）、“映”（意為映射）印款兩方。外壁在淺綠錦地琺瑯彩上繪四朵蓮花圖案，留白呈四瓣花形。在雍正時期（1723-1735年）的一件署款托盤上宮廷匠師們曾使用過同樣的詩文。此聯句源于薛蕙（1489-1541年）五言律詩《海棠畫扇》（意為繪有海棠圖案的扇面）的第五及第六句。此詩出自《佩文齋詠物詩》，詩集編纂於康熙時期（1706年），後編入《四庫全書》（乾隆的百科全書）。此詩收錄於卷三一八。琺瑯彩器物上使用引自佩文齋的詩文開始于雍正時期。瓷器，江西省景德鎮燒制素瓷，北京加釉上琺瑯彩清代，乾隆，乾隆藍料款，1736-1795年
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![[Qing Dynasty] British female painter—Elizabeth Keith, using woodblock prints to record China from the late Qing Dynasty to the early Republic of China—1915-China Archive](https://chinaarchive.net/wp-content/uploads/2022/11/image-191x300.png)
