Period:Qing dynasty Production date:1735-1795 (vase)
Materials:porcelain
Technique:glazed, painted,
Dimensions:Height: 314 millimetres
Description:
Porcelain vase of ovoid form with short neck and thickened mouth-rim. The vase has a fine white body and ‘chicken skin’ glaze. There is a shepherdess in Chinese attire with European elements, wearing a hood in ‘Gu Yue’ style pale ‘famille rose’ palette enamel on the exterior.
IMG
![图片[1]-vase BM-PDF.881-China Archive](https://chinaarchive.net/Qin dynasty/Ceramics/mid_00384054_001.jpg)
Comments:Published PDF date : Qing Qianlong 1736-95 Room 95 label text:PDF 881Vase with a shepherdess Kangxi, Yongzheng and Qianlong emperors ordered glazed and biscuit-fired porcelains from the imperial kilns in Jingdezhen. These were then decorated in the Palace in琺瑯彩 (falangcai ‘foreign colours’). The palette, textures and application of the enamels are rather different from those used at Jingdezhen. Porcelain decorators, within the Qing palace, often employed a style of painting which uses perspective, in the manner of a contemporary 18th century European painting. This Qianlong period vase is painted in this palace falangcai -style but perhaps later in the Qing or even Republican period. The subject of three sheep is a visual pun meaning 三陽開泰 (san yang kai tai ‘the male force in the universe’). Porcelain with fencai (famille-rose) enamels Jingdezhen, Jiangxi province 江西省, 景德鎮Qing dynasty, Qianlong period, AD 1736–95 (porcelain) Possibly Republican period, about 1912–1923 (enamels) PDF 881牧羊圖瓶康熙、雍正及乾隆皇帝皆自景德鎮御窯廠訂燒白釉素面瓷以及無釉素燒瓷，而後在宮廷裝飾琺瑯彩（意為外國彩料）。琺瑯彩的色調、質感與施用與景德鎮使用的有很大區別。清宮內的陶瓷器畫師們經常採用透視畫法，與同時期十八世紀歐洲繪畫方式相同。本件乾隆時期的瓷瓶盡管以這種宮廷琺瑯彩的風格繪製，但可能是清晚期甚至民國時期的彩繪。三羊的主題諧音“三陽開泰”（意為寰宇之中的陽剛之力）。瓷器，粉彩江西省景德鎮清代，乾隆，1736-1795年（素瓷）彩繪可能是民國，約1912-1923年
Materials:porcelain
Technique:glazed, painted,
Dimensions:Height: 314 millimetres
Description:
Porcelain vase of ovoid form with short neck and thickened mouth-rim. The vase has a fine white body and ‘chicken skin’ glaze. There is a shepherdess in Chinese attire with European elements, wearing a hood in ‘Gu Yue’ style pale ‘famille rose’ palette enamel on the exterior.
IMG
Comments:Published PDF date : Qing Qianlong 1736-95 Room 95 label text:PDF 881Vase with a shepherdess Kangxi, Yongzheng and Qianlong emperors ordered glazed and biscuit-fired porcelains from the imperial kilns in Jingdezhen. These were then decorated in the Palace in琺瑯彩 (falangcai ‘foreign colours’). The palette, textures and application of the enamels are rather different from those used at Jingdezhen. Porcelain decorators, within the Qing palace, often employed a style of painting which uses perspective, in the manner of a contemporary 18th century European painting. This Qianlong period vase is painted in this palace falangcai -style but perhaps later in the Qing or even Republican period. The subject of three sheep is a visual pun meaning 三陽開泰 (san yang kai tai ‘the male force in the universe’). Porcelain with fencai (famille-rose) enamels Jingdezhen, Jiangxi province 江西省, 景德鎮Qing dynasty, Qianlong period, AD 1736–95 (porcelain) Possibly Republican period, about 1912–1923 (enamels) PDF 881牧羊圖瓶康熙、雍正及乾隆皇帝皆自景德鎮御窯廠訂燒白釉素面瓷以及無釉素燒瓷，而後在宮廷裝飾琺瑯彩（意為外國彩料）。琺瑯彩的色調、質感與施用與景德鎮使用的有很大區別。清宮內的陶瓷器畫師們經常採用透視畫法，與同時期十八世紀歐洲繪畫方式相同。本件乾隆時期的瓷瓶盡管以這種宮廷琺瑯彩的風格繪製，但可能是清晚期甚至民國時期的彩繪。三羊的主題諧音“三陽開泰”（意為寰宇之中的陽剛之力）。瓷器，粉彩江西省景德鎮清代，乾隆，1736-1795年（素瓷）彩繪可能是民國，約1912-1923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)
