A RARE LIME GREEN-ENAMELLED 'CHRYSANTHEMUM' DISH, YONGZHENG MARK AND PERIOD | 清雍正 青綠釉菊瓣盤 《大清雍正年製》款

Zhongguo mingtao riben xunhui zhan. gangtai mingjia shoucang taoci jingpin [Exhibition of Famous Chinese Ceramics Touring Japan. Fine Ceramics from Private Hong Kong and Taiwanese Collections], Nihonbashi Takashimaya, Tokyo, 1992, p. 187.

《中國名陶日本巡迴展-港台名家收藏陶瓷精品》，日本橋高島屋，東京，1992年，第187頁

This chrysanthemum dish is rare for its strikingly brilliant lime-green glaze, one of the rarest and most innovative enamel colour prepared in the Yongzheng period. Containing traces of lead antimonate, a material seldom found on Chinese low-fired glazes, the opaque lime-green enamel embodies the high level of experimentation that characterises Yongzheng imperial porcelain. Peter Y.K. Lam in ‘Qing Monochromes and Tang Ying’, Mille Ans de Monochromes, Fondation Baur, Geneva, 2018, pp 142-171, notes that the lime-green glaze was first used for enamelling on glass in Beijing, and resulted from experiments with pigments imported by Jesuits at the imperial court (p. 158). He further suggests that this enamel colour, together with other innovative enamels produced in Beijing, was first brought to Jingdezhen in 1728 by Tang Ying (1682-1756), who was then appointed Resident Manager of the imperial porcelain factory in Jingdezhen (p. 164).

Only two chrysanthemum-shaped dishes covered in this lime-green glaze and with a Yongzheng mark and of the period appear to be known; the first in the Palace Museum, Beijing, is illustrated together with eleven dishes of this type covered in different monochrome glazes in The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, pl. 257; and the second was sold in these rooms, 29th March 1977, lot 288.

Dishes of this form and glaze continued to be produced in the succeeding reigns; see for example a Qianlong (r. 1736-95) mark and period example, sold at Christie’s London, 4th June 1973, lot 209; and an unmarked dish attributed to the Jiaqing reign (r. 1796-1820), from the collections of Brodie and Enid Lodge, later in the Meiyintang collection, illustrated in Regina Krahl, Chinese Ceramics in the Meiyintang Collection, vol. 4 (II), 2010, pl. 1833, and sold in our Hong Kong rooms, 23rd October 2005, lot 315.

本品釉色明豔奪目，乃雍正朝最罕見、最具創意之釉色之一。釉料含微量銻酸鉛，此化學物質鮮見於低溫釉中國瓷器，如此不透明青綠釉，展現雍正御瓷藝匠之實驗精神。學者林業強，《Mille Ans de Monochromes》，Fondation Baur，日內瓦，2018年，頁 142-171論述，此色首先用於北京琉璃器，源自耶穌會傳教士帶入宮廷顏料（頁158）之實驗。此外，林氏並推斷此色以及其他製於北京之創新釉料，乃由唐英（1682-1756年）於1728年引入景德鎮，其時唐英任職內務府員外郎，督理景德鎮御窰廠（頁164）。

帶雍正款之青綠釉菊瓣盤，僅有兩例可比，其一現藏於北京故宮博物院，圖載於《故宮博物院藏文物珍品全集‧顏色釉》，香港，1999年，圖版257；另一例售於倫敦蘇富比1977年3月29日，編號288。

相近器型及紋飾之作例，續製於其後各朝；比較一例，乾隆年器並款，售於倫敦佳士得1973年6月4日，編號209；另一例無款，斷代嘉慶，出自Brodie and Enid Lodge收藏，後入玫茵堂收藏，圖載於康蕊君，《玫茵堂中國陶瓷》，卷4(II)，2010年，圖版1833，售於香港蘇富比2005年10月23日，編號315。