This late Qianlong- early Jiaqing (1770-1820AD) planter has exquisite polychrome enamel painting of opium flowers in Yongzheng style, reminiscent of work of Imperial Kiln superintendant Tang Yin’s painters. It has a very fine and white clay body and more clear/transparent glaze that belong to late Qianlong. It is said that this planter was made during last few years of Qianlong when there was ambiguity about who would be the next emperor and which mark should be put on; thus no reign mark was made. Minute chip on mouth rim. From Dr. Robert I-San Lin (#217), a senior Chinese artwork appraiser, whose grandfather was a major Chinese antique merchant in early 1900s. (Dr. Lin’s bio, in Journal of Authentication of Artworks, 2015, available). Brought to California in 清中期青花地開光粉彩花卉圖花盆及座。造型工整、胎甚細潤、白而微帶青,近於康熙的糯米胎，與晚清及其後的粉白胎不同。釉透澈溫潤, 此盆的釉微帶灰青且稍乳濁，近於清初的透明釉，與晚清及其後的透亮釉不同。繪畫極細緻典雅美麗、彩鮮艷細潤、為難得瓷繪精品。其中一個開窗內以胭脂紅彩細繪盛開虞美人花（罌粟花）、以紫彩繪出另一朵盛開的虞美人花、再以礬紅彩及胭脂紅繪將開的花苞。每朶花及花瓣都經過細細宣染、使花及瓣都有明暗凹凸的立體感。細長的葉則以綠彩繪出、邊緣如鋸齒狀，並以墨彩細膩描出許多葉脈。曲折分叉的枝幹或以赭彩繪出、或以綠彩繪畫再以黑彩奌點出明暗及細構造。近地面枝葉堆疊密不通風、往上則疏展，極有唐英在雍正時繪虞美人御瓷的神韻, 也有雍正宮內文人畫家的氣泒。但更勝於雍正虞美人的沒骨畫法、此盆每個花瓣先鈎劃輪廓再以堆填渲染的方法畫出深淺不同色階。這是典型乾隆中期的畫法。另一窗內繪盛開菊花五朶、每條細長菊花瓣都以細描鈎輪廓、再填不同色階的胭脂紅、黃、紫等彩，雅而鮮艷。也是乾隆洋彩精品的畫法。畫工之細可與其他乾隆琺瑯彩及洋彩瓷精品相比。最特殊的是以繁縟的松針狀青花單位為地飾，極費功夫，非一般畫瓷師所能做到。這種飾法主要流行於乾隆晚年及嘉慶（當時官窯不計工本，才可這樣做）。此種細工精繪嘉慶晚年以後便不再有。在二十五倍放大鏡下可見大部份彩面都已開片、並有褐色污物浸入裂紋內、這是年久之徵、不是晚清民國的作品。窗之間以青花細描卷草及正面菊花為地。青料發色明快、不暈散、稍飄浮、用放大鏡看、青花似在一層薄霧之下。為典型乾隆晚年嘉慶早年的青花。大部份釉面都沒有波浪紋、與典型道光波浪釉面明顕不同。也與晚清民國精瓷的粉白色胎釉不同。晚清民國粗瓷則胎釉都粗且灰暗。此盆旋修圈足甚講究、近足端裡外兩條胎釉界線切得平整利落、為典型清初康雍乾三代之胎釉線切法。足端滾圓為典型雍正乾隆的泥鰍背式足端、與晚清尖楔形足端大不同。青花粉彩工藝不只很費工、而且須髙深的燒造枝術、清中葉以後漸少生產。據說此套花盆在公元1794左右焼製作、當時乾隆帝準備傳帝位給其子嘉慶、由於此事懸而未決、御瓷廠不敢書寫年款、留為空白。此盆為難得的乾隆晚期嘉慶早期精品。（加州林亦森博士珍藏，1960年代由台北帶來美國） H 18.3 cm, Dia. 23 cm, 2487 grams.

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