Dr. Robert I-San Lin's Collection of Important Chinese Artworks
A rare Qianlong mark and period club-shape vase with dou cai kwei-dragons gliding among clouds. Club-shape vases originated in late Kangxi reign and continued until early Qianlong reign. (See e.g., Gen Bao Chan's Identification of Ming and Qing Porcelains, P. 191, fig. 191, item 7, ISBN 962-321-012-5). The body is made of very fine and white clay, typical of most Qianlong imperial porcelains, and is different from later imitations that often have very white clay, like pure white starch. The glaze is also very fine, non-glaring, and has a trace green tinge, especially the glaze of mouth rim, internal wall, and external base. These characteristics are typical of many Qianlong dou cai glazes, and distinct from late Qing, Republic, and modern imitations. The decoration is colorful and almost over-crowding. There are six zones: (1) the neck has a band of plantain leaves in both dark green and lighter green (which is also called sunflower leaf-green); (2) the shoulder has a vine-like floral patterns, in dark green, light green, lemon yellow, and aubergine enamels, and a tri-branch floral pattern in iron-red medallions; (3) the main motif is on the upper section, depicting kwei dragons gliding among flattened ru-yi shape clouds (Kwei dragons are common Qianlong imperial porcelain motifs); (4) the mid section has Buddhist lotus flowers with interconnecting branches in many colorful enamels; (5) the lower section is decorated with ru-yi clouds and a vine pattern; and (6) the bottom section is decorated with two bands of triangular patterns that are separated by tri-petal flowers, in various colors. These decorations are meticulously done with color-enamels filling completely the spaces outlined in underglaze blue, without overflow beyond the outlines. The plantain leaves and the triangular patterns are filled with numerous very fine underglaze blue lines that are almost invisible; over which the enamels of various colors are applied, expressing the leaf veins and also deepening the color. Such meticulous work was typical for many Qianlong porcelains but has almost disappeared thereafter. The three green enamels and the aubergine enamel are iridescent (often called mother of pearl reflection) that is common for dou cai porcelains of Yongzheng and Qianlong periods. Although many modern imitations have similar characteristics, their mother of pearl reflection is weak. The foot rim is curved and is typical for many imperial porcelains of Yongzheng and Qianlong. A trace orange line exists around the inner glaze-body-interface line near the foot rim; this is typical for many early Qianlong porcelains but absent in almost all later imitations. The Qianlong mark is written on the center of the outer base in 3-column seal style, and in underglaze blue. The well-written style, the compact and vigorous strokes, the pure blue color, and the blue pigment's appearance to be sinking to the bottom of the glaze are very typical of Qianlong Imperial mark and can easily be distinguished from fake marks.
(Collection of Dr. Robert I-San Lin of California)
清乾隆閗彩𧃍龍穿雲及寶相花紋棒槌瓶。造形規整，此形出現於康熙晚年、延續到乾隆早年（見耿寶昌"明清瓷器鑒定"第191頁、圖338、第七件）。胎甚細白，釉溫潤而帶青、口沿、內壁及外底釉更明顯帶青色、為乾隆官窯典型釉之一種。與晚清民國仿乾瓷的粉白釉明顯不同。紋飾繁華、自肩至脛共六層飾帶。頸飾仰蕉葉紋、以深綠及葵綠彩畫成。肩飾圖案花一週、以礬紅、深綠、葵綠、檸檬黃及茄紫彩填繪成。上腹主飾是夔龍穿朵雲、以礬紅、深綠、葵綠、檸檬黃、茄紫及淺藍綠彩填繪成。中腹以同類彩繪纒枝寶相花。下腹也以同樣彩繪如意雲頭及蔓草紋。脛以同樣彩繪仰覆三角紋間以三瓣花。如此繁縟紋飾是乾隆閗彩瓷特徵，妙在繁而不雜、仍能給人一種典雅的感覺。所有紋飾都以極細的筆鈎繪輪廓及廓內細節、部份深綠蕉葉及三角飾中都細細劃青花平行線以代表葉脈及加深色階。只有乾隆御窯廠不顧工本才可做成、與後仿品的粗陋工藝大不同。深綠、葵綠、淺藍綠及茄紫等彩都可在迎光斜視下見到強蛤蜊光、這是雍正乾隆鬦彩及粉彩瓷上常見現象、也是辨別真僞的小證據。現代仿品雖也有做出蛤蜊光、但有明顯不同。圈足、足端滾成弧形、所謂泥鰍背。是典型康雍乾修足工藝。外底心有"大清乾隆年製"青三行章式篆款，字工整、筆劃緊密、青花正藍而𤂑、不飄浮、是典型乾隆官窯款。（加州林亦森博士珍藏，1960年代由台北帶來美國）