Qing yongzheng Blue and white tie up lotus flower grain small bowl (a)

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note: in blue and white crown off through the ages, the achievement of the Chinese aesthetics, later generations have admired unceasingly, achievements of the author when qing emperor yongzheng, by admiration, and then copy, many outstanding, the refined superior taste, aesthetic almost demanding, acceded to the throne has been efforts to promote and guide the royal which made us kiln, therefore, the copy is the most pure, shape and nice, this product is that copy the old feelings the best interpretation.
the handed down in the bowl of yongzheng official kiln of rare species. Cabinet modelling, exposure, arc abdomen, ring foot. Heart painted blue and white paint, both inside and outside to bowl bound branch lotus flower, the mouth along the outer roll a week moire, abdominal theme decorations put lotus flower grain, leafy, near the foot ruyi yuntou lines for one week. Bottom with blue book “qing yongzheng year” six two travel model to come. White material is fine, glazed light, quietly elegant beautiful blue and white color, match with the modelling of choiceness, particularly pure and fresh, let a person to part with.
in the yongzheng period of blue and white porcelain of exquisite quality, breed of design and color is rich, high art level, are each other in the qing dynasty towards the incomparable. Yongzheng period of blue and white porcelain, regardless of the shape and decoration, can be summed up in a “show” words, kangxi porcelain and forceful, elegant style is very different, but in the style of gentle and lovely, beautiful. The product painted decorative pattern is different from the common lotus lines or lotus pattern, Mosaic edge folding, great variety, baroque style, a western cultural institutions only in nanjing museum yongzheng dynasty blue and white passionflower “tray” have the same shape, in pairs, surviving is precious.

refer to: the royal treasure – qing dynasty imperial porcelain in China “on page 123, nanjing museum, Shanghai culture press, 2003.