A fine and extremely rare pair of lemon-yellow enamelled 'chrysanthemum' dishes, Marks and period of Yongzheng | 清雍正　檸檬黃釉菊瓣盤一對　《大清雍正年製》款

Mayuyama & Co., Ltd, Tokyo.

Chugoku Toji Bi wo Mirukokoro [Chinese Ceramics, Enlightening through Beauty], Sen-oku Hakuko Kan, Tokyo, 2006, cat. no. 65.

Chugoku Toji Meihin Ten Ise Korekushon no Shiho / Masterpieces of Chinese Ceramic Art Exhibition, Ishikawa Prefectural Museum of Art, Ishikawa, 2012, cat. no. 106.

Shika Meisai: Ise Korekushon no Meito / Imperial Colors: Peerless Chinese Porcelains from the Ise Collection, Gotoh Museum, Tokyo, 2015, cat. no. 53.

Porcelaine. Chefs-d'œuvre de la Collection Ise, Musée Guimet, Paris, 2017, cat. no. 68.

Ise Korekushon Sekai wo Miryoshita Chugokutoji / The Enchanting Chinese Ceramics from the Ise Collection, Museum of Oriental Ceramics, Osaka, 2017, cat. no. 79.

Toujikyokai Kaiin Gentei Dainikai Tokubetsu Kanshokai Ise collection Chugoku Toji To, Hokuso, Nanso, Gen, Min, Shin [Special Exhibition for the members of The Japan Ceramic Society, Part 2, Chinese porcelains from Ise Collection; Tang, Northern Song, Southern Song, Yuan, Ming and Qing], Japan Ceramic Society, Tokyo, 2019, unillustrated.

Chugoku Toji. Ise Korekushon / Chinese Ceramics. The Ise Collection, Tokyo, 2012, pp. 112-113.

This pair of chrysanthemum-form dishes differs from the iconic set of twelve monochrome 'chrysanthemum' dishes in the Palace Museum collection. Featuring twenty-four gently rounded and more widely spaced petals, these slightly smaller dishes represent a rare variant among surviving examples. A comparable piece is documented in the Baur Collection, illustrated in The Baur Collection, vol. III, Geneva, 1972, pl. A486. For auction examples, see one from the Alsdorf Collection, sold in our New York rooms, 23rd September 1997, lot 306; another sold on 6th December 1989, lot 175; and a third example sold at Christie's Hong Kong, 29th November 2017, lot 2804. Compare also two white 'chrysanthemum' dishes from the Meiyintang collection, sold in these rooms, 30th April 1991, lot 84 and 9th October 2007, lot 1533.

The yellow-glazed porcelains of the Yongzheng reign (1723-1735) represent the pinnacle of monochrome glaze ceramics in the Qing dynasty, establishing themselves as paragons in Chinese ceramic history through their exquisite craftsmanship, pure glaze colors, and elegant forms. During his tenure at Jingdezhen, the imperial supervisor Tang Ying systematically documented ceramic techniques in his work Tao Cheng Ji Shi (Records of Ceramic Achievements), which recorded twelve distinct yellow glaze formulations, simultaneously advancing both archaistic revivals and technical innovations. Under his direction, kiln technicians successfully replicated the famed "jiao huang" (chicken-fat yellow) glaze of the Ming dynasty while developing seven new types of yellow glaze. Yongzheng yellow-glazed wares are particularly noted for their graceful shapes and refined clay-glaze combination, with a purity of monochromatic glaze quality that surpasses examples from both the preceding Kangxi and subsequent Qianlong periods.

The chromatic symbolism of yellow (huang 黄), homophonous with 'imperial' (huang 皇), was elevated to paramount status in Ming and Qing court culture. This supreme hue dominated architectural elements (palace roof tiles), sartorial regalia (imperial dragon robes), and the majority of dining vessels reserved exclusively for the emperor and empress. The Yongzheng-era (1723-1735) yellow-glazed porcelains epitomised a synthesis of antiquarian refinement and technical innovation, with their material breakthroughs and aesthetic ideals exerting profound influence on subsequent generations.

來源

繭山龍泉堂，東京

展覽

《中国陶磁―美を鑑るこころ》，泉屋博古館分館，東京，2006年，編號65

《中国陶磁名品展―イセコレクションの至宝》，石川縣立美術館，石川，2012年，編號106

《瓷華明彩―イセコレクションの名陶》，五島美術館，東京，2015年，編號53

《Porcelaine. Chefs-d'œuvre de la Collection Ise》，吉美博物館，巴黎，2017年，編號68

《イセコレクション―世界を魅了した中国陶磁》，大阪市立東洋陶瓷美術館，大阪，2017年，編號79

《陶磁協会会員限定 第二回特別観賞会 イセコレクション 中国陶磁 唐、北宋、南宋、元、明、清》，日本陶磁協会，東京，2019年，沒載圖

出版

《中国陶磁―イセコレクション》，東京，2012年，頁112至113

此對菊瓣盤有別於故宮博物院藏雍正十二色菊瓣盘樣式，二十四瓣，圓潤疏朗，尺寸稍小，傳世品中不多見。瑞士鮑爾珍藏見一相同例，載於《The Baur Collection》，第三冊，日內瓦，1972年，圖版A486。可比較數拍賣類例，其一售紐約蘇富比1997年9月23日，編號306，原屬 Alsdorf 伉儷舊藏；另一售紐約蘇富比1989年12月6日，編號175；尚有一例，售於香港佳士得2017年11月29日，編號2804。 香港蘇富比分別拍出兩例白釉同形菊瓣盤，1991年4月30日，編號84及2007年10月9日，編號1533，均為玫茵堂舊藏。

清雍正黃釉瓷器代表了清代單色釉瓷器的巔峰成就，其工藝之精、釉色之純、造型之雅，堪稱中國陶瓷史上的典範。督陶官唐英駐景德鎮期間系統總結工藝，著《陶成紀事》記載了十二類黃釉配方，推動仿古與創新並行。其團隊成功複燒明代嬌黃，並開發出七種新黃釉。雍正黃釉以造型娟秀、胎釉精細著稱，單色釉純淨度超越康乾兩朝。

「黃」因與「皇」同音，是明、清兩代宮廷中的至尊之色。宮殿的屋頂、皇帝的龍袍以及皇帝、皇后日常餐飲所用的盤、盌、盅、碟等餐飲器皿絕大多數都是用黃色。清雍正黃釉 集古雅與創新於一體，其技術突破與美學追求對後世影響深遠。