Chinese export porcelain plate decorated in translucent enamels from the famille verte (wucai) palette with two mandarin ducks, a butterfly and lotus leaves, the border with the eight Taoist immortals holding their attributes, Kangxi.

Chinese export porcelain plate decorated in translucent enamels from the famille verte (wucai) palette with two mandarin ducks, a butterfly and lotus leaves and flowers in a large pond, some outlines and the lake in under-glaze cobalt blue (qinghua), the border with the eight Taoist immortals holding their attributes, c. 1720, Kangxi reign, Qing dynasty, d. 21,8 cm, 8 5/8 in. 2.13084

Illustrated: 100 Years of Chinese Export Porcelain, by A. Varela Santos, 2014/2015, cat. 37.

Literature:

• Yang-ts’ai: The Foreign Colors, Rose Porcelains of the Ch’ing Dynasty, by H.A. Crosby Forbes, 1982 Milton, MA, p. 16, cat. 2 for a similar plate;

• La Ceramique Chinoise sous les Ts’ing, by J.P. van Goidsenhoven, Brussels 1936, plate 82, cat. 179 for a similar plate;

• The Choice of the Private Trader, by D.S. Howard, Minneapolis 1994, p. 65, cat. 42 for a similar plate;

• Exposição de porcelana da Companhia das Índias, Museu da Quinta das Cruzes, Funchal, Madeira, Setembro/Outubro 1960, cat. 12 for a similar plate;

• Chineesche Ceramiek Handboek, by N. Ottema, 1946 Amsterdam, p. 216, cat. 251 for a identical dish with 35 cm. diameter;

• Porzellan aus China und Japan, die Porzellangalerie der Landgrafen von Hessen-Kassel, 1990 catalogue for Staatliche Kunstsammlungen Kassel, p. 377, cat. 166 for a similar plate with 39,5 cm in diameter dated second quarter of the 18th century.

◆ Until this time the European influence in forms and decoration was minimal and the potter could use freely the subjects that he knew better and were part of his culture. On the other hand, the Europeans were eager to know the Chinese uses, customs, professions and religions.

中國外銷瓷青花五彩盤, 以五彩繪有一對鴛鴦, 一隻蝴蝶, 荷葉, 荷花與荷塘等圖案; 一些輪廓線及池水的 波紋以青花勾勒, 盤沿處繪有各執法器的八仙, 約1720年, 清康熙, 直徑21.8 釐米, 8 5/8 英吋。

圖示: 《百年中国外销瓷》,作者阿.瓦瑞拉.桑托斯, 2014/2015, 編號37。

參考文獻：

•《洋彩：外來的顏色,清代粉彩瓷器》,作者H.A. Crosby Forbes,馬瑟諸塞州米爾頓出版,參見第 16頁,編號2一近器；

•《中國清代陶瓷》,作者J.P. van Goidsenhoven, 布魯塞爾1936年出版,參見圖版82,編號179一 近器；

•《私人貿易的選擇》,作者D.S. Howard,1994年明尼阿波利斯出版,參見第65頁,編號42一近器；

•《馬德拉豐沙爾Quinta das Cruzes博物館藏印度公司外銷瓷器》，1960年9/10月，見編號12 一件相似瓷盤；

•《中國陶瓷手冊》，作者N. Ottema，1946年阿姆斯特丹出版，見216頁，編號251一件直徑為35 釐米，完全相同的瓷碟；

•《黑森卡塞爾瓷器博物館藏中日瓷器》，1990年黑森卡塞爾博物館圖錄，見第377頁，編號166一件18世紀後半葉，直徑為39.5釐米的瓷盤。

◆ 這一中心主題也與不同的盤沿紋飾一併使用 (見上一展品). 到此時, 歐洲人對器型和紋飾的影響仍 然微乎其微, 因而中國瓷工自由地使用自己更為了解的題材, 因為這些題材都源出于他們自己的文化. 而歐洲人卻迫切地想了解中國的風俗習慣、各行各業、刑法制度和宗教等。