Blue-and-White Porcelain Jar with Ice Plum Pattern and Children-at-Play Design, Marked “Made in the Yongzheng Reign of the Great Qing Dynasty” | A Classic and Inheritable Treasure from the Imperial Kilns of the Qing Dynasty
[Overview of the Collection]
This is a blue-and-white porcelain jar with an ice plum pattern and a children-at-play design, fired during the Yongzheng reign (1723 – 1735) of the Great Qing Dynasty. It stands as a classic piece of blue-and-white porcelain from the mid-Qing Dynasty. The Yongzheng era marked the pinnacle of porcelain-making craftsmanship in the Qing Dynasty. This jar inherits the robustness of Kangxi blue-and-white porcelain and integrates the unique delicacy and elegance of the Yongzheng period. It combines two classic decorative patterns, the “ice plum pattern” and the “children-at-play design,” with fine and delicate body and glaze, and exquisite painting skills. It serves as an important physical object for researching the folk life and aesthetic culture of the early Qing Dynasty, and is also a precious item that combines artistic value and cultural connotations in the collection of Oriental antiques.
[Materials and Craftsmanship]
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Body Material: The body is made of kaolin, a specialty of Jingdezhen. The porcelain body is dense and delicate. When gently tapped, it emits a clear and melodious sound, reflecting the typical characteristics of Yongzheng porcelain, which is “hard, white, and delicate.”
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Glaze: The jar is coated with transparent glaze both inside and outside. The glaze surface is as smooth and lustrous as jade, with a slightly bluish tint in white (the so – called “sticky rice white” tone). High – quality Zhejiang cobalt ore is used for the blue – and – white pigment, which produces a rich, stable color with distinct shades and no bleeding, presenting the charm of “brushwork in blue – and – white painting.”
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Firing: It is fired twice (biscuit firing of the body + firing of the over – glaze blue – and – white). The temperature is precisely controlled, resulting in a tight bond between the body and the glaze. There are no cracks or pinholes on the body. Fine “flint red” can be seen on the exposed body at the bottom, which is a sign of an authentic piece from the early Qing Dynasty.
[Design and Decorative Patterns]
1.Stylistic Features
The jar has a spherical shape. The mouth rim flares outwards, with a short neck and broad shoulders. The abdomen tapers inwards, and the shallow and stable ring foot provides good support. The overall lines are smooth and full, with a harmonious proportion, combining both practicality and ornamental value. The overall height is approximately XX cm (the specific size is subject to the actual item). It is of a moderate size, suitable for display in a study, living room, or on a curio cabinet, highlighting the charm of Oriental classic elegance.
2.Analysis of Decorative Patterns
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Main Pattern: Children – at – Play Design Two scenes of children at play are painted in blue – and – white on the abdomen. The children wear topknots and short shirts. Some are squatting and playing, while others are chasing each other. Their faces are round and full, with smiling eyes and vivid expressions. The lines of their clothes are smooth, and the brushstrokes are concise yet vividly depict the innocent and lively nature of the children, embodying the essence of Chinese painting, which is “portraying the spirit through form.” The children – at – play design symbolizes “many sons and much happiness” and “family prosperity” in traditional Chinese culture and is a highly auspicious pattern on porcelain from the Ming and Qing Dynasties.
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Auxiliary Pattern: Ice Plum Pattern The children – at – play design is set against an “ice plum pattern.” First, the ice – crack – like lines (in a diamond – shaped grid) are outlined in blue – and – white, and then white – reserved plum blossoms are dotted in the cracks. The sharp contrast between blue and white is like plum blossoms blooming bravely in the cold winter. Also known as the “ice – crack plum blossom pattern,” it originated in the Kangxi era and became more refined in the Yongzheng period. It symbolizes “steadfastness and unyieldingness” and “pride against the frost,” creating an aesthetic mood of “combining toughness and gentleness” with the joyful atmosphere of the children – at – play design.
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Detail Decoration Ruyi cloud – head patterns and lotus – petal patterns are painted on the shoulder and near the foot respectively. The lines are light and graceful, coordinating with the main pattern and demonstrating the decorative logic of Qing – Dynasty porcelain, which is “every pattern has a meaning, and every meaning is auspicious.”
[Historical and Cultural Value]
Although the Yongzheng reign lasted only 13 years, it was the “golden age” of the porcelain – making industry in the Qing Dynasty. Porcelain from this period was known for its “delicacy, elegance, and refinement.” Blue – and – white porcelain reached a new height due to the emperor’s high – end artistic requirements. As a product of the combination of folk and imperial kiln technologies at that time, this jar not only reflects the technological level of blue – and – white firing in the Yongzheng period but also reflects the importance attached to family and offspring in Qing – Dynasty society through the children – at – play design. It is a typical example of “objects carrying culture.”
For modern collectors, this jar is not only a physical material for researching the history of Qing – Dynasty ceramics but also a carrier of Oriental aesthetics and auspicious culture. It has been well – preserved after nearly 300 years, which is truly rare.
[Condition and Appreciation]
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Overall Condition: The body of the jar is intact, with no obvious glaze peeling, cracks, or repairs. The blue – and – white color shows a natural bleeding due to its long history, adding a touch of antique charm.
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Detail Features: Fine porcelain body can be seen inside the ring foot. The bottom glaze is smooth, and there is no mark (which is in line with the characteristics of high – quality folk kiln products from the mid – Qing Dynasty). The overall patina is natural, and it feels warm and smooth to the touch, which are typical characteristics of “old items.”
[Collection Suggestions]
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Display Settings: It is suitable to be paired with a Chinese – style curio cabinet, a rosewood stand, or a velvet display case. It can be displayed alone or combined with other small blue – and – white porcelain items from the Qing Dynasty to create a classic study or an Oriental art space.
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Maintenance Method: Avoid direct sunlight and drastic temperature differences. When cleaning, gently sweep it with a soft brush or wipe it with a clean cotton cloth. Do not use chemical cleaners.
[Purchase Guarantee]
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This is a carefully selected antique collection by VirtuCasa, accompanied by a professional appraisal report (available upon request).
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Free worldwide shipping with professional protective packaging (customized foam + wooden box) to ensure safe transportation.
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A 30 – day appreciation period is supported. If it is appraised as a later imitation by an authoritative institution, it can be returned or exchanged unconditionally.
—— Spanning three centuries of time, inheriting the beauty of Oriental civilization —— VirtuCasa is committed to bringing the most valuable Oriental antique artworks to collectors around the world. Each collection carries historical memories and is worthy of careful appreciation and collection.
大清雍正年製青花冰梅紋嬰戲圖罐 | 清代官窯經典傳世之珍
【藏品概述】
本品為大清雍正年間（1723-1735年）燒造的青花冰梅紋嬰戲圖罐，屬清代中期青花瓷器經典之作。雍正朝為清代制瓷工藝巔峰時期，本品承襲康熙青花之渾厚，融匯雍正朝特有的精緻秀雅，集「冰梅紋」與「嬰戲圖」兩大經典紋飾於一體，胎釉細膩，畫工精湛，是研究清代早期民間生活與審美文化的重要實物，亦是東方古董收藏中兼具藝術價值與文化內涵的珍品。
【材質與工藝】
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胎質：採用景德鎮特產高嶺土，胎體堅密細膩，輕叩之音清越悠揚，體現雍正瓷器「堅白細膩」的典型特徵。
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釉料：內外施透明釉，釉面瑩潤如玉，白中泛青（「糯米白」色調），青花料選用優質浙料，发色濃艷沉穩，深淺層次分明，無暈散現象，展現「青花見筆墨」的繪畫韻味。
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燒制：經過二次燒成（素燒胎體+釉上青花燒制），溫度控制精準，胎釉結合緊密，器身無裂紋、砂眼等瑕疵，底足露胎處可見細密「火石紅」，為清代早期真品標誌。
【設計與紋飾】
1.造型特點
罐體呈圓球形，口沿外撇，短頸豐肩，腹下內收，圈足淺而穩固，整體線條圓潤飽滿，比例協調，兼具實用性與觀賞性。通體高度約XXcm（具體尺寸以實物為準），大小適中，適合陳設於書房、客廳或博古架，彰顯東方古典雅韻。
2.紋飾解析
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主紋：嬰戲圖 腹部以青花繪製兩組嬰戲場景：孩童頭戴抓髻，身著短衫，或蹲坐嬉戲，或相互追逐，面容圓潤飽滿，眉眼含笑，動作生動傳神。衣紋線條流暢，筆觸簡練卻將孩童天真活潑之態描繪得淋漓盡致，體現「以形寫神」的中國畫精髓。嬰戲圖在中國傳統文化中象徵「多子多福」「家族興旺」，是明清瓷器中極具吉祥寓意的紋飾。
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輔紋：冰梅紋 嬰戲圖周圍以「冰梅紋」為地：先以青花勾勒冰裂狀紋路（呈菱形網格），再於裂縫間點綴留白梅花，藍白對比鮮明，宛如寒冬臘梅傲雪綻放。冰梅紋又稱「冰裂梅花紋」，始於康熙朝，雍正時期更為精細，寓意「堅貞不屈」「傲骨凌霜」，與嬰戲圖的歡樂氣息形成「剛柔並濟」的審美意境。
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細節裝飾 肩部與近足處分別繪如意雲頭紋與蓮瓣紋，線條輕盈，與主紋協調統一，展現清代瓷器「紋必有意，意必吉祥」的裝飾邏輯。
【歷史與文化價值】
雍正朝雖僅有13年，卻是清代制瓷業的「黃金時代」。此時期瓷器以「精緻、秀雅、細膩」著稱，青花器更因皇帝本人對藝術的高要求而達到新高度。本品作為當時民間與官窯技術結合的產物，不僅體現了雍正時期青花燒制的工藝水平，更通過嬰戲圖反映了清代社會對家庭、子嗣的重視，是「器物承載文化」的典型範例。
對於現代收藏者而言，本品既是研究清代陶瓷史的實物資料，亦是東方審美與吉祥文化的傳承載體，歷經近300年時光流傳至今，品相完好，實屬難得。
【品相與鑒賞】
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整體狀態：器身完整無缺，無明顯剝釉、衝線或補綴，青花色彩因年代久遠略帶自然暈散，更添古樸韻味。
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細節特徵：圈足內可見細密胎質，底釉平整，無款識（符合清代中期民窯精品特點），通體包漿自然，撫之手感溫潤，為典型「老貨」特徵。
【收藏建議】
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陳設場景：適合搭配中式博古架、紫檀木座或絲絨展櫃，可單獨陳列，或與其他清代青花小件組合，營造古典書房或東方藝術空間。
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保養方式：避免陽光直射及劇烈溫差，清潔時用軟毛刷輕掃，或以乾淨棉布擦拭，切勿使用化學清潔劑。
【購買保障】
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本品為VirtuCasa嚴選古董藏品，附專業鑒定報告（可應要求提供）。
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全球包郵，專業防護包裝（定制泡沫+木箱），確保運輸安全。
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支持30天鑒賞期，如經權威機構鑒定為後世仿品，可無條件退換。
—— 跨越三百年時光，傳承東方文明之美 —— VirtuCasa致力於為全球藏家帶來最具價值的東方古董藝術品，每件藏品皆承載歷史記憶，值得細細品味與珍藏。
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