Famille Rose Porcelain Jar with “Peerless Gallery” Figures from the Tongzhi Reign of the Qing Dynasty
Introduction to the Collection
This is a famille rose porcelain jar with figure paintings, crafted during the Tongzhi reign (1862 – 1874) of the Qing Dynasty. It belongs to the typical porcelain with the theme of the “Peerless Gallery”. The “Peerless Gallery” was a popular figure – painting album in the Qing Dynasty, which compiled famous ministers, heroes, and beautiful women from different dynasties. Named after the meaning of “unparalleled in the world”, it is a classic representative of the combination of the literati’s aesthetics and folk art in the late Qing Dynasty. This jar features a dignified shape, a smooth and moist glaze surface, and delicate painting skills. It carries rich connotations of Chinese history and culture and is of both artistic appreciation and collection value.
Materials and Techniques
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Porcelain Body: Made from carefully selected kaolin, the body of the jar is solid and fine – grained. After high – temperature firing, it becomes compact. The glaze surface presents a warm ivory – white color with a natural patina of time.
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Overglaze Famille Rose: Using the typical famille rose technique of the Tongzhi period, the colors are bright yet soft, mainly including purple, green, yellow, and red, with distinct layers. The lines used to outline the figures’ clothing are thin and strong. The facial expressions of the figures are vivid and lifelike, and the folds of their robes are smooth and natural, demonstrating the proficient skills of the famille rose technique in the folk kilns of the late Qing Dynasty.
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Red – Glaze Inscriptions: The jar is decorated with inscriptions and seal – style inscriptions written in red glaze. The ancient – looking fonts complement the figure paintings, adding a cultural charm.
Design Features
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Classic Shape: It has a round belly and broad shoulders, a slightly constricted mouth rim, and a flat base. The overall lines of the jar are full and fluent, in line with the characteristics of the folk utensils in the late Qing Dynasty, which combined practicality and ornamentation.
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Figure Painting: The main part depicts the images of ancient scholars. The figures wear headscarves and wide – sleeved long robes, with their hands clasped in front of their chests. Their expressions are gentle and reserved. The robes are in a light – purple background, dotted with green shoes, creating an elegant and harmonious color combination. There are red – glaze inscriptions beside the figures, presumably biographies or praises of the figures, echoing the theme of the “Peerless Gallery”.
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Overall Aura: The composition of the painting is well – arranged, with a balanced layout of figures and texts. Although the glaze surface has endured more than a hundred years, it still maintains good integrity. The slight wear of the colors only adds to the texture of time.
Historical and Cultural Value
Porcelain with the “Peerless Gallery” theme emerged in the mid – to – late Qing Dynasty, reflecting the society’s admiration for historical figures and cultural identity at that time. The Tongzhi reign was in the late Qing Dynasty, a period of social unrest, making such utensils carrying traditional culture even more precious. As a physical witness of this period, this jar not only showcases the artistic style of the famille rose technique in the folk kilns of the Qing Dynasty but also provides physical materials for studying the social culture and aesthetic orientation of the late Qing Dynasty. It is an ideal choice for the collection of Oriental historical culture.
Collection and Display Suggestions
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Collection Value: The porcelain with the “Peerless Gallery” theme from the Tongzhi reign of the Qing Dynasty has a limited number of surviving pieces. This jar is in good condition and has exquisite painting skills. It is a high – quality product among the folk kiln wares and has high collection potential and appreciation space.
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Display Decoration: It is suitable for display in a study, living room, or cultural and artistic space. As a highlight of Oriental classical aesthetics, it can not only show the owner’s appreciation of Chinese traditional culture but also add a sense of historical gravity to the space.
This is an authentic product from the late Qing Dynasty, with natural characteristics of the era. It is a cultural and artistic carrier connecting the past and the present. We sincerely invite connoisseurs to collect it.
清同治粉彩无双谱人物罐
藏品簡介
本品為清代同治年間（1862-1874）所製粉彩人物罐，屬於典型的「無雙譜」題材瓷器。無雙譜為清代流行的人物畫譜，輯錄歷代賢臣名士、英雄佳人，以「天下無雙」之意得名，是清代晚期文人審美與民間藝術結合的經典代表。此罐器型端莊，釉面溫潤，繪工細膩，承載著豐厚的中國歷史文化內涵，兼具藝術欣賞與收藏價值。
材質與工藝
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瓷胎質地：採用精選高嶺土，胎體堅實細密，經高溫燒製後質地緊致，釉面呈現溫潤的象牙白，帶有自然的時光包漿。
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釉上粉彩：運用同治時期典型的粉彩工藝，色彩明快柔和，以紫、綠、黃、紅等色為主，層次分明。人物衣紋以細勁線條勾勒，面部神情生動傳神，衣袍皺褶流暢自然，展現晚清民窯粉彩的嫻熟技藝。
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紅彩題識：罐身飾有紅彩書寫的題字與印章式銘文，字體古樸，與人物畫面相互映襯，增添文化韻味。
設計特點
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經典器型：圓腹豐肩，口沿微斂，底足平整，整器線條飽滿流暢，符合清代晚期民間實用與觀賞兼具的器物特徵。
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人物繪製：主體繪製古代高士形象，人物頭戴巾幘，身著寬袖長袍，雙手交握於胸前，神情謙和內斂，衣袍以淡紫為地，綠色鞋履點綴，色彩搭配清雅諧調。人物旁側飾有紅彩題字，疑似人物生平或讚語，與「無雙譜」題材相呼應。
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整體氣韻：畫面構圖疏朗有致，人物與文字布局均衡，釉面雖歷經百餘年，仍保持較好的完整性，色彩雖有輕微磨損，卻更顯時光沉澱的質感。
歷史與文化價值
無雙譜題材瓷器興起於清代中晚期，反映了當時社會對歷史人物的推崇與文化認同。同治年間正值晚清，社會動盪中，此類承載傳統文化的器物更顯珍貴。本品作為這一時期的實物見證，不僅展現了清代民窯粉彩的藝術風格，更為研究晚清社會文化與審美取向提供了實物資料，是東方歷史文化收藏的理想之選。
收藏與陳列建議
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收藏價值：清代同治年間無雙譜瓷器存世量有限，本品保存狀況良好，畫工精緻，屬於民窯中的精品，具有較高的收藏潛力與升值空間。
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陳列裝飾：適合陳列於書房、客廳或文化藝術空間，作為東方古典審美的點睛之筆，既能展現主人對中國傳統文化的鑒賞力，亦能為空間增添歷史厚重感。
本品為清代晚期真品，帶有自然的時代特徵，是連接過去與現在的文化藝術載體，誠邀識者珍藏。
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