Dish - Porcelain - Large charger end 18/19th





€100 | ||
|---|---|---|
€60 |
Catawiki Buyer Protection
Your payment’s safe with us until you receive your object.View details
Trustpilot 4.4 | 134364 reviews
Rated Excellent on Trustpilot.
Porcelain large charger in Qing Dynasty style (c. 1750–1800 / 1800–1850) from China, 36 cm in diameter and 6 cm high, featuring a dense blue-and-white rizha grain motif with peonies, in good used condition with small traces of aging; a note on the title: “Large charger end 18/19th.”
Description from the seller
Large plate adorned with stylized peonies surrounded by their foliage on a “rice grain” background, Mijiazhen 米家针, symbolizing longevity, perseverance, and autumn.
This work of dense motifs, which resembles a net of tiny dots or cells enclosing the flowers, is characteristic of dense decorations called “spiral background” or “rice grain” backgrounds. It requires immense brush painting precision. This very dense and high-contrast blue-and-white decorating style originated in Jingdezhen, China, during the reign of Emperor Kangxi (1662–1722). Its remarkable condition is perceptible in the vivid cobalt blue, the glaze white that leans slightly toward bluish-gray in places, small firing blemishes, two tiny flaws, almost invisible.
On the reverse, a mark in Zhuanshu 篆书, probably a “praise mark” jishi ming 记事铭, praising the quality and finesse of execution of the ceramicist and the painter together.
Large plate adorned with stylized peonies surrounded by their foliage on a “rice grain” background, Mijiazhen 米家针, symbolizing longevity, perseverance, and autumn.
This work of dense motifs, which resembles a net of tiny dots or cells enclosing the flowers, is characteristic of dense decorations called “spiral background” or “rice grain” backgrounds. It requires immense brush painting precision. This very dense and high-contrast blue-and-white decorating style originated in Jingdezhen, China, during the reign of Emperor Kangxi (1662–1722). Its remarkable condition is perceptible in the vivid cobalt blue, the glaze white that leans slightly toward bluish-gray in places, small firing blemishes, two tiny flaws, almost invisible.
On the reverse, a mark in Zhuanshu 篆书, probably a “praise mark” jishi ming 记事铭, praising the quality and finesse of execution of the ceramicist and the painter together.

