Auction Information

Description

Double Dragon Ear Bottle, with Double Chi Dragon as the ear, and details painted with alum red gold. The outer mouth of the bottle and the outer wall of the ring foot are decorated with alum red and gold colored patterns, which not only match the top and bottom, but also form a unified visual impression on the left and right sides of the neck. The bottleneck is marked with a yellow glazed ground cone and a phoenix tail shaped curled grass brocade pattern, paired with a yellow earth ocean colored passion flower pattern on the lower tibia of the bottle. Two types of passion flower patterns, one vertical and one wide, are designed to match the local shape of the object, demonstrating the meticulous craftsmanship of the court. The double layer banana leaf pattern at the bottom of the bottleneck corresponds to the double layer lotus petal pattern at the bottom of the bottle body, standing tall and beautiful. A picture of a hundred children in Changchun is depicted with a bottle shaped view. A group of infants and children gather on the shore of a mountain platform, playing drums and music, dancing lions, dragon and phoenix lights, or firing cannons to celebrate. In the distance, the four children carry four colored fish lanterns, including mackerel, culter, carp, and mandarin fish, high in the mountains, which sounds like "pure and clean". The picture shows the customs of Yuanxiao (Filled round balls made of glutinous rice-flour for Lantern Festival) Festival with the elements of lion dance, colored lights and firecrackers, which symbolizes the good fortune of Changchun's hundred children. The baby play picture is a classic Chinese auspicious theme. It first appeared on porcelain and can be seen in the underglaze painted objects of Changsha kilns in the Tang Dynasty. Later, on porcelain from the Song and Jin dynasties, such as Ding kilns, Yaozhou kilns, Jingdezhen kilns, and Cizhou kilns, infant play patterns can be seen using techniques such as carving, printing, and painting. During the Ming Zhengde and Jiajing periods, infant play became a custom pattern for imperial kilns. Later, in the Qing Dynasty, it was favored by Emperor Qianlong and developed into a auspicious theme for imperial calligraphy, painting, and porcelain, accompanied by auspicious names such as Changchun Baizi.