Auction Information

Description

The document of the Qing Dynasty Palace Office for the Blue and White Glazed Red Cloud Sea Teng Dragon Pattern Celestial Sphere Bottle clearly states that such a "new need for antique imitation" instruction: "On April 11, the seventh year of the Yongzheng reign, Lang Zhonghai hoped to produce a gourd style magnetic pot. The order is to hand over this pot to Nian Xiyao to imitate and burn several pieces according to its style. If the glaze water cannot be very similar, some of the depth can be added to the original pot. This product is also a product of this guiding ideology, and its shape The image and writing style of the dragon pattern are the inheritance of the Yongxuan Imperial Kiln, while the expression form of blue and white with underglaze red is an innovation of "imitating the ancient but not sticking to the ancient". Except for this, the Beijing Palace Museum collects several excellent works of the Yongzheng Imperial Kiln, and the design concept is also the same. For example, the "Qing Yongzheng Blue and White Seawater White Dragon Pattern Celestial Ball Bottle" and the "Qing Yongzheng Blue and White Seawater Red Seawater Dragon Pattern Celestial Ball Bottle" have the same pattern and layout, and the mother text is all derived from the Yongxuan Imperial Kiln, The innovation lies in the use of carving techniques for the white dragon, while the red dragon is painted in copper and red, creating a refreshing contrast between the two. As the prince, Yin Zhen received a good education in Han culture from a young age and was familiar with the classics of Confucianism, Taoism, and Buddhism. After succeeding to the throne, he followed the Confucian governance strategy based on the Cheng Zhu Neo Confucianism theory of Emperor Kangxi, the sage. He regarded "the human heart is at risk, the Dao heart is small, the essence is unique, and he is willing to speak out" as his personal cultivation and national governance principles. He was diligent in political affairs, and although he reigned for only thirteen years, there were over 20000 Zhu Pi memorials. In addition to being diligent in politics, engaging in artistic appreciation is his great hobby. The rich collection in the inner court also provides him with excellent conditions for cultivating his artistic cultivation. His taste is extraordinary, and the aesthetics of the Song Dynasty pursued the beauty of emptiness, simplicity, and naturalness. The aesthetic pursuit of self-expression is in line with Emperor Yongzheng's aesthetic taste for aesthetic appreciation