THREE CHINESE PORCELAIN VASES
This collection comprises three large Chinese porcelain vases representing three distinct decorative traditions: a famille rose figural vase bearing a poetic inscription signed by the Jiangxi porcelain painter Hu Rongchang, an underglaze blue covered jar decorated with birds and flowering peonies, and a famille rose dragon-decorated covered jar bearing an apocryphal Tongzhi reign mark. Together they demonstrate the enduring vitality of Jingdezhen porcelain traditions, ranging from literati-inspired enamel painting and elegant underglaze blue decoration to the continued appreciation of imperial dragon motifs.
The first vase is a finely potted famille rose pear-shaped vase with a tall flaring neck and openwork gilt handles. One side is painted with an elegant garden scene depicting ladies and attendants strolling among flowering trees and scholar's garden architecture, while the reverse bears a poetic inscription executed in flowing calligraphy and signed by the Jiangxi porcelain painter Hu Rongchang. The inscription, painting, and calligraphy are harmoniously integrated into a single composition, reflecting the long-standing literati tradition of combining poetry, calligraphy, and painting as complementary forms of artistic expression. The refined enamel palette, graceful figural painting, and elegant brushwork exemplify the artistic sophistication that characterized high-quality decorative porcelain produced at Jingdezhen during the early twentieth century.
The second vase is a large covered jar decorated in underglaze cobalt blue on a pale celadon-tinted glaze. The surface is richly painted with luxuriant peony blossoms intertwined with flowering branches, among which birds perch gracefully, creating an animated composition symbolic of prosperity, harmony, and renewal. The restrained monochromatic decoration demonstrates the enduring appeal of underglaze blue porcelain, while the softly tinted body recalls the elegant aesthetic favored by Jingdezhen kilns during the late Qing and early twentieth century. The original cover and carved wooden stand further enhance the completeness and decorative presence of the vessel.
The third vase is a famille rose covered baluster jar decorated with vigorous dragons soaring among multicolored auspicious clouds above stylized waves. Bearing an apocryphal six-character Tongzhi reign mark, the vessel continues the long-standing Jingdezhen tradition of recreating celebrated imperial decorative themes. The lively dragons, brilliant enamel palette, and carefully balanced composition preserve the visual language traditionally associated with imperial authority, prosperity, and auspicious blessings, demonstrating the enduring influence of classical Chinese porcelain design.
Together these three monumental vessels illustrate the remarkable continuity and diversity of Chinese porcelain decoration. Whether expressed through literati painting, elegant blue-and-white floral decoration, or the enduring symbolism of imperial dragon imagery, each vase reflects a different artistic tradition while showcasing the exceptional craftsmanship for which Jingdezhen has remained renowned for centuries.
Dimensions: Famille rose vase signed by Hu Rongchang: H. 17 3/8 in. (44.1 cm), Rim Dia. 6 7/8 in. (17.5 cm), Maximum Body Dia. 8 3/8 in. (21.3 cm), Overall H. with stand 18 1/2 in. (47.0 cm). Underglaze blue covered jar: H. 14 3/4 in. (37.5 cm), H. with cover 16 7/8 in. (42.9 cm), Rim Dia. 5 1/2 in. (14.0 cm), Body Dia. 10 in. (25.4 cm), Overall H. with stand 19 1/2 in. (49.5 cm). Famille rose dragon covered jar bearing an apocryphal Tongzhi mark: H. 16 7/8 in. (42.9 cm), Maximum Body Dia. 10 1/4 in. (26.0 cm).
中国瓷瓶三件
本组三件大型瓷瓶分别代表了中国瓷器装饰艺术中的三种不同风格：一件由江西瓷画家胡荣昌题诗并署名的粉彩人物瓶、一件青花花鸟盖罐，以及一件书“大清同治年制”寄托款的粉彩龙纹盖罐。三件作品虽风格各异，却共同展现了景德镇瓷业对传统绘画、装饰题材及制瓷工艺的传承与发展，兼具艺术性与观赏价值。
第一件为粉彩人物瓶，器形修长秀美，长颈撇口，溜肩鼓腹，两侧饰镂空鎏金耳。一面绘庭园仕女图，仕女与侍女漫步于花木掩映的庭院之间，人物姿态婉约，设色清雅柔丽，充分体现了传统粉彩人物画细腻秀逸的艺术风格；另一面题写诗文，并署“江西胡荣昌”款。诗、书、画三者浑然一体，承袭了中国文人艺术“诗中有画，画中有诗”的传统审美，也反映了近代景德镇艺术瓷将文人绘画与陶瓷工艺相结合的发展特色。
第二件为青花盖罐，通体施青白釉，以浓淡相宜的青花绘牡丹、花卉及禽鸟纹饰。牡丹寓意富贵荣华，禽鸟栖息花间，象征和谐美满、生机盎然。画面布局疏密有致，青花发色沉稳典雅，笔法流畅自然，既延续了传统青花瓷的艺术神韵，又体现了景德镇瓷画对于经典花鸟题材的娴熟驾驭。原配盖及木座保存完整，使整体更显庄重典雅。
第三件为粉彩龙纹盖罐，器身绘祥龙腾跃于五彩祥云之间，下承海水江崖纹，构图恢宏，层次丰富。器底书“大清同治年制”寄托款，延续了景德镇仿古瓷器的传统形式。龙纹线条遒劲流畅，粉彩设色鲜艳明快，祥云、海水等纹饰层层铺陈，富有强烈的装饰效果。龙作为中华传统文化中最具代表性的祥瑞神兽，历来象征权威、尊贵、吉祥与昌盛，使整件作品兼具浓厚的传统文化意涵与艺术感染力。
三件瓷器分别代表了人物画瓷、青花花鸟瓷及龙纹装饰瓷三种典型风格，既体现了景德镇深厚的制瓷传统，也反映了中国瓷器在继承经典装饰语言基础上的不断发展与创新。无论是文人题咏、花鸟意境，还是龙纹气势，均展现出中国陶瓷艺术丰富多元的审美追求，具有较高的艺术欣赏价值与收藏价值。
尺寸：胡荣昌题诗粉彩人物瓶高17 3/8英寸（44.1厘米），口径6 7/8英寸（17.5厘米），最大腹径8 3/8英寸（21.3厘米），连木座高18 1/2英寸（47.0厘米）；青花花鸟盖罐高14 3/4英寸（37.5厘米），连盖高16 7/8英寸（42.9厘米），口径5 1/2英寸（14.0厘米），最大腹径10英寸（25.4厘米），连木座高19 1/2英寸（49.5厘米）；粉彩龙纹盖罐（“大清同治年制”寄托款）高16 7/8英寸（42.9厘米），最大腹径10 1/4英寸（26.0厘米）。
For condition report and additional photos, please contact the Asian Art Department.
