A FINE AND RARE FAMILLE ROSE BLUE-GROUND 'MEDALLION' VASE Qianlong blue-enamel four-character mark, Republic Period (2)PROPERTY FROM THE HUAIHAITANG COLLECTION 懷海堂藏品A FINE AND RARE FAMILLE ROSE BLUE-GROUND 'MEDALLION' VASEQianlong blue-enamel four-character mark, Republic PeriodOf tall baluster form with flared mouth and a slightly splayed foot, decorated to the body with two gilt medallion on blue ground, on one side depicting the two Daoist immortals He Xiangu riding in a boat and Shoulao riding on a crane in their way to send auspicious birthday blessings to Guo Ziyi, who is standing on the terrace; on the other side depicting the Emperor Yao seeking direction from the Emperor Shun, Qianlong four-character iron-red mark within a square to the base, box. 31cm (12 1/4in) high. (2).民國 天藍釉粉彩開光人物故事瓶藍料「乾隆年製」楷書款Provenance:Kung Wah Lee Trading, and thence by descentThe Huaihaitang Collection, Hong Kong來源:香港龔華利瓷莊，後由家族傳承香港懷海堂珍藏The present vase is amongst the top-rated famille rose porcelains fired in Jingdezhen in the first half of the 20th century. The themes depicted on this group often derive from the Qing dynasty Imperial kilns, compare with a Qianlong famille rose 'Magu' lantern vase in the Qing Court Collection, illustrated in The Complete Collection of the Treasures of the Palace Museum: Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Shanghai, 1999, p.107, pl.93; compare the pink enamel used on the present vase to a pair of famille rose 'ladies' vases fired between 1940-1949, illustrated in Jingyitang cang ci·ciqi [Porcelains in the Jingyitang Collection], Nanchang, 2001, p.21, no.30.Vases of this type, guanyin ping, closely follow the Kangxi prototype, see a 'Langyao' red-glazed vase in the Fondation Baur, Musée des Arts d'Extrême-Orient, illustrated in A Millenium of Monochromes from the Great Tang to the High Qing: The Baur and the Zhuyuetang Collections, Geneva, 2019, p.288, no.132.口圓唇，短頸微束，圓肩，腹部修長略鼓，底內收一層成圈足，通施天藍釉，胸部前後開光，邊緣繪金彩，正面粉彩繪虞舜耕田，帝堯拜訪，後有侍者擎扇侍立，背面開光繪麻姑浮槎載酒，空中有壽老乘鶴而來，郭子儀立於高臺之上迎接二位仙家，繪製生動，用彩濃郁嬌艷。此瓶前後所繪人物故事出自虞舜耕田、麻姑獻壽及郭子儀祝壽之典故，所繪材料顏色濃郁，發色艷麗，人物有陰陽透視之效，乃二十世紀上半葉景德鎮彩繪瓷器之精品。民國彩瓷之題材往往繼承自清代御窯廠，本件所謂麻姑獻壽紋樣可比較北京故宮藏一件清乾隆粉彩麻姑獻壽燈籠瓶所繪，見葉佩蘭編，《故宮博物院藏文物珍品大系》，上海，1999年，頁107，圖版93。此一時期所用粉紅材料，嬌艷透紫，油性較重，常用以人物衣衫填色，為這一時期獨有，可比較一件粉彩仕女圖對瓶，1940年-1949年間作品，其人物衣衫用彩與本件頗似，見胡尚德編，《景藝堂藏瓷·瓷器》，南昌，2001年，頁21，編號30。此瓶器型為康熙朝常見之觀音瓶，可比較一件清康熙郎紅釉觀音瓶，器型類似，收藏於瑞士鮑氏東方藝術館，見L. Schwarts-Arenales編，《千載霓霞：鮑氏東方藝術館及竹月堂藏唐至清一道釉》，日內瓦，2019年，頁288，編號132。