Plate
The plate is complete; some breaks have been repaired with metal studs and there is some glaze missing around the rim. The plate is circular with a plain rim. The rim slopes slightly inwards, the wall is low and the base is flat. The plate rests on a small milled foot that is free of glaze, and the bottom is recessed. The reverse of the plate features eighteen pairs of circular drilled holes, which hold fifteen copper metal spikes; made from a rod, these spikes are each inserted into a pair of small holes ; The decoration is molded and hand-painted in underglaze blue. It is of the vegetal type. The molded decoration is visible on the rim of the plate, which is undulated. The painted decoration is visible on the inner rim, on the wall and on the inner base. The decoration on the marli consists of a complex frieze. Near the rim, there is a narrow braid trimmed with a strand of oval beads with a central core. The marli is covered with a complex frieze in which two groups of main elements are repeated in alternation. One group consists of a flower in the center of a trellis, trimmed with scrolls; this group is bordered by an oval medallion featuring a building topped by a double-sloped roof and surrounded by trees. The other group consists of what appears to be a row of alveoli supporting a plant with dark-blue leaves. The motif on the wall consists of a braid traced in blue and trimmed with a lattice of lozenges; it is interrupted by four of the eight precious objects of Confucian philosophy, which are encircled by arcs-de-circle traced and painted in dark blue. The central decoration is encircled by a ring traced in blue. It features a seedling of leafy stems and flowers.
- Accession Number 2018.10.1296
- Date 1790
- Materials ceramics, fine hard-paste porcelain from China
- Measurements 2,3 x 16,09 cm
- Accession Number 2018.10.1296
- Date 1790
- Materials ceramics, fine hard-paste porcelain from China
- Measurements 2,3 x 16,09 cm
© Collection Pointe-à-Callière, Paul-Gaston L'Anglais fonds,2018.010.1296
Photo by François Gignac
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