A VERY FINE AND MASSIVE ROSE-VERTE CIRCULAR CHARGER Yongzheng period, 1723-35 Superbly enameled with an elegant domestic scene in a pavilion standing at the side of an ornamental terrace set with Lake Tai pierced garden rocks issuing flowering shrubs, the pavilion interior with five brightly-robed figures standing around a rectangular table in front of a handsome landscape screen in the background, a female servant approaching form a smaller room at the left beneath a banner with a three-line inscription describing the lead female protagonist in the scene depicted, all within an elaborate gilt and iron-red Y-pattern border reserved at the compass points with four leaf-shaped panels depicting elegant ladies and children engaged in recreational activities. 18 3/4in (47.5cm) diam Footnotes: 雍正時期 1723-35年 五彩加粉彩礬紅描金庭院人物故事大盤 Published: Cohen & Cohen, The Golden Gate Collection, Antwerp, 2018, p. 181, no. 135 出版： 倫敦Cohen & Cohen古董行，《The Golden Gate Collection》，安特衛普，2018年，頁181，圖版編號135 The first half of the banner on the roof of the small room at the left reads 'My sixteen-year-old daughter is proficient in any literary style.' Most likely, the daughter is depicted as the young woman wearing a red jacket and green and yellow dress to the left of the table, having proffered a gilt bowl to the figure in green robes who leans on the table, and her father is the elderly mustached gentleman at the rear of the scene. The sheer size and splendid decorative qualities of this brilliantly enameled charger explain why the finest famille rose porcelains caused a sensation when they begin to arrive in Europe after 1700. Although the earlier display dishes and vases were decorated in a predominantly green palette (famille verte), it was the introduction to the Chinese palette of blush-pink tones derived from colloidal gold, initially created in the Limoges enameling workshops in France which created the biggest sensation in Europe and proved to be the longest-lasting revolution in taste. The ability to add an opacifier (opaque white powder) to the normally translucent enamels of Qing Dynasty China enabled enamellers in Jingdezhen to create much greater contrasts of color and tone, by adding the opacifier in different quantities until the right one tone of pink, green and even creamy white was achieved. This charger demonstrates the vastly wider range of shades of color which an accomplished decorator in China could achieve with this new technology, brought to the Chinese Court by Jesuit missionaries from Italy and France.