Attributed to Qianlong period Chinese porcelain ginger jar with golden fish. Weight: 7 lb. = 3.15 kg; Height: 8.5 inches = 21 cm; Biggest diameter: 9.5 inches = 24 cm; 6 characters on the bottom: Qianlong Emperor 1736-1795; Condition: almost perfect, some natural wear at the bottom, a small chip at the bottom; References: The archaic seal mark really came to prominence on an even greater range of ceramic wares in the Qianlong period (1736-1795), largely ousting the regular script. Ceramic production at the Imperial kiln was enormous in the eighteenth century, it has been suggested that the painting of reign marks was entrusted to a very few calligraphers. The study of marks found on Yongzheng and Qianlong porcelain reveals certain distinctly recognizable hands. Qianlong seal marks are often written in iron-red or gilt as well as under glaze blue. They can also be incised, stamped or molded in relief. On a small group of porcelain, the so-called 'Gu yue' wares, puce and over glaze blue enamel marks appear. Seal marks can be found in a cartouche on the neck of a vase, where the seal has been broken up and is presented in a horizontal format from right to left. The details of the calligraphy depend on the method used to apply the mark. These details also altered from one reign to the next, and sometimes these anachronistic quirks indicate if the mark is contemporary with the period rather than being nineteenth century or later. For example, during the Qianlong period, the six character 'zhi' (manufactured) when written in underglaze blue should have a small trident with five prongs. In the copies we usually find only three prongs. In the execution of the water radical of the Qing character there are similar anomalies in style that betray a later date. In genuine pieces the size of the seal should be in proportion to the base upon which it is written and the rows of the characters tend to be regular. The marks of the Yongzheng period often have a greater elegance than those of the Qianlong period, which can appear stilted. One common feature of the nineteenth century copies of the earlier Qing reigns, is that the characters are composed of 'hollow lines' filled with watery interiors, which are easily seen with a magnifying glass. These 'hollow lines' result from inferior mixing of the cobalt blue. It is also believed that the cobalt available in the nineteenth century was not of such good quality. Comparing the underglaze-blue seal marks of the various Qing emperors, one can recognise distinct changes. These are especially noticeable in the 'qing' character and again, more prominently, in the water radical of this character. Typical forms of writing the water radical are shown below:

almost perfect, some natural wear at the bottom, a small chip at the bottom