Ming Porcelain
Except otherwise stated, all results include the premium.
See also : Chinese porcelain Ming Bird Chinese dragon
Chronology : 15th century 1400-1429 1430-1459 1480-1499 16th century 1540-1569
See also : Chinese porcelain Ming Bird Chinese dragon
Chronology : 15th century 1400-1429 1430-1459 1480-1499 16th century 1540-1569
Intro
Some cities had their rise ensured by fabulous natural resources. This is the case of the high hills of Jingdezhen in southern China. The Chinese word for "High Hills" is Gaoling, which the French translated as Kaolin.
Jingdezhen ceramics were already known under the Tang. A clever mixture of clay and kaolinite later enabled the development of Chinese porcelain.
During the Yuan dynasty, Jingdezhen kilns were already producing blue and white porcelains. But the Yuan, of Mongol origin, were northerners. The Hongwu emperor, who overthrew the Yuan and established the Ming dynasty, took Nanjing as his capital. The conditions became favorable for installing at Jingdezhen the Imperial workshops responsible for producing porcelain for the Court and for export.
A large dish with floral decoration made during the reign of Hongwu was sold for HK $ 41M on April 7, 2011 by Sotheby's, lot 43. It measures 45 cm in diameter with a rounded edge in the form of a string of accolades. The underglaze red color of its decoration is a technical feat for its time.
Jingdezhen ceramics were already known under the Tang. A clever mixture of clay and kaolinite later enabled the development of Chinese porcelain.
During the Yuan dynasty, Jingdezhen kilns were already producing blue and white porcelains. But the Yuan, of Mongol origin, were northerners. The Hongwu emperor, who overthrew the Yuan and established the Ming dynasty, took Nanjing as his capital. The conditions became favorable for installing at Jingdezhen the Imperial workshops responsible for producing porcelain for the Court and for export.
A large dish with floral decoration made during the reign of Hongwu was sold for HK $ 41M on April 7, 2011 by Sotheby's, lot 43. It measures 45 cm in diameter with a rounded edge in the form of a string of accolades. The underglaze red color of its decoration is a technical feat for its time.
Yongle
1
Special Report
Yongle Ceramics
Yongle ceramics, produced during the reign of the Yongle Emperor (1403–1424) in the early Ming dynasty, represent a pinnacle of Chinese porcelain innovation at the imperial kilns in Jingdezhen, Jiangxi province. This era marked a revival of Han Chinese artistic traditions after the Mongol Yuan dynasty, with the emperor's patronage fostering technical advancements in glazing, firing, and multicultural influences from trade along the Silk Road and maritime expeditions. Yongle wares are celebrated for their refined purity, elegant forms, and subtle yet vibrant decorations, often incorporating Buddhist motifs reflecting the emperor's devout faith. Key innovations included the development of "sweet white" (tianbai) glazes, enhanced underglaze blue-and-white techniques using imported cobalt, and lustrous monochrome reds, setting standards that influenced subsequent Ming and Qing productions.
Characteristics and Techniques
Yongle porcelains are distinguished by their delicate kaolin-based bodies—thin, translucent, and finely potted—with glazes that achieve a smooth, lustrous finish often described as "white as fat" or "thin as cicada wings." The porcelain stone and kaolin mixture resulted in a high-fired body that was whiter and more durable than Yuan predecessors, with compositions showing higher potassium oxide in some analyses for improved vitrification. Firing techniques advanced to control high temperatures (around 1,300°C), minimizing imperfections like bubbles while enhancing glaze adhesion. Designs were meticulously planned, with underglaze painting allowing cobalt blue to "bleed" slightly for a soft, heaped-and-piled effect, creating depth in motifs. Common forms included bowls, stem cups, ewers, vases (such as yuhuchunping with pear-shaped bodies and flared rims), dishes, and ritual vessels, emphasizing symmetry and proportion. Motifs drew from nature and symbolism: lotuses for purity, peonies for prosperity, dragons for imperial power (often with elongated bodies and fierce expressions distinct from later Xuande styles), phoenixes, fruits, waves, and plantain leaves. Reign marks, introduced during this period, typically appear in underglaze blue as "Yongle nian zhi" (Made in the Yongle reign) in seal script, though many pieces lack marks to prioritize aesthetic purity.
Major Types
A classic Yongle blue-and-white ewer features a robust form with a dragon handle and spout, decorated with scrolling lotuses and waves, exemplifying the era's fusion of functionality and symbolism. Barbed-rim dishes, with their fluted edges mimicking flower petals, often display central fruit or floral sprays in cobalt blue, surrounded by wave borders, highlighting technical mastery in shaping and glazing.
Yuhuchunping vases from this period, with pear-shaped bodies, showcase underglaze red fruit motifs like peaches or pomegranates for longevity and fertility, their delicate proportions adding elegance.
Stem bowls with dragon motifs, such as those depicting clawed dragons chasing flaming pearls amid clouds, reflect imperial power and were used in court rituals.
Bouquet-design dishes feature clustered flowers in the center, with plantain leaves around the rim, demonstrating the soft, rhythmic brushwork unique to Yongle artisans.
Significance and Legacy
Yongle ceramics symbolized the dynasty's cultural renaissance, with over 100,000 pieces produced annually for imperial use, rituals, and diplomacy. Their export via Zheng He's voyages spread Chinese influence, inspiring imitations in the Middle East and Europe. Today, these wares command high values at auctions, prized for rarity and craftsmanship, with museums like the National Palace Museum in Taipei and the Metropolitan Museum of Art holding exemplary collections.
Characteristics and Techniques
Yongle porcelains are distinguished by their delicate kaolin-based bodies—thin, translucent, and finely potted—with glazes that achieve a smooth, lustrous finish often described as "white as fat" or "thin as cicada wings." The porcelain stone and kaolin mixture resulted in a high-fired body that was whiter and more durable than Yuan predecessors, with compositions showing higher potassium oxide in some analyses for improved vitrification. Firing techniques advanced to control high temperatures (around 1,300°C), minimizing imperfections like bubbles while enhancing glaze adhesion. Designs were meticulously planned, with underglaze painting allowing cobalt blue to "bleed" slightly for a soft, heaped-and-piled effect, creating depth in motifs. Common forms included bowls, stem cups, ewers, vases (such as yuhuchunping with pear-shaped bodies and flared rims), dishes, and ritual vessels, emphasizing symmetry and proportion. Motifs drew from nature and symbolism: lotuses for purity, peonies for prosperity, dragons for imperial power (often with elongated bodies and fierce expressions distinct from later Xuande styles), phoenixes, fruits, waves, and plantain leaves. Reign marks, introduced during this period, typically appear in underglaze blue as "Yongle nian zhi" (Made in the Yongle reign) in seal script, though many pieces lack marks to prioritize aesthetic purity.
Major Types
- Sweet White (Tianbai) Porcelains: An Yongle innovation, these monochrome whites feature a semi-transparent glaze over incised or molded designs, evoking jade-like tranquility. The glaze's subtle sheen and near-invisible decorations (anhua, or "hidden patterns") highlight the material's purity, often used for ritual or court items like bowls and stem cups symbolizing Buddhist enlightenment. The emperor's preference for white wares drove this refinement, making them rarer and more valued than colored counterparts.
- Blue-and-White Porcelains: These underglaze pieces showcase vibrant cobalt blues imported from Persia, applied before glazing for a sapphire-like luster. Forms varied widely, including multicultural ewers with spout designs inspired by Islamic metalware. Decorations often include bold floral bouquets, scrolling lotuses, or dynamic dragons amid clouds and waves, with bleeding effects adding texture. This type dominated exports, influencing global ceramics.
- Red-Glazed Porcelains: Achieved with copper oxide for a vivid, ruby-like hue, these monochromes required precise low-oxygen firing to avoid oxidation flaws. They feature lustrous surfaces on simple forms like bowls and vases, sometimes with incised dragons or fruits, embodying auspicious energy and imperial prestige.
A classic Yongle blue-and-white ewer features a robust form with a dragon handle and spout, decorated with scrolling lotuses and waves, exemplifying the era's fusion of functionality and symbolism. Barbed-rim dishes, with their fluted edges mimicking flower petals, often display central fruit or floral sprays in cobalt blue, surrounded by wave borders, highlighting technical mastery in shaping and glazing.
Yuhuchunping vases from this period, with pear-shaped bodies, showcase underglaze red fruit motifs like peaches or pomegranates for longevity and fertility, their delicate proportions adding elegance.
Stem bowls with dragon motifs, such as those depicting clawed dragons chasing flaming pearls amid clouds, reflect imperial power and were used in court rituals.
Bouquet-design dishes feature clustered flowers in the center, with plantain leaves around the rim, demonstrating the soft, rhythmic brushwork unique to Yongle artisans.
Significance and Legacy
Yongle ceramics symbolized the dynasty's cultural renaissance, with over 100,000 pieces produced annually for imperial use, rituals, and diplomacy. Their export via Zheng He's voyages spread Chinese influence, inspiring imitations in the Middle East and Europe. Today, these wares command high values at auctions, prized for rarity and craftsmanship, with museums like the National Palace Museum in Taipei and the Metropolitan Museum of Art holding exemplary collections.
2
Blue and White Meiping
2011 SOLD for HK$ 170M by Sotheby's
The blue and white had been developed in the kilns of Jingdezhen under the Yuan dynasty. The Yongle emperor of the Ming makes the porcelain of that locality an official art strictly controlled by the court.
Through this action the ambitious Yongle pursues a political goal. Yuan porcelains had been admired throughout Asia for their beauty and healthiness. Yongle makes them a flagship of China's unsurpassable art and uses them widely as diplomatic gifts. The pieces that failed in production are scrapped to avoid imitations. Only the best of the best is released.
Since the Song dynasty the porcelain competes with jade in terms of exquisiteness. The blue decorations of the Yuan porcelain display a wide variety of themes. The diplomatic ambition of the Ming adds new stylized or naturalist themes often to the taste of the Middle East.
The mastering of cobalt under glaze on white ceramics was achieved in the Yuan Dynasty, with intense or subtle shades of blue and a very accurate drawing on a rich variety of themes. The Yongle emperor of the Ming was clever to place the Jingdezhen kilns under direct imperial control despite a large geographical distance.
Yongle was the irreconcilable enemy of the Yuan and the Mongols, whom he circumvented by a communication effort toward all other foreigners. He used the outstanding productions from Jingdezhen for diplomatic gifts.
Porcelain is an art that invites the touch, and the curves of the meiping with their bulging under the collar have a sensual intent. The sturdily potted meiping was used for holding wine.
On October 5, 2011, Sotheby's sold a meiping for HK $ 170M from a lower estimate of HK $ 80M, lot 11 in the second sale of the Meiyintang collection. This 36 cm high example is especially masculine in its massive form. Its fine decoration is classic : branches bearing fruit.
Through this action the ambitious Yongle pursues a political goal. Yuan porcelains had been admired throughout Asia for their beauty and healthiness. Yongle makes them a flagship of China's unsurpassable art and uses them widely as diplomatic gifts. The pieces that failed in production are scrapped to avoid imitations. Only the best of the best is released.
Since the Song dynasty the porcelain competes with jade in terms of exquisiteness. The blue decorations of the Yuan porcelain display a wide variety of themes. The diplomatic ambition of the Ming adds new stylized or naturalist themes often to the taste of the Middle East.
The mastering of cobalt under glaze on white ceramics was achieved in the Yuan Dynasty, with intense or subtle shades of blue and a very accurate drawing on a rich variety of themes. The Yongle emperor of the Ming was clever to place the Jingdezhen kilns under direct imperial control despite a large geographical distance.
Yongle was the irreconcilable enemy of the Yuan and the Mongols, whom he circumvented by a communication effort toward all other foreigners. He used the outstanding productions from Jingdezhen for diplomatic gifts.
Porcelain is an art that invites the touch, and the curves of the meiping with their bulging under the collar have a sensual intent. The sturdily potted meiping was used for holding wine.
On October 5, 2011, Sotheby's sold a meiping for HK $ 170M from a lower estimate of HK $ 80M, lot 11 in the second sale of the Meiyintang collection. This 36 cm high example is especially masculine in its massive form. Its fine decoration is classic : branches bearing fruit.
3
Blue and White Moon Flask
2016 SOLD for HK$ 110M by Sotheby's
Yongle, the third Ming emperor, was the most powerful monarch of his time. Ruthless enemy of the Mongols, he had a more open and tolerant vision of the rest of the world and successfully promoted the voyages of discovery.
At that time, the blue and white dominates the Chinese porcelain but touch is as important as visual beauty. A gourd also named moon flask is a technical feat by its complex shape. Its body in a more or less bulging oval section is pleasing to hold in hands for pouring. The recipient is circular, with two winding handles around the bulbous neck. The belly is more or less rounded depending on the variants.
The main known role of their new shape and new decoration was to create pieces able to demonstrate the Chinese know-how to the Muslim rulers of the Middle East. The moon flasks were thus used for presentation during diplomatic and commercial exchanges.
An example is indeed shaped from a Middle Eastern metal model with a decoration of Islamic origin. Its flattened spherical body is set with two circular bosses at the sides, rising to a garlic neck flanked by the pair of handles. Both faces are painted in deep cobalt blue with hexagonal and other polygonal facets sheltering lotus flower heads, the central one with a foliated bloom being a six branch star.
This flask is not marked, as usual for the Yongle porcelains, but has been prepared in Jingdezhen probably for the use of the Chinese imperial court. It was sold for HK $ 110M from a lower estimate of HK $ 25M by Sotheby's on April 5, 2016, lot 17.
These shapes will be continued under Xuande, with some small changes especially concerning the shape of the base. The Qing, keen of the synthesis of all Chinese art, will make replicas.
At that time, the blue and white dominates the Chinese porcelain but touch is as important as visual beauty. A gourd also named moon flask is a technical feat by its complex shape. Its body in a more or less bulging oval section is pleasing to hold in hands for pouring. The recipient is circular, with two winding handles around the bulbous neck. The belly is more or less rounded depending on the variants.
The main known role of their new shape and new decoration was to create pieces able to demonstrate the Chinese know-how to the Muslim rulers of the Middle East. The moon flasks were thus used for presentation during diplomatic and commercial exchanges.
An example is indeed shaped from a Middle Eastern metal model with a decoration of Islamic origin. Its flattened spherical body is set with two circular bosses at the sides, rising to a garlic neck flanked by the pair of handles. Both faces are painted in deep cobalt blue with hexagonal and other polygonal facets sheltering lotus flower heads, the central one with a foliated bloom being a six branch star.
This flask is not marked, as usual for the Yongle porcelains, but has been prepared in Jingdezhen probably for the use of the Chinese imperial court. It was sold for HK $ 110M from a lower estimate of HK $ 25M by Sotheby's on April 5, 2016, lot 17.
These shapes will be continued under Xuande, with some small changes especially concerning the shape of the base. The Qing, keen of the synthesis of all Chinese art, will make replicas.
4
Blue and White Ewer
2023 SOLD for HK$ 107M by Sotheby's
The pear shaped ewer is arguably the most exquisite vessel in the Yongle period when its spout, rim and handle are in straight upper alignment.
A 22.5 cm high ewer was sold for HK $ 107M by Sotheby's on April 8, 2023, lot 101. Its cobalt blue is rich and its glaze is pristine. The cover is missing but its chain attachment eyelet is present on the handle. Please watch the video shared by the auction house.
This piece is painted on both sides in a double lined peach shaped cartouche with an undulating powerful dragon. They are portrayed in direct mirror image, both looking up towards the wine or tea pouring from the spout.
It does not have an imperial mark, as usual for most of the porcelains from that reign. It was nevertheless made for imperial use as evidenced by the five claws per paw of the dragon, a symbol of the emperor. Dragon vessels made for diplomatic presentation feature three claws per paw.
The same image of the dragon was also used to decorate bowl bottoms and outside walls, stem cups, washers and probably chargers and jars. It became highly popular from the Xuande period onwards.
Jingdezhen potters used to discard the pieces that were not perfect enough for the emperor. A nearly complete broken ewer nearly identical in form and painting style as the example above has been excavated from a Yongle kiln strata in that manufacturing site.
A mausoleum ewer in pure gold in the same shape and size is dated from the unique year of Yongle's successor Hongxi.
A 22.5 cm high ewer was sold for HK $ 107M by Sotheby's on April 8, 2023, lot 101. Its cobalt blue is rich and its glaze is pristine. The cover is missing but its chain attachment eyelet is present on the handle. Please watch the video shared by the auction house.
This piece is painted on both sides in a double lined peach shaped cartouche with an undulating powerful dragon. They are portrayed in direct mirror image, both looking up towards the wine or tea pouring from the spout.
It does not have an imperial mark, as usual for most of the porcelains from that reign. It was nevertheless made for imperial use as evidenced by the five claws per paw of the dragon, a symbol of the emperor. Dragon vessels made for diplomatic presentation feature three claws per paw.
The same image of the dragon was also used to decorate bowl bottoms and outside walls, stem cups, washers and probably chargers and jars. It became highly popular from the Xuande period onwards.
Jingdezhen potters used to discard the pieces that were not perfect enough for the emperor. A nearly complete broken ewer nearly identical in form and painting style as the example above has been excavated from a Yongle kiln strata in that manufacturing site.
A mausoleum ewer in pure gold in the same shape and size is dated from the unique year of Yongle's successor Hongxi.
5
Blue and White Holy Water Vessel
2016 SOLD for HK$ 100M by Sotheby's
A type of ewer from the Yongle period is known in three pieces, all of them in blue and white. Its shape is highly unusual, with its body set in its lower part with a raising spout, very long, tapered and facetted, ending in a lipped rim, without a handle.
This vessel is beautifully pouring in a thin and elegant stream, certainly not for palace use but for a ceremonial use. The Yongle emperor was a devout Buddhist. Such a holy water vessel was admired by the Qianlong emperor who commented it with a Buddhist phrase.
Specialists are considering that monochrome white porcelains would have been preferred for Buddhist rituals. Indeed a fragmentary piece has been reconstituted from sherds in the Yongle kiln stratum at Jingdezhen.
One of the three examples was sold for HK $ 100M from a lower estimate of HK $ 35M by Sotheby's on April 5, 2016, lot 15. The cobalt decoration of the pear shaped body is made of hibiscus bloom heads amidst arabesques of leaves. The spout and the unusual stepped foot are painted with stylized lotuses.
This vessel is beautifully pouring in a thin and elegant stream, certainly not for palace use but for a ceremonial use. The Yongle emperor was a devout Buddhist. Such a holy water vessel was admired by the Qianlong emperor who commented it with a Buddhist phrase.
Specialists are considering that monochrome white porcelains would have been preferred for Buddhist rituals. Indeed a fragmentary piece has been reconstituted from sherds in the Yongle kiln stratum at Jingdezhen.
One of the three examples was sold for HK $ 100M from a lower estimate of HK $ 35M by Sotheby's on April 5, 2016, lot 15. The cobalt decoration of the pear shaped body is made of hibiscus bloom heads amidst arabesques of leaves. The spout and the unusual stepped foot are painted with stylized lotuses.
Xuande
1
Special Report
Comparison with Yongle
Xuande ceramics, crafted during the brief reign of the Xuande Emperor (1426–1435) in the early Ming dynasty, represent a continuation and refinement of the innovations begun under the Yongle Emperor (1403–1424), often regarded as the pinnacle of Ming porcelain artistry. Both periods benefited from imperial patronage at the Jingdezhen kilns, emphasizing high-fired porcelains with kaolin-rich bodies, imported cobalt for blue-and-white wares, and symbolic motifs like dragons, lotuses, and phoenixes tied to imperial power and Buddhist influences. However, Xuande wares evolved toward greater robustness, vibrancy, and variety, with technical mastery in glazes and decorations that built on Yongle's delicate elegance. Production volumes surged under Xuande, yielding more extant pieces and diverse forms, while both eras focused on ritual, courtly, and diplomatic uses. Subtle differences in materials, firing, and aesthetics distinguish them, reflecting shifts in cobalt sourcing and artistic preferences.
Key Comparisons
The following table highlights major differences and similarities between Yongle and Xuande ceramics, drawn from stylistic, technical, and material analyses:
AspectYongle (1403–1424)Xuande (1426–1435)Similarities/Notes
Body Thickness
Yongle : Thinner, more delicate (e.g., "eggshell" or "bodiless" wares with translucent walls as thin as cicada wings)
Xuande : Thicker, more robust fetal bodies for durability
Both use refined kaolin-porcelain stone mixes for white, high-fired bodies; Xuande builds on Yongle's purity but adds heft.
Glaze Quality
Yongle : Smoother, jade-like sheen (e.g., "sweet white" tianbai with subtle luster and fewer bubbles)
Xuande : Thicker glaze with more bubbles, sometimes causing fuzzy edges in decorations; pronounced "heaped and piled" effect in blues
Both achieve high-temperature vitrification (~1,300°C); Xuande glazes often appear more opaque or textured.
Blue-and-White Color
Yongle : Softer, paler sapphire hues from imported "Su mud green" cobalt; subtle bleeding and crystal spots for ink-like depth
Xuande : More vibrant, purplish tones with bold "heaped and piled" black spots; combines imported and domestic cobalt for layered elegance
Imported smalt cobalt dominant in both for heap/pile characteristics; Xuande blues are blackish and more intense.
Motifs and Decoration
Yongle : Sparsely laid out, fluid scrolls, florals (e.g., lotuses, peonies), and dragons with straight hair, pig-like noses; engraved or incised designs common
Xuande : Denser, symmetrical patterns with florals, fish, waves ("Rock of Ages"); dragons with upturned jaws and dynamic poses; more character inscriptions
Shared motifs like dragons symbolizing power, and multicultural influences (e.g., Islamic-inspired forms); both emphasize symmetry and proportion.
Forms and Innovations
Yongle : Elegant, multicultural shapes (e.g., ewers, stem cups, yuhuchunping vases); pioneered "sweet white" monochromes and thin-walled ritual wares
Xuande : Wider variety (e.g., bowls, dishes, jars); mastered copper-red glazes (xianhong) for ruby hues; introduced more reign marks in underglaze blue
Both produced for court rituals and exports; Xuande refined Yongle's techniques, achieving breakthroughs in red glazes.
Foot and Base
Yongle : Slightly circular feet; fewer reign marks, often incised or absent for aesthetic purity
Xuande : Flatter, sanded feet; more consistent six-character "Xuande nian zhi" marks in seal script, sometimes all over the piece
Both feature flat, unglazed bases; marks emphasize imperial legitimacy.
Production and Rarity
Yongle : High quality but fewer varieties; emperor favored whites, leading to innovations in monochromes
Xuande : Prolific output with diverse types; "blue-and-white first push Xuande" due to mastery and volume
Both represent early Ming peaks post-Yuan; Xuande wares more extant but still rare and valuable today.
Major Types and Examples
Both periods excelled in blue-and-white, monochromes, and underglaze reds, but with distinct emphases.
Yongle ceramics laid the foundation for Ming excellence through delicacy and innovation, while Xuande elevated them to unmatched vibrancy and variety, often cited as the "second peak" of blue-and-white after the Yuan. Their export via maritime routes influenced global ceramics, and later dynasties (e.g., Qing) imitated them extensively. Today, both command premium values at auctions, prized for rarity, with Xuande marks aiding authentication despite forgeries.
Key Comparisons
The following table highlights major differences and similarities between Yongle and Xuande ceramics, drawn from stylistic, technical, and material analyses:
AspectYongle (1403–1424)Xuande (1426–1435)Similarities/Notes
Body Thickness
Yongle : Thinner, more delicate (e.g., "eggshell" or "bodiless" wares with translucent walls as thin as cicada wings)
Xuande : Thicker, more robust fetal bodies for durability
Both use refined kaolin-porcelain stone mixes for white, high-fired bodies; Xuande builds on Yongle's purity but adds heft.
Glaze Quality
Yongle : Smoother, jade-like sheen (e.g., "sweet white" tianbai with subtle luster and fewer bubbles)
Xuande : Thicker glaze with more bubbles, sometimes causing fuzzy edges in decorations; pronounced "heaped and piled" effect in blues
Both achieve high-temperature vitrification (~1,300°C); Xuande glazes often appear more opaque or textured.
Blue-and-White Color
Yongle : Softer, paler sapphire hues from imported "Su mud green" cobalt; subtle bleeding and crystal spots for ink-like depth
Xuande : More vibrant, purplish tones with bold "heaped and piled" black spots; combines imported and domestic cobalt for layered elegance
Imported smalt cobalt dominant in both for heap/pile characteristics; Xuande blues are blackish and more intense.
Motifs and Decoration
Yongle : Sparsely laid out, fluid scrolls, florals (e.g., lotuses, peonies), and dragons with straight hair, pig-like noses; engraved or incised designs common
Xuande : Denser, symmetrical patterns with florals, fish, waves ("Rock of Ages"); dragons with upturned jaws and dynamic poses; more character inscriptions
Shared motifs like dragons symbolizing power, and multicultural influences (e.g., Islamic-inspired forms); both emphasize symmetry and proportion.
Forms and Innovations
Yongle : Elegant, multicultural shapes (e.g., ewers, stem cups, yuhuchunping vases); pioneered "sweet white" monochromes and thin-walled ritual wares
Xuande : Wider variety (e.g., bowls, dishes, jars); mastered copper-red glazes (xianhong) for ruby hues; introduced more reign marks in underglaze blue
Both produced for court rituals and exports; Xuande refined Yongle's techniques, achieving breakthroughs in red glazes.
Foot and Base
Yongle : Slightly circular feet; fewer reign marks, often incised or absent for aesthetic purity
Xuande : Flatter, sanded feet; more consistent six-character "Xuande nian zhi" marks in seal script, sometimes all over the piece
Both feature flat, unglazed bases; marks emphasize imperial legitimacy.
Production and Rarity
Yongle : High quality but fewer varieties; emperor favored whites, leading to innovations in monochromes
Xuande : Prolific output with diverse types; "blue-and-white first push Xuande" due to mastery and volume
Both represent early Ming peaks post-Yuan; Xuande wares more extant but still rare and valuable today.
Major Types and Examples
Both periods excelled in blue-and-white, monochromes, and underglaze reds, but with distinct emphases.
- Blue-and-White Porcelains: Yongle's are noted for soft, fluid designs with multicultural flair, such as bouquet motifs on dishes or flasks with scrolling lotuses. A typical example is this Yongle flask with elegant blue decorations. In contrast, Xuande blues feature bolder, layered patterns, like dragons or peonies on bowls and ewers, with pronounced texture from cobalt spotting. See this Xuande dragon bowl for its dynamic, purplish hue.
- Monochrome Whites (Sweet White/Tianbai): A Yongle hallmark, these feature subtle anhua (hidden) incised designs under a jade-like glaze, symbolizing purity and often used in Buddhist rituals. This Yongle sweet white bowl exemplifies the tranquil elegance.
Xuande continued the style but with thicker glazes, though less emphasized than in Yongle. - Red-Glazed Porcelains: Yongle introduced copper-reds, but Xuande perfected them into vivid "fresh red" (xianhong) monochromes, challenging to fire due to oxidation risks, resulting in ruby-lustered dishes and bowls for imperial splendor. This Xuande copper-red dish showcases the lustrous hue.
Yongle ceramics laid the foundation for Ming excellence through delicacy and innovation, while Xuande elevated them to unmatched vibrancy and variety, often cited as the "second peak" of blue-and-white after the Yuan. Their export via maritime routes influenced global ceramics, and later dynasties (e.g., Qing) imitated them extensively. Today, both command premium values at auctions, prized for rarity, with Xuande marks aiding authentication despite forgeries.
2
Blue and White Fish Bowl
2017 SOLD for HK$ 230M by Sotheby's
When the emperor himself encouraged the development of porcelain techniques, the ingenuity of the Jingdezhen potters no longer had any limits. The reign of Xuande, the fifth emperor of the Ming dynasty, is one of those golden ages with spectacular progress for blue and red under glaze.
The red is still difficult to achieve and its drawing remains limited to massive silhouettes of fish or fruit. At the same time the cobalt blue is obtained in a series of tones which enable subtle contrasts. The quality of the Xuande blue and white will never be surpassed.
The sharpness of the blue drawing becomes exceptional but the iconography remains traditional. The wall of a bowl is read like a paper ink drawing being gradually unrolled. The theme of fishes moving at mid-depth amidst the aquatic weeds of a pond is well suited to such achievements.
On April 5, 2017, Sotheby's sold for HK $ 230M at lot 101 a bell-shaped bowl on that theme, 23 cm in diameter, with a ultimate refinement : it is lobed in ten sections down to the base which is also lobed in the extension. The goal is an unprecedented visual effect : the unfolding of the image before the eyes gives the impression of a gentle movement of the fish.
The lobes are not new in Chinese porcelain : washers or saucers lobed for imitating a flower had been a specialty of the fabulous Ru kilns at the end of the Northern Song dynasty.
A piece as deep as that lobed fish bowl is a technical feat : no other specimen of this form and visual effect has surfaced in such a large size. Two smaller bowls were identified in an ancient inventory of the Taipei Museum. Waste from an even smaller discarded piece was found in Jingdezhen.
The red is still difficult to achieve and its drawing remains limited to massive silhouettes of fish or fruit. At the same time the cobalt blue is obtained in a series of tones which enable subtle contrasts. The quality of the Xuande blue and white will never be surpassed.
The sharpness of the blue drawing becomes exceptional but the iconography remains traditional. The wall of a bowl is read like a paper ink drawing being gradually unrolled. The theme of fishes moving at mid-depth amidst the aquatic weeds of a pond is well suited to such achievements.
On April 5, 2017, Sotheby's sold for HK $ 230M at lot 101 a bell-shaped bowl on that theme, 23 cm in diameter, with a ultimate refinement : it is lobed in ten sections down to the base which is also lobed in the extension. The goal is an unprecedented visual effect : the unfolding of the image before the eyes gives the impression of a gentle movement of the fish.
The lobes are not new in Chinese porcelain : washers or saucers lobed for imitating a flower had been a specialty of the fabulous Ru kilns at the end of the Northern Song dynasty.
A piece as deep as that lobed fish bowl is a technical feat : no other specimen of this form and visual effect has surfaced in such a large size. Two smaller bowls were identified in an ancient inventory of the Taipei Museum. Waste from an even smaller discarded piece was found in Jingdezhen.
A Xuande bowl expected to fetch US$12.8mil leads #HongKong's Chinese Works of Art sales on 5 Apr #sothebysasianart https://t.co/5ILRjKHVQh pic.twitter.com/WIhR7E11Yk
— Sotheby's (@Sothebys) March 27, 2017
3
Blue and White Dragon Jar
2016 SOLD for HK$ 158M by Christie's
The mastery of porcelain in the Ming dynasty is achieved in three phases : a restart to the top quality under Yongle, an approach to touching perfection under Xuande and the masterpieces for the palace of Chenghua.
The use of underglaze cobalt blue on the white porcelain had reached under the Yuan a refinement which continued under Yongle. In the reign of the Xuande emperor the chemists significantly improved this technique for shading the blue. An extreme care is taken in the homogeneity of the cobalt solution and in the control of the kiln atmosphere. The sharpness of the line is also improved.
The image of the dragon, appreciated by the Yuan, becomes popular again in the Xuande porcelain, with a fierce expression. Dark blue dragons move in an environment of lighter figures. This contrast reinforces the power of the imperial symbol.
On May 30, 2016, Christie's sold for HK $ 158M from a lower estimate of HK $ 60M a jar with the mark of Xuande 48 cm high, lot 3012. The empowered dragon deploys its undulating body throughout the circumference. It is a great examples of the Xuande perfection in blue and white that will never be equaled even under Chenghua.
The use of underglaze cobalt blue on the white porcelain had reached under the Yuan a refinement which continued under Yongle. In the reign of the Xuande emperor the chemists significantly improved this technique for shading the blue. An extreme care is taken in the homogeneity of the cobalt solution and in the control of the kiln atmosphere. The sharpness of the line is also improved.
The image of the dragon, appreciated by the Yuan, becomes popular again in the Xuande porcelain, with a fierce expression. Dark blue dragons move in an environment of lighter figures. This contrast reinforces the power of the imperial symbol.
On May 30, 2016, Christie's sold for HK $ 158M from a lower estimate of HK $ 60M a jar with the mark of Xuande 48 cm high, lot 3012. The empowered dragon deploys its undulating body throughout the circumference. It is a great examples of the Xuande perfection in blue and white that will never be equaled even under Chenghua.
What makes this large 15th-century 'dragon' jar so rare — and so special? https://t.co/QLNIYOqVal pic.twitter.com/3fOW2SxJrB
— Christie's (@ChristiesInc) May 16, 2016
Once used as an umbrella stand, this Ming Dynasty 'Dragon' jar sold for over $20 million pic.twitter.com/BT3lTth3vU
— Christie's (@ChristiesInc) July 22, 2016
4
Blue and White Dragon Stembowl
2012 SOLD for HK$ 113M by Sotheby's
During Xuande's reign, white porcelain is purified with an unprecedented care, creating an unalterable material. The improvement of the cobalt blue associated with a thick glaze provides to the imperial pieces the brilliance of the drawing and the tactile quality. These advances allow Jingdezhen potters to prepare new visual effects.
The realization of different hues of blue on the same piece is obtained by spreading the color like a traditional ink wash on a paper. Obtaining shades of blue by modifying the purity of cobalt will be developed half a century later for the Chenghua palace bowls.
The Chinese have always enjoyed the lithophanes. The new purity of the porcelain, associated with a thinness of the walls which does not prevent the robustness, makes it possible to incise hidden images observable only by transparency. This technique is named anhua.
A model of bowl on a tall hollow foot includes all these advances of the blue and white. These pieces about 15.5 cm in diameter are decorated on the exterior of the bowl with two dragons drawn in dark blue with a fine brush, evolving within light blue clouds. The interior includes a pair of anhua dragons that encircle the imperial mark painted in dark blue. For these bowls of very high prestige, these dragons are imperial with five fingers per leg.
These stem bowls were made in series, as it is often the case with Chinese imperial porcelain. Four of them are almost identical. A bowl 15 cm high was sold for HK $ 113M from a lower estimate of HK $ 50M by Sotheby's on April 4, 2012, lot 29. The artist, playing with the thickness of the line, obtained several shades of blue.
Another one was sold for HK $ 75M by Sotheby's in Hong Kong on October 8, 2019, lot 3606. Please watch the video shared by the auction house.
Four pieces also exist in a very close variant, of the same dimensions, recognizable by a different design of the rocks on the foot. One of them, also with the anhua, was sold for HK $ 69M by Christie's on November 30, 2016. Christie's commented that the anhua is so subtle that it was missed by the catalogers in the previous sales of the same specimen.
On May 31, 2016, Lyon and Turnbull in association with Freeman's sold for HK $ 41.5M a stem cup without anhua, lot 84. Please watch the video edired by the auction house. On the theme of two flying dragons chasing the pearl, it is a great example of the Xuande luminosity in the blue and white that will never be achieved again, even under Chenghua. This small piece 8.7 cm high and 9.8 cm in diameter is in brilliant condition including the perfectly preserved softness of its thick and lustrous glaze.
The realization of different hues of blue on the same piece is obtained by spreading the color like a traditional ink wash on a paper. Obtaining shades of blue by modifying the purity of cobalt will be developed half a century later for the Chenghua palace bowls.
The Chinese have always enjoyed the lithophanes. The new purity of the porcelain, associated with a thinness of the walls which does not prevent the robustness, makes it possible to incise hidden images observable only by transparency. This technique is named anhua.
A model of bowl on a tall hollow foot includes all these advances of the blue and white. These pieces about 15.5 cm in diameter are decorated on the exterior of the bowl with two dragons drawn in dark blue with a fine brush, evolving within light blue clouds. The interior includes a pair of anhua dragons that encircle the imperial mark painted in dark blue. For these bowls of very high prestige, these dragons are imperial with five fingers per leg.
These stem bowls were made in series, as it is often the case with Chinese imperial porcelain. Four of them are almost identical. A bowl 15 cm high was sold for HK $ 113M from a lower estimate of HK $ 50M by Sotheby's on April 4, 2012, lot 29. The artist, playing with the thickness of the line, obtained several shades of blue.
Another one was sold for HK $ 75M by Sotheby's in Hong Kong on October 8, 2019, lot 3606. Please watch the video shared by the auction house.
Four pieces also exist in a very close variant, of the same dimensions, recognizable by a different design of the rocks on the foot. One of them, also with the anhua, was sold for HK $ 69M by Christie's on November 30, 2016. Christie's commented that the anhua is so subtle that it was missed by the catalogers in the previous sales of the same specimen.
On May 31, 2016, Lyon and Turnbull in association with Freeman's sold for HK $ 41.5M a stem cup without anhua, lot 84. Please watch the video edired by the auction house. On the theme of two flying dragons chasing the pearl, it is a great example of the Xuande luminosity in the blue and white that will never be achieved again, even under Chenghua. This small piece 8.7 cm high and 9.8 cm in diameter is in brilliant condition including the perfectly preserved softness of its thick and lustrous glaze.
Chenghua
1
Special Report
Compare Chenghua to Xuande
Xuande ceramics, produced during the Xuande Emperor's reign (1426–1435), are often hailed as the pinnacle of Ming blue-and-white porcelain, characterized by vibrant, imported cobalt hues and robust forms that reflect technical refinements in firing and pigment preparation. In contrast, Chenghua ceramics from the Chenghua Emperor's era (1465–1487) emphasize delicacy and innovation in enamelled techniques like doucai, using local cobalt for softer tones, though they are scarcer due to stringent imperial quality controls that led to widespread destruction of flawed pieces. Both periods flourished under imperial patronage at Jingdezhen kilns, building on Yongle foundations, but Chenghua wares shifted toward refined, jade-like aesthetics and multicolored overglazes, influenced by the emperor's artistic tastes amid a stable economy post-turmoil. This comparison highlights a transition from Xuande's bold vibrancy to Chenghua's subtle elegance, with shared motifs like dragons and florals symbolizing prosperity.Key Comparisons
The following table outlines major differences and similarities between Xuande and Chenghua ceramics, based on material, technical, and stylistic analyses:
Body Thickness
Xuande : Thicker, robust fetal bodies for durability, with refined kaolin mixes
Chenghua : Finer, thinner, and more delicate potting, often described as "thin as paper" yet strong
Both use high-fired porcelain with kaolin-porcelain stone for whiteness; Chenghua refines Xuande's purity for greater translucency.
Glaze Quality
Xuande : Thicker glazes with bubbles and "heaped and piled" texture in blues; orange-peel effect common
Chenghua : Jade-like, softly luminous glazes with creamy sheen (e.g., "Chenghua glaze" with ivory or flesh-red luster); clearer and glass-like
Both achieve high-temperature firing (~1,300°C); Chenghua advances to smoother, more uniform finishes without compromising adhesion.
Blue-and-White Color
Xuande : Vibrant purplish-blue from imported smalt cobalt; bold heaping/piling with blackish spots and crisp lines
Chenghua : Softer, pale washy blue from local cobalt (high manganese); stable, elegant, and less intense without piling
Cobalt dominant in both, but Xuande's imported vs. Chenghua's domestic leads to tonal shifts; both show layering for depth.
Motifs and Decoration
Xuande : Dense, symmetrical patterns like dragons with upturned jaws, florals (lotuses, peonies), waves; fluid and dynamic
Chenghua : Delicate, hairline-fine outlines in blue filled with overglaze enamels; motifs include chickens, grapes, scholars, flowers/birds; more refined and harmonious
Shared imperial symbols (e.g., dragons for power); both emphasize symmetry, but Chenghua introduces vibrant doucai colors.
Forms and Innovations
Xuande : Wide variety: bowls, dishes, jars, stem cups; mastered underglaze blues and copper-red monochromes
Chenghua : Smaller, exquisite forms: cups, bowls, dishes; perfected doucai (underglaze blue outlines with overglaze enamels) requiring dual firings
Both for court rituals and exports; Chenghua builds on Xuande's techniques with multicolored enamels for vivid hues.
Marks
Xuande : Six-character "Da Ming Xuande nian zhi" in seal script, varied positions (e.g., all over body); elegant and consistent
Chenghua : Six-character "Da Ming Chenghua nian zhi" often inelegant, thick, and unbalanced; typically on base in double circle
Both use underglaze blue marks for imperial legitimacy; highly copied in later periods due to prestige.
Production and Rarity
Xuande : Prolific with more extant pieces and varieties; "blue-and-white first push Xuande" for mastery
Chenghua : Scarcer due to exacting standards (flawed pieces destroyed); only ~300 known vs. Xuande's 1,800+
Both peaks in Ming quality post-Yongle; imperial kilns focused on perfection, influencing global trade.
Major Types and Examples
Both eras excelled in blue-and-white and monochromes, but Xuande emphasized underglaze vibrancy, while Chenghua innovated with overglaze enamels.
Xuande ceramics set benchmarks for Ming boldness and export influence, while Chenghua's scarcity and doucai mastery elevated porcelain to artistic heights, prized by late Ming collectors above even Song wares. Both periods' marks and styles were widely copied in later dynasties, commanding high auction values today—e.g., Chenghua chicken cups fetching over HKD 281 million—due to their rarity and craftsmanship. Their global impact inspired European and Middle Eastern imitations, underscoring Ming porcelain's role in cultural exchange.
The following table outlines major differences and similarities between Xuande and Chenghua ceramics, based on material, technical, and stylistic analyses:
Body Thickness
Xuande : Thicker, robust fetal bodies for durability, with refined kaolin mixes
Chenghua : Finer, thinner, and more delicate potting, often described as "thin as paper" yet strong
Both use high-fired porcelain with kaolin-porcelain stone for whiteness; Chenghua refines Xuande's purity for greater translucency.
Glaze Quality
Xuande : Thicker glazes with bubbles and "heaped and piled" texture in blues; orange-peel effect common
Chenghua : Jade-like, softly luminous glazes with creamy sheen (e.g., "Chenghua glaze" with ivory or flesh-red luster); clearer and glass-like
Both achieve high-temperature firing (~1,300°C); Chenghua advances to smoother, more uniform finishes without compromising adhesion.
Blue-and-White Color
Xuande : Vibrant purplish-blue from imported smalt cobalt; bold heaping/piling with blackish spots and crisp lines
Chenghua : Softer, pale washy blue from local cobalt (high manganese); stable, elegant, and less intense without piling
Cobalt dominant in both, but Xuande's imported vs. Chenghua's domestic leads to tonal shifts; both show layering for depth.
Motifs and Decoration
Xuande : Dense, symmetrical patterns like dragons with upturned jaws, florals (lotuses, peonies), waves; fluid and dynamic
Chenghua : Delicate, hairline-fine outlines in blue filled with overglaze enamels; motifs include chickens, grapes, scholars, flowers/birds; more refined and harmonious
Shared imperial symbols (e.g., dragons for power); both emphasize symmetry, but Chenghua introduces vibrant doucai colors.
Forms and Innovations
Xuande : Wide variety: bowls, dishes, jars, stem cups; mastered underglaze blues and copper-red monochromes
Chenghua : Smaller, exquisite forms: cups, bowls, dishes; perfected doucai (underglaze blue outlines with overglaze enamels) requiring dual firings
Both for court rituals and exports; Chenghua builds on Xuande's techniques with multicolored enamels for vivid hues.
Marks
Xuande : Six-character "Da Ming Xuande nian zhi" in seal script, varied positions (e.g., all over body); elegant and consistent
Chenghua : Six-character "Da Ming Chenghua nian zhi" often inelegant, thick, and unbalanced; typically on base in double circle
Both use underglaze blue marks for imperial legitimacy; highly copied in later periods due to prestige.
Production and Rarity
Xuande : Prolific with more extant pieces and varieties; "blue-and-white first push Xuande" for mastery
Chenghua : Scarcer due to exacting standards (flawed pieces destroyed); only ~300 known vs. Xuande's 1,800+
Both peaks in Ming quality post-Yongle; imperial kilns focused on perfection, influencing global trade.
Major Types and Examples
Both eras excelled in blue-and-white and monochromes, but Xuande emphasized underglaze vibrancy, while Chenghua innovated with overglaze enamels.
- Blue-and-White Porcelains: Xuande's feature bold, purplish designs with heaping effects, such as dragon stem bowls amid clouds symbolizing power. This Xuande dragon stem bowl exemplifies the dynamic cobalt tones.
Chenghua blues are paler and softer, often on small bowls with floral or figural motifs, continuing Xuande styles but with refined elegance. See this Xuande bowl for its robust form and blue depth. - Doucai (Contrasted Colors) Porcelains: A Chenghua hallmark, these involve underglaze blue outlines filled with overglaze enamels in reds, yellows, and greens for vibrant, harmonious effects after dual firings. Iconic examples include chicken cups depicting roosters, hens, and chicks in lively scenes symbolizing family prosperity. This Chenghua chicken cup showcases the delicate enamels.
Xuande lacked this technique's perfection, focusing instead on underglaze reds. - Monochrome Glazes: Xuande advanced copper-reds (xianhong) for ruby hues on bowls and vases. Chenghua refined sweet white glazes with anhua (hidden) incised designs, evoking jade tranquility for ritual use.
Xuande ceramics set benchmarks for Ming boldness and export influence, while Chenghua's scarcity and doucai mastery elevated porcelain to artistic heights, prized by late Ming collectors above even Song wares. Both periods' marks and styles were widely copied in later dynasties, commanding high auction values today—e.g., Chenghua chicken cups fetching over HKD 281 million—due to their rarity and craftsmanship. Their global impact inspired European and Middle Eastern imitations, underscoring Ming porcelain's role in cultural exchange.
2
Chicken Cup
2014 SOLD for HK$ 280M by Sotheby's
In 1464 CE, Chenghua became the eighth Ming Emperor. Politically dominated by his eunuchs and socially by his concubines, he did not leave an indelible mark in history during this reign that lasted 24 years. Inactive after the reign of Xuande, the Jingdezhen kilns were reactivated three decades later by Chenghua.
The blue and white in two hues of the beginning looks similar as Yuan and early Ming styles. The most recent technical innovation is then the doucai, by which other colors could be added through a second firing.
The best period of Chenghua porcelains is the second decade of his reign with the unique technique of the so-called palace bowls. Improvements are made to the choice of materials, enabling a higher temperature.
These pieces are innovative by the extreme care in realizing the porcelain with a dense paste, a transparent and robust glaze, providing a tactile quality that will never be available again.
The doucai color also gets some spectacular progress. Mixing enameled colors over the glaze allows a wide range of shades. The gently curved shapes of their walls are also new, in several variants.
Cups are used for wine and bowls for food. These pieces bearing the imperial mark are mainly made for the use of the principal concubine Wan Guifei whose demands were evidently extreme. They are highly rare and not even found as failed or waste pieces, demonstrating the rigorous surveillance made on site in Jingdezhen by imperial eunuchs.
This limited production was so expensive that the emperor's advisers were able to stop it after about ten years, during the 20th year of the reign corresponding to 1485 CE, two years before the death of the emperor and his concubine.
The drawing is innovative with asymmetrical compositions often adorned with spirals. The chicken cups are prestigious. Bowls are decorated with delicacy and simplicity, with flowers or fruits of botanical accuracy.
The figures of Chenghua ceramics are simple and naive. However, his chicken wine cups had an almost mystical reputation. The rooster is the emperor, and the hen protecting her chicks is his favorite concubine. Wan Guifei herself intervened to improve the quality of imperial porcelains.
One of these wonders is in perfect condition, on a pristine white background, without any crack or scratch. This piece 8.2 cm in diameter is decorated underglaze in cobalt blue and multicolored on its surface.
It was sold for HK $ 29M on April 27, 1999 by Sotheby's, purchased at that sale by Eskenazi. It was sold by Sotheby's on April 8, 2014 for HK $ 280M from a lower estimate of HK $ 200M. Please watch the video shared by the auction house.
380 years earlier the Ru of the Song had been interrupted by the Yuan invasion after only a few years. Similarly, the production of Chenghua bowls did not survive his reign. Easier to execute, the doucai had a great future and is one of the major steps that lead to the perfection of colors of the falangcai under the Qing.
The blue and white in two hues of the beginning looks similar as Yuan and early Ming styles. The most recent technical innovation is then the doucai, by which other colors could be added through a second firing.
The best period of Chenghua porcelains is the second decade of his reign with the unique technique of the so-called palace bowls. Improvements are made to the choice of materials, enabling a higher temperature.
These pieces are innovative by the extreme care in realizing the porcelain with a dense paste, a transparent and robust glaze, providing a tactile quality that will never be available again.
The doucai color also gets some spectacular progress. Mixing enameled colors over the glaze allows a wide range of shades. The gently curved shapes of their walls are also new, in several variants.
Cups are used for wine and bowls for food. These pieces bearing the imperial mark are mainly made for the use of the principal concubine Wan Guifei whose demands were evidently extreme. They are highly rare and not even found as failed or waste pieces, demonstrating the rigorous surveillance made on site in Jingdezhen by imperial eunuchs.
This limited production was so expensive that the emperor's advisers were able to stop it after about ten years, during the 20th year of the reign corresponding to 1485 CE, two years before the death of the emperor and his concubine.
The drawing is innovative with asymmetrical compositions often adorned with spirals. The chicken cups are prestigious. Bowls are decorated with delicacy and simplicity, with flowers or fruits of botanical accuracy.
The figures of Chenghua ceramics are simple and naive. However, his chicken wine cups had an almost mystical reputation. The rooster is the emperor, and the hen protecting her chicks is his favorite concubine. Wan Guifei herself intervened to improve the quality of imperial porcelains.
One of these wonders is in perfect condition, on a pristine white background, without any crack or scratch. This piece 8.2 cm in diameter is decorated underglaze in cobalt blue and multicolored on its surface.
It was sold for HK $ 29M on April 27, 1999 by Sotheby's, purchased at that sale by Eskenazi. It was sold by Sotheby's on April 8, 2014 for HK $ 280M from a lower estimate of HK $ 200M. Please watch the video shared by the auction house.
380 years earlier the Ru of the Song had been interrupted by the Yuan invasion after only a few years. Similarly, the production of Chenghua bowls did not survive his reign. Easier to execute, the doucai had a great future and is one of the major steps that lead to the perfection of colors of the falangcai under the Qing.
3
Palace Bowl
2013 SOLD for HK$ 140M by Sotheby's
White porcelain from the imperial kilns in Jingdezhen was highly appreciated by the Ming. Yongle, third emperor of the dynasty, had promoted pieces in immaculate white, without slowing the progress of underglaze decoration in cobalt blue.
The "palace bowls" were produced for a very short period not exceeding 7 years, from 1481 to 1487 in our calendar at the end of the reign of Chenghua, the seventh emperor. This utensil is by nature an object to be touched. These Chenghua bowls reach a perfection of tactility that will never be exceeded.
Vines of melons are a rare theme symbolizing an auspicious prosperity to the offspring. The bowl from the Meiyintang collection with a nice balance of blue and white was sold in post sale for HK $ 90M at Sotheby's on April 7, 2011. Measuring 15 cm in diameter, it is inscribed with the six-character mark of Chenghua and decorated with melon vines including leaves and fruits.
On April 6, 2016, Sotheby's sold for HK $ 64M another melon bowl, lot 25. This piece is unique in the details of its pattern by the quantity and density of the fruit. Its size is 15.4 cm in diameter.
On October 8, 2013, Sotheby's sold a palace bowl with the Chenghua imperial mark for HK $ 140M from a lower estimate of HK $ 80M, lot 101.
It is decorated inside and outside with humble musk-mallows. Also same as the melon bowl, it wears the Imperial mark.
The "palace bowls" were produced for a very short period not exceeding 7 years, from 1481 to 1487 in our calendar at the end of the reign of Chenghua, the seventh emperor. This utensil is by nature an object to be touched. These Chenghua bowls reach a perfection of tactility that will never be exceeded.
Vines of melons are a rare theme symbolizing an auspicious prosperity to the offspring. The bowl from the Meiyintang collection with a nice balance of blue and white was sold in post sale for HK $ 90M at Sotheby's on April 7, 2011. Measuring 15 cm in diameter, it is inscribed with the six-character mark of Chenghua and decorated with melon vines including leaves and fruits.
On April 6, 2016, Sotheby's sold for HK $ 64M another melon bowl, lot 25. This piece is unique in the details of its pattern by the quantity and density of the fruit. Its size is 15.4 cm in diameter.
On October 8, 2013, Sotheby's sold a palace bowl with the Chenghua imperial mark for HK $ 140M from a lower estimate of HK $ 80M, lot 101.
It is decorated inside and outside with humble musk-mallows. Also same as the melon bowl, it wears the Imperial mark.
1559-1566 Jiajing Fish Jar
2017 SOLD for HK$ 214M by Christie's
The palace bowls of the Chenghua emperor were fabulous by the quality of the porcelain and their early application of polychromy but the pieces were small and the drawings were naive. A period of inactivity begins because of court protests against the onerous taste of the leading concubine for such a luxury.
The progress of Jingdezhen porcelain is restarting with the Jiajing emperor, an art lover and an adept of Daoism. Becoming emperor at the age of 14 in 1522 CE, Jiajing retreated from politics in 1542 and reigned for 24 further years, obsessed by the search for immortality.
Large pieces are made under his rule, using the bright color palette identified as wucai. Wucai means five enamels, five having here a meaning of plurality adjusted to the five elements.
The porcelain was first painted with the classical underglaze blue. The other colors were added over the glaze. Experts believe that three firings have been necessary. The fish jars display a golden orange of the carps specially developed under Jiajing, applying an iron red over an already fired yellow enamel. This onerous technique was not maintained afterwards.
This emperor liked to state that he was the fisherman of the heavenly pond. The pattern with fish swimming amidst aquatic plants enables a pleasing interweaving of the drawings on the walls of the jars and Jiajing himself promotes this theme by massive commissions. The details of the themes are related to homophonic rebuses bringing to the emperor the auspices that he so much enjoyed.
No record was found of imperial orders for Jiajing polychrome porcelains, leading to a terminus post quem ca 1559. All the fish jars share the same basic design.
A 46 cm high wucai guan shaped jar with its cover is one of the biggest pieces of that type. It is animated by carps of two different sizes. The suspension of the fish in water allows various attitudes.
Pieces which are still with their original cover are very rare in private hands. This one was sold for HK $ 44M by Sotheby's on October 29, 2000, and for HK $ 214M by Christie's on November 27, 2017, lot 8006. Please watch the video shared by Christie's.
In the same technique and size as the example above, a pair of Jiajing fish jars with their original covers was sold for £ 9.6M by Sotheby's on November 6, 2024, lot 32. Please watch the video shared by the auction house. This pair has been treasured in the same German family for about a century. Another pair with covers, somewhat damaged, is kept at the Musée Guimet.
The progress of Jingdezhen porcelain is restarting with the Jiajing emperor, an art lover and an adept of Daoism. Becoming emperor at the age of 14 in 1522 CE, Jiajing retreated from politics in 1542 and reigned for 24 further years, obsessed by the search for immortality.
Large pieces are made under his rule, using the bright color palette identified as wucai. Wucai means five enamels, five having here a meaning of plurality adjusted to the five elements.
The porcelain was first painted with the classical underglaze blue. The other colors were added over the glaze. Experts believe that three firings have been necessary. The fish jars display a golden orange of the carps specially developed under Jiajing, applying an iron red over an already fired yellow enamel. This onerous technique was not maintained afterwards.
This emperor liked to state that he was the fisherman of the heavenly pond. The pattern with fish swimming amidst aquatic plants enables a pleasing interweaving of the drawings on the walls of the jars and Jiajing himself promotes this theme by massive commissions. The details of the themes are related to homophonic rebuses bringing to the emperor the auspices that he so much enjoyed.
No record was found of imperial orders for Jiajing polychrome porcelains, leading to a terminus post quem ca 1559. All the fish jars share the same basic design.
A 46 cm high wucai guan shaped jar with its cover is one of the biggest pieces of that type. It is animated by carps of two different sizes. The suspension of the fish in water allows various attitudes.
Pieces which are still with their original cover are very rare in private hands. This one was sold for HK $ 44M by Sotheby's on October 29, 2000, and for HK $ 214M by Christie's on November 27, 2017, lot 8006. Please watch the video shared by Christie's.
In the same technique and size as the example above, a pair of Jiajing fish jars with their original covers was sold for £ 9.6M by Sotheby's on November 6, 2024, lot 32. Please watch the video shared by the auction house. This pair has been treasured in the same German family for about a century. Another pair with covers, somewhat damaged, is kept at the Musée Guimet.
Jiajing ceramics, produced during the Jiajing Emperor's reign (1522–1566) in the mid-to-late Ming dynasty, mark a period of technical experimentation and polychrome innovation amid economic challenges, contrasting with the refined elegance of Chenghua ceramics from the Chenghua Emperor's era (1465–1487), which emphasized delicacy and quality control. While Chenghua wares are celebrated for their scarce, jade-like finesse and the peak of doucai (contrasted colors) techniques, Jiajing pieces reflect a decline in body purity but excel in vibrant wucai (five colors) enamels and bolder designs, influenced by the emperor's Taoist interests and maritime trade. Both periods operated under imperial oversight at Jingdezhen kilns, sharing motifs like dragons and florals symbolizing prosperity, but Jiajing's output surged with folk kiln influences, transitioning from Chenghua's courtly restraint to more diverse, sometimes coarser productions. This comparison illustrates a shift from Chenghua's artistic pinnacle to Jiajing's innovative yet uneven revival, often seen as the third peak in Ming porcelain after Xuande and Chenghua.
Key Comparisons
The following table outlines major differences and similarities between Chenghua and Jiajing ceramics, based on material, technical, and stylistic analyses:
AspectChenghua (1465–1487)Jiajing (1522–1566)Similarities/Notes
Body Thickness
Chenghua : Finer, thinner potting ("thin as paper"); refined kaolin for translucency and strength
Jiajing : Coarser, thicker bodies with impurities; decline in purity due to resource constraints
Both high-fired porcelain; Jiajing shows deterioration from Chenghua's finesse amid economic shifts.
Glaze Quality
Chenghua : Jade-like, creamy sheen with soft luster; uniform and glass-like without flaws
Jiajing : Thicker, sometimes uneven with bubbles; opaque or glossy, often with iron spots
Both achieve ~1,300°C firing; Jiajing offsets body decline with richer glazes.
Blue-and-White Color
Chenghua : Pale, washy blue from local cobalt; stable, soft tones without heaping/piling
Jiajing : Rich dark blue from mixed cobalt (imported/recycled); grayish to reddish-purple with halo effects
Cobalt dominant; Jiajing's varied tones (early gray, mid-light, late purple) contrast Chenghua's elegance.
Motifs and Decoration
Chenghua : Delicate outlines with overglaze enamels; chickens, grapes, florals/birds; harmonious and refined
Jiajing : Bolder, Taoist-inspired (e.g., cranes, peaches for immortality); dragons, fish, waves; emerging outline-wash style
Shared symbols like dragons/florals for prosperity; both use symmetry, but Jiajing adds polychrome vibrancy.
Forms and Innovations
Chenghua : Small, exquisite: cups, bowls; perfected doucai with dual firings for vibrant enamels
Jiajing : Larger variety: jars, vases, fish jars; flourished wucai polychromes and biscuit enameling
Both for rituals/exports; Jiajing innovates with yellow-ground incised designs and red monochromes.
Marks
Chenghua : Six-character "Da Ming Chenghua nian zhi" (often inelegant, thick); in double circle on base
Jiajing : Six-character "Da Ming Jiajing nian zhi"; varied, sometimes apocryphal; on base or body
Both underglaze blue for legitimacy; Chenghua marks widely copied, Jiajing less so but revered.
Production and RarityS
Chenghua : Scarce (~300 known) due to destruction of flaws; high standards limited output
Jiajing : More prolific with folk influences; quality varied but abundant compared to Chenghua
Both Ming peaks; Jiajing's volume reflects recovery, while Chenghua's rarity boosts value.
Major Types and Examples
Both eras featured blue-and-white and enamels, but Chenghua focused on doucai subtlety, while Jiajing emphasized wucai boldness.
Chenghua ceramics epitomize Ming delicacy and scarcity, influencing collectors who prized them over even Song wares, while Jiajing's vibrant innovations bridged to later Wanli polychromes and Qing revivals. Both periods' marks were extensively copied, underscoring their prestige, with modern auction values soaring—e.g., Chenghua cups over $36 million, Jiajing jars millions—due to rarity and cultural impact on global ceramics.
Key Comparisons
The following table outlines major differences and similarities between Chenghua and Jiajing ceramics, based on material, technical, and stylistic analyses:
AspectChenghua (1465–1487)Jiajing (1522–1566)Similarities/Notes
Body Thickness
Chenghua : Finer, thinner potting ("thin as paper"); refined kaolin for translucency and strength
Jiajing : Coarser, thicker bodies with impurities; decline in purity due to resource constraints
Both high-fired porcelain; Jiajing shows deterioration from Chenghua's finesse amid economic shifts.
Glaze Quality
Chenghua : Jade-like, creamy sheen with soft luster; uniform and glass-like without flaws
Jiajing : Thicker, sometimes uneven with bubbles; opaque or glossy, often with iron spots
Both achieve ~1,300°C firing; Jiajing offsets body decline with richer glazes.
Blue-and-White Color
Chenghua : Pale, washy blue from local cobalt; stable, soft tones without heaping/piling
Jiajing : Rich dark blue from mixed cobalt (imported/recycled); grayish to reddish-purple with halo effects
Cobalt dominant; Jiajing's varied tones (early gray, mid-light, late purple) contrast Chenghua's elegance.
Motifs and Decoration
Chenghua : Delicate outlines with overglaze enamels; chickens, grapes, florals/birds; harmonious and refined
Jiajing : Bolder, Taoist-inspired (e.g., cranes, peaches for immortality); dragons, fish, waves; emerging outline-wash style
Shared symbols like dragons/florals for prosperity; both use symmetry, but Jiajing adds polychrome vibrancy.
Forms and Innovations
Chenghua : Small, exquisite: cups, bowls; perfected doucai with dual firings for vibrant enamels
Jiajing : Larger variety: jars, vases, fish jars; flourished wucai polychromes and biscuit enameling
Both for rituals/exports; Jiajing innovates with yellow-ground incised designs and red monochromes.
Marks
Chenghua : Six-character "Da Ming Chenghua nian zhi" (often inelegant, thick); in double circle on base
Jiajing : Six-character "Da Ming Jiajing nian zhi"; varied, sometimes apocryphal; on base or body
Both underglaze blue for legitimacy; Chenghua marks widely copied, Jiajing less so but revered.
Production and RarityS
Chenghua : Scarce (~300 known) due to destruction of flaws; high standards limited output
Jiajing : More prolific with folk influences; quality varied but abundant compared to Chenghua
Both Ming peaks; Jiajing's volume reflects recovery, while Chenghua's rarity boosts value.
Major Types and Examples
Both eras featured blue-and-white and enamels, but Chenghua focused on doucai subtlety, while Jiajing emphasized wucai boldness.
- Blue-and-White Porcelains: Chenghua's exhibit pale, elegant tones on small bowls with floral or figural motifs. This Chenghua warming bowl showcases the soft blue depth.Jiajing blues are richer and darker, often on bowls with Taoist symbols like cranes amid waves. See this Jiajing blue-and-white bowl for its dynamic halo effects.
- Doucai and Wucai Porcelains: Chenghua perfected doucai with underglaze blue outlines filled by overglaze enamels, as in iconic chicken cups depicting family scenes for prosperity. This Chenghua chicken cup highlights the vibrant harmony. Jiajing advanced wucai polychromes on larger jars, featuring fish or dragons in red, green, and yellow for Taoist themes. A pair of Jiajing wucai fish jars exemplifies the bold colors.
- Monochrome Glazes: Chenghua refined sweet whites with anhua incised designs for ritual purity. Jiajing introduced opaque iron-red (tomato red) monochromes with gilt, often on bowls with incised dragons.
Chenghua ceramics epitomize Ming delicacy and scarcity, influencing collectors who prized them over even Song wares, while Jiajing's vibrant innovations bridged to later Wanli polychromes and Qing revivals. Both periods' marks were extensively copied, underscoring their prestige, with modern auction values soaring—e.g., Chenghua cups over $36 million, Jiajing jars millions—due to rarity and cultural impact on global ceramics.
