Plus Qing Porcelain
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Except otherwise stated, all results include the premium.
Except otherwise stated, all results include the premium.
1731 Yongzheng pair of Peach Bowls
2015 SOLD for HK$ 90M by Sotheby's
Chinese porcelain is experiencing a restart of its development during the Kangxi period with the use of enamel painting. Multicolored pieces were already spectacular under the Ming but the new technique named falangcai enables to replace pure colors by exquisite shades highly appealing to Chinese taste.
The appointment by the Yongzheng emperor in the sixth year of his reign of Tang Ying as superintendent of the workshops of Jingdezhen is one of the most outstanding events in art history, paving the way for a total diversification of Chinese porcelain in terms of shapes, themes, colors, sizes, either imitating the antique or bringing some wonderful innovation.
The palette of colors becomes complete with the control of pink, happening around that time. The fencai meaning powdery colors applies to the Imperial yangcai porcelains decorated in opaque enamels. Its latest achievement was the mastery of the pink. The yangcai, often referred as famille rose, invites the artists to express all the delicate shades of peach blossoms, a symbol of happy longevity, and to improve the velvety look of the ripe fruit.
The Yongzheng emperor loved the symbols of immortality and happiness such as the peach, which provided also a great opportunity to use the brightest fencai palette in the fruits, flowers, leaves and branches. The peach is a great excuse to use all the hues of the fencai palette in the fruits, flowers, leaves and branches.
The figure of the peach is standardized in the ninth year of his reign, 1731 CE, when the emperor commissions a series of peach bowls in pairs as symbols of the Eternal Peace.
The original pairs were often separated but the production is so homogeneous that a collector was able to constitute a new pair, sold for HK $ 90M from a lower estimate of HK $ 40M by Sotheby's on April 7, 2015, lot 112.
Each piece 13 cm in diameter is decorated with auspicious symbols. This pair with the mark of Yongzheng was probably made for the celebration of a birthday of the emperor himself. The six peaches and five bats on each bowl bring the most pleasant greetings to the emperor.
The branch with fruit, leaves and two shades of flowers begins at the base and extends over the entire inner surface without being interrupted through the rim of the bowl, offering a full size picture whatever the angle at which the piece is held.
This sensational feature meets a specific theme request by the emperor, recorded on the registers of the imperial workshops on the 19th day of the 4th month of the ninth year of Yongzheng, 1731 in our calendar. The long branch is named changzhi which is homophonic to the other meaning of Eternal Governance.
Only five other pairs of Yongzheng yangcai changzhi bowls and a single bowl are recorded. Two of the five pairs are separated.
The appointment by the Yongzheng emperor in the sixth year of his reign of Tang Ying as superintendent of the workshops of Jingdezhen is one of the most outstanding events in art history, paving the way for a total diversification of Chinese porcelain in terms of shapes, themes, colors, sizes, either imitating the antique or bringing some wonderful innovation.
The palette of colors becomes complete with the control of pink, happening around that time. The fencai meaning powdery colors applies to the Imperial yangcai porcelains decorated in opaque enamels. Its latest achievement was the mastery of the pink. The yangcai, often referred as famille rose, invites the artists to express all the delicate shades of peach blossoms, a symbol of happy longevity, and to improve the velvety look of the ripe fruit.
The Yongzheng emperor loved the symbols of immortality and happiness such as the peach, which provided also a great opportunity to use the brightest fencai palette in the fruits, flowers, leaves and branches. The peach is a great excuse to use all the hues of the fencai palette in the fruits, flowers, leaves and branches.
The figure of the peach is standardized in the ninth year of his reign, 1731 CE, when the emperor commissions a series of peach bowls in pairs as symbols of the Eternal Peace.
The original pairs were often separated but the production is so homogeneous that a collector was able to constitute a new pair, sold for HK $ 90M from a lower estimate of HK $ 40M by Sotheby's on April 7, 2015, lot 112.
Each piece 13 cm in diameter is decorated with auspicious symbols. This pair with the mark of Yongzheng was probably made for the celebration of a birthday of the emperor himself. The six peaches and five bats on each bowl bring the most pleasant greetings to the emperor.
The branch with fruit, leaves and two shades of flowers begins at the base and extends over the entire inner surface without being interrupted through the rim of the bowl, offering a full size picture whatever the angle at which the piece is held.
This sensational feature meets a specific theme request by the emperor, recorded on the registers of the imperial workshops on the 19th day of the 4th month of the ninth year of Yongzheng, 1731 in our calendar. The long branch is named changzhi which is homophonic to the other meaning of Eternal Governance.
Only five other pairs of Yongzheng yangcai changzhi bowls and a single bowl are recorded. Two of the five pairs are separated.
#AuctionUpdate: Top prices for Chinese Works Of Art continue with two HK$89.8m/US$11.6m Famille-Rose 'Peach' Bowls pic.twitter.com/dKTQyI6v78
— Sotheby's (@Sothebys) April 7, 2015QIANLONG
1736 Celadon Jar
2014 SOLD for HK$ 94M by Sotheby's
When the Song authorized the porcelain as an imperial ware, a special effort was made to develop a glaze whose beauty can be compared to jade. By reducing the flow of air while cooking, Song potters pushed celadon to perfection.
Several centuries pass. The many workshops in Jingdezhen offer the best of Chinese porcelain, with the protection and soon the enthusiasm of the Qing emperors.
In the sixth year of his reign, Yongzheng appointed Tang Ying as Superintendent of Jingdezhen imperial works. Encouraged cleverly during the two decades of the ministry of Tang Ying, the Chinese porcelain reached its peak, combining the rediscovery of ancient techniques, the experimenting with new cookings, as well as the full range of traditional and new shapes and themes.
The use of celadon glaze imitating the color and transparency of jade was developed in the Ru kilns of the Song when porcelain was already superseding jade for a safe keeping of the liquids to drink.
Celadon is restarted in various shades by the chemists and coupled with high relief decoration in the Yongzheng period through the efforts managed by Tang Ying to mingle ancient and present techniques. The technique optimizing celadon was rediscovered after being lost since the Song. An amphora in the fashion of the Tang dynasty was sold for HK $ 140M by Christie's in 2017.
A large monochrome celadon jar 34 cm high meets all these characteristics. It was sold for HK $ 94M by Sotheby's on October 8, 2014, lot 3901.
The theme with two dragons flying in a tight pattern of flames and clouds was not so lively before the Qing. Its high relief carving including the emergence of the muzzles is stunning, creating in the round a real three-dimensional scene.
A dragon is in a slightly dominant attitude relative to the other one. Both are imperial in the five fingered variant. They probably represent the emperor and his heir, same as the pairs of cranes in cloisonne from the same time that symbolized Yongzheng and his son Honli, the future Qianlong.
The jar does not bear the imperial mark of Yongzheng but of Qianlong. It was probably made in the period of transition between the two reigns, around 1736 CE, the 14th and final year of Yongzheng.
Several centuries pass. The many workshops in Jingdezhen offer the best of Chinese porcelain, with the protection and soon the enthusiasm of the Qing emperors.
In the sixth year of his reign, Yongzheng appointed Tang Ying as Superintendent of Jingdezhen imperial works. Encouraged cleverly during the two decades of the ministry of Tang Ying, the Chinese porcelain reached its peak, combining the rediscovery of ancient techniques, the experimenting with new cookings, as well as the full range of traditional and new shapes and themes.
The use of celadon glaze imitating the color and transparency of jade was developed in the Ru kilns of the Song when porcelain was already superseding jade for a safe keeping of the liquids to drink.
Celadon is restarted in various shades by the chemists and coupled with high relief decoration in the Yongzheng period through the efforts managed by Tang Ying to mingle ancient and present techniques. The technique optimizing celadon was rediscovered after being lost since the Song. An amphora in the fashion of the Tang dynasty was sold for HK $ 140M by Christie's in 2017.
A large monochrome celadon jar 34 cm high meets all these characteristics. It was sold for HK $ 94M by Sotheby's on October 8, 2014, lot 3901.
The theme with two dragons flying in a tight pattern of flames and clouds was not so lively before the Qing. Its high relief carving including the emergence of the muzzles is stunning, creating in the round a real three-dimensional scene.
A dragon is in a slightly dominant attitude relative to the other one. Both are imperial in the five fingered variant. They probably represent the emperor and his heir, same as the pairs of cranes in cloisonne from the same time that symbolized Yongzheng and his son Honli, the future Qianlong.
The jar does not bear the imperial mark of Yongzheng but of Qianlong. It was probably made in the period of transition between the two reigns, around 1736 CE, the 14th and final year of Yongzheng.
A meiping 33 cm high with the imperial mark of Qianlong uses the same techniques with an even pale sea green celadon glaze. The translucent glaze pools in the recesses of the carving, creating a contrast that heightens the image. This vase was sold for HK $ 81M by Christie's on November 29, 2022, lot 2994.
It features three dragons amidst the clouds. The dominating figure is a front face three claw non imperial dragon busy to teach wisdom to the two smaller five claw imperial dragons, meaning that outstanding teachers are not limited to the imperial family. Qianlong's second son of the first rank was born in 1739 CE, which could constitute a terminus post quem for the celebrating meiping. The terminus ante quem would be 1744 CE when the top skills of the Jingdezhen workmen ceased to be solicited.
Made in the same designs and techniques as the example above, a 35 cm high meiping with the Qianlong mark is featuring five dragons amid waves. The soft bluish green celadon increases the effect of the crisp carving through the pooling of the glaze on the recesses, as in the other example. This piece in a pristine brilliant and lustrous condition was sold for HK $ 48M by Sotheby's on October 9, 2023, lot 3612.
The dominating three clawed dragon is portrayed sinuous and vertical. The other four are imperial, in pairs with one slightly subordinate. The diving teaching dragon holds the sacred pearl in its mouth for transferring its wisdom to one of the pupils.
It features three dragons amidst the clouds. The dominating figure is a front face three claw non imperial dragon busy to teach wisdom to the two smaller five claw imperial dragons, meaning that outstanding teachers are not limited to the imperial family. Qianlong's second son of the first rank was born in 1739 CE, which could constitute a terminus post quem for the celebrating meiping. The terminus ante quem would be 1744 CE when the top skills of the Jingdezhen workmen ceased to be solicited.
Made in the same designs and techniques as the example above, a 35 cm high meiping with the Qianlong mark is featuring five dragons amid waves. The soft bluish green celadon increases the effect of the crisp carving through the pooling of the glaze on the recesses, as in the other example. This piece in a pristine brilliant and lustrous condition was sold for HK $ 48M by Sotheby's on October 9, 2023, lot 3612.
The dominating three clawed dragon is portrayed sinuous and vertical. The other four are imperial, in pairs with one slightly subordinate. The diving teaching dragon holds the sacred pearl in its mouth for transferring its wisdom to one of the pupils.
pair of Double Gourd Vases
2012 SOLD for HK$ 107M by Sotheby's
Promoter of all artistic techniques, the Qianlong emperor had however his preferences both from his personal taste and by the commitment to respect traditions and etiquette.
Yangcai means foreign colors. This technique enables to apply on the porcelains the full range of colors of the European enamels. Named famille-rose in the West, it was considered by the emperor as the way to create the best porcelain of all time, beyond the Ru and Guan of the Song.
The Chinese imperial court favors all kinds of symbols and the bright yellow is assigned to the person of the emperor, perhaps referring to the sun. Early in his reign, Qianlong requests some yangcai porcelain wares with yellow ground.
Limited to a space reserved for the emperor in the imperial palace, these prestigious yellow porcelains are not available for export. Their shapes are varied according to the usual practice in Jingdezhen workshops.
In the best traditions of the court, they are decorated with many symbols using all the colors in the yangcai palette and difficult to translate to the foreign observer because these puns are based on homophony. Many auspices are gathered on a same piece when it is intended as a birthday gift to the Emperor, unfortunately undated.
On October 9, 2012, Sotheby's sold for HK $ 107M from a lower estimate of HK $ 40M a sumptuous pair of double gourd vases 18 cm high in saturated colors.
By its monumental size 75 cm high, a yangcai vase on yellow ground is considered as a technical feat unique of its kind. Its dense decoration in harmonious colors is mainly floral, with vegetal arabesques interspersed with many other figurative motifs. It was sold for HK $ 51M by Sotheby's on April 7, 2015, lot 3608.
Yangcai means foreign colors. This technique enables to apply on the porcelains the full range of colors of the European enamels. Named famille-rose in the West, it was considered by the emperor as the way to create the best porcelain of all time, beyond the Ru and Guan of the Song.
The Chinese imperial court favors all kinds of symbols and the bright yellow is assigned to the person of the emperor, perhaps referring to the sun. Early in his reign, Qianlong requests some yangcai porcelain wares with yellow ground.
Limited to a space reserved for the emperor in the imperial palace, these prestigious yellow porcelains are not available for export. Their shapes are varied according to the usual practice in Jingdezhen workshops.
In the best traditions of the court, they are decorated with many symbols using all the colors in the yangcai palette and difficult to translate to the foreign observer because these puns are based on homophony. Many auspices are gathered on a same piece when it is intended as a birthday gift to the Emperor, unfortunately undated.
On October 9, 2012, Sotheby's sold for HK $ 107M from a lower estimate of HK $ 40M a sumptuous pair of double gourd vases 18 cm high in saturated colors.
By its monumental size 75 cm high, a yangcai vase on yellow ground is considered as a technical feat unique of its kind. Its dense decoration in harmonious colors is mainly floral, with vegetal arabesques interspersed with many other figurative motifs. It was sold for HK $ 51M by Sotheby's on April 7, 2015, lot 3608.
Dragon Gourd Vase
2009 SOLD for RMB 83M by Hanhai
A Qianlong gourd vase with ruyi ears was sold for RMB 83M by Hanhai in November 2009. It is decorated with red dragons over blue and white.
Lot Details: Qing Qianlong Blue-and-White with Red Overglaze Dragon Vase (清乾隆 青花海水红彩龙纹八吉祥如意耳葫芦瓶 / Qing Qianlong Blue-and-White with Red-Enamelled Dragon and Eight Auspicious Emblems Ruyi-Ear Double-Gourd Vase)
Lot Details: Qing Qianlong Blue-and-White with Red Overglaze Dragon Vase (清乾隆 青花海水红彩龙纹八吉祥如意耳葫芦瓶 / Qing Qianlong Blue-and-White with Red-Enamelled Dragon and Eight Auspicious Emblems Ruyi-Ear Double-Gourd Vase)
- Format: Double-gourd (huluping 葫芦瓶) form with two ruyi-shaped ears/handles on the upper bulb. Tall, elegant shape with a constricted waist, rounded lower bulb, and flared or structured foot. Typical imperial scale for display (exact dimensions not widely published in 2009 reports, but consistent with large Qianlong gourd vases, often 40–60+ cm tall).
- Detailed Description: The vase features underglaze blue for the ground elements (crashing waves/seawater haishui pattern at the base and around the body) combined with overglaze red enamel for the main decoration: vigorous five-clawed dragons chasing or amid flames/pearls, plus the Eight Auspicious Emblems (ba jixiang 八吉祥: wheel, conch, umbrella, canopy, lotus, vase, fish, knot). The ruyi ears are integrated into the design. The overall motif symbolizes imperial power, good fortune, and auspiciousness (fulu 福禄 from the gourd shape). Perfect condition and fine workmanship were emphasized in contemporary reports.
- Technique: Classic qinghua hongcai (青花红彩) — underglaze cobalt blue for waves and outlines, with iron-red overglaze enamel for dragons and emblems, fired at high temperature. This demanding technique highlights Qianlong imperial kiln mastery at Jingdezhen, blending traditional blue-and-white with vibrant red enamels for contrast and depth.
- Execution Date: Qianlong period (1736–1795), specifically mid-reign imperial kiln production (official ware). Marked with a Qianlong seal mark (standard for such pieces).
- Authentication: Presented as an authentic Qianlong official kiln (guan yao) piece in the Hanhai catalogue and contemporary press. No major post-sale scholarly disputes are documented in public reports from the time. Authentication relied on auction house expertise, visual inspection, and market consensus during the 2009 boom in imperial ceramics.
- Realized Price: Hammer price RMB 83.44 million (8344万元), setting a domestic Chinese porcelain auction record at the time. This was the final bid price reported; buyer’s premium would add to the total, but reports focus on the RMB 83.44 million figure.
- Payment by Winning Bidder: A determined private collector (bidding from the back of the room) won after intense competition lasting nearly 30 minutes. Contemporary reports (e.g., Beijing Daily, Sina) confirm the sale and do not mention any default or non-payment issues. The lot was part of a successful “Court Imperial” special sale where all 15 items sold, suggesting the transaction was completed.
Yongzheng Twelve Months in the Old Summer Palace Pleasures
2008 SOLD for RMB 144M by Beijing Zhongjia
not included in Qing Porcelain main page due to question marks (see chat below)
Top auction results for Giuseppe Castiglione (Lang Shining)
"Yongzheng Twelve Months in the Old Summer Palace Pleasures" (雍正十二月圆明园行乐图, set of 12 panels/scrolls, Qianlong period, after/design by Lang Shining): Beijing Zhongjia International Auction, Autumn Sale, late October 2008. Realized RMB 144 million (approx. USD 21 million at the time, hammer price excluding commission). This set depicting imperial life scenes was a major record at a Chinese auction house.
Asking :
Provide key details on the lot : format, detailed description, estimated execution date. Realized price including premium. Authentication. Was it paid by the winning bidder ? Provide details on the auction house : activity period, credibility.
Lot Details: "Yongzheng Twelve Months in the Old Summer Palace Pleasures" (清乾隆 郎世宁绘《雍正十二月圆明园行乐图》十二块 / Yongzheng Twelve Months Yuanmingyuan Pleasures)
Asking :
Compare to original silk scroll.
The auctioned "Yongzheng Twelve Months in the Old Summer Palace Pleasures" (12 enamel-colored porcelain panels, Qianlong period, after/design by Lang Shining) is a derivative or reproductive set based on the famous original silk painting series.Original Silk Scrolls (《雍正十二月行乐图》 / Portraits of the Yongzheng Emperor Enjoying Himself Throughout the Twelve Months)
"Yongzheng Twelve Months in the Old Summer Palace Pleasures" (雍正十二月圆明园行乐图, set of 12 panels/scrolls, Qianlong period, after/design by Lang Shining): Beijing Zhongjia International Auction, Autumn Sale, late October 2008. Realized RMB 144 million (approx. USD 21 million at the time, hammer price excluding commission). This set depicting imperial life scenes was a major record at a Chinese auction house.
Asking :
Provide key details on the lot : format, detailed description, estimated execution date. Realized price including premium. Authentication. Was it paid by the winning bidder ? Provide details on the auction house : activity period, credibility.
Lot Details: "Yongzheng Twelve Months in the Old Summer Palace Pleasures" (清乾隆 郎世宁绘《雍正十二月圆明园行乐图》十二块 / Yongzheng Twelve Months Yuanmingyuan Pleasures)
- Format: Set of 12 enamel-colored porcelain panels (falang cai 珐琅彩瓷板画), each depicting a month’s seasonal activities and imperial “pleasures” (xing le tu) in the Yuanmingyuan (Old Summer Palace). These are not silk paintings but high-fired porcelain plaques with intricate overglaze enamel decoration.
- Detailed Description: The panels illustrate Yongzheng Emperor’s daily life, family scenes, and seasonal customs in the Yuanmingyuan across the 12 lunar months (e.g., lantern viewing in the 1st month, peach blossoms in the 3rd, dragon boat racing in the 5th, snow appreciation in the 12th). They combine architectural precision (jiehua boundary painting), figures, landscapes, and Western-influenced perspective/shading attributed to Castiglione’s style. The panels reproduce or derive from a famous silk scroll set (original in Taipei Palace Museum). They showcase vibrant enamels, fine detail, and a fusion of Chinese imperial iconography with European techniques.
- Estimated Execution Date: Qianlong period (mid-18th century, likely 1740s–1760s), produced as a luxurious decorative or commemorative set after/design by Lang Shining (Castiglione) in the imperial workshops.
- Realized Price: Hammer price RMB 144 million (approx. USD 21 million at 2008 exchange rates), explicitly reported as excluding buyer’s premium/commission. No public confirmation of the final all-in price with premium.
- Authentication: Attributed to Lang Shining (signed/inscribed in the manner of his works). Auction houses presented it as an imperial Qianlong-era piece. No independent scholarly consensus or major museum verification is documented in contemporary reports; it was sold on the strength of the catalogue description and provenance claims during a period of booming mainland Chinese art market activity.
- Payment by Winning Bidder: The lot was won by bidder No. 386 (a Shanghai buyer) after intense competition. Contemporary reports do not confirm whether the buyer ultimately paid in full. In the context of 2008 Chinese auctions, high-profile “star lots” sometimes saw post-sale negotiations, defaults, or non-payment issues, though this sale was widely reported as a record at the time. No specific follow-up on default for this lot appears in available sources.
- Activity Period: Founded in 2000 (registered June/July 2000), active in the early-to-mid 2000s with major sales through at least the late 2000s/early 2010s. It held文物 (cultural relics) auction qualifications from Beijing authorities.
- Credibility: A smaller-to-mid-tier mainland auction house during the speculative boom of the 2000s. It achieved high-profile records (like this lot) but faced repeated controversies, including lawsuits over alleged fakes (e.g., modern porcelains sold as antiques in 2008, leading to court-ordered refunds) and public scandals such as the 2011 “Han dynasty jade stool” sold for RMB 220 million that was widely ridiculed as an obvious modern reproduction. It was not a member of the main industry self-regulatory bodies (China Association of Auctioneers) and operated outside stricter oversight. Like many smaller Chinese houses of that era, it benefited from lax authentication standards and market hype but carried reputational risks associated with the broader issues of forgeries, inflated prices, and non-transparent practices in the domestic art market at the time.
Asking :
Compare to original silk scroll.
The auctioned "Yongzheng Twelve Months in the Old Summer Palace Pleasures" (12 enamel-colored porcelain panels, Qianlong period, after/design by Lang Shining) is a derivative or reproductive set based on the famous original silk painting series.Original Silk Scrolls (《雍正十二月行乐图》 / Portraits of the Yongzheng Emperor Enjoying Himself Throughout the Twelve Months)
- Format: Set of 12 large hanging scrolls (zhou), each on silk (juanben), ink and color. Dimensions per scroll approx. 188.2 cm high × 102.2 cm wide (or slight variations, e.g., ~187 × 101.5 cm in some).
- Execution Date: Yongzheng period (1723–1735), likely mid-to-late reign (after ~1725, once Yuanmingyuan was renovated). Anonymous court artists (or workshop); traditionally associated with or influenced by Lang Shining’s style, though not always firmly signed by him. Some sources attribute design or key elements to Castiglione due to Western perspective, architectural precision, and hybrid details.
- Location: Primarily in the Palace Museum, Beijing (complete or near-complete set). Individual scenes or related versions appear in collections like the National Palace Museum, Taipei.
- Description: Each scroll depicts the Yongzheng Emperor in seasonal leisure activities in the Yuanmingyuan (Old Summer Palace), blending real garden elements with idealized or composite scenes. Subjects include: 1st month lantern viewing, 2nd month outing, 3rd month peach blossoms, 5th month dragon boat racing, 8th month moon appreciation, 12th month snow viewing, etc. Heavy emphasis on architecture (jiehua boundary painting), gardens with Chinese and Western-style buildings (reflecting Castiglione’s influence on Yuanmingyuan designs), landscapes, and smaller-scale imperial figures in daily/family contexts. Incorporates festival customs and auspicious symbolism. Hybrid style: Chinese brushwork and composition with Western-influenced perspective, depth, and architectural accuracy.
- Format: 12 separate enamel-on-porcelain panels (falang cai 珐琅彩瓷板), likely framed or intended as a decorative screen/set. Smaller and more portable than the silk scrolls.
- Execution Date: Qianlong period (mid-18th century, probably 1740s–1760s), produced in imperial workshops as a commemorative or luxury decorative reproduction “after” or in the style of Lang Shining.
- Description: Direct visual copies or close adaptations of the silk scenes, transferring the monthly pleasures, Yuanmingyuan settings, figures, and architecture into the medium of overglaze enamels on porcelain. Vibrant, jewel-like colors typical of Qing falang technique; high detail in enamels but with the glossy, fired-ceramic surface and technical constraints of porcelain (e.g., color limitations, firing effects).
- Medium & Technique: Silk allows fluid brushwork, subtle ink washes, layered colors, and large-scale grandeur with natural texture. Porcelain panels use vitreous enamels fired at high temperature—more rigid, luminous, and durable but with potential for cracking, color shifts, or less nuanced shading. The panels prioritize decorative brilliance over the silk’s painterly expressiveness.
- Style & Attribution: Both show hybrid Sino-Western elements (perspective, architecture) linked to Castiglione. The silk originals are court workshop products from Yongzheng’s reign (possibly with his direct input); the panels are later Qianlong-era reproductions explicitly tied to “Lang Shining” in the auction catalogue for prestige.
- Purpose & Scale: Silk scrolls were imperial hanging artworks for seasonal display or palace decoration, emphasizing narrative and ritual. Porcelain panels served as luxurious, collectible objects or screen elements—more practical for gifting/display and showcasing technical virtuosity in enamels.
- Artistic Fidelity: The panels faithfully replicate compositions, scenes, and details but translate them into a different medium, losing some of the silk’s tactile brush quality while gaining ceramic sheen and permanence. They represent Qianlong’s practice of reproducing/reinterpreting his father’s commissions.
- Rarity & Market Context: The silk originals are national treasures (museum-held, rarely if ever auctioned). The 2008 panels were a high-profile “trophy” lot in a speculative market, achieving a record hammer price despite the auction house’s mixed credibility.
Asking :
Similar Qianlong period sets of porcelains.
Similar Qianlong-period (or closely related) sets of enamelled porcelain panels are extremely rare, as large-scale porcelain plaques were technically challenging to produce and fire without warping or cracking. The 2008 Zhongjia "Twelve Months" set stands out for its direct narrative link to imperial life scenes. Most comparable surviving examples are decorative screens or panels with famille-rose (fencai) or painted enamels (falangcai influences), often mounted in hardwood frames for imperial or elite display.
Asking :
The 2008 lot is monumental, with no similar lot in your report above. Confirm if it is a falangcai or an imitation. Find similar Qianlong period authenticated falangcai sets in museums or private hands. I cannot believe that this set of porcelains was unique.
The 2008 Zhongjia lot consists of 12 large falangcai (珐琅彩) painted enamel porcelain panels. Contemporary Chinese reports, catalogues, and later references consistently describe them as high-quality falangcai (overglaze painted enamels on porcelain) produced in the Qianlong period (likely mid-18th century) in imperial or court-related workshops. They reproduce or adapt scenes from the famous Yongzheng-era silk Twelve Months Pleasures in Yuanmingyuan set (originals primarily in the Palace Museum, Beijing, with related versions linked to Taipei).
True large-scale narrative falangcai panel sets like this (12 monumental plaques with complex figural/architectural scenes) are exceptionally rare and not common in public collections. Falangcai was a pinnacle imperial technique, mostly used on small vessels (bowls, vases, teapots) painted in Beijing's Forbidden City workshops rather than mass-produced plaques. Large plaques/screens were technically difficult due to firing risks (warping, cracking).
The work's rarity explains the headline price, though provenance and the auction context warrant caution in the broader Chinese art market.
Similar Qianlong period sets of porcelains.
Similar Qianlong-period (or closely related) sets of enamelled porcelain panels are extremely rare, as large-scale porcelain plaques were technically challenging to produce and fire without warping or cracking. The 2008 Zhongjia "Twelve Months" set stands out for its direct narrative link to imperial life scenes. Most comparable surviving examples are decorative screens or panels with famille-rose (fencai) or painted enamels (falangcai influences), often mounted in hardwood frames for imperial or elite display.
Asking :
The 2008 lot is monumental, with no similar lot in your report above. Confirm if it is a falangcai or an imitation. Find similar Qianlong period authenticated falangcai sets in museums or private hands. I cannot believe that this set of porcelains was unique.
The 2008 Zhongjia lot consists of 12 large falangcai (珐琅彩) painted enamel porcelain panels. Contemporary Chinese reports, catalogues, and later references consistently describe them as high-quality falangcai (overglaze painted enamels on porcelain) produced in the Qianlong period (likely mid-18th century) in imperial or court-related workshops. They reproduce or adapt scenes from the famous Yongzheng-era silk Twelve Months Pleasures in Yuanmingyuan set (originals primarily in the Palace Museum, Beijing, with related versions linked to Taipei).
- Technique and Medium Confirmation: The panels use falangcai enamels (foreign-style painted enamels, often with vibrant, glassy, layered colors fired over a porcelain body). Descriptions note fine white porcelain bodies (thin yet sturdy, jade-like texture), thick enamel application with立体感 (relief/raised effect), glossy glaze, and precise detailing of architecture, figures, and landscapes. This aligns with Qianlong-era falangcai innovations, which combined court painting (including Castiglione-influenced perspective and realism) with porcelain enameling. They are not simple fencai (famille rose) or later imitations but presented as imperial-grade falangcai plaques.
True large-scale narrative falangcai panel sets like this (12 monumental plaques with complex figural/architectural scenes) are exceptionally rare and not common in public collections. Falangcai was a pinnacle imperial technique, mostly used on small vessels (bowls, vases, teapots) painted in Beijing's Forbidden City workshops rather than mass-produced plaques. Large plaques/screens were technically difficult due to firing risks (warping, cracking).
- Known Parallels (Museums/Private):
- Multi-panel screens with inset falangcai/famille-rose plaques: Rare Qianlong/Jiaqing examples exist with dozens of smaller plaques (e.g., 64 plaques in 12- or 9-panel throne-back screens) depicting immortals, landscapes, figures, or auspicious motifs. One notable Qianlong-style 12-panel screen with porcelain insets is in private collections or has appeared in auctions (e.g., Sotheby's references to similar hardwood-framed screens). These are decorative rather than single large narrative panels.
- Individual or small groups of large falangcai plaques: Examples in the Palace Museum (Beijing), National Palace Museum (Taipei), and other institutions show landscape, flower, bird, or figural panels. No exact 12-panel narrative Yuanmingyuan set is documented in major museums.
- Other Castiglione-attributed or style falangcai reproductions: Sources mention a second near-identical 12-panel set in private hands (held by sculptor Li Tinggui around 2018, reportedly from a salt merchant descendant). The two sets are described as "sisters" with identical content.
The work's rarity explains the headline price, though provenance and the auction context warrant caution in the broader Chinese art market.
Peach Tianqiuping
2011 SOLD for HK$ 90M by Sotheby's
Under the Qing, the improved contact with the West gave the idea to increase the range of colors, applied in enamel on a pure white background. The bottle vase is perfect for creating asymmetric rotating scenes of unparalleled sophistication, maybe even inimitable.
When the Qianlong emperor succeeded his father Yongzheng, the fencai had already reached its higher maturity but the diversity of the forms generated new masterpieces. The branches of the peach wrap around the tall neck of the tianqiuping, a pot-bellied vase whose name means celestial globe.
The colors of birds, fish, fruits, flowers, exacerbated the skill of Chinese artists and chemists. A vase with peaches 51 cm high bearing the mark of Qianlong was sold for HK $ 90M by Sotheby's on October 5, 2011, lot 15. Branches, blossoms and especially the nine fruits shown at different stages of ripeness are pretexts for exquisite color variations.
Another tianqiuping 55 cm high was sold for HK $ 63M by Sotheby's on October 7, 2015, lot 3610. The high popularity of this theme (now without bats) prevents to define a detailed date for both tianqiuping within the very long reign of Qianlong.
When the Qianlong emperor succeeded his father Yongzheng, the fencai had already reached its higher maturity but the diversity of the forms generated new masterpieces. The branches of the peach wrap around the tall neck of the tianqiuping, a pot-bellied vase whose name means celestial globe.
The colors of birds, fish, fruits, flowers, exacerbated the skill of Chinese artists and chemists. A vase with peaches 51 cm high bearing the mark of Qianlong was sold for HK $ 90M by Sotheby's on October 5, 2011, lot 15. Branches, blossoms and especially the nine fruits shown at different stages of ripeness are pretexts for exquisite color variations.
Another tianqiuping 55 cm high was sold for HK $ 63M by Sotheby's on October 7, 2015, lot 3610. The high popularity of this theme (now without bats) prevents to define a detailed date for both tianqiuping within the very long reign of Qianlong.
Baluster Vase
2011 SOLD for £ 9M by Bonhams
A 50 cm high yangcai baluster vase with the Qianlong imperial mark was sold for £ 9M by Bonhams on November 20, 2011, lot 185. The decoration is made of chrysanthemum blossoms painted in pink and white tones, mingled with a foliate scroll on a sgraffiato pale turquoise ground. The slender neck is fitted with a pair of horned mythical beast-head loop handles.
1769 Hundred Deer and Several Cranes
2018 SOLD for € 16.2M by Sotheby's
The theme of the hundred deer is a rebus bringing auspices, as often in Chinese art. One hundred does not express a real quantity but a multitude. One hundred deer evokes by homophony the success of a long career. The hair is of varied color except for one beast that is white for a homophony between one and one hundred.
Two hu shaped globular vases with the hundred deer, bearing the imperial mark of the Qianlong emperor, were sold by Christie's : for € 2M on December 14, 2011, and for € 4.15M on December 13, 2017.
On these two vases 45 cm high, fallow deer are distributed with quiet occupations in a landscape. The two pieces are in yangcai, the technology transferred to Jingdezhen from the falangcai of the foreigners that brought to Chinese porcelain its most sublime colors.
The too lush decor does not seem in the taste of the beginning of the reign but the production is certainly not too late. Jingdezhen was not motivated to maintain for long the difficult and expensive technology of the yangcai, reserved for rare special orders from the imperial court.
A 28 cm high pear shaped vase with a long neck surmounted by a bulb was brought by a customer to the Parisian office of Sotheby's, cleanly stored in a shoebox. It bears the imperial mark of Qianlong and offers beside the deers other auspices such as a double frieze of ruyi and a few cranes, birds whose white feathers are a symbol of old age and longevity.
This theme in this shape is extremely rare. The vase kept at the Musée Guimet also has ruyi but no crane. Such a rarity is not surprising within the extreme variety of the Qianlong porcelains. What makes the specimen brought to Sotheby's so exceptional is the splendid conservation of the yangcai enamels.
The imperial archives twice recorded this mixed theme in yangcai with ruyi, fallow deer and cranes, during the 30th and 34th years of the reign, 1765 and 1769 CE. In the video shared by Sotheby's their expert Nicolas Chow indicates the 34th year as its preferred date. This vase was sold for € 16.2 from a lower estimate of € 500K by Sotheby's on June 12, 2018, lot 1.
Two hu shaped globular vases with the hundred deer, bearing the imperial mark of the Qianlong emperor, were sold by Christie's : for € 2M on December 14, 2011, and for € 4.15M on December 13, 2017.
On these two vases 45 cm high, fallow deer are distributed with quiet occupations in a landscape. The two pieces are in yangcai, the technology transferred to Jingdezhen from the falangcai of the foreigners that brought to Chinese porcelain its most sublime colors.
The too lush decor does not seem in the taste of the beginning of the reign but the production is certainly not too late. Jingdezhen was not motivated to maintain for long the difficult and expensive technology of the yangcai, reserved for rare special orders from the imperial court.
A 28 cm high pear shaped vase with a long neck surmounted by a bulb was brought by a customer to the Parisian office of Sotheby's, cleanly stored in a shoebox. It bears the imperial mark of Qianlong and offers beside the deers other auspices such as a double frieze of ruyi and a few cranes, birds whose white feathers are a symbol of old age and longevity.
This theme in this shape is extremely rare. The vase kept at the Musée Guimet also has ruyi but no crane. Such a rarity is not surprising within the extreme variety of the Qianlong porcelains. What makes the specimen brought to Sotheby's so exceptional is the splendid conservation of the yangcai enamels.
The imperial archives twice recorded this mixed theme in yangcai with ruyi, fallow deer and cranes, during the 30th and 34th years of the reign, 1765 and 1769 CE. In the video shared by Sotheby's their expert Nicolas Chow indicates the 34th year as its preferred date. This vase was sold for € 16.2 from a lower estimate of € 500K by Sotheby's on June 12, 2018, lot 1.
Daoist Doucai Tianqiuping
2018 SOLD for HK$ 130M by Christie's
The shape of a vase is important to accompany its message. To present wishes of longevity to the Emperor of China, it is recommended to offer a vessel symbolizing the celestial sphere with which the Son of Heaven is the only intercessor on Earth. The tianqiuping form is a round body surmounted by a very slightly concave collar. The biggest pieces are the most appreciated but they represent a technical feat because of the risk of tilting the neck during heating.
The Qing artist has the choice between several decoration techniques : doucai, wucai, fencai. Doucai brings an additional difficulty. The blue is made in its final outline before making the glaze on which the enamels of the other colors will then be applied. The porosity of the raw material must be compatible with the desired fineness of the drawing. An asymmetry created by the first heating damages a doucai figure irreparably.
On May 30, 2018, Christie's sold for HK $ 130M from a lower estimate of HK $ 70M a 54 cm high doucai tianqiuping, lot 8888. that is close to technological limits beyond which imperfections of shape are inevitable. Please watch the video shared by the auction house.
This vase bearing the imperial mark of Qianlong is decorated with the emblems of the eight immortals of Taoism. This theme is rare for this emperor who preferred Buddhism. A recording of a tiangqiuping in wucai of similar illustration in the imperial archives was made during the third year of the reign, 1738 CE.
Considered separately, all these elements are in the taste of Yongzheng. The death of this emperor did not stop the imperial incitement to the potters in Jingdezhen to perform the technical feats of the highest virtuosity. The script of the imperial mark of Qianlong is a model in use according to some experts between the 7th and the 35th year of the reign, 1742 to 1770 CE. A date around the 1740s CE appears plausible.
For similar auspices, peaches, another symbol of immortality, are a favorite theme for a tianqiuping throughout the reigns of Yongzheng and Qianlong. Two 51 cm and 55 cm high Qianlong yangcai vases without an estimate of date within his 60 year long reign were sold by Sotheby's respectively for HK $ 90M on October 5, 2011 and for HK $ 63M on October 7, 2015.
The Qing artist has the choice between several decoration techniques : doucai, wucai, fencai. Doucai brings an additional difficulty. The blue is made in its final outline before making the glaze on which the enamels of the other colors will then be applied. The porosity of the raw material must be compatible with the desired fineness of the drawing. An asymmetry created by the first heating damages a doucai figure irreparably.
On May 30, 2018, Christie's sold for HK $ 130M from a lower estimate of HK $ 70M a 54 cm high doucai tianqiuping, lot 8888. that is close to technological limits beyond which imperfections of shape are inevitable. Please watch the video shared by the auction house.
This vase bearing the imperial mark of Qianlong is decorated with the emblems of the eight immortals of Taoism. This theme is rare for this emperor who preferred Buddhism. A recording of a tiangqiuping in wucai of similar illustration in the imperial archives was made during the third year of the reign, 1738 CE.
Considered separately, all these elements are in the taste of Yongzheng. The death of this emperor did not stop the imperial incitement to the potters in Jingdezhen to perform the technical feats of the highest virtuosity. The script of the imperial mark of Qianlong is a model in use according to some experts between the 7th and the 35th year of the reign, 1742 to 1770 CE. A date around the 1740s CE appears plausible.
For similar auspices, peaches, another symbol of immortality, are a favorite theme for a tianqiuping throughout the reigns of Yongzheng and Qianlong. Two 51 cm and 55 cm high Qianlong yangcai vases without an estimate of date within his 60 year long reign were sold by Sotheby's respectively for HK $ 90M on October 5, 2011 and for HK $ 63M on October 7, 2015.
later Qianlong pair of Landscape Vases
2010 SOLD for HK$ 100M by Sotheby's
The combination of a continuous landscape and of floral scrolls is rare as such without figure scenes in the decoration of Qianlong porcelain although it went to be popular in later Qing reigns.
A pair of 37 cm high pink ground yangcai vases with C shaped ear handles on the slender neck over the wide cylindrical body have the Qianlong imperial marks but arguably belong to the later part of that reign, although its basic decorative elements were already used during the Tang Ying period.
This pair was sold for HK $ 100M from a lower estimate of HK $ 20M by Sotheby's on October 7, 2010, lot 2130 in the sale of the J. T. Tai collection.
A pair of 37 cm high pink ground yangcai vases with C shaped ear handles on the slender neck over the wide cylindrical body have the Qianlong imperial marks but arguably belong to the later part of that reign, although its basic decorative elements were already used during the Tang Ying period.
This pair was sold for HK $ 100M from a lower estimate of HK $ 20M by Sotheby's on October 7, 2010, lot 2130 in the sale of the J. T. Tai collection.
