Qing Porcelain
See also : China Chinese porcelain Early Qing Qianlong Bird Dragon
Chronology : 18th century 1710-1719 1720-1729 1740-1749 1750-1759 1760-1769
Chronology : 18th century 1710-1719 1720-1729 1740-1749 1750-1759 1760-1769
Intro
Let us start with some glossary on the Chinese porcelain under the Qing. The deposition of the enamel powders before heating is named falangcai (foreign colors) in recognition of the role of the Jesuits in the development of this technique.
The 'famille rose' wording refers to the full maturity of this art when the enamel creates opaque colors. This term is misleading because the porcelains from the famille rose do not always include that color. It is better to use the word yangcai which is generic for that technique or fencai meaning powdery colors which more specifically applies to the Imperial yangcai.
The famille verte is a similar technique except that the colors are translucent. Here too we shall prefer the Chinese word : yingcai.
The 'famille rose' wording refers to the full maturity of this art when the enamel creates opaque colors. This term is misleading because the porcelains from the famille rose do not always include that color. It is better to use the word yangcai which is generic for that technique or fencai meaning powdery colors which more specifically applies to the Imperial yangcai.
The famille verte is a similar technique except that the colors are translucent. Here too we shall prefer the Chinese word : yingcai.
> 1711 The Workshop of the Jesuits
2018 SOLD for HK$ 240M including premium
The Kangxi Emperor and King Louis XIV had similar ambitions. They decided in 1684 to share their scientific and cultural knowledge through Jesuits who accepted the customs of imperial China. The French were interested in brocades and chopsticks and the Chinese in using enamels to cover copper and glass.
The activity is developed in a workshop of the Forbidden City under the direct control of the emperor. A new glassmaker arrived in 1695 brings with him the enamels invented by Glauber to create splendid colors with colloidal gold. The glass pieces colored with the enamel of the foreigners (in Chinese: falangcai) serve as diplomatic gifts.
The potters of Jingdezhen were working with the limited color range of the wucai for a purpose of productivity. It was tempting to apply the new colors to the porcelain for bringing more luxury to the pieces for the personal use (yuzhi) of the emperor. Chinese craftsmen joined the Jesuits of the imperial workshop around 1711 to develop a mixed technology.
Chinese porcelain was unknown in Europe and the Jesuits considered it impossible to affix the enamel over the glaze. They were supplied from Jingdezhen with incompletely glazed pieces to paint the outside wall and the base with the colors unavailable at Jingdezhen. A second heating completed the process.
One of the rarest ground colors of the falangcai is a pink with colloidal gold. Two 14.7 cm diameter bowls, each one decorated with four lobed cartridges showing flowers in front of a blue sky, were probably made side by side. They carry the yuzhi mark of Kangxi. The floral themes are however different, attesting to a close cooperation between Chinese and European artists. The bowl kept at the National Palace Museum in Taipei follows the traditional Chinese auspices of the four seasons.
The other bowl is of European decoration, displaying flowers without symbolic meaning and a perspective effect that is not usual in traditional Chinese art. It will be sold by Sotheby's on April 3 in Hong Kong, lot 1. Please watch the short video shared by the auction house.
The yangcai will be the complete mastery of the falangcai process at Jingdezhen around the sixth year of the Yongzheng emperor, 1729 CE. The participation of foreigners will no longer be necessary.
The activity is developed in a workshop of the Forbidden City under the direct control of the emperor. A new glassmaker arrived in 1695 brings with him the enamels invented by Glauber to create splendid colors with colloidal gold. The glass pieces colored with the enamel of the foreigners (in Chinese: falangcai) serve as diplomatic gifts.
The potters of Jingdezhen were working with the limited color range of the wucai for a purpose of productivity. It was tempting to apply the new colors to the porcelain for bringing more luxury to the pieces for the personal use (yuzhi) of the emperor. Chinese craftsmen joined the Jesuits of the imperial workshop around 1711 to develop a mixed technology.
Chinese porcelain was unknown in Europe and the Jesuits considered it impossible to affix the enamel over the glaze. They were supplied from Jingdezhen with incompletely glazed pieces to paint the outside wall and the base with the colors unavailable at Jingdezhen. A second heating completed the process.
One of the rarest ground colors of the falangcai is a pink with colloidal gold. Two 14.7 cm diameter bowls, each one decorated with four lobed cartridges showing flowers in front of a blue sky, were probably made side by side. They carry the yuzhi mark of Kangxi. The floral themes are however different, attesting to a close cooperation between Chinese and European artists. The bowl kept at the National Palace Museum in Taipei follows the traditional Chinese auspices of the four seasons.
The other bowl is of European decoration, displaying flowers without symbolic meaning and a perspective effect that is not usual in traditional Chinese art. It will be sold by Sotheby's on April 3 in Hong Kong, lot 1. Please watch the short video shared by the auction house.
The yangcai will be the complete mastery of the falangcai process at Jingdezhen around the sixth year of the Yongzheng emperor, 1729 CE. The participation of foreigners will no longer be necessary.
Yongzheng - An Archaic Dragon
2019 SOLD for RMB 147M including premium
From the 6th year of his reign matching 1728 CE, the Yongzheng emperor managed a direct control over the production of imperial porcelain. Under the supervision of Superintendent Tang Ying, most of the traditional techniques were restarted and quickly raised to a new level of perfection.
On June 5 in Beijing, Poly sells as lot 5552 a magnificent vase 51 cm high with a round body and a thick neck which is a technological feat without any relationship with the new enamel paintings brought by the foreigners.
This piece flawlessly combines an underglaze in cobalt blue and a red copper glaze which nevertheless required an extremely dissimilar firing profile. The recipe was lost very soon afterward and the Qianlong emperor himself will not get comparable porcelains despite his insistence with the same Superintendent.
The bright red dragon wraps its sinuous body in the blue clouds, in a contrast of superb brilliance. The blue is made in several shades, matching the quality of the Xuande porcelain of the Ming. The glaze becomes invisible over blue and white.
The wide open mouth and the bulging eyes of the dragon express a great fury. This mythical animal has only three claws per leg and cannot be confused with a Qing imperial dragon.
It is a copy of the dragons drawn under the Southern Song dynasty by Chen Rong, assessing Yongzheng's care to promote the best from Chinese graphic art of all times. Copies on silk in the same style were executed in the same period.
Let us remind that a drawing 35 x 440 cm scrolling six dragons executed by Chen Rong in 1244 CE was sold for $ 49M including premium by Christie's on March 15, 2017.
On June 5 in Beijing, Poly sells as lot 5552 a magnificent vase 51 cm high with a round body and a thick neck which is a technological feat without any relationship with the new enamel paintings brought by the foreigners.
This piece flawlessly combines an underglaze in cobalt blue and a red copper glaze which nevertheless required an extremely dissimilar firing profile. The recipe was lost very soon afterward and the Qianlong emperor himself will not get comparable porcelains despite his insistence with the same Superintendent.
The bright red dragon wraps its sinuous body in the blue clouds, in a contrast of superb brilliance. The blue is made in several shades, matching the quality of the Xuande porcelain of the Ming. The glaze becomes invisible over blue and white.
The wide open mouth and the bulging eyes of the dragon express a great fury. This mythical animal has only three claws per leg and cannot be confused with a Qing imperial dragon.
It is a copy of the dragons drawn under the Southern Song dynasty by Chen Rong, assessing Yongzheng's care to promote the best from Chinese graphic art of all times. Copies on silk in the same style were executed in the same period.
Let us remind that a drawing 35 x 440 cm scrolling six dragons executed by Chen Rong in 1244 CE was sold for $ 49M including premium by Christie's on March 15, 2017.
Yongzheng - An Amphora for the Qing
2017 SOLD for HK$ 140M including premium
The Manchus who overthrew the Ming dynasty are foreigners. When their Qing dynasty is politically stabilized, they are paying an intense attention to relying on the whole of the more than four-thousand-year-old tradition of the Chinese empire. From the reign of Kangxi some workshops in Jingdezhen realize porcelain pieces imitating the antique.
Jingdezhen's chemists and thermal engineers are highly skilled and there is no question of going back to the ancient manufacturing processes. A special effort is made to improve the green glaze imitating the color and transparency of jade, which is named qingci in Chinese and celadon in Europe. During the reign of Yongzheng several hues of celadon glaze are listed.
An amphora vase bearing the imperial mark of Yongzheng appears as a culmination of that development. It was sold for HK $ 17.4M including premium by Christie's in Hong Kong on November 1, 2004, a very high price at that time for a monochrome porcelain, and returns in the same venue on May 31, lot 2888.
The shape of this vase 52 cm high imitates vessels made of metal or porcelain in the Tang period, which are no longer amphorae of the antique type since the pointed lower end used to catch the vessel in its lower part for pouring the liquid has been replaced by a usual flat base for installation. He retains from these Tang models the two lateral handles in the shape of dragons biting the rim. The ornament of the neck simulating bamboo rings is a reference to the Northern Song.
Celadon is also an ancient symbol reminding the development of that glaze in the Longquan kilns under the Southern Song dynasty. The bluish-green glaze of this amphora, thick and translucent and leveled in the recesses, is indeed an achievement directly attributable to the engineering of the Qing.
Please watch the video shared by Christie's.
Jingdezhen's chemists and thermal engineers are highly skilled and there is no question of going back to the ancient manufacturing processes. A special effort is made to improve the green glaze imitating the color and transparency of jade, which is named qingci in Chinese and celadon in Europe. During the reign of Yongzheng several hues of celadon glaze are listed.
An amphora vase bearing the imperial mark of Yongzheng appears as a culmination of that development. It was sold for HK $ 17.4M including premium by Christie's in Hong Kong on November 1, 2004, a very high price at that time for a monochrome porcelain, and returns in the same venue on May 31, lot 2888.
The shape of this vase 52 cm high imitates vessels made of metal or porcelain in the Tang period, which are no longer amphorae of the antique type since the pointed lower end used to catch the vessel in its lower part for pouring the liquid has been replaced by a usual flat base for installation. He retains from these Tang models the two lateral handles in the shape of dragons biting the rim. The ornament of the neck simulating bamboo rings is a reference to the Northern Song.
Celadon is also an ancient symbol reminding the development of that glaze in the Longquan kilns under the Southern Song dynasty. The bluish-green glaze of this amphora, thick and translucent and leveled in the recesses, is indeed an achievement directly attributable to the engineering of the Qing.
Please watch the video shared by Christie's.
#AuctionUpdate This incredibly rare Yongzheng-period celadon-glazed amphora just sold for US$18,129,688 in HK https://t.co/7B1k4RqKrU pic.twitter.com/5GkAzM45fT
— Christie's (@ChristiesInc) May 31, 2017
early Qianlong - A Pair of Double Gourds
2017 SOLD for £ 14.7M including premium
The porcelains of double gourd type are developed under the reign of the Yongzheng emperor. They reach a great elegance with his successor Qianlong : the much smaller upper bulb is often linked by two handles to the globular lower part. When the technique used for the decoration is among the most refined, these pieces are kept in high esteem by the connoisseurs. The remainder of this essay is limited to vases from the Qianlong period.
The vase without handles that sold for HK $ 252M including premium at Sotheby's on October 7, 2010 over a lower estimate of HK $ 30M was an exceptional piece with its pale yellow background, its height of 40 cm, its long cylindrical neck above the upper bulb and its sgraffiato incisions.
Among the vases with handles let us consider a blue and white 23 cm high with a pattern of lotus leaves, sold for HK $ 24M including premium by Christie's on December 1, 2010.
Pairs are extremely rare. One of them recently discovered in an English country house will be sold by Christie's in London on May 9, lot 99. Each vase has the same shape and size as the blue and white example described above.
In the same style of decoration, the details of both vases in that pair are different. They are painted with flowers and butterflies in yangcai enamels in an accumulation of auspices and symbols of seasons that was probably prepared for the birthday of some prestigious people. For the rebus so enjoyed at the imperial court the butterfly means 'repetition' by homophony, doubling the message of the auspice and the prediction of longevity.
The ground porcelain of this pair is pure white according to a usual practice during the Yongzheng period. Considering that a pink ground has been appreciated under Qianlong for pieces of the same theme, it is possible that this pair bearing his imperial mark was made early in his reign.
Please watch the video shared by Christie's :
The vase without handles that sold for HK $ 252M including premium at Sotheby's on October 7, 2010 over a lower estimate of HK $ 30M was an exceptional piece with its pale yellow background, its height of 40 cm, its long cylindrical neck above the upper bulb and its sgraffiato incisions.
Among the vases with handles let us consider a blue and white 23 cm high with a pattern of lotus leaves, sold for HK $ 24M including premium by Christie's on December 1, 2010.
Pairs are extremely rare. One of them recently discovered in an English country house will be sold by Christie's in London on May 9, lot 99. Each vase has the same shape and size as the blue and white example described above.
In the same style of decoration, the details of both vases in that pair are different. They are painted with flowers and butterflies in yangcai enamels in an accumulation of auspices and symbols of seasons that was probably prepared for the birthday of some prestigious people. For the rebus so enjoyed at the imperial court the butterfly means 'repetition' by homophony, doubling the message of the auspice and the prediction of longevity.
The ground porcelain of this pair is pure white according to a usual practice during the Yongzheng period. Considering that a pink ground has been appreciated under Qianlong for pieces of the same theme, it is possible that this pair bearing his imperial mark was made early in his reign.
Please watch the video shared by Christie's :
£2 Million Qianlong Emperor vases found by an expert during routine eval., will be sold at #Christies May 9thhttps://t.co/1vTNRboDsG pic.twitter.com/OcZxtHkx91
— ePaiLive (@ePaiLive) May 2, 2017
1743 Qianlong reticulated vase
2010 UNPAID at £ 43M plus a buyer's premium of £ 8.6M, at Bainbridges
In 1728 CE, Tang Ying is appointed by the Yongzheng emperor as the Superintendent of the Imperial porcelain produced at Jingdezhen. He spends several years observing the best practices of the potters. One of his first major successes is the development of the yangcai, offering a less expensive substitute to the Imperial City's falangcai that remains the high end.
These first years are experimental, with pieces of all shapes. Qianlong who succeeds Yongzheng in 1735 CE is just as demanding as his father. To please him, they must constantly bring novelties that match his ambitious role as Son of Heaven, accumulating the styles of all dynasties and integrating the new European trends.
In the early 1740s Tang Ying's expertise in Jingdezhen has no limits. The most complicated pieces are technological syntheses that require a long succession of firings at the risk of a low yield.
In a memorandum submitted to Qianlong in 1743 CE, Tang Ying apologizes for the small amount of units produced in the new style of double vase, only nine. The inner part is enclosed in the outer vase with a distance of about 3 to 4 cm between their walls. The outer vase is pierced by large holes of various elegant shapes that allow the peeping to the inner part. The exterior is decorated with the same profusion as more classical imperial pieces.
Qianlong does not request the impossible. He authorizes to complete in pairs those models that had been produced in single pieces before suspending this technique sine die.
A reticulated vase with pairs of fishes surfaced in Middlesex in 2010. 40 cm high, it mixes archaic, Song, Buddhist and rocaille inspirations, juxtaposing the classic celadon and the modern yangcai in a yellow ground with sgraffiato. The inner wall is a blue and white in Ming style. After 30 minutes of bidding, Bainbridges's hammer fell at £ 43M, £ 51.6M including the premium, but the payment failed and the sale was cancelled. Here is the link to the 2012 report by The Telegraph before the sale was cancelled.
These first years are experimental, with pieces of all shapes. Qianlong who succeeds Yongzheng in 1735 CE is just as demanding as his father. To please him, they must constantly bring novelties that match his ambitious role as Son of Heaven, accumulating the styles of all dynasties and integrating the new European trends.
In the early 1740s Tang Ying's expertise in Jingdezhen has no limits. The most complicated pieces are technological syntheses that require a long succession of firings at the risk of a low yield.
In a memorandum submitted to Qianlong in 1743 CE, Tang Ying apologizes for the small amount of units produced in the new style of double vase, only nine. The inner part is enclosed in the outer vase with a distance of about 3 to 4 cm between their walls. The outer vase is pierced by large holes of various elegant shapes that allow the peeping to the inner part. The exterior is decorated with the same profusion as more classical imperial pieces.
Qianlong does not request the impossible. He authorizes to complete in pairs those models that had been produced in single pieces before suspending this technique sine die.
A reticulated vase with pairs of fishes surfaced in Middlesex in 2010. 40 cm high, it mixes archaic, Song, Buddhist and rocaille inspirations, juxtaposing the classic celadon and the modern yangcai in a yellow ground with sgraffiato. The inner wall is a blue and white in Ming style. After 30 minutes of bidding, Bainbridges's hammer fell at £ 43M, £ 51.6M including the premium, but the payment failed and the sale was cancelled. Here is the link to the 2012 report by The Telegraph before the sale was cancelled.
1743 Reticulated Vase
2018 SOLD for HK$ 150M by Sotheby's
In 2010 nobody had considered the catalog of the exhibition in New York in 1905 of a Japanese collection where its pairing piece had been photographed and described. This vase has resurfaced. It was sold for HK $ 150M from a lower estimate of HK $ 50M by Sotheby's on October 3, 2018, lot 3001. It differs from the Middlesex specimen by a rarer variant of the reign mark and so may be the master item produced for that pair.
The pair to the famous ‘Bainbridge vase’ – sensationally knocked down at £43m in 2010 but later sold for half of that sum after the buyer failed to pay – has to come to @Sothebys:https://t.co/RmkAXYiHnM pic.twitter.com/i8m8Q0Vjcp
— AntiquesTradeGazette (@ATG_Editorial) August 14, 2018
1752 100 Birds
2021 SOLD for RMB 266M by Poly
The manufacturing process of the reticulated revolving vase was arguably the most difficult ever, with the elements being assembled after separate firing. The Qianlong emperor wisely stopped it after pairing the last additional pieces to the production from the first batches.
The technology of the double vase nevertheless remained appealing for offering the most favorable auspices. Such pieces may be identified as turning heart bottles.
One of them, 63 cm high, is among the most massive in that category. The outer belly features a flying phoenix in a scenery. The open work matches the details of the landscape in irregular shapes, which is an additional feat with a higher risk of deformation during the firing. The rotation of the inner cylinder reveals the flock of ten species of auspicious birds in their flight facing the phoenix as a symbol of the harmonious balance of yin and yang.
The Divine Mother Empress Dowager Chongqing was held in very high regard by her son the Qianlong emperor and her 60th birthday in 1752 CE was one of the most lavish events of his reign.
The Imperial archives record that, on the fifth month of Qianlong's 18th year, the emperor commissioned Jingdezhen to fire a turning heart bottle with fighting dragons which was delivered by Tang Ying in the 11th month of the next year after 18 months of labor.
The yangcai vase with the phoenix was not documented. It was certainly prepared in the same period for a filial presenting to the empress dowager who was known to enjoy the story of the '100 birds'. It was sold for £ 330K by Christie's on June 15, 1999, lot 99, and for RMB 266M by Poly on June 7, 2021, lot 5153.
The technology of the double vase nevertheless remained appealing for offering the most favorable auspices. Such pieces may be identified as turning heart bottles.
One of them, 63 cm high, is among the most massive in that category. The outer belly features a flying phoenix in a scenery. The open work matches the details of the landscape in irregular shapes, which is an additional feat with a higher risk of deformation during the firing. The rotation of the inner cylinder reveals the flock of ten species of auspicious birds in their flight facing the phoenix as a symbol of the harmonious balance of yin and yang.
The Divine Mother Empress Dowager Chongqing was held in very high regard by her son the Qianlong emperor and her 60th birthday in 1752 CE was one of the most lavish events of his reign.
The Imperial archives record that, on the fifth month of Qianlong's 18th year, the emperor commissioned Jingdezhen to fire a turning heart bottle with fighting dragons which was delivered by Tang Ying in the 11th month of the next year after 18 months of labor.
The yangcai vase with the phoenix was not documented. It was certainly prepared in the same period for a filial presenting to the empress dowager who was known to enjoy the story of the '100 birds'. It was sold for £ 330K by Christie's on June 15, 1999, lot 99, and for RMB 266M by Poly on June 7, 2021, lot 5153.
1769 Hundred Deer and Several Cranes
2018 SOLD for € 16.2M including premium
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 : € 2M including premium on December 14, 2011 over a lower estimate of € 350K, and € 4.15M including premium on December 13, 2017 over a lower estimate of € 500K.
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 is estimated € 500K for sale by Sotheby's in Paris on June 12, lot 1.
Two hu shaped globular vases with the hundred deer, bearing the imperial mark of the Qianlong emperor, were sold by Christie's : € 2M including premium on December 14, 2011 over a lower estimate of € 350K, and € 4.15M including premium on December 13, 2017 over a lower estimate of € 500K.
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 is estimated € 500K for sale by Sotheby's in Paris on June 12, lot 1.
Qianlong - The Vase with Pheasants
2011 SOLD 200 MHK$
When the Chinese emperor was powerful, he allowed foreign influences to mingle with the Imperial tradition. In the case of Qianlong, watchmaking, for example, has been a real transfer of technology from England and Chinese imports greatly contributed to the success of Swiss production.
The vases, snuff bottles and brushpots made during his reign reach a high degree of perfection. Shapes are Eastern but the subjects and compositions, sometimes, are European.
The enamels with European themes are named Falangcai ("foreign color"). A beautiful porcelain vase of this type is estimated HK $ 180M, for sale by Sotheby's in Hong Kong on April 7, lot 15. On a white background, its exquisite painting shows a couple of pheasants on a nest. The balance ot the curves between the bottle and its neck is perfect.
It is 20 cm high, bears the Imperial mark and is illustrated in the press release shared by Artdaily.
POST SALE COMMENTS
1
Too expensive. Unsold.
2
Yes it was expensive, but a buyer was tempted. The press release from Sotheby's told that this vase has been sold HK $ 200M privately after the sale.
Traditionally, such announcement includes fees.
The vases, snuff bottles and brushpots made during his reign reach a high degree of perfection. Shapes are Eastern but the subjects and compositions, sometimes, are European.
The enamels with European themes are named Falangcai ("foreign color"). A beautiful porcelain vase of this type is estimated HK $ 180M, for sale by Sotheby's in Hong Kong on April 7, lot 15. On a white background, its exquisite painting shows a couple of pheasants on a nest. The balance ot the curves between the bottle and its neck is perfect.
It is 20 cm high, bears the Imperial mark and is illustrated in the press release shared by Artdaily.
POST SALE COMMENTS
1
Too expensive. Unsold.
2
Yes it was expensive, but a buyer was tempted. The press release from Sotheby's told that this vase has been sold HK $ 200M privately after the sale.
Traditionally, such announcement includes fees.
Qianlong - The Poem of the Poppies
2018 SOLD for HK$ 170M including premium
The falangcai porcelain from the Qianlong period is extremely rare and very difficult to date. This technique originally developed for the Kangxi emperor in the small Jesuit workshop had survived the Yongzheng reign thanks to Castiglione's perseverance and talent. The white porcelain prepared in Jingdezhen was decorated with the most exquisite colored enamels in that workshop of the imperial palace before the final firing.
Painter on silk, Castiglione had managed to please these three demanding emperors by adding to the traditional Chinese graphic style some elements of great naturalistic details. The Qianlong vase with pheasants in the nest from the Meiyintang collection is a very good example. It was sold for HK $ 200M in post sale by Sotheby's on April 7, 2011.
On October 3 in Hong Kong, Sotheby's sells as lot 1 a Qianlong falangcai bowl 11.8 cm in diameter decorated with poppies. The August 30 press release tells that it is expected above HK $ 200M. Please watch here below the video shared by the auction house.
Directly inspired by the art of Castiglione, this bowl shows on its outer wall poppy blossoms of various colors on long stems bent in all directions by the wind. Like the nest of pheasants, this scene is anchored on a rocky ground. The curved shape and the turned-over rim provide a three-dimensional effect to this drawing that rises to the top of the piece. The interior of the bowl is decorated with fruits of abondance and the imperial mark is in blue enamel.
Qianlong loved literary quotes. The high collar of the pheasant vase is decorated with a poem. Likewise a fourteen-character poem adorns the back side of the poppy bowl at the top of an otherwise blank area.
This poem from the Ming period is directly related to the theme of the bowl. One of the names of the poppy in Chinese is Yu meiren, the Beautiful Yu, in memory of the concubine of an emperor usurper against the Han. When defeat became inevitable, Lady Yu executed for her emperor a languid song while dancing around a sword on which she then pierced herself.
Painter on silk, Castiglione had managed to please these three demanding emperors by adding to the traditional Chinese graphic style some elements of great naturalistic details. The Qianlong vase with pheasants in the nest from the Meiyintang collection is a very good example. It was sold for HK $ 200M in post sale by Sotheby's on April 7, 2011.
On October 3 in Hong Kong, Sotheby's sells as lot 1 a Qianlong falangcai bowl 11.8 cm in diameter decorated with poppies. The August 30 press release tells that it is expected above HK $ 200M. Please watch here below the video shared by the auction house.
Directly inspired by the art of Castiglione, this bowl shows on its outer wall poppy blossoms of various colors on long stems bent in all directions by the wind. Like the nest of pheasants, this scene is anchored on a rocky ground. The curved shape and the turned-over rim provide a three-dimensional effect to this drawing that rises to the top of the piece. The interior of the bowl is decorated with fruits of abondance and the imperial mark is in blue enamel.
Qianlong loved literary quotes. The high collar of the pheasant vase is decorated with a poem. Likewise a fourteen-character poem adorns the back side of the poppy bowl at the top of an otherwise blank area.
This poem from the Ming period is directly related to the theme of the bowl. One of the names of the poppy in Chinese is Yu meiren, the Beautiful Yu, in memory of the concubine of an emperor usurper against the Han. When defeat became inevitable, Lady Yu executed for her emperor a languid song while dancing around a sword on which she then pierced herself.
Qianlong - Anthology of the Four Seasons
2010 SOLD 140 MHK$ including premium
The ancient Chinese art is a continuum, each new work referencing to past shapes and techniques that can go back to antiquity.
Thus, a pair of enameled porcelain bottle vases 19 cm high made in the Imperial workshops and bearing the mark of Qianlong is an example of extreme refinement with a harmonious synthesis of styles.
The spherical body of each piece is decorated with four medallions showing the flowers of the four seasons, in a festival of colors that imitates the supreme Chinese art of the Beijing enamel glass.
The background of the sphere and the tall arched neck display traditional and Western influences by imitating the themes of enameled copper.
The two vases are illustrated with the same flowers under slightly different arrangements. They will be sold separately at Sotheby's in Hong Kong on October 7. One of them is estimated HK $ 60M, lot 2123. The other, hampered by a long crack, is waiting for HK $ 8M, lot 2124.
POST SALE COMMENT
SOLD for HK $ 140M and 32M including premium.
Thus, a pair of enameled porcelain bottle vases 19 cm high made in the Imperial workshops and bearing the mark of Qianlong is an example of extreme refinement with a harmonious synthesis of styles.
The spherical body of each piece is decorated with four medallions showing the flowers of the four seasons, in a festival of colors that imitates the supreme Chinese art of the Beijing enamel glass.
The background of the sphere and the tall arched neck display traditional and Western influences by imitating the themes of enameled copper.
The two vases are illustrated with the same flowers under slightly different arrangements. They will be sold separately at Sotheby's in Hong Kong on October 7. One of them is estimated HK $ 60M, lot 2123. The other, hampered by a long crack, is waiting for HK $ 8M, lot 2124.
POST SALE COMMENT
SOLD for HK $ 140M and 32M including premium.
