Page 50 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

chapter. If a porcelain ware did not meet the expectations of the imperial court, it would

be destroyed, preserving an elite standard for porcelain wares.

The patronage cultivated during the earlier Qing dynasty is best understood

through three specific imperial patrons: Kangxi (1662–1722), Yongzheng (1723–1735),

and Qianlong (1736–1795). During this period, artistic media flourished and included

new advancements, often drawing from China’s newly established relationships with the

West. Scholars have claimed that the porcelain industry reached its peak during these

reigns as a direct result of continued imperial patronage. Several overarching elements

found within the porcelain commissioned by these rulers contribute to its elite status.

One of these elements is the porcelain itself. The porcelain was made of a fine paste that

fired to a pure white color. Much of this success was due to technological advancements

and knowledge of clay refinement. The other major element associated with the apex of

Chinese porcelain is the development of glazes and colors. Building upon the

achievements of the Ming kilns, the Qing kilns were able to successfully execute distinct

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underglaze blue, famille verte (wucai 五彩), and famille rose (fencai 粉彩). Famille
verte, or the green family, involved the application of shades of a green hue. Famille

verte is considered a part of wucai, or five colors. The wucai styles of the Qing evolved

during the reign of Kangxi when the technical ability to apply overglaze blue rather than

underglaze blue was achieved, combining the overglaze blue with polychrome enamels.

Famille rose, or the pink family, is known in China as fencai, meaning “soft colors.” The

technique combines varieties of pink to create distinct shades. Forms of vessels also

30 Yi-hua Li, Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection
(Beijing: Forbidden City Publishing House, 1989), 10.

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