Page 86 - Reginald and Lena Palmer Collection EXHIBITION, Bonhams London Oct 25 to November 2 2021

This exceptional vase is gracefully decorated with an elegant cluster The painting of the various floral blooms closely follows the flower
of luxuriant flora occupying the larger part of the porcelain body painting of one of China’s most celebrated artists, Yun Shouping
while deliberately leaving a smaller area of undecorated surface to (1633-1690). Yun was considered one of the ‘Six Masters’ of the
achieve a harmonising balance and pleasing visual effect. The various early Qing period and is often associated with paintings of flowers
blossoming flowers, depicted in a painterly style, represent the in the ‘boneless style’ mogu, which emphasised washes rather
Yongzheng Emperor’s highly-refined taste, which was defined by his than lines. Yun’s unique painting style allowed him to reveal the
personal interest and patronage in the development of decorative arts, distinct beauty of flowers, making them appear vivid and bright. He
especially with porcelain production at the Imperial kilns at Jingdezhen, introduced the use of strong and bold colours, such as reds, purples
Jiangxi Province. and bright greens, which played an important role in the revival of
flower paintings in China. The Emperor’s fondness of Yun’s work
It was during the Yongzheng Emperor’s reign that the porcelain resulted in replicating the latter’s paintings on ceramics, thus creating
painters begun painting floral scenes in their natural colours. New floral designs characterised by vibrancy and elegance displayed
colours had been introduced by European Jesuits allowing for a on three dimensional objects. See two paintings by Yun, depicting
new expanded colour palette on porcelain. This sparked off the peony and chrysanthemum blooms, from his ‘Album of Mountains,
development of a number of exquisite designs of flowering tree Waters, Flowers and Grasses’) Shan shui hua hui ce, illustrated in ‘A
branches, such as on the present vase. The superb pattern of Brief Account of Yongzheng Period Imperial Porcelain’, in Gugong
flowering branches extending around the sides of this imposing vase bowuyuan bashi huadan gu taoci guoji xueshu yantaohui lunwen ji,
appears to have been amongst the best-loved porcelain designs of Beijing, 2007, p.212, fig.26.
the Yongzheng period as can be noted on a large number of Imperial
wares in public collections. The colour combination noted on the Undoubtedly, the harmonious floral design depicted on the present
present vase has an irresistible appeal, the painting is impeccable vase was also selected for its powerful auspicious symbolism.
and the design of the various branches with different flowers depicted Branches of peonies (mudan 牡丹), are referred to in Chinese as fugui
varying blooming stages is sophisticated in its concept and reassuring hua (富貴花) meaning ‘Flowers of wealth and honour’. The prominence
in its eternal message conveying happiness and long life. accorded to peonies on the present vase reflects their position as
the ‘King of Flowers’, beloved of Chinese artists and poets, and
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