Page 93 - Chinese Art From Two American Collections, April 5, 2017 Hong Kong
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This magnificent rouleau vase displays the technical The appearance of overglaze blue enamel, which slightly
developments of the early Qing dynasty. Its magnificent predated that of pink in the 1720s, similarly had an important
size and striking decoration are testament to the advances impact on porcelain decoration. Appearing first during the
in porcelain production during the early 18th century, when reign of the Kangxi Emperor, overglaze blue simplified the
potters began to experiment with new enamel colours. It is one making of famille-verte wares, enabling porcelain painters
of the earliest examples of the inclusion of pink enamel amidst to create highly sophisticated motifs. In the Ming dynasty
the famille-verte colour scheme and style. underglaze cobalt blue had to be applied before firing to
those areas where it would later be needed, while the other
Vases of this massive size and painted in this palette are very colours were added after the firing to make up the complete
rare, although a closely related example from the collection polychrome design; in the Qing, underglaze blue was omitted
of Rt. Hon. The Lord Margadale of Isley, was sold at Christie’s or exchanged for overglaze blue, which was applied together
London, 31st May 1965, lot 67, again in these rooms, 16th with the other colours, thus allowing much more complex
May 1977, lot 216, and in our Monaco rooms, 22nd June and detailed designs. Overglaze blue enamel is mentioned in
1987, lot 1465. Compare also a vase of similar size and shape a letter by the Jesuit missionary Père François d’Entrecolles
and painted with birds and flowers, but only in the famille- (1664-1741), who noted that this glaze was made from a
verte palette, in the Metropolitan Museum of Art, New York, powdered blue glass, which would be mixed with gum and
illustrated in Oriental Ceramics. The World’s Great Collections, fish-glue. The advantages of using overglaze blue are evident
vol. 11, New York, 1982, pl. 131; another sold twice at Christie’s in the attractive rendering of the flowers and where it has been
London, 4th May 1970, lot 23, and 9th July 1985, lot 202; and a employed to enhance the naturalism of the birds’ feathers.
third sold in our Monaco rooms, 29th February 1992, lot 440.
The subject on this piece is notable for its auspicious meaning.
The use of pink enamel with overglaze blue and broad washes As the phoenix is the king of birds, the subject of phoenix
of green enamel indicates that this piece was made in the late surrounded by many birds is known as ‘hundred birds
Kangxi period, when the wucai colour scheme was gradually courting the phoenix’ (bainiaochaohuang or bainiaochaofeng).
replaced by famille-rose enamels, hence the name of this Since the phoenix only appears during peaceful reigns, it is
palette, rose-verte. Numerous scholars have discussed the closely connected with the ruler, and this motif stands for
origins and far reaching consequences of the introduction the relationship between a ruler and his officials. The birds
of pink enamel in the Qing dynasty, which together with the depicted in such scenes carry symbolic meaning and represent
development of opaque white and opaque yellow changed the ‘Picture of the Five Relationships’ (luxutu, wuluntu); the
dramatically the outlook of porcelain produced at Jingdezhen. cranes represent the relationship between father and son;
Nigel Wood, who examined in depth the chemical composition mandarin ducks the relationship between husband and
of these porcelain colours, suggests that while the white wife; wagtails the relationship between brothers; and the
and yellow enamels probably derived from enamels used on relationship between friends is represented by the orioles.
cloisonné ware, pink enamel was probably introduced in China
from Europe through Jesuit missionaries. A gold-pink enamel
was in use at the Meissen factory in Saxony in about 1718, and
the pink enamel of Jingdezhen similarly appears to contain
minute traces of colloidal gold (see Nigel Wood, Chinese
Glazes, Hong Kong, 1999, pp. 241-243).
CHINESE ART FROM TWO AMERICAN PRIVATE COLLECTIONS 91
