Page 41 - Multifarious Enamels Chiense Art.pdf

fig. 4b Collection of the National Palace Museum, Taipei
ॱो C ४⒤ᐅ೫ښḵ㡗ⳉި

against a coloured ground, as seen on the upper and lower sections of this ᥒǐ᢬⁄ᆵחⅲ㲋ൎྋڰ⫁♃䢲⧀Ւ͔⼾
vase. It seems that only plain coloured grounds were used on enamelled 㨫Ԭ♘̵⇂㍿ᒪǐ⇂ྋ̃˗䢲⁄㧀˖ڑ㒴
porcelains of the Kangxi and Yongzheng reigns, but in the Qianlong reign the
ଫჍ㣄㦷Շᆵ❡ⅲ⚷⨓ڰ⫁♃䢲ם᪰͠⚷
decorators working at the imperial ateliers also produced coloured grounds
ঃ᳦⣎ᓣ䢲⧀♞ঃ㌹㑆㚙♃⇂ᒪᆓ㉍䢲⡊
with delicately painted or incised scrolls and lattices. The design of the incised
۴ᦵᆵ❡ⅲˏ㑆♢⑬⩇ڐ♃䢲̷ኽ̞㧛
deep rouge-pink ground areas with floral devices on the current vase is known
in Chinese as 㚙˖᪱⩇ jinshang tianhua ‘flower brocade design’. This specific Κⅲⴷώᆾ᧊ǐ
type of decoration does not appear to have been used prior to the Qianlong
reign, and it may be assumed that it was created by the great imperial kiln Ǚ㚙˖᪱⩇ǚ♃㨫ᕖՉ૯㧛䢲ֱ׆ᑞ⼾
supervisor Tang Ying ( ߢ ⩹ 1682-1756) in order to meet the demand for 㨫Չᢍ̖㡲ᕧⅲ⚯Քྼ⁅䣀₝ᾫῙۢ᧴ྐ
novelty and beauty expected by his demanding imperial patron, the Qianlong
⁅ࣰǐՒˮˏ㧛͠ᾫῙྐ᳦ঃ䢲՞㍨᪨
Emperor. The incised design on this vase is a feather-like scrolling pattern,
ⅲ㧐⨓ॼ᪰⨓ঃዟ₝➇๾ⅲڰ⫁♃ᆘᡷᙂ
which works well with the other decorative features. Interestingly, in the
♃䣁۷ˏ㧛ᒶॼᾫῙྐঃ˖ץח♃㨫䢲ᵁ
cloud-collar elements on the upper neck of the vase the scrolling elements
have been painted in green on a pale background – in contrast to the incised ྯ՞⒋᷂⡊ᆓǐ༩ഡ⏨ॼՒ˹⛷ⅲǗ⬹㶦
design on the rouge areas, and a similar painted technique has been used for ྐ⁅䣀̖㡲᧴ྐǘ䢮⦶٫䢲 ḛ䢯ˮ
the narrow floral band around the mouth rim. ዠ׍䢲 ዟ₝㚙♃⿉ᑞ̖㡲̩ǏՍໝ㟢ⅲᾫ
There are two versions of this ‘flower brocade design’, applied to the two most Ῑྐ⁅䣁⡊ץঃ㚙♃ם⿉ᑞ̖㡲Սໝⅲ᧴
esteemed types of imperial porcelain made for the Qianlong court - falangcai ྐ⁅䢲ᓁ㟢ₙᓑ䢲˞⧀Ὂިྼ⁅ᬆήⅲໝ
ᾫῙྐ and yangcai ᧴ྐ . In one group the delicate scroll or lattice on the ͞˙ブ⡊ܐǐെ᢬䢲ᕊˮ־⍷̞܀٫४⒤
background enamel was painted in a darker colour onto a paler-coloured ᐅ೫⇂㠛ὊⳉⅲॱϡǐǗ⬹㶦ྐ⁅ǘⅲ⛷
ground, while in the other the design was incised into the background enamel
ᎏ⡅ᘿᎯᐷἆ㇔ᑃ䢲᳦㐝̮ηި㐖ˏᑚ͞䣁
before firing. In Stunning Decorative Porcelains from the Ch’ien-lung Reign ( ⬹
࿚㦚ˏዠⅲᒶ䢲ᆵᕖӏᕴሠި⧝㨫ץঃ㚙
㶦ྐ⁅ : ̖㡲᧴ྐ , ༩ഡ⏨ ˹⛷ ), Taipei, 2013 edition, Liao Pao Show suggests
♃̃η䢲↯ⅳ᷂㐤ᑞډՋˠ☸ोډໝ͞䢲
that the painted version was applied to falangcai porcelains in the 5th and 6th
years of the Qianlong reign, while the incised version appeared on yangcai ڭ̖㡲׀ໝߢ⩹਋ካྼ⒋̃㢄ǐ
porcelains just a little later, in the 6th year – which also seems to mark the
beginning of an era of particularly fine production at the imperial kilns. In the ᘿᎯᐅ೫ήᕖⅲⳉި⇐Ϝ䢲㨫⣧⣹♞㌹㑆
same volume, a number of examples of such porcelains from the collection of ץঃ㚙♃⡅᪨۫ዃෙǐᕖ㉍ⅲᒶ䢲ᐅ೫
the National Palace Museum are illustrated. By reference to archival material,
Ὂⳉˮⅲ૯㒴Ͱ㏩Κϡ䢲ⅳ㨫ᕖᕴሠިⅲ
it was possible for the compilers of the Stunning Decorative Porcelains from
㲋ൎྋڰ⫁♃䢲΢̑ᕖᐪϡ㨫ᡷᙂ♃䢲ॱ
the Ch’ien-lung Reign volume to determine the dates of production for the
⿉ע㏽⮏ηǗ⬹㶦ྐ⁅䣀̖㡲᧴ྐǘ㦓
illustrated vessels, and it is noticeable that all those with similar incised
ground to that on the current vase date to the 1740s – early in the Qianlong ⛷ⴽ 䢮ॱ˕䢯ǐ४⒤ᐅ೫ښḵ
reign, during the tenure of Tang Ying. 㡗ⳉިˮ䢲〶૨ηި̑ӏᕴ⁄⧝❡͠ṁᕖ

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