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Exhibit Themes

Exhibiting an Overwhelming Majesty

With the close of the tumultuous late Ming period, the Ching-te-chen kilns gradually resumed their operations by the K'ang-hsi reign of the Ch'ing dynasty. In the twentieth year of the K'ang-hsi reign, 1681, the Ch'ing court delegated officials to supervise production of ceramics at Ching-te-chen. A manufacturing infrastructure was created centered around the imperial kilns there, producing works directed by and in cooperation with the court. The Ching-te-chen kilns produced official porcelain wares in both the Yung-cheng and Chi'en-lung reigns, official porcelain wares reached a state of unprecedented eminence and originality. There were advances in monochrome and polychrome glazes, including imitation and innovative colors. The dazzling colors and myriad forms represented the ultimate in technique and the unsurpassed skills of craftsmanship at the time.

Consistent and meticulous craftsmanship is demonstrated in the lacquer wares of the Ch'ien-lung reign, when the traditional methods behind the rendering of carved lacquer were inherited from the Ming dynasty. The background patterns are fine and intricate, while the foreground design is lucid and defined. The foreground theme juxtaposed against the background setting effectively brings out the multi-layered quality and chromatically gradated color of the lacquer ware.

Enamelware in the early Ch'ing dynasty was mostly in the form of painted enamels, while cloisonné enamelware (which had been imported into China during the 15^th century) reached a pinnacle by the middle of the Ch'ien-lung reign. Representative works include pieces from the K'ang-hsi and Ch'ien-lung reigns in the National Palace Museum collection. As for the "Painted enamel vase decorated with coiled dragons", the yellow imparts an imperial air, the peony symbolizes splendid magnificence, and the "k'uei"-dragons combine to give the piece an overwhelming majesty singular to the Ch'ing imperial court.  

｜1｜2｜ Gold bowl mark and reign period of Ch'ien-lung Ch'ing dynasty, 1736-1795

Emerald jade seal with inscription "Ku-hsi T'ien-tzu-chih-pao" Ch'ing dynasty, Ch'ien-lung reign (1736-1795)

The craftsmen specializing in wood or ivory carving under the Imperial Household Administration of the early Ch'ing carried heavy responsibilities. Experienced, skilled artisans from the masses were also recruited into the production staff, and they created masterpieces that inspired awe and praise among the imperial court. Illustrious craftsmen such as Ch'en Tsu-chang, Feng Ch'i, Huang Chen-hsiao, and Yang Wei-chan worked for the Ch'ing emperor Ch'ien-lung, leaving behind breathtaking works of genius in the palace.

｜1｜2｜ Ivory carving of a dragon-boat in a lacquer case Ch'ing dynasty, 17th-18th, century

｜1｜2｜ Olive stone with poem "Ode to the Red Cliff" carved on the bottom mark and reign period of Ch'ien-lung Ch'ing dynasty, Ch'ien-lung reign 2nd year (1737)

Western Influences on Chinese Imperial Art

Throughout the 18th century, new trading routes were being opened and Christian missionaries were coming from the West into China. Western artifacts directly associated with these missionaries, and those that embodied the cultural fusion between East and West, gradually grew in number within the Ch'ing imperial art collection.

Limoges (painted) enamel, the beautiful result of the artistic fusion between Eastern and Western cultural elements, first took the form of a bronze base with enamel painted on top during the K'ang-hsi reign period. A similar set of techniques and pigments were applied in the production of a porcelain base, with enamels painted on its surface. The pioneering enameled porcelain resembles cloisonné and other metal-based enamelware in terms of color and design.

During the Yung-cheng reign, a dramatic change ensued in the production of Ch'ing palace enameled porcelains. Enamel pigments were in high demand, and workshops went from depending heavily upon imports from abroad to being able to perform the extraction themselves. The production of enameled porcelain entered a whole new stage of efficiency and sophistication. Not only did the volume of output increase greatly under imperial supervision, paintings coupled with poetic colophons as decoration on porcelain became widely popular.

During the Ch'ien-lung period, new themes and novel techniques emerged for the embellishment of enameled porcelains. Western figures, traditional manors, and layered drawings characteristic of Western paintings were new elements injected into Ch'ing enameled porcelain.

Derived from the original snuff box of the West, the snuff bottle has a lid attached to a small spoon for extracting the snuff from inside. Having already appeared in the K'ang-hsi reign, the use of snuff bottles originally most prevalent among members of the imperial clan and nobility. Court production of snuff bottles rose sharply in the Yung-cheng and Ch'ien-lung reigns to meet the demand for presenting them as gifts and rewards. Not until the 18th century did snuff bottles gain in popularity among ordinary folk.

Made in London and purchased by customs in China, pocket watches in painted enamel boasting a lid decorated with delicate French-style painting were presented as tribute to the Ch'ing court. The minute and second hands have stopped at a time recording a moment in history when China met the Western world. Not only fashionable among members of the imperial clan, they also represent a novel fusion of mechanics and art.

Metal box with decoration of angels playing in painted enamels on a gilt bronze body 18th century

Porcelain bowl with flowers and birds painted in fa-lang-ts'ai enamels mark and reign period of Yung-cheng Ch'ing dynasty, 1723-1735

Extracted from the "Great Land of the Dragon" (present-day northeast Chi-lin and Liao-ning) of the imperial Manchu clan, "sung-hua" stone is characterized by a light greenish tone that imparts an air of purity and elegance. Before the Ch'ing dynasty, "sung-hua" was usually made into whetstones. However, by the middle of K'ang-hsi reign, due to the emperor's unique perception and contemplation of its potential, the role of "sung-hua" was elevated and it was used to create inkstones and inkstone boxes. Afterwards, a "sung-hua" inkstone became an item of appreciation and connoisseurship as well as a respectable choice for a gift and reward, being produced in the imperial workshops of the Yung-cheng and Ch'ien-lung reigns.

Perhaps influenced by Western technology and knowledge, Ching-te-chen imperial kilns in the 18th century, under the supervision of managing official T'ang Ying (1682-1756), began producing porcelain vases with a rotating interior. Such pieces, with renderings of intricate openwork patterns, involve calculations of precise measurements in order to produce these truly unique works of art, design, and technique. Though T'ang did not receive any great imperial favor for his significant achievements and contributions to the development of such innovative ceramics, modern-day connoisseurs still appreciate and understand the ingenuity and magnificence of his extant works.

Porcelain brush holder with landscape in underglaze three colors mark and reign period of K'ang-hsi Ch'ing dynasty, 1662-1722

｜1｜2｜ Porcelain vase with a rotating interior and decoration of fish in a cobalt blue glaze Mark and reign period of Chien-lung Ch'ing dynasty, 1736-1795