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Imperial Qianlong Vase

Monday, March 1st 2021

Masterpiece of Yancai enamels for the anniversary of the emperor

Vase Quianlong

CHINA - QIANLONG Epoch (1736-1795)

Small four-sided pomegranate-shaped vase

in polychrome and gold enameled porcelain of the rose family enamels known as "fencai", on each side of a round medallion decorated with a couple of quails on rocks flowered with peonies; another couple of quails among celestial bamboos and plum blossoms; another couple of magpies on a rock flowered with peach blossoms; another couple of magpies among cherry blossoms and lingzhi. The background is decorated with lotus flowers in rose family enamels among their foliage on a background of golden flowering scrolls. The shoulder decorated with a frieze of lingzhi decorated with scrolls. The lower part decorated with a frieze of banana leaves and lingzhi. The heel embellished with a frieze of stylized flowers in their rinceaux in gold enamel on a coral red background. The inside and the underside enamelled in turquoise blue. On the back of the base, the mark of Qianlong with six characters in iron red in zhuanshu.

Height. 20.4 Width of the neck. 9.9 cm.
(gold wear).

Provenance:
- according to family tradition: offered at the wedding, on October 9, 1930, of Jean Richard (1905-1935) and Marie-Louise Thomassin (1906-1990), in the cathedral Saint-Louis des Invalides in Paris. Son of General Charles Édouard Richard (1868-1928), polytechnicien, and grandson of Lieutenant-Colonel Charles Lecer (1839-1915), officer of the Legion of Honor, the groom married the daughter of a captain of the French army who died in the field of honor, Constant Charles Thomassin (1875-1914).
- by descent, private collection, Tours.

China - Qianlong period (1736-1795). A fine 'Famille Rose' (Fencai) and gold-glazed 'pomegranate' Qianlong seal mark and period vase.

清乾隆 粉彩纏枝西番蓮開光花鳥圖石榴尊
"大清乾隆年製 "款

References:
- a vase of the same shape on a pink background kept at the Metropolitan Museum of Art, New York, n°17.120.198 from the collection of Mr. and Mrs. Issac Fletcher ;
- Another vase, double, decorated with the same subject in medallions, reproduced in Stunning decorative porcelains of the Qianlong reign, National Palace Museum, Taipei, 2008, p. 88, another with the same background p. 126 (Figure 1) ;
- two vases, one baluster, the other suantouping with similar decoration of floral scrolls and gold enameled spirals, the interior and base enamelled turquoise blue enamel reproduced in Porcelains with Cloisonne Enamel Decoration and Famille Decoration, The Complete collection of Treasures of the Palace Museum, Falangcai-Fencai, Gugong, Publisher The Commercial Press (Hong Kong) 1999, p. 40 and p.41 (Figure 2 and 3) ;
- a vase of a different shape with medallion decoration on a background of the same lotus and spiral decoration but in iron red, with the upper decoration of the similar heel reproduced in Porcelains with Cloisonne Enamel Decoration and Famille Decoration, The Complete collection of Treasures of the Palace Museum, Falangcai-Fencai, Gugong, Publisher The Commercial Press (Hong Kong) 1999, p.131 (Figure 4).

Presentation by the Portier cabinet

The pomegranate shape of this rare vase symbolizes prosperity and abundance. It is made of polychrome enameled porcelain of the rose and gold family called "fencai". This exceptional object is illustrated on each of its four faces with birds perched on flowering branches and rocks, in medallions on a background of foliage of lotus flowers and stylized passion flowers blooming from the belly to the neck, they invade the entire vase in imitation of cloisonné bronzes.

The classic name of "decoration of flowers and birds" originally belongs to the history of Chinese painting. It comes from a kind of academic painting which finds its source in the time of the Song of the North, under the reign of Huizong (r.1101-1125), quality painter, calligrapher, archaeologist, poet and collector. This Emperor is an emblematic figure of the Chinese tradition of scholars, through the illustration of naturalist and poetic subjects, represented in an intimate way. The scenes of birds and flowers in the medallions depicted on this pomegranate vase are in line with the traditional Chinese tradition of painting at the Hanlin Academy, literally "the Academy of the Brush", founded by Huizong. It is also likely that the gold enameled scroll decoration refers to Huizong, who invented the "thin gold style of calligraphy" (shou jin ti) because his calligraphy resembled a gold filament, twisted and turned.

Two medallions are embellished with two magpies. The first, decorated with a magpie perched on a rock and a magpie on a branch of plum tree in bloom (meihua), symbol of autumn, face to face, they communicate with the eyes. On the second medallion, two magpies are perched face to face on a branch of flowering plum tree (meihua), a symbol of autumn. Behind them, longevity mushrooms (lingzhi) and bamboos (zhu yu qi sun tu) bloom.

Bamboo embodies the image of courage in the face of adversity and longevity, virtues dear to the learned. Emblematic of purity and perseverance, prunus, a sign of the coming of winter, symbolizes an advanced age in good health. The magpie personifies happiness through the homophone of "xique". Thus represented, this image alludes to conjugal happiness, the double happiness (shuang xi meishao). This classic theme is found in paintings, textiles, architecture and porcelain.

The two other medallions are composed of a couple of quails face to face , placed on rocks among the branches of longevity peach flowers, peonies, branches of flowering prunus, ears of wheat, chrysanthemums and celestial bamboos (nandina domestica).

The quail, homophone of the word peace (anquan), when represented in couple, symbolizes the double peace (shuang'an). Embellished with ears of grains of wheat, (sui), they constitute the vows of "May you obtain peace year after year", (suisui ping'an).

Literate people are fond of the chrysanthemum flower (juhua), a reflection of their noble ideals. A symbol of perseverance and purity, this flower is resistant to the autumn weather, strong and brave, like the qualities they must strive for in order to face the obstacles of their charge.

In order to establish their legitimacy on the throne of China as foreign rulers, the Manchu emperors of the Qing Dynasty were particularly attentive to the tradition of Chinese society and used every type of art to assert their position.

Fencai enamels appeared at the end of Kangxi's reign (1662-1722), developed under Yongzheng (1722-1735), and became popular during the reign of Qianlong (1736-1795).

The deep interest for European "exoticism" and its enamels worn by the emperor Kangxi (1662-1722), incites him to create in the Forbidden City an imperial workshop in the Yanxin Dian (Room of the Food of the Spirit) for the painting of enamels on copper (tong falang), under the direction of the Jesuit Jean-Baptiste Gravereau. Later, he asked the craftsmen to adapt this technique to glass and ceramics. This range of new objects of foreign colors called "yangcai", is composed of delicate and opaque tones, a matt white based on arsenic which will allow to obtain an infinite variety of shades once mixed with each of the enamels. These various experiments made it possible to achieve velvety pastel shades, which were the basis for the development of enamels of the pink family known as "fencai", in the palace pharmacies and kilns of Jingdezhen. This new technique is characterized by a form of painting on the roof with the use of Cassius purple and the use of gradations obtained thanks to the introduction of lead arsenate. Under Yongzheng, new shades are exalted by the great purity of the paste and by the brilliant glaze of the porcelain. Emperor Qianlong, fascinated by poetry, traditional Chinese painting and foreign enamels, gave instructions to Tang Ying (1682-1756), who supervised the imperial kilns.

Thus, the craftsmen of the Jingdezhen imperial kilns drew inspiration from great works of China's past and customs, while simultaneously creating innovative contemporary pieces highlighting the excellent quality of workmanship of the period, under the guidance of Emperor Qianlong.

The harmony of the colors, the refinement of the decoration, the delicacy of the enamel application, the natural aspect of the animals and plants, recall the art of traditional painting and poetry through its themes and rebus. The meticulousness of the execution of the motifs unfolds in the smallest details. The craftsman uses the surface of the porcelain to create a composition that fits perfectly with the shape of the pomegranate vase. He creates a harmony of form and decoration but also details in each medallion, conducive to the escape of the scholar through a poetic sphere full of hidden meanings. This type of theme inside the medallions is in osmosis with the literary taste of Emperor Qianlong, a medium inviting contemplation while the floral decoration invading the bottom of the vase recalls the European Baroque spirit. The gold enamelled foliage, of European inspiration, takes on more importance, covering the body of the vase as well as the rim of the foot and the polylobed neck on a red iron background.

A fine connoisseur of Chinese literature and language, a great and prolific poet, Emperor Qianlong appreciated the literary references, allusions, rebus, and quotations that he was delighted to have affixed to porcelain, jade, or cloisonné objects. Thus, the Manchu emperor is part of the continuity of the literary elite and imposes himself by his cultural legitimacy.

These types of objects were collected by the Manchu emperors, and were also sometimes given to them as birthday presents by princes, ministers or high officials as a token of their loyalty. These gifts often symbolized messages by their form, via rebus, homophones, symbols, poems, messages of good omen, happiness, longevity, legends or historical references.

Fig. 0 - Metropolitan Museum, New York
Fig. 0 - Metropolitan Museum, New York


National Palace Museum, Taipei
Fig. 1 National Palace Museum, Taipei


Fig. 2 Palace Museeum, Cité Interdite, Pekin
Fig. 2 Palace Museeum, Cité Interdite, Pekin


Fig. 3 Palace Museum, Cité Interdite, Pékin
Fig. 3 Palace Museum, Cité Interdite, Pékin


Fig. 4 Palace Museum, Cité Interdite, Pékin
Fig. 4 Palace Museum, Cité Interdite, Pékin
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