Reading Qing Imperial Taste Through the Dragon Motif

 

The Evolution of the Imperial Dragon

During the ongoing conservation of the Hall of Mental Cultivation (Yangxin Dian), the temporary removal of the monumental central plaque—bearing the inscription Zhongzheng Renhe (“Impartiality and Harmonious Balance”)—has revealed an exceptionally instructive example of mid-Qing imperial craftsmanship. 

 

For collectors of ceramics, lacquer, and courtly works of art, this plaque functions as a rare and reliable chronological anchor, comparable in importance to a well-dated reign-marked porcelain.

 

 

A Stylistic Transition in the Imperial Dragon

The dragons flanking the plaque are immediately striking for their youthful vitality. In early-to-mid Qing visual culture, the long (dragon) is rendered with sinuous movement and elastic energy: elongated limbs, an undulating spine, and an almost calligraphic sense of motion. 

 

This aesthetic will be familiar to collectors of Yongzheng-period porcelains, where dragons coil freely across vessel walls, animated rather than constrained. By contrast, the later Qianlong idiom—seen across lacquer, textile, and ceramic media—favored greater symmetry and composure. 

 

Dragons from the mid-to-late 18th century adopt a more frontal authority, with tightened musculature and a stern, codified facial expression. This evolution mirrors the broader consolidation of imperial power and taste, much as the exuberance of early famille rose gives way to the controlled grandeur of later palace wares.

 

 

Technical Composition: Lacquer and Gilding at the Imperial Standard

From a material and technical standpoint, the plaque exemplifies the highest standards of the Imperial Workshops (Zaochuanchu). Conservation has revealed a layered construction that will resonate with collectors accustomed to examining glazes, slips, and kiln effects:

 

1. The Support

The core is formed from carefully seasoned hardwood—most likely zitan or nanmu—selected for dimensional stability, much as fine porcelain bodies relied on refined kaolin blends.

 

2. The Ground Layer

A traditional guanliao (ash-putty) ground was applied to achieve a flawless surface. This composite—brick dust, pig’s blood, and raw lacquer—functioned much like a preparatory slip, mediating between structure and finish.

 

3. The Lacquer Body

Multiple layers of raw lacquer (urushi) were built up to create a resilient, moisture-resistant skin, each layer meticulously cured and polished.

 

4. The Gilding

The dragons themselves were executed in water- or oil-gilding, using high-purity gold leaf laid over a red lacquer size. This red substrate imparts a warmth and depth to the gold, akin to the way copper-red glazes rely on their underlying chemistry for tonal richness.

 

 

Historical and Collecting Significance

The Hall of Mental Cultivation assumed its central political role in 1723 under the Yongzheng Emperor, and the stylistically “youthful” dragons strongly suggest a date within this formative period.

Positioned behind the emperor during daily audiences, the plaque formed part of a carefully calibrated visual program in which the dragon—dynamic yet controlled—asserted the emperor’s mandate as the Son of Heaven.

 

As conservation stabilizes the original gilding and wooden substrate, the plaque offers collectors and scholars an increasingly legible record of the aesthetic moment just prior to the full codification of the Qianlong style. 

 

Much like a transitional porcelain that bridges two reigns, this work captures a fleeting balance between vitality and authority—an interval prized by discerning collectors across all categories of imperial art.