The Story of Qianlong's Iconic Dragon Bowls (Qing)

 

Introduction: The Qianlong Era (1735-1796) The Qianlong era, spanning from 1735 to 1796, marks one of the most prosperous and culturally rich periods in Chinese history. Emperor Qianlong, the sixth emperor of the Qing dynasty, presided over a time of territorial expansion, economic growth, and artistic flourishing. Known for his love of the arts and his role as a patron, Qianlong amassed an impressive collection of artifacts, many of which showcase the pinnacle of Chinese craftsmanship. This period saw innovations in porcelain production, with imperial workshops creating pieces that combined technical mastery with symbolic significance. The yellow ground iron-red decorated dragon bowls exemplify the artistic achievements and imperial symbolism of this golden age.

The Yellow Ground Iron-Red Dragon Bowls: A Masterpiece of Imperial Porcelain

Physical Description The pair of bowls in question are exquisite examples of Qing dynasty porcelain. Each bowl features a vibrant yellow ground, a color traditionally reserved for the emperor. Against this imperial backdrop, intricate designs are painted in iron-red, creating a striking contrast that immediately draws the eye. The bowls’ exteriors are adorned with five-clawed dragons, the quintessential symbol of imperial power, chasing flaming pearls amidst stylized clouds. Symbolism of the Design Elements 1. Yellow Ground: The yellow color is not merely decorative but deeply symbolic. In Chinese culture, yellow was exclusively reserved for the emperor, representing the Earth and the center of the universe. Its use on these bowls immediately identifies them as imperial possessions. The vibrant shade, achieved through technical mastery, also showcases the skill of the imperial kilns.

2. Five-Clawed Dragons: The dragon is the most potent symbol of imperial power in Chinese iconography. Specifically, the five-clawed dragon was reserved solely for the emperor’s use. These dragons, depicted in dynamic poses, represent the emperor’s authority, wisdom, and divine right to rule. The number of dragons (typically four or five) on each bowl may correspond to the cardinal directions, with the emperor at the center, symbolizing his dominion over all under heaven. 3. Flaming Pearls: The dragons are shown chasing flaming pearls, a common motif in Chinese art. These pearls represent wisdom, enlightenment, and the elusive nature of perfection. The dragon’s pursuit of the pearl can be interpreted as the emperor’s continuous quest for knowledge and his role as the pursuer of heavenly wisdom for the benefit of his subjects. 4. Stylized Clouds: The clouds surrounding the dragons are not merely decorative but carry their own symbolism. In Chinese art, clouds often represent good fortune and the heavenly realm. Their presence alongside the dragons reinforces the emperor’s connection to the divine and his role as the intermediary between heaven and earth. 5. Iron-Red Coloration: The use of iron-red for the designs is significant both artistically and symbolically. Red in Chinese culture represents good fortune, joy, and prosperity. The technical challenge of achieving this vibrant red color on the yellow ground demonstrates the skill of the imperial artisans. Historical Significance and Relation to Qianlong’s Reign The yellow ground iron-red dragon bowls are potent symbols of Qianlong’s reign and the power of the Qing dynasty at its zenith. Several aspects of these bowls tie them intimately to Qianlong and his era:

1. Artistic Patronage: Qianlong was known for his passionate patronage of the arts. These bowls represent the emperor’s personal taste and his drive to surround himself with objects of the highest artistic merit. The technical excellence of the bowls showcases the capabilities of the imperial workshops under Qianlong’s patronage, demonstrating how his reign pushed the boundaries of what was possible in porcelain production. 2. Imperial Branding: The combination of the yellow ground and the five-clawed dragons makes these bowls unmistakably imperial. They serve as a form of imperial branding, instantly recognizable as belonging to the emperor. Such objects would have been used in imperial rituals or as gifts to high-ranking officials, serving as a constant reminder of the emperor’s authority and benevolence. 3. Cultural Synthesis: The Qing dynasty, as a conquest dynasty of Manchu origin, often used art to legitimize their rule over China. These bowls, with their quintessentially Chinese symbolism, demonstrate Qianlong’s embrace and mastery of Chinese cultural traditions. At the same time, the innovative use of color and design shows the Qing contribution to the evolution of Chinese art. 4. Projection of Power: During Qianlong’s reign, the Qing empire reached its territorial zenith. The dragons on these bowls, symbols of imperial might, reflect the emperor’s vision of his vast domain and his position at the center of the civilized world. The flawless execution of these complex designs on a pair of matching bowls demonstrates the resources and skill at the emperor’s disposal, indirectly showcasing the empire’s prosperity and organizational capabilities. 5. Personal Connection: Qianlong was known to be deeply interested in the symbolism and meaning behind objects in his collection. These bowls, with their layers of symbolic significance, would have appealed to his intellectual curiosity and his self-image as a scholar-emperor. The emperor often composed poems about significant items in his collection. While we don’t have a specific poem for these bowls, similar objects inspired verses that connected the physical attributes of the artwork to larger philosophical and political concepts. 6. Legacy and Continuity: By commissioning and using such traditionally symbolic objects, Qianlong positioned himself within the long lineage of Chinese emperors. The bowls serve as a link between past and present, asserting the Qing dynasty’s rightful place in Chinese history. The preservation of these bowls in the imperial collection, and now in museum collections, speaks to their perceived importance not just as beautiful objects, but as historical documents of Qianlong’s reign.

Conclusion

The yellow ground iron-red dragon bowls from the Qianlong era are far more than exquisite porcelain pieces. They are a crystallization of imperial power, artistic achievement, and cultural symbolism. Every aspect of their design and execution speaks to the grandeur of Qianlong’s reign and the sophisticated visual language of the Qing court. These bowls stand as testament to a time when China’s imperial workshops produced some of the finest porcelain ever made, pushing the boundaries of technique and artistry. They embody the confluence of political power, cultural traditions, and artistic innovation that characterized the Qianlong era.

https://www.youtube.com/watch?v=ZB7u64H0boI

Chinese New Year Sale🐍

 

Visit us from from 6th to 23rd January 2025 and take advantage of our great deals!

Whether you're a seasoned collector, or just doing some last minute New Year shopping for beautiful home decor/gifts, we have something for everyone:)

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See you soon!

May Naik Director of Naik Antiques and Oriental Gifts

Happy 2025!

Dear readers,

I realise I may be a tad bit early with the festive greetings, but here's wishing you all a Happy New Year and a blessed celebration with family and friends

Here's to even more amazing and exciting times ahead

Warm regards

May Naik

Director of Naik Antiques and Oriental Gifts

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The Fine 'Dragon' Garlic Vase Unveiled (Ming)

 

The Ming Dynasty emerged from the ashes of Mongol rule, established by the peasant-turned-emperor Zhu Yuanzhang, known posthumously as the Hongwu Emperor. From its inception, the Ming court sought to restore and elevate Chinese cultural traditions, positioning itself as the rightful heir to the glorious dynasties of the past. The Ming court was centered in Beijing, in the magnificent Forbidden City, a vast complex of palaces, halls, and gardens that served as both the emperor’s residence and the seat of government. Within these vermilion walls, a highly structured and ritualized court life unfolded, governed by Confucian principles of hierarchy and propriety. One of the most striking features of the Ming court was its patronage of the arts. The emperors, particularly in the early and middle Ming period, surrounded themselves with the finest painters, poets, calligraphers, and craftsmen, fostering an environment of creative excellence. The court’s taste and imperial workshops set standards that influenced artistic production throughout China and beyond. Symbolism of The Blue and White ‘Dragon’ Garlic-Mouth Bottle Vase The blue and white ‘dragon’ garlic-mouth bottle vase is a quintessential example of Ming porcelain artistry. Its form and decoration are rich with symbolism, each element carefully chosen to convey meaning and auspiciousness. Let’s explore the symbolism of each item on the vase: 1. Dragons: The primary motif on the vase, dragons are perhaps the most potent symbol in Chinese imperial iconography. They represent the emperor himself, embodying divine power, strength, and authority. In Chinese mythology, dragons control the waters and bring beneficial rains, symbolizing the emperor’s role in ensuring the prosperity of his people. 2. Clouds: The stylized clouds that swirl around the dragons are not merely decorative. They represent the celestial realm and the heavenly mandate of the emperor. The combination of dragons and clouds symbolizes the harmony between heaven and earth, with the emperor as the intermediary. 3. Waves: Often depicted at the base of the vase, waves represent the primordial waters over which the dragons hold sway. They symbolize the emperor’s control over the natural world and the cyclical nature of life and imperial rule. 4. Flaming Pearls: These small, round objects often appear near the dragons’ mouths or claws. They symbolize wisdom, enlightenment, and the elusive nature of perfection. The image of a dragon chasing a pearl is a common motif, representing the pursuit of knowledge and truth. 5. Lotus Flowers: While not always present on every dragon vase, when included, lotus flowers symbolize purity and perfection. In Buddhist tradition, the lotus represents the path to enlightenment. 6. Ruyi Scepter: This S-shaped object, resembling a lingzhi mushroom, is often incorporated into the design. It symbolizes power and good fortune, literally meaning “as you wish.” 7. The Garlic-Mouth Shape: The distinctive bulbous top of the vase, reminiscent of a garlic bulb, is itself symbolic. Garlic was believed to ward off evil spirits in traditional Chinese culture, making this shape both decorative and protective. The History and Significance of the Garlic Vase in Chinese Culture The garlic-mouth vase, known in Chinese as suantouping (蒜头瓶), has a long and distinguished history in Chinese ceramic tradition. Its origins can be traced back to the Song Dynasty (960-1279), but it reached its pinnacle of refinement and popularity during the Ming Dynasty. In Chinese culture, the garlic-mouth vase held both practical and symbolic significance: 1. Practical Use: Despite its delicate appearance, the garlic-mouth vase was not merely decorative. It was often used to hold flower arrangements, with the narrow neck providing support for stems and the flared top allowing for a beautiful display of blooms. 2. Symbolic Protection: As mentioned earlier, garlic was believed to have protective properties in Chinese folk tradition. The garlic-shaped mouth of the vase was thought to imbue it with the ability to ward off evil spirits and bring good fortune to its owner. 3. Imperial Favor: The technical mastery required to produce these vases made them highly prized by the imperial court. They were often used as gifts to foreign dignitaries or as rewards for meritorious officials, serving as a symbol of imperial favor. 4. Cultural Exchange: The popularity of the garlic-mouth vase extended beyond China’s borders. These pieces were highly sought after in other parts of Asia and later in Europe, playing a significant role in cultural and artistic exchange along the Silk Road and maritime trade routes. 5. Artistic Innovation: The challenging form of the garlic-mouth vase spurred innovation among potters. It became a canvas for experimentation with glazes, decorative techniques, and firing methods, contributing to the overall advancement of ceramic technology. In conclusion, the blue and white ‘dragon’ garlic-mouth bottle vase is far more than a beautiful object. It is a cultural artifact that encapsulates the artistic achievements, symbolic language, and imperial power of the Ming Dynasty. Its form speaks to a long tradition of Chinese ceramic innovation, while its decoration tells a story of cosmic harmony and imperial authority.

https://www.youtube.com/watch?v=4G2hUiYUecc

Tang Ying's masterpiece and tribute to Qianlong (Qing)

Born in 1682, Tang Ying was a gifted official who rose to fame as the supervisor of the imperial kilns at Jingdezhen, often referred to as the “porcelain capital” of China. During his tenure, he revolutionized porcelain production with his technical mastery and artistic vision. The Reticulated Revolving Triple Vase is a prime example of his work, reflecting not just innovation but the peak of Qing craftsmanship.

Tang Ying: The Visionary Behind the Vase Tang Ying’s career spanned a transformative period in Chinese ceramic art. Appointed as the director of Jingdezhen's imperial kilns in 1728, he was responsible for producing porcelain pieces that met the exacting standards of the imperial court. Under his guidance, Jingdezhen became a hub of innovation. Tang Ying was known for his meticulous attention to detail and for pushing the boundaries of porcelain-making techniques. He supervised the development of various glazes, including the vibrant famille rose palette, and oversaw the production of intricate forms that blended function with artistry. The reticulated revolving triple vase represents the pinnacle of Tang Ying's achievements. Crafted as a tribute to the Qianlong Emperor, it is both a technical feat and an artistic masterpiece, embodying the spirit of the era.

What Makes the Reticulated Revolving Triple Vase Special? This vase isn’t your ordinary porcelain creation. It’s a three-layered marvel that highlights both the technical ingenuity of Tang Ying and the artistic tastes of the Qianlong court. Let’s break down its standout features: 1. A Triple-Layered Design The vase is composed of three distinct layers: a. Inner Cylinder: This part features painted decorations, often floral motifs or imperial symbols. b. Intermediate Layer: The reticulated or openwork layer showcases intricate patterns, allowing glimpses of the inner cylinder as it revolves. c. Outer Layer: The most visible section of the vase, often adorned with famille rose motifs, reflecting the vibrant colors and delicate brushwork of the Qing period. The layers are meticulously aligned, and the inner components are designed to rotate within the outer shell. This creates a dynamic interplay of form and function, as the different layers reveal or conceal parts of the design depending on their orientation.

2. Technical Mastery What sets this vase apart is the precision engineering required to create the rotating mechanism. Porcelain, being a fragile material, is notoriously difficult to manipulate. The fact that Tang Ying and his artisans were able to produce a piece that not only featured intricate openwork but also allowed for movement is a testament to their skill. 3. Symbolism and Aesthetic Appeal The motifs on the vase are rich with symbolism. Floral patterns often represent renewal and prosperity, while imperial inscriptions underscore the connection between the piece and the Qianlong Emperor. The revolving feature may symbolize the endless cycle of time or the harmony between motion and stillness—concepts deeply rooted in Chinese philosophy.

The Cultural and Historical Significance The Reticulated Revolving Triple Vase wasn’t just a showpiece; it was a political and cultural statement. By commissioning and receiving such extraordinary works, the Qianlong Emperor reinforced his image as a patron of the arts and a ruler of unmatched sophistication. For Tang Ying, the vase represented his dedication to his craft and his loyalty to the emperor. It’s believed the vase was created as a farewell gift to the Qianlong Emperor, possibly marking Tang Ying’s retirement. This adds a layer of personal connection to an already remarkable piece.

The Legacy of the Reticulated Revolving Triple Vase Today, the vase is celebrated as one of the finest examples of Qing Dynasty porcelain. A similar piece is housed in the Palace Museum in Beijing, where it continues to amaze visitors with its craftsmanship and ingenuity. Tang Ying’s influence on Chinese porcelain cannot be overstated. His work not only pushed the technical boundaries of the time but also elevated porcelain to an art form that resonated across centuries. https://www.youtube.com/watch?v=Ap8YtozUO2g

Our most recently added item - Nov 2024 (Yaobian)

A sow with her 5 piglets (Yaobian)
Length: 32cm
Height: 16cm

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The Secrets of a Qianlong Cloisonné Masterpiece (Qing)

 

The Art of Cloisonné: A Brief History Cloisonné, derived from the French word 'cloison' meaning 'partition,' is an ancient technique for decorating metalwork objects. The process involves creating compartments (cloisons) on a metal surface using thin metal strips, then filling these compartments with colored enamel paste. The piece is then fired, ground smooth, and polished to create a stunning, jewel-like surface. The origins of cloisonné can be traced back to the ancient civilizations of the Near East, with some of the earliest examples found in Cyprus dating to the 13th century BC. The technique spread along the Silk Road, reaching China by the 14th century during the Yuan Dynasty (1271-1368). However, it was during the Ming (1368-1644) and Qing (1644-1911) dynasties that Chinese cloisonné truly flourished, reaching unprecedented levels of technical and artistic sophistication. Cloisonné in the Qianlong Era: A Golden Age The reign of the Qianlong Emperor (1735-1796) is often regarded as the pinnacle of the Qing Dynasty, marked by territorial expansion, economic prosperity, and a flourishing of the arts. Qianlong, known for his passion for the arts and his role as a patron, oversaw a period of innovation and refinement in various artistic traditions, including cloisonné. During this era, the imperial workshops in Beijing produced some of the finest cloisonné pieces ever created. The Qianlong Emperor's personal interest in the craft led to significant advancements in techniques and designs. Artisans experimented with new color palettes, achieving more subtle gradations and a wider range of hues. The complexity of designs increased, with intricate patterns and scenes covering entire surfaces of vessels, vases, and other decorative objects. The 'peach and pomegranate' vessel exemplifies the height of Qianlong-era cloisonné. Its exquisite craftsmanship, vibrant colors, and symbolic imagery reflect not only the technical mastery of the period but also the cultural and philosophical values of the time. Symbolism in the Peach and Pomegranate Vessel The choice of peaches and pomegranates as the primary motifs on this imperial vessel is far from arbitrary. In Chinese culture, these fruits carry profound symbolic meanings, making the piece not just a work of art but a bearer of auspicious wishes and cultural values. Peaches: Longevity and Immortality Peaches hold a special place in Chinese mythology and symbolism. They are closely associated with longevity and immortality, stemming from legends of the magical peaches of immortality that grew in the gardens of Xi Wangmu, the Queen Mother of the West. These peaches were said to ripen only once every three thousand years, granting immortality to those who ate them. In Daoist iconography, the peach is often depicted alongside other symbols of long life, such as cranes or deer. Its presence on the imperial vessel would have been understood as a wish for long life, not just for the emperor but for the dynasty and empire as a whole. The depiction of peaches on imperial objects also carries connotations of blessings from heaven, as the fruit was believed to be a gift from the celestial realms. For the Qianlong Emperor, who saw himself as the Son of Heaven, the peach motif reinforced his divine right to rule and the heavenly blessings bestowed upon his reign. Pomegranates: Fertility and Abundance The pomegranate, with its multitude of seeds, is a powerful symbol of fertility, abundance, and posterity in Chinese culture. The Chinese word for seed (子, zǐ) is a homophone for the word for son or child, creating a linguistic connection between the fruit and the idea of numerous offspring. In the context of imperial iconography, the pomegranate represents not just the wish for many sons to continue the imperial lineage but also the abundance and prosperity of the empire. It symbolizes the emperor's role as the father of the nation, nurturing and protecting his subjects. The combination of peaches and pomegranates on a single vessel creates a powerful visual message of longevity and abundance. It expresses the wish for a long-lasting dynasty blessed with many heirs and prosperous rule. Cultural and Historical Significance The 'peach and pomegranate' vessel is more than just a beautiful object; it is a reflection of the cultural, philosophical, and political climate of the Qianlong era. Several aspects contribute to its significance: Imperial Patronage: As an imperial commission, this piece represents the tastes and values of the Qianlong Emperor himself, offering insights into the aesthetic preferences of the Qing court. Technological Achievement: The high quality of the cloisonné work demonstrates the technical capabilities of 18th-century Chinese craftsmen, showcasing the empire's artistic and industrial prowess. Cultural Synthesis: The cloisonné technique, with its origins in the West, combined with distinctly Chinese motifs and symbolism, represents the cultural exchanges facilitated by the Silk Road and China's engagement with foreign influences. Philosophical Expression: The symbolic content of the vessel aligns with Confucian values of family continuity and good governance, as well as Daoist concepts of longevity and harmony with nature. Political Statement: As an object likely displayed in imperial settings, the vessel would have served as a visual reinforcement of the emperor's legitimacy and the dynasty's aspirations for longevity and prosperity. Conclusion The Qianlong-era cloisonné 'peach and pomegranate' vessel stands as a masterpiece of Chinese decorative arts. It encapsulates the technical brilliance, artistic refinement, and rich symbolism that characterized the golden age of the Qing Dynasty. Through its exquisite craftsmanship and deeply meaningful imagery, this vessel offers a window into the cultural, philosophical, and political world of 18th-century China.

https://www.youtube.com/watch?v=DZwvKpeWXZc