Famille rose, or 'fencai' in Chinese, is a distinctive style of porcelain decoration that emerged during the reign of Emperor Kangxi in the late 17th century, reaching its zenith during the Yongzheng and Qianlong reigns.
The term 'famille rose,' coined by French art historian Albert Jacquemart in the 19th century, refers to the palette of soft, opaque pink and rose hues achieved through the use of colloidal gold in the overglaze.
Distinctive Features of the yellow-ground famille rose double-gourd vase
The double gourd vase from the J.T. Tai collection showcases several distinctive features of the famille rose tradition:
1. Intricate Floral Decoration
The vase's body is adorned with a lush, entwining floral motif that cascades around the form. The flowers are masterfully shaded, creating a sense of depth and movement. This level of detailed brushwork exemplifies the technical virtuosity of the Qianlong-era enamelers.
2. Brocade-Inspired Background
The background of the vase is rendered in a delicate "needle-point" pattern, evoking the rich textures of brocade fabrics. This innovative decorative technique was first developed in Beijing and later introduced to the imperial kilns in the south, where this vase was produced.
3. Archaistic Design
The vase's form, with its double gourd shape, reflects the Qianlong emperor's fascination with ancient styles and materials. This "archaistic" trend was characteristic of the period, as the court sought to revive and reinterpret the aesthetic traditions of China's storied past.
Symbolism and Significance
The decorative elements of the famille rose vase hold deep symbolic meaning within the cultural context of the Qianlong era.
The double gourd form, for instance, is a auspicious symbol of longevity and prosperity, reflecting the emperor's desire to ensure the continued vitality of the Qing dynasty.
The lush floral motif, meanwhile, evokes the natural world and the cycle of growth and renewal.
The entwining vines and blossoms may also be interpreted as a metaphor for the harmonious union of the imperial court and the natural landscape, a key theme in Qing-era aesthetics.
The Qianlong Emperor's Patronage
The famille rose vase from the J.T. Tai collection holds particular significance as a product of the Qianlong emperor's unparalleled patronage of the arts.
During his long reign, the imperial kilns of Jingdezhen were pushed to new heights of technical and artistic innovation, producing some of the most celebrated ceramics in Chinese history.
The Qianlong emperor was himself a discerning connoisseur, with a deep appreciation for the technical mastery and symbolic resonance of the famille rose style.
He actively commissioned and collected these prized porcelains, ensuring that the most skilled artisans were tasked with their creation.
The famille rose vase from the J.T. Tai collection holds particular significance as a product of the Qianlong emperor's unparalleled patronage of the arts.
During his long reign, the imperial kilns of Jingdezhen were pushed to new heights of technical and artistic innovation, producing some of the most celebrated ceramics in Chinese history.
The Qianlong emperor was himself a discerning connoisseur, with a deep appreciation for the technical mastery and symbolic resonance of the famille rose style.
He actively commissioned and collected these prized porcelains, ensuring that the most skilled artisans were tasked with their creation.
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