The Yongzheng (1723–1735) and Qianlong (1736–1795) emperors transformed Qing porcelain production, and nowhere is this more evident than in tea bowls. These small vessels became testing grounds for technical perfection, aesthetic discipline, and imperial ambition.
Intended for intimate, daily use, tea bowls demanded a level of refinement that revealed both the skill of the potter and the priorities of the throne. Their modest scale concealed an extraordinary concentration of labor, control, and artistic intent.
Under Yongzheng, the imperial kilns at Jingdezhen operated with unprecedented scrutiny. Archival references and surviving wares suggest exceptionally high rejection rates, particularly for small objects such as tea bowls. Unlike larger vessels, tea bowls offered no visual distraction—every flaw was immediately apparent.
Size magnified imperfections. Any imbalance in proportion, uneven trimming, glaze pooling, pinholing, or enamel misalignment rendered a piece unacceptable. As a result, tea bowls became exercises in absolute precision, requiring thin yet resilient walls, perfectly rounded rims, and immaculately controlled glaze application.
Yongzheng favored elegance over excess. Monochrome glazes, soft famille rose palettes, and carefully edited motifs reflected his preference for clarity, order, and restraint.
Decoration was measured and intentional, reinforcing Confucian ideals of moral discipline and cultivated taste. Tea bowls from this period often appear quietly confident—beautiful without ostentation.
This aesthetic established a new benchmark that shaped imperial production and influenced private kilns eager to emulate court standards.
Qianlong inherited these exacting standards but expanded the visual and intellectual scope of imperial porcelain. His reign witnessed remarkable technical innovation and stylistic diversity.
While perfection remained non-negotiable, experimentation flourished. Tea bowls began to feature complex famille rose scenes, archaistic motifs drawn from ancient bronzes, and inscriptions referencing poetry, history, and imperial scholarship.
These vessels became platforms for intellectual engagement, blending craftsmanship with historical awareness and imperial erudition. Yet increased decorative ambition did not signal relaxed standards.
On the contrary, expectations intensified. Qianlong’s documented involvement in design approval ensured that each tea bowl met strict technical requirements while also conveying cultural legitimacy and imperial authority.
What makes Qing tea bowls so compelling today is the tension between intimacy and ambition. Designed to be held, used, and quietly appreciated, they were nonetheless produced within one of the most demanding artistic systems in history. Every surviving example represents countless rejected trials, failed firings, and discarded attempts.
For collectors and scholars alike, Qing tea bowls offer far more than aesthetic pleasure. They reveal how emperors used craftsmanship to articulate values of discipline, refinement, continuity, and control.
In these small vessels, the imperial kilns achieved a rare synthesis—objects that appear effortless, yet embody the height of Qing artistic perfection.
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During the Yongzheng era (1723–1735), tea bowls played roles far beyond daily use—they became refined symbols of discipline, taste, and imperial authority.
As the emperor championed elegant simplicity, tea bowls reflected this aesthetic through thin bodies, restrained palettes, and flawless glazes. They served as tools of cultivation, guiding scholars and courtiers toward mindful tea practices that aligned with the period’s emphasis on clarity and moral refinement.
At court, tea bowls also functioned as diplomatic gifts: discreet yet powerful tokens expressing the precision and sophistication of Yongzheng craftsmanship.
In the imperial workshops, they drove technical innovation—experiments in monochromes, famille-rose enamels, and perfectly proportioned forms set new standards for Qing porcelain.
Ultimately, Yongzheng tea bowls were vessels of culture, embodying harmony between artistry, ritual, and imperial ideals.
Below is detailed information about the extremely rare pair of Yongzheng famille rose 'prunus and lingzhi' tea bowls mentioned in this link - https://www.youtube.com/watch?v=QmkEAcXiL5E :
Period and Marks: The bowls bear the Yongzheng six-character marks in underglaze blue within circles and are of the period (1722–1735).
Dimensions: They measure approximately 3 9/16 in. (9.1 cm.) in diameter.
Aesthetic Significance: The exquisite bowls display vibrant enamels and meticulous craftsmanship, epitomizing the Yongzheng Emperor's pursuit of aesthetic perfection, distinctive taste, and high standards for refinement and sophistication.
The bowls are delicately potted with rounded sides, and the exterior is finely enameled with the highly symbolic design of prunus and lingzhi:
Design Details:
Prunus blossoms (plum blossom) symbolize rebirth and longevity, as they bloom in snowy-white and pink shades during the winter. Their ability to flower despite harsh frost made them one of the “Three Friends of Winter,” celebrated for endurance, purity, and the quiet strength of renewal.
In Chinese decorative arts, the prunus often appears on scholar’s objects, ceramics, and paintings to evoke resilience and the promise of spring after hardship.
The lingzhi fungus is highly revered in Chinese art and is believed to bestow humans with physical and spiritual strength. Long associated with immortals, sages, and Daoist alchemy, lingzhi represents vitality, divine protection, and the aspiration to transcend the ordinary world.
The pairing of prunus and lingzhi also reiterates the wish for the pursuit of youth and the Daoist concept of immortality, merging worldly perseverance with otherworldly blessings.
Rarity: The pairing of the prunus with the lingzhi, as seen on these bowls, is considered exceptionally rare. This combination appears far less frequently than more common auspicious motifs such as lotus, peony, or narcissus.
Its presence suggests a deliberate artistic choice—one meant to communicate layered symbolism, elite taste, and perhaps even a personalized blessing for the object’s original owner.
The pair of tea bowls was a highlight of the "Important Chinese Ceramics and Works of Art" sale held by Christie's.
Provenance: They were from an important Asian private collection. They were previously sold at Christie's Hong Kong on October 30, 1995, as Lot 752.
Sale Details (Christie's Hong Kong):
Estimate: HKD 20,000,000 – HKD 30,000,000.
Price Realized: HKD 29,415,000.
Auction Date: The most recent closing date for the item listed was May 2, 2025.
Among all Buddhist figures in Chinese art, Guanyin—the Bodhisattva of Compassion—appears in the greatest variety of poses and forms. Each gesture, posture, and attribute communicates a distinct blessing or spiritual quality. For collectors, understanding these poses not only enriches appreciation but also guides the selection of pieces that align with personal intentions.
The most elegant representation shows Guanyin seated with one leg folded and the other extended, torso leaning slightly in effortless grace. This symbolizes inner confidence, spiritual authority, and compassionate response without strain.
Historical Context & Collecting Notes: This form gained particular prominence during the Song dynasty (960-1279) and reached its artistic zenith in the Ming (1368-1644) and Qing (1644-1912) periods. In Ming and Qing scholar studios, this form embodied clarity of mind and intellectual mastery. White Dehua porcelain examples from Fujian province are especially prized for their translucent ivory quality and fluid modeling.
This poetic depiction shows Guanyin on a rocky ledge beside rippling water with the moon's reflection below. Originating from Tang-dynasty texts, it symbolizes meditation, healing, and transcendence. Yuan and Ming celadon versions with luminous glazes are highly collectible. Authentication requires checking wear patterns, base marks, and glaze chemistry consistency.
Holding a vase containing "sweet dew," this form represents purification and healing. The vase often includes a willow branch, combining powerful symbols from esoteric Buddhism. Kangxi famille verte porcelain, Ming gilt-bronze, and Qing jade carvings are notable material variations.
The willow symbolizes flexibility and endurance in Chinese culture. In Guanyin's hands, it represents adaptability and protection, especially popular among Qing maritime merchant families. Northern kilns produced crisp linear forms while southern kilns favored softer modeling. Late Ming to early Qing transitional pieces offer excellent collector value.
This form, often called the Guanyin of Knowledge and Wisdom, shows her holding a scroll or sutra, sometimes partially unrolled to reveal Buddhist texts. It represents clarity, insight, and the pursuit of learning—connecting spiritual wisdom with scholarly attainment.
Scholarly Tradition: Popular among scholars and modern professionals, this pose encourages focus, self-cultivation, and wise decision-making. During the imperial examination system era, scholar-officials kept small versions in their studios as inspiration. The scroll sometimes displays the Heart Sutra (心经) or the sacred syllable "Om."
A classic posture in Buddhist iconography, the meditative Guanyin sits with legs crossed in full lotus (padmasana) or half-lotus position, hands resting calmly in dhyana mudra (meditation gesture) or holding attributes. This form embodies stillness, compassion, and spiritual awakening.
Ritual & Aesthetic Function: This pose makes an ideal centerpiece for meditation spaces or calm corners of the home. Historically, such images served as meditation supports (dhyana) in Buddhist practice, with practitioners visualizing themselves as the deity.
Tall and elegant, the standing pose conveys readiness to offer aid, with weight often shifted to one leg in a graceful tribhanga (triple-bend) posture. It emphasizes Guanyin's vow to respond instantly to the calls of suffering beings. Symbolically, it represents strength, vigilance, and benevolent action.
Attribute Variations: Standing Guanyin often holds:
Dehua Guanyin figures—often called Blanc de Chine—represent one of the most refined achievements of Fujian’s porcelain tradition. Emerging in the Ming dynasty and flourishing through the 17th century, these serene white sculptures were crafted in Dehua’s exceptionally pure kaolin clay, prized for its warm, ivory-toned translucence.
Artisans, many influenced by the legendary master He Chaozong, shaped Guanyin with flowing robes, contemplative poses, and gentle, compassionate expressions that captured both spiritual devotion and technical mastery.
The Guanyin of Knowledge and Wisdom represents one of the most intellectually revered forms of the Bodhisattva. Often depicted holding a scroll, seated in contemplation, or shown in the elegant “Royal Ease” pose, this form embodies clarity of mind, insight, and the pursuit of higher understanding.
In Chinese Buddhist tradition, she is believed to illuminate the path of learning, helping devotees overcome confusion, doubt, and mental obstacles.
This Guanyin is especially cherished by scholars, students, writers, and anyone seeking focus or intellectual growth. Her calm expression symbolizes the stillness needed for deep thinking, while the scroll signifies accumulated wisdom and the continuous journey of study.
Historically, such figures appeared on scholar desks during the Ming and Qing dynasties, serving as gentle reminders to approach knowledge with humility, compassion, and perseverance.
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A fine pair of Dehua GuanyinHeight: 32cm |
The Guanyin of Knowledge and Wisdom holds a distinctive place in Chinese history, culture, and imperial life, embodying the fusion of spiritual insight and scholarly aspiration.
In traditional Chinese Buddhism, this form of Guanyin represents prajñā—transcendent wisdom that cuts through illusion. Her imagery, often showing a scroll, sutra, or contemplative pose, resonated deeply in a society where intellectual cultivation was tied to moral virtue, social mobility, and state governance.
During the Ming and Qing dynasties, scholar-officials placed this Guanyin on their desks as a spiritual compass. She symbolized clarity, focused thought, and the ethical foundation behind the civil service examinations.
Scholars believed her presence encouraged disciplined study, sound judgment, and compassionate leadership—qualities essential to Confucian ideals.
Within the imperial palace, the Guanyin of Knowledge and Wisdom played an even more refined role. Emperors and empresses, though publicly guided by Confucianism, privately turned to Buddhism for inner balance.
This Guanyin appeared in imperial libraries, private study rooms, and meditation chambers, reminding rulers to govern with insight and moral consciousness. Empresses, in particular, valued her as a symbol of wise counsel and emotional clarity amidst court politics.
Imperial workshops also produced exquisite Dehua and Jingdezhen porcelain versions of this Guanyin, which were gifted to scholars, princes, and foreign envoys. Such gifts communicated refinement, virtue, and the intellectual sophistication of the dynasty.
In essence, the Guanyin of Knowledge and Wisdom served as a bridge between spirituality, scholarship, and statecraft—guiding both common scholars and emperors toward enlightened understanding.
Want to experience a fine pair of Dehua Guanyin up close? PM me at 018 3867939 to book your private viewing and step into history. To view our catalogue, please visit www.emperorsantique.com.
If you’ve ever admired a Ming dynasty cloisonné incense burner (censers) and wondered why the motifs seem so intentional, it’s because they were. Ming artisans didn’t simply decorate these vessels—they encoded them with powerful cultural, spiritual, and imperial meanings.
For collectors, recognising these motifs is key to understanding authenticity, period style, and the deeper story behind each piece.
Here are the major symbols you’ll see—and what they meant to the Ming mind.
1. Lotus Scrolls (Lianban & Lianhua)
No motif is more iconic in Ming cloisonné. The lotus represents purity rising above worldly troubles. Because incense burners were used in Buddhist and Daoist rituals, the lotus affirmed spiritual elevation. Look for thick, almost fleshy lotus petals in early-Ming pieces and a more rhythmic, scrolling style by mid-Ming.
2. Five-Clawed Dragons
A favourite on imperial-quality censers. The dragon represents power, cosmic authority, and the emperor himself. On incense burners, dragons often coil around the body or chase a flaming pearl—symbolising the emperor’s quest for wisdom and divine guidance. Collectors: five claws typically suggest high status or imperial association.
3. Peonies (Mudan)
Peonies symbolised wealth, rank, and worldly success. When placed on incense burners, they were a reminder of harmony between spiritual practice and social prosperity. Ming peonies tend to have full, rounded blooms with rich enamel layering—especially prized by collectors.
4. Ruyi Cloud Scrolls
A subtle but important design. The ruyi (“as you wish”) cloud motif expresses blessing, good fortune, and smooth outcomes. These scrolls filled empty space beautifully and helped balance the dense wirework typical of Ming cloisonné.
5. Qilin & Phoenix
These mythical creatures appear on higher-end Ming censers.
Qilin = benevolence, protection, and auspicious events
Phoenix (Fenghuang) = harmony, renewal, and feminine virtue
When paired, they suggest cosmic balance. A strong sign you’re looking at a piece with elevated cultural or court significance.
6. The Eight Buddhist Treasures (Babao)
These sacred emblems—like the conch shell, endless knot, parasol, and wheel—appear on ritual censers used in temples or for private worship. Their presence reinforces the vessel’s spiritual purpose.
✨ Why It Matters for Collectors
Understanding Ming symbolism isn’t just about appreciation—it’s key to dating, authenticating, and valuing cloisonné. Motifs reveal the burner’s purpose, the workshop quality, and sometimes even its intended owner.
Chinese cloisonné enamel is one of China’s most celebrated decorative arts, admired for its vivid colours, intricate patterns, and refined craftsmanship.
Originating in the Yuan Dynasty and flourishing during the Ming Dynasty, cloisonné was created by forming delicate metal “cloisons” (compartments) on a bronze body, then filling them with coloured enamel and firing them to a glossy finish.
Early designs drew from Buddhist symbolism and courtly motifs, while later periods introduced more complex floral and geometric patterns.
By the Qing Dynasty, cloisonné had reached artistic perfection, becoming a symbol of imperial luxury. Today, it remains a treasured art form that showcases China’s enduring mastery of metalwork and enamel.
During the Xuande era of the Ming Dynasty (1426–1435), cloisonné enamel incense burners held both practical and symbolic importance within the imperial court.
This period is widely regarded as a pinnacle of early cloisonné craftsmanship, marked by refined shapes, balanced proportions, and a distinctive deep sapphire-blue enamel that later generations associated specifically with “Xuande style.”
Incense burning played a central role in court ritual, religious devotion, scholarship, and daily palace life. In Buddhist and Daoist ceremonies, incense burners acted as vessels that connected the earthly realm with the divine, their rising smoke symbolising purification and spiritual elevation.
Within imperial halls, they were used during official rites, ancestral worship, and seasonal rituals—moments where harmony, order, and reverence were essential.
Cloisonné burners of the Xuande period also functioned as expressions of imperial power and cultured taste.
The emperor's personal interest in the arts encouraged workshops to perfect techniques, resulting in pieces with precise metal wiring, rich enamel tones, and motifs such as lotus flowers, dragons, and cloud scrolls. These designs reinforced themes of longevity, authority, and cosmic balance.
Beyond their ceremonial use, cloisonné incense burners served as prized diplomatic gifts, showcasing the empire’s sophistication and reinforcing political alliances. They remain today some of the most admired treasures from the Ming court.
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A fine, old cloisonne enamel incense burnerXuande mark and periodHeight: 19.5 cm |
Cloisonné incense burners from the Xuande era differ from those of other dynasties in three key ways:
1. Colour and Enamel Quality:
Xuande pieces are famous for their rich, deep sapphire-blue enamel and smooth, glassy surfaces. Earlier Yuan examples often had duller tones and uneven firing, while later Qing burners—especially Kangxi and Qianlong—favoured brighter, more varied colour palettes and heavier layering.
2. Shape and Proportions:
Xuande incense burners are known for their elegant, harmonious forms inspired by archaic bronze ritual vessels. They appear balanced, restrained, and refined. Qing dynasty burners, in contrast, tended to be more elaborate, with exaggerated curves, ornate stands, and complex structural designs.
3. Decorative Style and Symbolism:
Xuande motifs typically feature lotus scrolls, dragons, and cloud patterns arranged with clarity and symmetry. They emphasise spiritual purity and imperial authority.
Later Qing cloisonné introduced denser decoration, auspicious emblems, and flamboyant detail, reflecting the era’s preference for opulence. Earlier Yuan designs were simpler and less standardised.
These distinctions make Xuande incense burners uniquely admired for their purity of form, mastery of enamel, and understated imperial elegance.
Want to experience a rare Xuande cloisonne incense burner up
close? PM me at 018 3867939 to book your private viewing and step into history. To view our
catalogue, please visit www.emperorsantique.com.
Tang San Cai, a form of Chinese pottery from the Tang Dynasty, holds a significant place in history due to its exquisite craftsmanship and cultural symbolism. Here's a closer look at its prominence:
Tang San Cai gained prominence during the Tang Dynasty, a period marked by cultural flourishing and international trade. Emperors like Xuanzong played a pivotal role in promoting arts and culture, leading to the widespread use of these ceramics.
The Silk Road facilitated the exchange of ideas and materials, further enhancing Tang San Cai's appeal. This era saw an influx of foreign influences, which were reflected in the diverse styles and techniques used in Tang San Cai.
The ceramics became a symbol of the Tang Dynasty's openness to the world, showcasing a blend of traditional Chinese artistry with elements borrowed from other cultures.
The patronage of the imperial court and the elite ensured that Tang San Cai remained a prestigious art form, often used in diplomatic gifts and as a representation of the dynasty's grandeur.
The colors and motifs of Tang San Cai were rich in symbolism. The use of green, yellow, and white glazes represented prosperity, royalty, and purity, respectively.
Motifs often included mythical creatures and floral patterns, each carrying its own cultural significance, reflecting the beliefs and values of the time. Dragons, phoenixes, and other mythical beings were common, symbolizing power, luck, and rebirth. Floral motifs, such as lotus and peony, were associated with purity and wealth.
These symbols were not just decorative; they conveyed messages of hope, prosperity, and protection, making Tang San Cai a meaningful addition to both domestic and ceremonial settings.
The creation of Tang San Cai involved advanced techniques and artistic innovation. Artisans employed a unique lead-glazing process to achieve the distinctive tri-colored effect. The attention to detail and the ability to capture lifelike expressions in figurines made Tang San Cai a remarkable achievement in ceramic art.
The process involved multiple firings and the careful application of glazes, requiring a high level of skill and precision. This craftsmanship was passed down through generations, with each artisan adding their own innovations to the tradition.
The result was a dynamic art form that continued to evolve, reflecting the changing tastes and influences of the time. Tang San Cai remains a testament to the ingenuity and creativity of its creators, celebrated for its beauty and historical significance.
Tang San Cai remains a testament to the artistic and cultural achievements of the Tang Dynasty, offering a window into the opulence and sophistication of ancient China.
Tang San Cai, or "Tang Dynasty Three Colors," is a type of Chinese pottery that originated during the Tang Dynasty (618–907 AD). Known for its vibrant glazes, typically in green, yellow, and white, Tang San Cai was primarily used as funerary objects, placed in tombs to accompany the deceased into the afterlife.
These ceramics often depict figures, animals, and everyday items, showcasing the artistic and cultural richness of the Tang era. The technique involves applying colored glazes to a clay body, which is then fired at high temperatures, resulting in a glossy, multicolored finish.
Tang San Cai reflects the cosmopolitan nature of the Tang Dynasty, a period marked by cultural exchanges along the Silk Road. Among the various forms of Tang San Cai, water containers and wine containers hold a special place due to their functional and symbolic roles in ancient Chinese society.
The water and wine containers crafted in this style were not only utilitarian objects but also served as symbols of wealth and status. They were often used in domestic settings for storing and serving liquids, reflecting the sophisticated lifestyle of the Tang elite.
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A fine Tang San Cai Water/Wine Container |
The production of Tang San Cai involved a complex process of applying colored glazes to a clay body, which was then fired at high temperatures. This technique resulted in a glossy, multicolored finish that was both visually striking and durable.
The water and wine containers were typically adorned with intricate designs and motifs, including floral patterns, mythical creatures, and scenes from daily life, showcasing the artistic skills of Tang artisans.
In Chinese culture, water and wine containers held significant symbolic meanings. Water, being essential for life, was associated with purity and renewal, while wine was often linked to celebration and ritual. The use of Tang San Cai containers in these contexts underscored their importance in both everyday life and ceremonial practices.
Furthermore, these containers were not merely decorative; they played a crucial role in the social and religious ceremonies of the time. The intricate designs often depicted scenes of banquets and gatherings, highlighting their use in social rituals.
The presence of these containers in tombs also suggests their role in ensuring the deceased's comfort and status in the afterlife, reflecting the Tang belief in a life beyond death.
Their enduring beauty and historical significance continue to captivate collectors and historians, offering a glimpse into the opulent lifestyle and rich cultural heritage of the Tang Dynasty.
Want to experience the breathtaking beauty of a Tang San Cai water/wine container in person? PM me at 018 3867939 to book your personalized viewing appointment. To view our catalogue, please visit www.emperorsantique.com.
Originating during the Song Dynasty (960–1279 AD), Meiping vases were designed to resemble the silhouette of a young woman, hence the name "Meiping," meaning "plum vase." Traditionally used to hold plum blossoms, their graceful form and narrow neck highlight the beauty of the flowers they cradle.
Over centuries, Meiping vases have evolved, showcasing intricate designs and glazes, reflecting the artistic innovations of each era. From the delicate celadon of the Song Dynasty to the vibrant cobalt blue of the Ming Dynasty, these vases continue to captivate collectors worldwide.
The evolution
of Meiping vases from the Song to the Ming Dynasty reflects the dynamic changes
in Chinese ceramic art over centuries. During the Song Dynasty (960–1279 AD),
Meiping vases were characterized by their elegant, slender forms and subtle
celadon glazes.
These vases
were designed to hold a single branch of plum blossoms, embodying the Song
aesthetic of simplicity and natural beauty. The celadon glaze, with its
jade-like quality, was highly prized and showcased the technical prowess of
Song artisans.
As time progressed into the Yuan Dynasty (1279–1368 AD), Meiping vases began to feature more intricate designs and motifs, influenced by the Mongol rule and cultural exchanges along the Silk Road. This period saw the introduction of cobalt blue underglaze, which set the stage for the Ming Dynasty's (1368–1644 AD) iconic blue-and-white porcelain.
During the Ming Dynasty, Meiping vases reached new heights of artistic expression. The blue-and-white porcelain became a hallmark, with vibrant cobalt blue designs depicting dragons, phoenixes, and floral patterns.
The Ming era also saw advancements in kiln technology, allowing for more consistent and vibrant colors. This period solidified the Meiping vase's status as a symbol of elegance and artistic achievement, cherished by collectors and connoisseurs worldwide.
Meiping vases held significant roles in the imperial court, serving both functional and symbolic purposes. Firstly, they were used as decorative pieces in palaces, showcasing the emperor's refined taste and the dynasty's artistic achievements. Their elegant forms and intricate designs added a touch of sophistication to royal interiors.
Secondly, Meiping vases were often used in ceremonial contexts. They held plum blossoms or other symbolic flora during important rituals and celebrations, symbolizing purity and renewal. This usage highlighted the connection between nature and the imperial family's divine mandate.
Lastly, these
vases were prestigious gifts, exchanged between the emperor and foreign
dignitaries or high-ranking officials. Offering a Meiping vase signified
respect and admiration, reinforcing diplomatic ties and showcasing the empire's
cultural wealth. These multifaceted uses underscored the Meiping vase's
importance in the cultural and political fabric of the imperial court.
