Introduction to Famille Rose in the Yongzheng Era
The Yongzheng period (1723-1735) represents a pivotal moment in Chinese porcelain history, witnessing the perfection of famille rose (fencai) techniques that would define imperial ceramics for generations. While introduced during the late Kangxi era around 1720, it was under Emperor Yongzheng’s discerning patronage that famille rose truly blossomed into artistic maturity.
The technique—characterized by its opaque white enamel (lead arsenate) mixed with colored pigments to create delicate gradations—allowed for unprecedented subtlety in porcelain decoration.
Known in China as yangcai (“foreign colors”) due to its European influences, famille rose quickly supplanted famille verte as the predominant decorative style in imperial workshops.
Yongzheng, a refined aesthete, personally supervised production at the imperial kilns in Jingdezhen, demanding technical perfection and artistic innovation that resulted in pieces of extraordinary quality, delicacy, and compositional harmony.
Symbolism in the Avian and Floral Composition
1. The Birds: Messengers of Virtue and Fortune
Birds in Chinese decorative arts are never merely ornamental but convey specific cultural meanings:
- Magpies: Often depicted in pairs, they symbolize marital happiness and good fortune. When shown with plum blossoms, they announce the arrival of spring and new beginnings.
- Orioles: These vibrant yellow birds represent joy and the coming of spring. Their melodious songs were associated with scholarly success and literary achievement.
- Mandarin Ducks: Always shown in pairs, they symbolize conjugal fidelity and harmonious marriage, as these birds mate for life.
- Cranes: Symbols of longevity and wisdom, often associated with immortals and high-ranking officials due to their dignified appearance.
- Pheasants: Representing beauty and dignity, they were associated with civil officials and literary accomplishment. The golden pheasant specifically signified good fortune.
- Swallows: Harbingers of spring and new beginnings, they also represent family happiness and the annual return of prosperity.
2. The Flowers: Nature’s Symbolic Calendar
Flowers on Yongzheng porcelain represented not only seasonal beauty but encoded wishes for the viewer:
- Peonies: Known as the “king of flowers,” they symbolize wealth, honor, and aristocratic status. They would often form the central motif in imperial designs.
- Chrysanthemums: Representing autumn and longevity, they were associated with scholarly retirement and moral integrity, inspired by the poet Tao Yuanming.
- Plum Blossoms: The first flower to bloom in spring, symbolizing resilience, renewal, and the five blessings (longevity, wealth, health, virtue, and peaceful death).
- Lotus: A Buddhist symbol of purity emerging from mud, representing spiritual enlightenment and moral integrity.
- Magnolias: Symbolizing purity, nobility, and feminine beauty and sweetness.
- Camellias: Representing the perfect union between young lovers.
3. The Branch: Foundation of Life and Growth
Branches on which birds perch or flowers bloom carried their own symbolism:
- Prunus (Plum) Branches: With their gnarled forms and delicate blossoms, they symbolize resilience in adversity and the endurance of beauty.
- Bamboo: Representing integrity, flexibility, and scholarly humility due to its hollow stem (suggesting an empty heart ready to be filled with wisdom).
- Pine: Symbolizing longevity, steadfastness, and self-discipline due to its evergreen nature.
- These three plants together (pine, bamboo, and plum) formed the “Three Friends of Winter,” a popular motif symbolizing perseverance through hardship.
The Significance of the Black Enamel Coating
During the Yongzheng period, black enamel grounds (wu jin) served several significant purposes:
Imperial Association: Black-ground famille rose porcelains were often reserved for imperial use, making them exceptionally rare and prestigious. The use of black enamel required additional firings and meticulous quality control.
Cultural Significance: In Chinese cosmology, black represents water and the north, associated with wisdom and depth. It also symbolizes the mysterious and profound (玄妙, xuanmiao), concepts valued in both Daoist and Confucian thought.
Conclusion
The Yongzheng famille rose bird and flower dish with its rare black enamel back represents more than just a beautiful object—it embodies a moment of cultural synthesis and artistic innovation.
The famille rose technique itself, with its origins in European enamel technology adapted by Chinese imperial workshops, speaks to the creative exchange between East and West during the early 18th century.
Question - In your opinion, how does Yongzheng porcelain compare to that of the Qianlong period in terms of elegance and innovation?
Source: https://www.youtube.com/watch?v=k0lsyaBFC7U
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