Vase

Vase, Qing dynasty, Kangxi period (1662–1722), late 17th–early 18th century
China
Porcelain painted in overglaze famille verte enamels and gold; H. 18 in. (45.7 cm)
Bequest of John D. Rockefeller Jr., 1960 (61.200.66)

Description

The possibilities of painting porcelains with colored enamels, which were so successfully developed during the Ming dynasty (1368–1644), were exploited to the fullest in the Qing period (1644–1911). The authority with which Qing artisans used essentially the same low-fired enamels employed by their predecessors resulted in polychrome-decorated porcelains that outshine all others. The stellar polychrome decoration of the Kangxi period (1662–1722), the famille verte palette of enamels, takes its name from the several distinctive shades of green that are almost invariably present in the color scheme. Famille verte enamels are brightly colored and translucent; they have been applied rather thickly over darker outlines and details. In addition to the various greens, the famille verte colors include yellow, aubergine, coral-toned iron red (rather flat and almost opaque), white (achieved by allowing the pure body to show through a clear enamel), and black (a composite of matte, brownish black pigment covered with green, aubergine, or clear enamel). The blue enamel in this assortment of colors is different from the Ming dynasty turquoise-tinted blue enamel; it is more violet or royal blue in tone. Like their Ming antecedents, these translucent famille verte enamels—appropriately named "hard colors" (yingcai) by the Chinese—did not permit much gradation, and the effects of shading had to be relegated to finely penciled lines in the preliminary drawing. When used over the glaze, the famille verte enamels stand radiant and clear against the white ground that forms an integral part of the composition. In addition to being used with the usual overglaze blue enamel of the palette, overglaze famille verte enamels are sometimes found in conjunction with underglaze cobalt-blue painting, and occasionally both underglaze and overglaze blue have been used on the same object. Touches of gilt were often added to this group, providing an especially lively accent. The designer's imagination has seldom been more vivid or extensive than on these sumptuous porcelains; they offer a galaxy of motifs handled in an almost infinite variety. One of the most noteworthy examples in the Museum's collection is this beaker-shaped vase, painted in a lively spirit and depicting birds, rocks, and figures.