The Exhibition of Yongzheng Enamel-Colored Porcelain from the Forbidden City Showcases Stunning Pigment Technology

Written/Compiled and Reported by Li Xinyi, MOOK Travel & Lifestyle Network

 

The Palace Museum is hosting the “Golden Brilliance – Special Exhibition of Yongzheng Enamel-Colored Porcelain” from now until October 30 next year (2013) in Exhibition Room 203 of the main hall, displaying 146 pieces of enamel-colored porcelain from the Yongzheng era. The exhibition explores the transformation and development of enamel-colored porcelain during the Yongzheng period from two aspects: pigment refinement technology and decorative patterns, while also specially selecting 12 yangcai porcelain pieces produced by the Jingdezhen Imperial Kiln Factory to be displayed alongside those made in the Qing palace.

Palace Museum researchers pointed out that “enamel-colored porcelain” refers to porcelain decorated using enamel pigments with a blend of Chinese and Western painting techniques, produced in the workshops within the Qing palace. The majority of surviving enamel-colored porcelain pieces are part of the old imperial collection, and due to their extremely delicate and intricate surface designs, they have been highly sought after by collectors since the Forbidden City was opened as the Palace Museum. There are various speculations among the public about these items, including the notion of “Guyue Xuan porcelain,” or pieces painted by goldsmith (named Cheng, styled Xuying) or Hu surname painters. Today, reviewing relevant literature and archives reveals that nearly all surviving enamel-colored porcelain has been stored in the Qianqing Palace’s warehouse since the height of the Qing dynasty; not only is there a clear chain of custody, but many pieces are even stored along with nanmu wood boxes made during the Qianlong era, clearly indicating there is no truth to the claims of a “Guyue Xuan” collection or the derivative theory of a Hu surname painter.

 

Researchers also noted that “Jincheng” (Golden Brilliance) and “Xuying” (Radiant Light) are two seals frequently found on Yongzheng-era enamel-colored porcelain. These two seal inscriptions can always be seen on works painted with red enamel floral designs. In fact, when looking at the background and origins of enamel-colored porcelain production, during the Kangxi era when Western painted enamelware and technology were introduced to the Qing palace, the original enamel pigments used on metal bases had to be applied to porcelain. Since the workshops in the Kangxi era had not yet mastered the ability to refine pigments themselves, many colors had to be imported, and only through mixing different pigments could more colors be created.

Under the guidance of Western technology, a type of golden-red enamel color, which was unprecedented in the Qing dynasty, had a tremendous impact on the imperial court; Emperors Kangxi and Yongzheng continuously experimented in hopes of developing a red pigment unique to the Qing dynasty. It was not until the sixth year of Yongzheng’s reign (1728), when Prince Yi of the First Rank, Yunxiang, oversaw the pigment refinement project in the workshops, that 18 colors were successfully refined, marking a breakthrough in the production of Yongzheng enamel-colored porcelain. However, red pigment was still not included, prompting Emperor Yongzheng and Prince Yunxiang to continue pushing for further research and development. Nevertheless, microscopic observations today reveal that the Yongzheng era had actually mastered the Western technique of using gold to produce color. This technique, which originated from civilian experiments in Guangdong during the Kangxi era, entered the Qing palace and was later expanded to include golden-red enamels in Jingdezhen, achieving a level of accomplishment that shines alongside both ancient and modern, domestic and foreign counterparts.

 

Because Emperor Yongzheng advocated for an “inner court-created style” in decorative patterns, he required that palace artifacts be distinct from the “externally produced air” of items made outside the palace. He personally issued imperial orders emphasizing “elegance” and “delicacy,” specifically commissioning court painters such as Tang Dai, Dai Heng, He Jinkun, Tang Zhenji, and Giuseppe Castiglione to create design drafts for painted enamelware. As a result, whether fully decorated or featuring groups of elements combining poetry, calligraphy, painting, and seals, all showcased a distinctive imperial taste.

 

 

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