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A very fine and large size Qianlong dynasty blue and white porcelain fish bowl, with a splayed rim, the body decorated with reserves enclosing birds amid peonies and foliage, the reserves against stylised flowers, foliate scrolls, birds and butterflies
China, late Qianlong dynasty, date circa 1780-95
Height 46 cm, diameter 54 cm.
This late eighteenth century Chinese porcelain fish bowl was made during the reign of Emperor Qianlong (1711-99; ruled 1736 to 1795), who was a great supporter of culture and encouraged literary and artistic developments. He viewed his enormous collection of paintings, calligraphics, antiquities, jades and ceramics as a means to express his ambitions to command China’s heritage in his role as a virtuous leader. No monarch, either before of after was as keen to acquire, examine, assess and comment upon the pieces collected and commissioned. He was also a dedicated administrator and ruler, who welcomed friendly policies with the West and approved a trade agreement with America in 1784. During his reign Chinese porcelain was characterised by its pure white body, often decorated overall with floral scroll designs within shaped reserves as well as an abundance of birds and sometimes as here with butterflies and other naturalistic motifs. As the name suggests such bowls were originally intended to display ornamental fish but are more commonly used as a jardinière or plant holder.
The first known Chinese blue and white porcelain, painted in underglaze cobalt upon a white body dates as far back as the Tang dynasty. The technique employed by the Chinese potters during the subsequent centuries involved first mixing a cobalt blue pigment with water, this was then applied with a brush onto an unfired clay body The porcelain was then glazed and finally fired in a kiln.
Ever since the first Chinese blue and white porcelain was introduced into Europe during the fourteenth century, such ware was considered objects of great rarity and luxury. During the next two centuries such pieces were often mounted in silver gilt. Export trade continued a pace during the sixteenth century to the extent that Chinese potters began creating objects specifically to satisfy Western tastes. Eighteenth century Western society continued to be delighted in the Chinese blue and white wares that reached its shores via the various East India Companies. In turn European makers began copying this wonderful characteristically clean and crisp decoration. One can think of Meissen’s onion pattern, while in England the Worcester Porcelain Factory began making hand painted and transfer printed wares in imitation of Chinese blue and white.
In response to Western tastes during the eighteenth century, Chinese potters began introducing news overglazed enamel colours into their decorations and thus emerged the famille-rose, verte, jaune and noire. At the same time production of the quintessential Chinese blue and white porcelain continued in popularity at home and abroad. Oriental blue and white porcelain was still prized in Europe, it was collected by royalty and aristocracy and as before was sometimes mounted with silver and gold and considered worthy as diplomatic gifts. However by the nineteenth century so many of the Western factories, such as Bow, Spode and Chelsea in England were creating their own blue and white wares that export from China fell from demand.
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