Why is Imperial Chinese porcelain so expensive?
Chinese porcelain has always been the pinnacle of ceramics and porcelain production worldwide – in the adoration of the Magi by Mantegna, in 1460, baby Jesus is handed gold in a Chinese blue and white cup – this incredibly fine yet resilient material has always been considered worthy of a God in European imagination, and this was probably only an example made for the export.
Porcelain made for the Imperial palace, both in the Ming but particularly in the Qing Dynasty, during the late 17th and 18th centuries, was subject to strict production control, and only the best and most perfect pieces were allowed to see the light of day. Imperfect or subpar examples were smashed and buried at the grounds of Zhushan, the Imperial factory in the porcelain city of Jingdezhen.
Moreover, the finest examples of Chinese porcelains would also use expensive pigments for decoration, like imported ground cobalt, or copper, ever expensive, as well as the skill of the most experienced and talented artisans.
Lot 118: A rare and fine Chinese white-glazed carved 'mallow' cup, Yongzheng mark and of the period
Take for example lots 118, the white glazed ‘mallow’ cup, and 117, the ‘three fishes’ dish, both Yongzheng six-character marks and of the period. Both are perfectly formed, thinly potted to the point of semi-translucency, and have beautiful underglaze blue six-character marks to the bases within double circles. The marks would have been painted on the leather-hard biscuit with cobalt pigment imported from Afghanistan, in strong yet controlled calligraphy.
Lot 117: A Chinese copper-red porcelain ‘three fishes’ saucer dish, Yongzheng mark and of the period
Moreover, the ‘three fishes’ dish is decorated with underglaze copper, a pigment which requires perfect mastery of the atmosphere of the kiln in order to realise the desired colour, as it is very volatile, which means that it can evaporate very easily through the glaze, as very susceptible to changes in colour depending on the quantity of oxygen in the kiln. Realising the desired outcome would have required a level of skill hard to find even among the best artisans in the 18th century – it is no surprise that the price reflects the mastery of their makers!
Why collecting 19th-century Chinese export ware?
Chinese craftsmen have been producing export ceramic wears for many centuries. Especially during the Qing dynasty when many orders came from European countries, including specific armorial wear decorated with various coats of arms that represent the family legacies.
Entering the 19th century, the Qing court gradually declined with external invasions, trade wars, and internal disruptions that resulted in the decline in the economy, which subsequently impacted ceramic production. The quality of ceramics produced in the later period of the Qing dynasty is less fine compared to that of the 17th and 18th centuries.
However, the underglaze blue and white dragon bowl, lot 112 in the November 2022 Asian Art sale, exemplifies a very fine quality bowl of 19th-century export wear. It was produced for the Vietnamese Imperial court, and specifically for the Dực Tông reign (1847 – 1883), as indicated by the 'nhut' mark to its base.
This type of wear is very popular in Vietnam, similar examples have been seen sold through auctions that belong to the last Queen of Vietnam. It certainly holds its value well, and also signifies a surviving record of an exchange between China and Vietnam in the 19th century.
How do I tell if my Chinese porcelain is fake or authentic?
The million-dollar question can be extremely tricky to answer. But considering a few key points can help to easily distinguish between a copy and an original.
Lot 115: A rare Chinese yellow ground famille rose jardinière stand, Qianlong/Jiaqing period
First one must consider from where the object came. i.e. what is the provenance of the object? Does it have an interesting history? Has it been in the same collection for a long period of time? A piece of genuine porcelain, if it has existed for over one hundred years, will show signs of wear. Particularly to the footrim, and the surface, there will be tiny ‘nicks’ to the surface. Then consider the quality of manufacture – is it well-painted, well-proportioned, well-potted? Porcelains from different periods will of course exhibit different characteristics, so it is important to know what your piece should look like – the tone of the glaze, the thickness of the potting, and the style of the painting.
Lot 104: A Chinese powder-blue and gilt brushpot, Kangxi period
What area of Chinese art would you advise collecting in?
Objects which were produced to serve a specific purpose are always intriguing, and none more so than objects made for the scholar’s studio. The luxury goods of their time represented the physical embodiment of the scholar’s intellect and aesthetic taste. Furthermore, the breadth of media in which these objects were created enables the collector to explore a variety of aesthetics and tailor their collection to their specific taste.
How to display Asian art in my house?
Asian works of art have been inspiring European artists and interior designers for centuries. The understanding of the historical and cultural contexts of the antique helps the designer to show the piece in a fresh light, from their own perspective. Take lot 15, a pair of Qing dynasty Chinese lacquered jade and hardstone inlaid ‘trompe l’oeil’ display cabinet panels for example. Such impressive inlaid design panels bespeak the High Qing scholarly sensibility and were popular among members of the imperial household.
A selection of objects in the upcoming sale
A pair of similar panels can be found in the Sui’an room, which had been the bedroom of the Qing emperors in the Forbidden City since Qianlong emperor. Displaying these panels in a reading room could be a great way to learn from the aesthetics of ancient Chinese people and bring the ancient and modern together!
The auction will take place across two days:
Day I: Fine Chinese Art, Japanese Art, South East Asian Art (Lots 1 - 371)
Day II: Asian Art II: Chinese Ceramics & Works Of Art (Lots 372 - 814)
Viewing at Roseberys:
Thursday 3 November: 9.30 – 5 pm
Friday 4 November: 9.30 – 5 pm
Sunday 6 November 10 – 2 pm
Monday 7 November 9.30 – 5 pm
Please contact This email address is being protected from spambots. You need JavaScript enabled to view it.for condition reports and further information.
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