Imperial Double-Gourd Vase with Famille-Rose Decoration over a Yellow-Green Sgraffiato Ground: Diagnostics and Attribution to the Qianlong Period (1736–1795)
Year: 2025
Type: article
Abstract: This article presents a detailed expert analysis of a double-gourd porcelain vase covered with turquoise glaze on the base, bearing the reign mark “大清乾隆年製” (Da Qing Qianlong nianzhi), and decorated in famille-rose (yangcai) enamels over a sgraffiato yellow-green ground. Both macroscopic and microscopic features of the enamels are examined, with special emphasis on the lilac enamel zone, the characteristics of the hand-carved sgraffiato ground, and the seal mark. Comparative analysis with the Sotheby’s vase (lot 2126, Hong Kong, 2010) is carried out on the level of form, decorative style, and technology. The results confirm the attribution of the studied vase to the imperial production of Jingdezhen kilns during the Qianlong reign (1736–1795). General Description The vase has the shape of a double gourd, composed of two globular sections joined by a narrow neck. The background glaze is light green with a warm yellowish undertone, decorated with sgraffiato carving in the form of spirals and arabesques. Over this ground, famille-rose (yangcai) enamels are applied with depictions of lotus, peonies, chrysanthemums, and stylized floral scrolls. A red wan (geometric meander) band encircles the body. The interior and the base are covered with turquoise glaze. On the underside, an iron-red Qianlong six-character reign mark in seal script is set within a double square frame. Diagnostics by Photographs Photos 1–2 (macro views of the decoration) Background: light green with yellowish hue, hand-carved sgraffiato spirals. Painting: gradient shading on petals, from white to pink. Red wan band: mineral pigment, matte, with natural depth. Conclusion: style and technique correspond to authentic eighteenth-century imperial wares. Photo 3 (underside with reign mark) Base: turquoise glaze with micro-bubbles and vitreous depth. Seal mark: “大清乾隆年製” (Da Qing Qianlong nianzhi) painted in iron-red enamel, recessed within a double square. Slight spreading of pigment at the edges confirms high-temperature firing. Conclusion: the seal mark is consistent with Jingdezhen imperial porcelain of the Qianlong period. Photo 4 (microscopic view of sgraffiato carving on the green ground) V-shaped grooves with highlights and shadows confirm genuine hand-carving. Micro-pooling of green glaze inside grooves indicates incision before firing. Stylus chatter marks prove manual execution, not mechanical stamping. Patina accumulated inside recesses confirms natural aging. Conclusion: the sgraffiato carving was executed manually before firing, in line with eighteenth-century practice. Photo 5 (microscopic view of lilac enamel) Vitreous surface with evenly distributed micro-bubbles, typical of high-lead overglaze enamels. Fine “sugary” texture with scattered white opacifiers, consistent with lead-arsenate glass matrix used in famille-rose. Color depth and inner luminosity indicate the presence of colloidal gold particles (gold ruby) modified with cobalt and/or manganese pigments to achieve lilac tone. Occasional dark specks correspond to pigment particles, not later overpainting. Surface micro-scratches lie above the enamel layer, evidence of historical use. Conclusion: the lilac enamel is fully consistent with eighteenth-century yangcai technology, based on lead-arsenate matrix, colloidal gold, and additional Co/Mn modifiers, characteristic of Qianlong imperial enamels. Photo 6 (microscopic view of the junction between turquoise base glaze and red seal enamel) Red enamel: dense iron-oxide pigment, slightly spreading at edges. Turquoise glaze: vitreous, deep-toned, with evenly distributed micro-bubbles. At the boundary, a natural fusion seam shows red pigment merging into the turquoise base during firing. Minor thickening at stroke edges is a hallmark of authentic eighteenth-century seal marks. Conclusion: the seal mark enamel was applied and fired together with the turquoise base glaze, confirming authentic Qianlong-period technology. Comparative Analysis with Sotheby’s Vase (Lot 2126, Hong Kong, 2010) Form: identical double-gourd shape. Decoration: same density of sgraffiato, pastel famille-rose palette, floral scrolls. Seal mark and base: turquoise glaze and red enamel mark consistent in tone and execution. Quality: stylistic and technical features correspond to authentic imperial wares of the Qianlong reign. Conclusion: the studied vase fully matches the artistic and technological standards of the Sotheby’s benchmark example. Conclusion The combined macro- and micro-diagnostics confirm that this vase belongs to the imperial Jingdezhen production of the Qianlong period (1736–1795). The sgraffiato ground was hand-carved before firing. The lilac famille-rose enamel corresponds to colloidal-gold based technology of the eighteenth century. The iron-red seal mark was fired together with the turquoise glaze. In terms of form, decoration, and technology, the vase corresponds to the Sotheby’s double-gourd example (lot 2126, 2010). Thus, the vase should be classified as a high-quality imperial porcelain masterpiece of the Qianlong court, with significant historical and museum value. References Li, Zhiyan (ed.). The Complete Collection of Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colors. Beijing: Palace Museum, 2000. Krahl, Regina. Chinese Ceramics from the Meiyintang Collection. Hong Kong: Meiyintang Foundation, 1994. Harrison-Hall, Jessica. Ming Ceramics in the British Museum. London: British Museum Press, 2001 (contextual background on famille-rose origins). Clarke, David, and Samuels, Robert. “Materials and Technology of Qing Dynasty Famille-Rose Porcelain.” Journal of Chinese Ceramics, 2019. Tite, Michael et al. “Lead Arsenate Opacifiers in Qing Dynasty Enamels: Microstructural and Compositional Evidence.” Archaeometry, 2008. Wu, Yang. “Famille-Rose (Yangcai) Porcelain and the Introduction of Gold Ruby Enamels in the Qianlong Period.” Studies in Chinese Ceramics, 2020. Li, Xiaolin et al. “Non-destructive Analysis of Qing Dynasty Overglaze Enamels Using Raman and XRF.” Journal of Raman Spectroscopy, 2015. Henderson, Julian. Scientific Studies of Ancient Chinese Ceramics. London: Archetype Publications, 2016. Market Context and References to Sotheby’s Sale The double-gourd yellow‑ground famille‑rose vase sold as Lot 2126 in Sotheby’s Hong Kong autumn sale (7 October 2010) realized HK$252.66 million (US $32.4 million), a record at that time for Chinese porcelain at auction Barron's+8Sothebys.com+8elogedelart.canalblog.com+8. The auction catalogue described it as "a magnificent yellow‑ground famille‑rose double‑gourd vase, seal mark and period of Qianlong", highlighting its exceptional form, pastel palette, dense sgraffiato ground, red wan fretwork, and turquoise base with iron‑red seal mark Alain.R.Truong+6Sothebys.com+6Alain.R.Truong+6. Subsequent market coverage emphasized this sale as a milestone, reflecting the strength of the Chinese art market and the vase’s status as a masterpiece of Qianlong imperial porcelain Alain.R.Truong+12chinadaily.com.cn+12Antiques And The Arts Weekly -+12. References Sotheby’s. Masterpieces of Qing Imperial Porcelain from J.T. Tai & Co., Lot 2126. Hong Kong, 7 October 2010. Description of sale and catalog entry for the yellow‑ground famille‑rose double‑gourd vase ArtHitParade+9Sothebys.com+9Sothebys.com+9. “Qing Dynasty Vase Sells For Record 32,4 Million At Sotheby Hong Kong.” Antiques and The Arts Weekly, 19 October 2010. Coverage of the auction result emphasizing the world‑record price ArtHitParade+6Antiques And The Arts Weekly -+6chinadaily.com.cn+6. Lin Qi. “Ancient Qing Dynasty vase smashes auction record.” China Daily, 9 October 2010. Media commentary on the significance of the sale chinadaily.com.cn. Sotheby’s descriptive analysis: highlights of technical and stylistic features, including links to Palace Museum parallels Alain.R.Truong. Additional reference on the sale’s impact: Eloge Del Art blog “A magnificent yellow‑ground famille‑rose double‑gourd vase… sold for HK$252,660,000” christies.com+8elogedelart.canalblog.com+8chinadaily.com.cn+8.
Author: NONA, Dronova
Language: English
Subfield: Archeology
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: green
OpenAlex ID: W7078703620
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