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     Ever since the painted enamels had developed from the Kangxi reign (1662-1722), the course had gone through the transformation in the Yongzheng reign (1723-1735). As it reached the era of Qianlong (1736-1795), the characters of this period presents in the dialogue among the Emperor, imperial craftsmen and his pottery supervisor that the creative orientation is innovation. In contrast to the colours and ornaments of the Kangxi and Yongzheng period, the Qianlong products could be interpreted through the three divided sections "Convergence of Tints", "Novelty of Brilliance", and "Storage and Collection".

     The first section mainly presents the two painted enamels of yangcai and falangcai that both highly valued by the Qianlong Emperor. He had inherited the characteristics from the Yongzheng reign and continued using the predecessors’ poems as the theme of ornaments. Also, he had included the Imperial poems juxtaposed with paintings, as decoration, and thus the works brimmed with imperial manner. The second section invites viewers to admire the innovative patterns appeared in the Qianlong reign. From the Eastern and Western figures, the landscapes and pavilions, the goldfishes and seaweed, to the intricate motif of "Auspicious Patterns on Floral Brocade" all of them are new decorative ornaments. The third section examines the extant wood storages, to retrace the process of naming, categorizing, storing, and packaging of the old Qing court's collection and new additions of potteries, which were organized under the Imperial orders.

Where were the falangcai porcelain and yangcai porcelain produced?

  • Where were the falangcai porcelain and yangcai porcelain produced?