Despite the fact that the Chinese capital Beijing had fallen into the hands of the conquering Manchu Qing dynasty in 1644 the southern China was not fully under Manchu control before 1683. Because of this the Qing court appears not to have been able to order any "Imperial" porcelain from the Ming controlled Jingdezhen area before about 1683.

This period is therefore called the "transitional period" during which the potters supported themselves with making porcelains of a very high quality, for Scholars and Mandarins, and some export to Japan and for the Dutch.

The decorations show a spontaneous, naturalistic style, the subjects often taken from book illustrations and prints. A vertical cloud often occurs as a divider in the decoration. Thin incised lines in the paste and a clear blue color on a very white paste is characteristic. Export porcelains intended for the Japanese market occur and is of very special design. Unglazed bases is a significant feature of this period but is no rule.

B. The Kangxi (1662-1722) period

Imperial pieces and Export porcelain of extremely high quality, both in paste and the blue pigments. Kangxi blue and white porcelains reached the peak of perfection in the late 17th and early 18th centuries. The earlier "Transitional Period" designs gradually evolved into classic styles as kilns once again came under Imperial control. Foot rings are carefully treated and mostly seems to be polished or rounded off before glazing.

C. Yongzheng (1723 -1735) period

Ascending the throne at the age of 45 he was as his grandfather a devout Zeb Buddhist and turned out to be an able ruler. The new Emperor took an interest in the imperial porcelain factory, and some of the finest porcelain ever made was produced during his reign. Yongzheng appointed Nian Xiyao as administrator of Jingdezhen, who also personally supervised the manufacture of the porcelain destined for the Imperial Court. It was at his instigation that next to porcelain decorated in the Chinese taste, porcelain with European influences began to be employed. The porcelain is very delicate and often in the style of the Ming emperor Chenghua. After 1730 a marked decrease in the production of blue and white wares could be noticed due to the rising popularity of polychrome enamels. A "Qing" style is emerging, which could at best be described as "Flowery".

D. Qianlong (1736 -1795) porcelain

Widely different, stretching the limits of what was possibly to make. Imitating everything previously done and all kinds of materials (not in blue and white, though but in enamels - imitating wood, bronze, anything.) Skilled craftsmen produced magnificent copies of earlier masterpieces. Overall floral scroll designs characterize the wares of this reign. The paste is dead white. Chinese porcelain is now becoming a standard article in wide use in Europe. Huge amounts of dinnerware (dishes, soup tureens, huge flats dishes, salad bowls, etc.) are exported to Europe in shapes and with decorations designed in Europe, often in a "Chinese" style - called Chinoiserie.

D. End of the 18th century

At the end of the 18th century and the beginning of the 19th century porcelain is getting as inexpensive to make in Europe as in China. During Jiaqing 1796 - 1820 period transfer printing in Europe of porcelain designs makes it impossibly to compete for the Chinese who are still hand painting everything. Export stops to Europe. Foot rings are generally coarse and unglazed, although a more delicate foot ring occurs on fine pieces.

F. The 19th Century

The 19th century is traditionally regarded as a down period of Chinese porcelain. An easy to paint standard pattern called "Nanking" with pagodas in a river landscape is invented and exported mainly to USA during the full length of the 19th century.

First class Imperial porcelain is developed in classical Chinese taste. It is nowadays getting better known and finally receiving well-deserved admiration. During the middle and later part of the 18th century China is torn by war and revolts which causes great problem for the porcelain production. Few blue and white wares were made for export in the late 19th century as the Jingdezhen kilns has once again been destroyed in 1853. Production was curtailed and the Royal factories were not rebuilt until 1864.

G. Guangxu (1875-1908) period

Designs on later, 19th century, pieces are often carelessly executed but the Imperial production during the turn of the century equaled most of the pieces from the Qing dynasty.

Export pieces from the Guangxu (1875-1908) period often have a ring etched in brown around the base or the shoulder. The bases usually display an iron red stamped reign mark or a mark etched in brown.

H. Porcelain of the 20th century

The 20th century witnessed as dramatic events as any previous reign and what porcelain that was made was as diverse as ever.

In 1911 the revolution led by Dr. Sun Yat-sen ended the rule of the Qing Dynasty. The monarchy that had existed in China for 2,000 years came to an end, and the provisional government of the Republic of China was founded. During this period the attempts to establish a new dynasty led to a great revival of the potters art. Enormous funds was spent of developing a new Imperial ware. One first considered the Song dynasty as the best model for the new porcelain, why we can expect some incredibly good copies of the Song classical (Ge, Guan, Ru, Ding and Jun) wares to date from this period.

One finally decided on the Yongzheng period as the best model, why also some very good early Qing style enameled wares dates to this period. Regarding the genuine pieces that was actually made, it is as I see it a set of entirely new shapes that distinguish the Imperial porcelain of this short period rather than the different much debated marks.

In 1937-45 Japan occupied a large part of China which was followed by a war of resistance against Japan. This was a troubled period for the Chinese people which naturally affected the potteries. From pieces that would fit to this period one can recognize attempts to start up a more industrial mass production. Some cooperation between Chinese and Japanese potteries seems to have occurred.

In 1949 the People's Republic of China was founded, with Mao Zedong as chairman of the Central People's Government after which a much needed recovery period takes place between 1950 to 1956. The modern ceramic production could be said to have started by 1949 by the introduction of more efficient kilns fired by crude oil and transfer printed overglaze decoration. I believe lots of influences reached China from Russia during this time. Some heavily over decorated and bombastic pieces dates to this period.

Between 1956 to 1966 heavy investments were made in new and basic industries. Mass production and better control gives higher quality. Few attempts to vitalize the production that still runs in old tracks.

The disastrous "cultural revolution," lasted for ten years from May 1966 to October 1976. Most activities on all levels was halted and nothing much was produced.

In 1978 China instituted a policy of reform and opening to the outside world with the focus to modernization centered around the economy "with Chinese characteristics". The ceramic production could from now on be considered very modern with artistic and mass production side by side. See also my article "A Visit to Jingdezhen" on this.

I. Recommended reading

As for litterature regarding Chinese Porcelain of the Qing Dynasty I would recommend Duncan Macintosh, Chinese Blue & White Porcelain and Soame Jenyns, Later Chinese Porcelain, but there is a lot of good books out there. Basic advice: Spend at least 10 percent of the amount of money you intend to buy porcelain for, on books. Trust me on this.

Sincerely,
Jan-Erik Nilsson

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