Tongzhi Period: The porcelain production during the Tongzhi period showed a continuation of the techniques from previous periods, with no significant innovations in craftsmanship. The quality of Famille Rose porcelain varied, with finer pieces showing meticulous craftsmanship and coarser ones being rough and loose. The colors used in Famille Rose were more vibrant than those of the previous periods. Pieces marked with the “Tiyongdian” hallmark featured especially bright colors, with pale and tender yellows, deep and lush greens, and striking blues reminiscent of Buddhist green. The black pigment differed from earlier Qing styles, often applied with light strokes and multiple layers for depth but without a glassy white underglaze, resulting in a matte finish. The increased powder content in the pigments gave the colors a rich texture. The green glaze used on the interior of vessels was thicker and more intense in color than in previous periods, but the surface was less smooth and lacked fine wrinkles. Common motifs included landscapes, figures, and various auspicious symbols, with the “Hundred Boys” playing theme being particularly characteristic of the time. Typical forms included vases, jars, plates, bowls, and tea sets. Civilian kiln products saw an increase in quantity but were generally of lower quality, with everyday items being rough and of poor quality, while high-end and decorative wares, as well as antiquity imitations, were finely made. The predominant use of colored glazes, such as pale yellow, light purple, and light green, was a defining feature of this period, with colorful floral decorations painted over these glazed backgrounds.
Guangxu Period: During the Guangxu period, Famille Rose porcelain often featured lighter and less vibrant colors compared to earlier periods. The craftsmanship of colored ground Famille Rose pieces remained high. Both official and civilian kiln products were diverse, with the “Dayazhai” marked pieces representing the highest level of Famille Rose and enamel porcelain of the time. These pieces had fine white bodies and well-proportioned shapes. Western-style tableware marked with “Jixiang Ruyi” (auspicious and as you wish) was an innovation of this period. Large pieces such as appreciation vases, heaven globes, dragon and phoenix vases, and club-shaped vases were popular. In the late Guangxu period, lighter, powdery pigments were often used for painting, resulting in thin, soft colors. The painting style was influenced by Shanghai School painters like Xu Gu, with delicate brushwork and clear layers. Empress Dowager Cixi’s Famille Rose porcelain often featured yellow, green, blue, red, purple, and lotus root pink grounds with enamel-painted patterns of parrots, wisteria flowers, and other floral and bird themes. The “Dayazhai” Famille Rose pieces included vases, jars, gu, boxes, bowls, plates, and lidded bowls. Large items like fish tanks and various flower pots were also common, with versatile flower pot stands that could be used as separate narcissus basins.
Xuantong Period: Famille Rose porcelain from the Xuantong period showed little change from the Guangxu period in terms of shapes, motifs, painting styles, and colors. The craftsmanship and decorative painting of official kiln pieces were slightly more delicate than during the Guangxu period.
General Characteristics of Late Qing Famille Rose Porcelain: Although the overall quality of Famille Rose porcelain from the late Qing period could not compare to that of the early and mid-Qing periods, there were still many excellent pieces. These pieces are more common and easier to obtain than earlier works, and their value is likely to be increasingly recognized by collectors over time.
