“Guyuexuan” generally refers to enamel-painted porcelain from the Kangxi, Yongzheng, and Qianlong reigns of the Qing Dynasty. There are various theories about its name: some say it comes from a Hu surname enamel painter in the Qing court, some say it imitates a famous enamel artist surnamed Hu from the Qing court, and others say there was a Guyuexuan in the Qing court where imperial porcelain was stored. Since the Qing Dynasty, these theories have been widely circulated among literati and the antique trade, but they are difficult to verify in depth. For now, we can only listen to these theories without taking them as fact.
In the 1950s and 1960s, most “Guyuexuan” porcelain was collected by national museums. Occasionally, it could be seen in the Shanghai market, usually in private collections. “Enamel-painted porcelain, which originated during the Kangxi period and continued through the Yongzheng and Qianlong reigns, has more than 500 surviving pieces. The vast majority are housed in the National Palace Museum in Taiwan (about 150 pieces, including Yixing clay teapots). Besides, some are in major museums and art galleries around the world, and they only occasionally appear in major overseas auction markets.
However, “Guyuexuan” pieces continually appear in Beijing and Shanghai, with most sellers claiming them to be family heirlooms. When people unwrap these pieces, often layer by layer, they are often disappointed, leaving doubts about authenticity lingering in the minds of many enthusiasts.
Everyone knows that “Guyuexuan” porcelain, painted with precious enamel colors by Qing court artisans, was historically enjoyed exclusively by emperors. Thus, it has always been highly prized. As a result, some antique dealers decided to imitate this Qing dynasty premium product. By the Guangxu period, enamel-painted porcelain had become a primary target for forgers. During the Republic of China era, such forgery reached a peak, and notably, there were still instances of forgery in the 1990s.
The enamel-painted porcelain from the Kangxi, Yongzheng, and Qianlong reigns has many similarities and differences compared to later imitations. Traditional identification methods are still effective in distinguishing them.
Body: As a prestigious Qing court product, the Jingdezhen Imperial Kiln was responsible for making the finest semifinished porcelain, which was then sent to the Beijing Imperial Household Department for painting. Based on current observations, the bodies of enamel-painted porcelain from the Kangxi, Yongzheng, and Qianlong reigns are very fine and dense, with extremely clean and smooth bases. Yongzheng pieces are the smoothest, while Kangxi pieces are more rounded and slightly heavier than those from the latter two reigns. Genuine pieces have a consistent body quality similar to other types of colored porcelain. Imitations usually strive for uniformity and similar weight but often have production errors. Many imitations are poorly made, being either too thin or too thick, too light or too heavy, and some may have uneven surfaces under the glaze. The base of most imitation bodies is relatively loose. In identification, one can compare these with fine porcelain from the Guangxu and Republic of China periods, as imitation enamel-painted porcelain often shares similarities with them.
Glaze color: Kangxi pieces, and those from the Yongzheng and Qianlong reigns, typically feature red, blue, and green glazes as surface decorations. These low-temperature glazes are usually applied very evenly, appearing seamless. Later imitations often have inconsistent hues, with visible brush strokes or dull colors. Genuine pieces with white or colored backgrounds without low-temperature glaze areas have smooth, glossy, non-irritating white glaze. Imitations generally have thin glaze layers that, although white, appear pale and have a glaring gloss. It’s essential to be cautious of pieces with very dull or artificially aged glazes, as forgers often attempt to age these prestigious items. Enamel-painted porcelain generally retains bright colors unless the enamel is applied on old porcelain, as seen in some pieces at the National Palace Museum in Taiwan, which feature enamel painting on Ming dynasty porcelain.
Shape: “Guyuexuan” porcelain from the three Qing reigns typically includes plates, bowls, cups, dishes, and vases. To date, other shapes have not been seen, so collectors should be particularly cautious of enamel-painted porcelain in other forms. Even if the shape is the same, it does not guarantee authenticity. It is crucial to combine this with other identification methods for thorough observation and research.
Painting: The enamel materials from the three reigns were usually strictly controlled by the royal family. Kangxi pieces were entirely made with imported materials. During the Yongzheng period, domestic enamel materials were successfully produced, and many high-quality pieces were made with these materials. Enamel-painted porcelain from the Kangxi, Yongzheng, and Qianlong reigns has a bright, transparent, and glossy surface with a strong glass-like texture. Later imitations lack this transparency and gloss. Genuine pieces have richly layered, vivid decorations, while imitations often have poor layering, dull colors, overly prominent brushstrokes, and uneven thickness. Some Republic of China imitations, especially those from the 20th century, used powder colors instead of enamels, so distinguishing these is particularly important.
Painting style: Kangxi enamel paintings are mostly patterned, with floral themes. The painting style of Yongzheng enamel began to resemble traditional painting, including landscapes, figures, and birds and flowers, often painted by skilled artists. Many Yongzheng and Qianlong enamel pieces feature poetry, calligraphy, and painting, achieving high artistic standards. Later imitations often fail to capture the spirit, with stiff strokes and lifeless lines.
Inscriptions: The inscriptions on enamel-painted porcelain from the three reigns are also crucial for identifying authenticity. Kangxi enamel inscriptions are usually in red or blue, with a four-character Song-style “Kangxi Yuzhi” mark in a double rectangle. Yongzheng and Qianlong inscriptions are relatively more complex. Most imitations mimic genuine pieces. Notably, most pieces with red inscriptions of the Yongzheng and Qianlong marks are imitations. Any enamel-painted porcelain marked “Guyuexuan” or “Lang Shining” on the body with Yongzheng or Qianlong official kiln marks on the base is also a Republic of China imitation, as no authentic pieces with such marks have been found to date.
