After the Qianlong period, the production quality of ceramics declined significantly. During the Jiaqing and Daoguang periods, the quality of ceramic products decreased, the variety reduced, and the production of enamel porcelain almost ceased. Famille Rose porcelain became the main type of colored porcelain during this period.
Jiaqing Period: During the Jiaqing period, Famille Rose porcelain production saw no innovation or development and largely maintained the Qianlong style. Early Jiaqing porcelain had characteristics similar to the Qianlong period, with fine bodies, regular shapes, and smooth glaze. Later, the quality became rougher, the glaze thinner and bluish, and less glossy, often showing wavy patterns. Early colors were bright and evenly applied, similar to Qianlong, but later colors were uneven, with thicker areas being darker and thinner areas lighter. The “Hundred Flowers Without Ground” (also called “Ten Thousand Flowers Brocade”) decoration remained popular, seen on items like club-shaped vases, jars, cups, and bowls. The “Embellished Famille Rose” technique continued to be used but was less refined and regular than during the Qianlong period, especially in civilian kiln products which were coarser. Famille Rose pieces still often had bean-green glaze inside and at the bottom, but the green became darker and less uniform than in the Qianlong period. White-ground Famille Rose became less common, with more colored-ground Famille Rose being produced. Paintings were more rigid and lacked liveliness, and the style of depicting three fruits, Buddha’s daily bowls, and eight-treasure cups and plates continued in the Qianlong style. Civilian kilns often produced round jars and bowls with melon vine patterns, similar to Qianlong. Official kiln marks from the Jiaqing period were still regular, but civilian kiln marks were sloppy, sometimes with half-formed characters.
Daoguang Period: Daoguang Famille Rose porcelain was very similar to late Jiaqing products. Official kiln pieces lacked the bright colors of the Qianlong period, with more intense colored grounds. Traditional motifs like three autumn scenes, pomegranates, over-branch flowers, peach blossoms, ancient treasures, seasonal scenes, dancing ladies, three-star gods, and the Eight Immortals were common, but designs appeared more rigid, and figures lacked vitality. However, some pieces like “Wushuangpu” figures and grass insect patterns were finely painted. Famille Rose items marked “Shende Tang” (Shende Hall, the Daoguang Emperor’s residence in the Yuanmingyuan) were exquisitely crafted, with common items including double-handled vases with landscape and figure designs, eight-immortal vases, ancient treasure vases, annual scene vases, plum sparrow vases, eight-trigram kite vases, red fish green algae heaven vases, three-sheep flower pots, three-fruit bowls, and twelve-flower-god cups. Other hall-marked pieces like “Jude Tang” jars, “Jing Si Tang” lantern vases, lidded bowls, snuff bottles, flower pots, and fish tanks were also finely made. Daoguang official kiln pieces were later imitated during the Republic period, but imitations often had lighter bodies and paler colors. Civilian kiln products were generally of lower quality and artistic level, with rough, thick bodies, uneven glaze, and wavy patterns. Symmetrical and dense patterns became less common, with freehand floral designs becoming popular, often featuring insects and butterflies. Some small items from civilian kilns were finely made, such as thin-bodied bowls decorated with flowers, fruits, and insects, with delicate shapes, light bodies, and exquisite painting, representing the best of late Qing civilian Famille Rose porcelain.
Xianfeng Period: Famille Rose porcelain from the Xianfeng period had similar body and glaze characteristics to the previous periods. High-quality pieces had fine, white bodies, while lower-quality pieces were rough and coarse. Glazes were thin and exhibited the “wavy glaze” characteristic of the time. Colors commonly used included lotus root pink (pale purple), purple, and dark blue, which were bright and striking. Official kiln products used less of the “Carved Famille Rose” technique and the green glaze inside and at the bottom was darker than before. Common shapes included four-season flower vases, double-handled vases, flower pots, boxes, bowls, and plates. The best Xianfeng Famille Rose pieces often featured doucai (contrasting colors) and gold painting.
