During which Qing Dynasty reign was polychrome ceramic production at its best? Polychrome ceramics, since their inception during the Xuande period of the Ming Dynasty, have always been one of the main types of ceramics produced during the Ming and Qing Dynasties, admired for their dazzling colors. During the Qianlong period, the production techniques and painting styles of polychrome ceramics still retained the late Ming Dynasty’s appearance, with relatively soft and gentle colors compared to the vibrant colors of the Wanli period. The coloration was not as intense, and the decorations were painted more freely and boldly, with thicker application of colors. The red colors were often dark red, the green colors were dark green or yellow-green, and the base of the vessels was uneven with occasional sand sticking, resulting in fewer productions.
The Kangxi era brought significant changes to the production of polychrome ceramics compared to the Ming Dynasty. The main colors used were red, yellow, green, purple, blue, and black. The red colors were brighter than the dark red of the Ming Dynasty, appearing bright and shiny with varying intensities, while the yellow colors varied from light to thick, resembling raw honey. Purple colors were mostly grape-purple, with a small portion being aubergine-purple. The green colors lacked the yellowish tint seen in Ming Dynasty greens, showing a richer variety such as dark green, melon green, emerald green, and aquamarine. The black colors were glossy and deep, often used for outlining decorations or for specific elements in the design, like hairdos or clothing. The blue colors varied greatly in depth and brightness, with darker blues being more striking and commonly used for painting mountains and rocks. The Kangxi polychrome ceramics were finely painted, lively in style, and rich in content, with various shapes like bowls, plates, bottles, and jars.
During the Yongzheng reign, with the prevalence of famille rose ceramics, polychrome ceramics lost their former glory. Production decreased significantly, and the main colors used were red, yellow, blue, green, black, and gold. The notable characteristic of Yongzheng polychrome ceramics was their soft color tones, simplified decorative layouts, delicate brushwork, adopting the layering technique of famille rose, resulting in a fresh and elegant effect with three-dimensional visuals, often depicting figures.
Production of Qianlong polychrome ceramics decreased significantly, with only official kilns producing dragon-phoenix bowls and seasonal flower cups. The colors were richer than Yongzheng era ceramics, with slightly heavier bodies and denser decorative layouts. During the Jiaqing and Daoguang eras, dragon-phoenix bowls and cups were still produced, along with imitations of Kangxi-era pieces. Additionally, there were imitations of Kangxi-era polychrome ceramics during the Tongzhi and Guangxu eras, with Tongzhi-era folk kilns producing heavily colored and coarsely decorated imitations, while Guangxu-era imitations were slightly superior, introducing a style called ‘Ink and Wash Polychrome,’ characterized by light, soft colors, intricate brushwork, and distinct character portrayals. The ‘Ink and Wash Polychrome’ style was an innovation of the Guangxu era. Since the Qianlong era, polychrome ceramics were gradually replaced by famille rose ceramics. However, in the late Qing Dynasty, the production of polychrome ceramics experienced a resurgence due to the demand for collection pieces, resulting in a large number of imitations of previous polychrome ceramics. These imitations closely resembled the original in terms of design, colors, decorative styles, and inscriptions, with some imitations being highly authentic, especially those imitating Kangxi-era products.
The Kangxi era produced the most exquisite Qing Dynasty polychrome ceramics, unmatched in terms of design, decoration, and craftsmanship compared to other Qing Dynasty eras. Therefore, subsequent generations extensively imitated them, requiring collectors to continuously improve their ability to discern authenticity.”
