In the China Guardian Auctions autumn event, which ended on November 7, several porcelain items made during the time of Emperor Yongzheng fetched top prices in the ceramics category.
One of them, a qinghua (blue and white) long-necked vase with lotus patterns, was sold for 4.29 million yuan (US$523,170), much higher than its estimated price of 800,000 to 1.2 million yuan (US$97,560-146,340).
A double-eared qinghua bottle with flower and bird patterns was sold for 3.3 million yuan (US$406,900) while a pair of doucai plates with rock and flower patterns fetched 2.97 million yuan (US$362,200).
Back in 2002, during the Sotheby's spring auction in Hong Kong, a fencai olive vase with bat and peach patterns dating back to Yongzheng's time was auctioned off for 41.5 million Hong Kong dollars (US$5.35 million), marking the highest price for Qing Dynasty porcelain in the world.
When talking about porcelain in Yongzheng's time, experts often mention Tang Ying, who was in charge of the imperial kilns in Jingdezhen of Central China's Jiangxi Province.
Tang had stayed with Yongzheng for many years before going to Jingdezhen so was familiar with Yongzheng's tastes. In addition, Tang was an expert painter and calligrapher and also renowned for his knowledge of ancient literature. He thus played a vital role in shaping the new style of porcelain.
But when Tang first arrived in Jingdezhen in 1728, he didn't know much about making porcelain. In one of his articles, Tang said he "refrained from meeting guests" and "ate and slept with the potters for three years" before mastering the materials, firing and changes in the making of porcelain.
In 1735, Tang Ying wrote the Porcelain Achievement Record (Tao Cheng Jishi Beiji), an important reference work for the study of porcelain works in Yongzheng's time.
According to his Record, the ceramics of that period feature a glossy and smooth body, high-quality glaze and diversified shapes and decorations. They involve many complex techniques such as colourful painting beneath and above the glaze and colourful glaze fired in high or low temperature.
In 1730, the imperial kilns produced 57 types of porcelains modeled on works of past dynasties and also created new styles.
Yongzheng liked the porcelain works of the Song (960-1279) and Ming (1368-1644) dynasties very much. He often ordered new ceramics modeled on pieces from these two dynasties.
Porcelain-making reached an unprecedented peak in the Song Dynasty. However, as intact classic works were few, rulers of the Ming and Qing dynasties were eager to copy Song Dynasty porcelain works.
In Yongzheng's time, artisans not only succeeded in finding out the lost techniques of the classic works, but also achieved breakthroughs. For example, the glaze of some Song Dynasty works is turbid, but Qing Dynasty copies have a transparent and shiny glaze.
Due to sudden changes in the firing process, a glaze could sometimes alter its color and shape. The result would be an especially beautiful work known as "yaobian" (changed kiln).
While yaobian works were rare in Yongzheng's time, artisans did master certain rules to make some ethereal items.
The qinghua long-necked vase with lotus patterns in the China Guardian Auctions was modeled on the style of qinghua works during the Yongle (1403-25) and Xuande (1426-36) periods in the Ming Dynasty.
(China Daily November 22, 2005)
