Historically, the highest quality of porcelain produced in Jingdezhen was shaped by the preferences of the imperial family. However, by the end of the Qing dynasty (1644–1912) and the Republic period (1912–1949), these constraints began to dissolve.

Amid internal conflicts and political struggles with the Western World in the 19th century, China’s porcelain commissions dwindled. To survive, artisans had to appeal to a broader audience, which now included not only the imperial court but also officials, scholars, and the rising merchant class.

This period of upheaval gave rise to a new porcelain style. Known as ‘qianjiang cai,’ this aesthetic is distinguished by its soft, subtle hues, a stark contrast to the bold and opaque enamels that had been popular before. Translated as “light umber,” ‘qianjiang cai’ drew inspiration from the literati paintings of the Song and Yuan dynasties, which achieved a sense of atmosphere through the gradual blending of ink tones. To appeal to the scholarly class, artisans in Jingdezhen began to replicate these paintings on porcelain. These soft-colored enamels were used not only for landscape scenes but also for subjects like birds-and-flowers, still-life compositions featuring auspicious objects, and figures from history, mythology, or religion.

With such a talented community of artisans, creativity and innovation were essential for survival. Among the success stories from this era are the ‘Zhushan bayou’ (Eight Friends of Zhushan), a group of artists who gathered on the full moon of every lunar month. Each member of the group had their own area of expertise and unique aesthetic preferences. Wang Qi, widely regarded as the leader of the group, was known for his depictions of figures. His masterful use of graduated, soft tones, especially in delicate facial features, created striking and evocative images that continue to captivate viewers today.

Another notable figure from this period is Wang Bu, who sought to create a more realistic style, though not in the muted tones of ‘qianjiang cai.’ Specializing in ceramics and trained in the blue-and-white art, Wang Bu revived the portrayal of birds and flowers with his innovative technique, employing lighter shades of cobalt to contrast with the traditionally dense and bold blue of the past.

The artists of Jingdezhen during the late 19th and early 20th centuries experienced significant changes, but their creativity and adaptability ensured their survival, leaving a lasting legacy.

The Asian Art portion of the January 17th auction features important works from China, including a late 18th to early 19th century Chinese brocade blue-ground dragon skirt.

This skirt was commissioned by the Qing imperial court for exclusive use by the royal family. This regal textile represents the opulence and craftsmanship of the Qing dynasty.