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One of the joys of collecting antique Chinese export porcelain is their abundance and relative affordability. I especially love the Qianlong "pagoda" pattern when done well. This is a 9 ¼" example I bought a couple of months ago and I marvel at the skill and dexterity of the decoration. So much detail! This dates from the 1770s or 1780s and is one of the most detailed I've ever seen; I enjoy comparing examples like this to the later Nanking and Canton versions of this pattern, not to mention the English "Willow". I only wish there was a specific name for these 18th century Nanking forerunners. And to think a c. 250 year old high quality piece like this can be had for under $150 is amazing.
Do you collect this pattern? What is your favorite example? Please share!
-Steve
Hi Steve,
I love these patterns too. I have read that the Nanking pattern is either with one or two figures on the bridge, Canton is with no figures on the bridge and the Pagoda pattern is without a bridge. Also the Canton pattern is categorized by the number of arches on the bridge (single, double or triple). Don't know if this is a common rule or just one system among others to categorize these lovely export patterns.
Especially at the end of the 18th century the quality is high. Europe had started transfer printing and the Chinese tried to compete with that. Work was so cheap in China they did all the painting by hand instead of transfer printing. Fitzhugh is considered to be the highest quality.
Here's my Nanking plate, it's a bit different from yours:
Birgit
Hi Brigit,
Yours is a very nice example indeed.
And thanks for the information on classification. I always thought that Nanking had the arrows at the border and Canton had the simplified, could-like border; our examples don't. Nor could they be just "pagoda" since there are bridges (I have another plate from the same time that's similar but without bridges or people - as if it's nap time and everyone is inside). Seems to me these 18th century examples with elaborate borders (that aren't Nanking) have enough in common that they should have a name all their own, rather than just "blue and white export".
The idea that they were competing with the European transfer designs is intriguing, and it makes sense since it was invented in the 1750s.
Beautiful.
Armorial ! Auto correct can be a pain.
@shine
That's amazing! Any plans to dust it off and show it off in the house?
My "Chinese Export Ceramics" book notes, with a picture of a similar platter (only smaller with no bridges or people): "The meat platter in pl. 28 was part of a standard range decorated with central landscape and rococo-style borders that was used in Britain and carried westwards to America. In September 1783 a New York tavern keeper called Samuel Fraunces assembled 27 assorted dishes, including a comparable platter to this, and sent them down to General Washington at Mount Vernon in Virginia." - p.28, Chinese Export Ceramics by Rose Kerr and Luisa E. Mengoni.
In one appraisal, Peter Combs noted to me that it is a misconception to say that these elaborate borders were influenced by Rococo designs, by which I think he's saying that they were drawn from Asian precedents. Although they are elaborate and decorative, I agree that they're not "rococo" per se.
Here is another example, a fine and large platter, although more than I would be able or willing to pay.
I'll bet! It's rare to have such provenance for export antiques.
Ibelieve Colonel Lee order the service,one of the first ships from America to China after the revolution.
The history is interesting.
@shine
That's really interesting. They must have felt like kids awaiting their birthday presents as the waited for the first shipment to arrive.
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Kangxi vases, Kangxi dishes and chargers, Kangxi ritual pieces, Kangxi scholar's objects, Qianlong famille rose, Qianlong enamels, Qianlong period paintings, Qianlong Emporer's court, Fine porcelain of the Yongzheng period. Chinese imperial art, Ming porcelain including Jiajing, Wanli, Xuande, Chenghua as well as Ming jades and bronzes.
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