| The Qing imperial porcelains are distinctive in decorative features in that new techniques and innovative designs were utilized in the copying of "antique models" and "western models". Both the Chinese traditional culture and Western cultures penetrating into China at that period of time were adsorbed selectively into expressiveness of decorative effects, as a result of which the porcelains became the most influential "fashion artwork" in the nation between17th to18th century. In terms of exquisiteness in workmanship, the modeling, glaze, color and pattern decoration of such artworks were unprecedented. This dissertation is designed to explore the decorative features of Qing imperial porcelains and the underlying cultural origins through discussions in the following aspects:Chapter One:The introduction mainly revolves around the significance of study, basic tecniques in the decoration of Qing imperial porcelains and the overview of ancient Chinese ceramic decoration, followed by the overview of imperial kilns in Qing Dynasty. The research method adopted to fulfill studies in this dissertation is also mentioned. This sections ends with illustrations on certain research questions and expressions concerned in the dissertation.Chapter two:Since the11th year of Shunzhi’s reign (1654) the imperial kiln plant had been in working condition on the basis of its counter part in Ming Dynasty. The porcelains chiefly were mere copies of the designs of the latter. In the Kangxi era the porcelains turned out in imperial klins prior to the19th year (1680) displayed distinctive styles from those produced afterward--when Liu Yuan, the then official in the Ministry of Justice presented "porcelain samples" so that the imperial klin created "Zang Porcelains" which was rich in decorative effects. According to the official documentations of Qing Dynasty the Zang Porcelains enjoyed high historical status. In the32nd year of Kangxi the emperor gave orders for craftsmen of the workshop located at inner court to try using techniques employed in painting enamel on porcelain decoration, which turned out a success in the50th year of Kangxi. It can be said that the19th and32nd year of Kangxi witnessed significant change and innovation in the porcelains produced in the imperial kilns, which infused specific features into their decorations.Chapter three:The emperor of Yongzheng pointed out in his edict to the craftsmen serving at the inner court in the5th year of his reign,"by no means the porcelains shall lack elegance conveyed in imperial style." What underlay such instruction was in effect a standard which ought to apply to the decoration of all artworks, including the imperial porcelains. Specifically, in terms of decoration of imperial porcelains not only strict "sample submission for approval" system was employed, but also the principles of "standard" were emphasized for work-pieces made in the workshop at the inner court by making such comments as " stupid ""elegant "," delicate ", etc. The decoration feature of Yongzheng imperial kiln was a result of verifying "standard" in practice.Chapter four:the "standard" proposed by Yongzheng remained applicable to the products made in Qianlong imperial kilns, whose decorative features clearly reflected the emperor’s cultural and artistic taste. In early and mid Qianlong times the technique of imperial kiln reached its peak level in Qing Dynasty. Between the later stage of his reign and the time when Xuantong resigned his position, however, the development of imperial kiln gradually slowed down. Finally due to the pressure resulted from the beginning of capitalism the kiln transformed to " Jiangxi Porcelain Company."Chapter five:It was because of cultural factors that unique characteristics were formed in the decoration of Qing imperial porcelains——in general under court culture background. It could be said that their decorative features were formed in the process of design copying. The Qing imperial porcelain decoration reflected a certain tendency of literati ", a combination of Western and Chinese cultural elements, as well as cultural signs from ethnic minority groups and religions. Besides, the appearance of "cleverly designed" porcelains signified characteristics of the culture at that time.Chapter six:under the constraints of the court system the enamel painting excelled among Qing imperial porcelain decorations. The formation of such decorative features shall be attributed to the efforts of two emperors:Kangxi and Yongzheng. Derived from this technique were western color decor and pastel decor. The later generations often failed to distinguish the difference among enamel, ocean color and pastels, leaving a new research topic for contemporary scholars.Chapter seven:"Appreciated" by emperors for their decorative features, Qing imperial porcelains enjoyed high achievement; presented to nobles, aristocrats minorities, and foreign ministers, they became a type of " fashion art", affecting the lives of the literati and nobility significantly. Since the collection of porcelain kiln were in vogue, sufficient folk kilns copied the design of that of the imperial ones. This promoted development of decorative features of the former. The decoration of Qing imperial porcelains also had influence on Western crafts decor and left a profound impact on the society and culture of future generations.In short, Qing imperial porcelains are the material manifestation of social culture in that their decorative themes were influenced by ideology, aesthetic feelings, and religious concepts of emperors. Their decoration style can reveal to us the prevailing social climate and aesthetic value, leaving an ideal physical material for us to understand the social status, cultural exchanges as well as the core of the imperial court life. It can be said Qing imperial porcelain decoration was a miniature of society and culture, with its decor reflecting the specific characteristics by social and cultural development under certain historical conditions... |
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