A Famille-Rose Enamel Vase with Two Magpie Rests and Flowers Pattern, Xuantong Seal Mark
Lot No. ：JG-190524
Centuries of Style：Xuantong Empero(1*) (1909-1912) of Qing dynasty (1644-1911)
Feature：A vase, famille-rose enamel (2*), flowers and birds painting pattern — “two magpie rests and flowers” means "bring good luck to you".
1* Puyi, or Pu Yi (1906 - 1967), of the Manchu Aisin Gioro clan, was the eleventh and last emperor of the Qing dynasty. When he was a child, he reigned as the Xuantong Emperor in China and Khevt Yos Khaan in Mongolia from 1908 until his forced abdication on 12 February 1912, after the Xinhai Revolution. From 1 July to 12 July in 1917, he was briefly restored to the throne as emperor by the warlord Zhang Xun. In 1932, after the Japanese invasion of Manchuria, the puppet state of Manchukuo was established by Japan, and he was chosen to become "Emperor" of the new state using the era-name of Datong (Ta-tung). In 1934, he was declared the Kangde Emperor (or Kang-te Emperor) of Manchukuo and ruled until the end of the Second Sino-Japanese War in 1945. After the People's Republic of China was established in 1949, Puyi was imprisoned as a war criminal for 10 years, wrote his memoirs and became a titular member of the Chinese People's Political Consultative Conference and the National People's Congress.
2* Famille-rose, is the group of Chinese porcelain wares characterized by decoration painted in opaque overglaze rose colors, often involving shades of pink and carmine. These colors were known to the Chinese as yangcai (“foreign colors”) - In the Qianlong reign it acquired the name yangcai, but in the Yongzheng reign it was known as ruancai (soft colors)-- because they were first introduced from Europe (around 1685). The enamel paint used was originally the type of glaze applied to metal wares, such as cloisonné, and was adapted to porcelain after it entered China. The best quality famille-rose export wares date from the Yongzheng period (1723-1735). Compared with the transparent famille verte enamels of the previous Kangxi period (kangxi wucai) this new opaque palette could be fired at a lower temperature and had a wider color range. During the Yongzheng reign, famille rose wares reached their zenith, replacing the famille verte of the Kangxi reign and becoming the dominate palette in overglaze decoration. During the Qianlong reign, new techniques continued to develop. Typically the details of the decoration was filled in within outlines rather than 'boneless'. More colors began to appear as the background. The decoration was painted not only on a white transparent porcelain glaze but also on colored backgrounds such as yellow, blue, pink, coral red, light green, 'cafe au lait' and (Batavia) brown, etc. The designs also grew increasingly complex. Famille rose porcelain reached a climax of perfection at Jingdezhen under the directions of Nian Xiyao and Tang Ying, and continued with great delicacy through the Qianlong period (1735-1796). However, fencai did not appear in official records until the beginning of the 20th century.
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