Vase
ca. 1780 (made)
| Artist/Maker | |
| Place of origin |
The technique of enamel painting on copper was first developed at the imperial workshops in Beijing during the Kangxi reign (1662-1722), possibly due to the influence of the Jesuit missionaries working at court. A layer of enamel was applied on the copper surface and fired; the coloured ground was then painted with polychrome enamels and the object fired for the second time.
Enamelling on copper began to be produced in Canton at the end of the 17th century, both for the domestic and export markets. This vase, made by special order for European clients, imitates English porcelain models produced at the Chelsea-Derby factory by William Duesbury, active between 1770 and 1784, from designs by Boreman and Asker. Neo-classical shapes were especially popular after 1779; Chinese copies were presumably made in about 1780-1785. The landscape subject on this example was probably inspired by the views of the Derbyshire countryside that were painted on the English porcelain originals; the figures in classical dress were instead a reflection of the new taste for neoclassical designs.
Enamelling on copper began to be produced in Canton at the end of the 17th century, both for the domestic and export markets. This vase, made by special order for European clients, imitates English porcelain models produced at the Chelsea-Derby factory by William Duesbury, active between 1770 and 1784, from designs by Boreman and Asker. Neo-classical shapes were especially popular after 1779; Chinese copies were presumably made in about 1780-1785. The landscape subject on this example was probably inspired by the views of the Derbyshire countryside that were painted on the English porcelain originals; the figures in classical dress were instead a reflection of the new taste for neoclassical designs.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Enamel on copper |
| Brief description | Copper vase painted in polychrome enamels with landscape and classical figures, China, Canton, Qing dynasty, ca. 1780. |
| Physical description | Enamelled copper vase imitating a Greek vase shape, with egg-shaped body, two handles on the shoulders, narrow neck and everted mouth, and high narrow base spreading to the foot, which is attached to a square stand. The body, handles and sides of the base are painted in blue and gold, with gold stripes running down the body, a gold scroll band on blue round the shoulders, blue and gold lappets at the mouth and small blue in gold circles on the handles. On both sides of the body are oval cartouches, painted in polychrome enamels; one contains a landscape view, the other two female figures in classical dress. The mouthrim and corners of the base are gilt. |
| Dimensions |
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| Styles | |
| Gallery label | Vase
Enamel decoration on copper
Copied from a porcelain original made at the Chelsea-Derby factory.
About 1780.(1987) |
| Subjects depicted | |
| Summary | The technique of enamel painting on copper was first developed at the imperial workshops in Beijing during the Kangxi reign (1662-1722), possibly due to the influence of the Jesuit missionaries working at court. A layer of enamel was applied on the copper surface and fired; the coloured ground was then painted with polychrome enamels and the object fired for the second time. Enamelling on copper began to be produced in Canton at the end of the 17th century, both for the domestic and export markets. This vase, made by special order for European clients, imitates English porcelain models produced at the Chelsea-Derby factory by William Duesbury, active between 1770 and 1784, from designs by Boreman and Asker. Neo-classical shapes were especially popular after 1779; Chinese copies were presumably made in about 1780-1785. The landscape subject on this example was probably inspired by the views of the Derbyshire countryside that were painted on the English porcelain originals; the figures in classical dress were instead a reflection of the new taste for neoclassical designs. |
| Bibliographic reference | Vinhais, Luisa and Jorge Welsh, eds., China of All Colours: Painted Enamels on Copper, London: Jorge Welsh, p. 32, fig. 9.
Clunas, Craig (ed.). Chinese Export Art and Design. London: Victoria and Albert Museum, 1987, p. 70, fig. 57. |
| Collection | |
| Accession number | FE.45-1983 |
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| Record created | October 2, 2008 |
| Record URL |
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