A pair of famille verte vases

This exceptional pair of vases has a fine decoration in famille verte style. The use of this style and colours emerged from 1670, during the Kangxi period (1662-1722). Famille verte can be characterized by the use of a combination of the colours green (predominantly), red, blue and yellow. The cobalt blue could be underglaze but it also appears overglaze as the other colours.
On two sides of both vases the ‘Hundred Treasures’ (or the ‘Hundred Antiques’, baigu 百古) are shown. This is a term used for a collection of Chinese symbols or symbolical items that often are depicted in Chinese art. It comprises precious objects, scholar objects and symbols, often referring to the four Chinese ancient arts. The Hundred Treasures are not specifically defined but they comprise specific sets called the ‘Eight Treasures’ (babao 八宝) and the ‘Four Treasures’.

On one side, we can see a resplendent vase with peonies in it, surrounded by treasures. On the opposite side, a beautifully detailed vase as well is shown in the middle, with peacock feathers and blood coral in it. The peacock feathers represent an official rank. The coral stands for longevity. This is very expectational and rich decoration. Also on this side the vase is surrounded by the Hundred Treasures including precious porcelain objects. The other two sides show a natural landscape with rocks overgrown by plants and flowers. Around the flowers, butterflies are flying. The vases are finished with fine gilt-bronze mounts to the top and bottom. The bottom mounts each have four elegant feet surrounded by moulded roses. The insides have bronze compartments as well. These compartments can be lashed out and could be used to add water to the vase without damaging the porcelain paste. The bronze mounts are crafted in Europe (France), in the 19th century.

Condition: good, some small fritting to the side.

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Gilt bronze and silver on Chinese Porcelain
To adorn Chinese porcelain or to comply it with (changing) European taste after its arrival in Europe, silver or gilt bronze (ormolu) details were added. Sometimes, this was already intended and incorporated in the design during the production of the porcelain. Then, for instance, the potters already made a small hole in the handle of a tea pot where the mounts should be attached. In this case, the mounts were made in the same period as the porcelain. This could be derived from these kinds of technical details, but also from the style of the precious metals. In France typically gilt-bronze was used, in for instance Louis XIV or Louis XV style. These could involve quite comprehensive additions or could really place the porcelain in a new artwork. For instance, Chinese porcelain figures could be used around ormulo clocks, or they could be placed in a design surrounded by gilt-bronze flowers or candelabras. Or another example: small cups were used in inktstands with gilt-brozne and Japanse lacquer panels. In the Netherlands more often it was made from silver. In addition to the style, if present, the silver stamps could tell its age. These Dutch silver add-ons were more subtitle. Typically, it comprises small mounts such as lids or handles. This difference could be explained by the distinctive taste and fashion in both France and The Netherlands. While the styles and taste could change rapidly over time, overall, we could conclude that the France admired exuberance in arts and architecture during the 18th and 19th century. In comparison, in The Dutch preferred more modest and subtitle design. However, predominantly these silver and gilt-bronze enrichments of the porcelain were not added in the same period as the porcelain was produced but during the 19th century. Overall, the Chinese porcelain with gilt-bronze or silver details represent a harmonious blend of craftsmanship and historic cultural influences which make the objects even more unique.

Source: Jan Erik-Nilsson, ‘The Hundred Antiques (Hundred Treasures)’.